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652:– as in all of our work – we created individual cybernetics circuits for particular themes and leit motifs, rather than using standard sound generators. Actually, each circuit has a characteristic activity pattern as well as a "voice". . We were delighted to hear people tell us that the tonalities in
264:. The sounds and patterns that came out of the circuits were unique and unpredictable because they were actually overloading the circuits until they burned out to create the sounds. The Barrons could never recreate the same sounds again, though they later tried very hard to recreate their signature sound from
765:, using the latest in sound generating technology to collect sounds there. From October through early November 2000, she did all the actual composing in Jane Brockman's Santa Monica studio with Brockman serving as recording engineer. The sounds collected at UCSB were imported into Digital Performer on a
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While Louis spent most of his time building the circuits and was responsible for all of the recording, Bebe did the composing by sorting through many hours of tape. As she said, "it just sounded like dirty noise". Over time, she developed the ability to determine which sounds could become something
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score "electronic tonalities", not "music". And seeing the handwriting on the wall, used that excuse to deny them membership in the 1950s; the union's primary concern was losing jobs for performers rather than the medium itself. As a result, the
Barrons never scored another film for Hollywood. As
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filled the theater, the audience broke out in spontaneous applause. Later, the
Barrons turned over their audio creation to GNP Crescendo records for distribution. GNP had previously demonstrated its expertise in producing and marketing science fiction film soundtracks and executive album producer
486:. The Barrons were hired by Cage to be the engineers. They recorded over 600 different sounds, and arranged them with Cage's directions in various ways by splicing the tape together. The four and a half minute piece took over a year to finish. Cage also worked in the Barrons' studio on his
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of multiple sounds was performed with at least three tape recorders. The outputs of two machines would be manually synchronized, and fed into an input of a third one, recording two separate sources simultaneously. The synchronization of future film work was accomplished by two 16 mm
421:. Due to the lack of competition in the field, and to the surprise of the owners, the recording business was a success. Aside from the tape recorders, most of the equipment in the studio was completely built by Louis. One of the home made pieces was a monstrous
633:(1956) is today recognized as the first entirely electronic score for a film. Eerie and sinister, the soundtrack was unlike anything that audiences had heard before. Music historians have often noted how groundbreaking the soundtrack was in the development of
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592:. The film's two versions showed the same four-minute film of New York City bridges. Showing the two versions back-to-back showed how different soundtracks affected the viewer's perception of the film.
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composition and production were one and the same, and were slow and laborious. Tape had to be physically cut and spliced together with adhesive splicing tape to edit finished sounds and compositions.
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scene. This may have been the first electronic music studio in the United States. At the studio, the
Barrons used a tape recorder to record everything and everyone. They recorded
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698:. The original screen credit for the film, which was supposed to read "Electronic Music by Louis and Bebe Barron", was changed at the last moment by a contract lawyer from the
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was accomplished by actually counting out loud "one-two-three-go" and pushing the play back buttons at the same time. Precise synchronization was not necessary in composing
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We design and construct electronic circuits function electronically in a manner remarkably similar to the way that lower life-forms function psychologically. . In scoring
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was custom built by the inventor for looping the samples, and changing their speed. The thriving business brought in enough income to purchase some commercial equipment.
679:. After the producers heard the initial sample score, the Barrons were assigned an hour and ten minutes of the rest of the film. The studio wanted to move the couple to
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the years passed, the
Barrons did not continue to keep up with technology, and were perfectly content to make their music in the way they always had. However,
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279:, but instead as "actors". In future soundtrack composition, each circuit would be manipulated according to actions of the underlying character in the film.
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had to be removed. The
Barrons were credited with "Electronic Tonalities". Because of their non-membership in the union, the film was not considered for an
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in 2000, from raw material collected at the
University of California, Santa Barbara studio. It sounds remarkably like the Barrons' earlier material.
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In 1962, the
Barrons moved to Los Angeles. Although they divorced in 1970, they continued to compose together until the death of Louis in 1989.
609:(MGM's executive producer) at an exhibit of Schary's wife's paintings in 1955. He hired them soon after, when the film was in post-production.
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where most of the film scores were produced at the time. But the couple would not budge, and took the work back to their New York studio.
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The music and the sound effects stunned the audience. During the preview of the movie when the sounds of the spaceship landing on
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with an iron oxide coating which could be magnetized.. Using their newly acquired equipment, the couple delved into the study of
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722:, working with the Barrons in their studio for his earliest electronic work, who convinced them that it was "music".
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872:(1969) Spoken word by Louise Huebner, Music by Louis and Bebe Barron; Warner Bros. - Seven Arts Records – WS 1819
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Most of the production was not scripted or notated in any way. The
Barrons didn't even consider the process as
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1950s reel-to-reel tape recorder with tape splicing block and splicing (adhesive) tape rolls in the foreground.
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proposes that certain natural laws of behavior applied to both animals and more complex electronic machines.
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of interest, and tape loops provided rhythm. They mixed the sounds to create the otherworldly electronic
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1255:, "The Score" published by the Society of Composers & Lyricists, Vol. VII, No.3, Fall/Winter 1992 (
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that he manipulated to generate sounds. Most of the tonalities were generated with a circuit called a
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for magnetic tape composed in the United States was completed by the
Barrons in 1950 and was titled
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In the early 50s, the
Barrons collaborated with various celebrated filmmakers to provide music and
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and a post-graduate degree in political science. In Minneapolis, she studied composition with
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In 1956 the Barrons composed the very first electronic score for a commercial film —
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After recording the sounds, the couple manipulated the material by adding effects, such as
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played an important role in the development of the Barrons' composition. The science of
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to do the music score. The Barrons were brought in to do only about twenty minutes of
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139:. It was Louis who nicknamed her "Bebe". She died on April 20, 2008, in Los Angeles.
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is now imitating the rich sounds of those old analog circuits. Bebe's last work was
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502:. It was Cage who first encouraged the Barrons to consider their creations "music".
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featured two alternative soundtracks, one by the Barrons and one by jazz musician
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on June 16, 1925, the only child of Ruth and Frank Wind. She studied piano at the
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The First Electronic Filmscore—Forbidden Planet: A Conversation with Bebe Barron
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Bebe Barron remarried in 1975, Louis died in 1989, and Bebe died April 20, 2008.
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Ferrograph reel-to-reel tape recorder, photographed at the Science Museum London.
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that were tied into a 16 mm tape recorder, and thus ran at the same speed.
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from 1985 to 1987. They awarded her with a lifetime achievement award in 1997.
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77:. The American couple is credited with writing the first electronic music for
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Not everyone was happy with the score. Louis and Bebe did not belong to the
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By following the equations presented in the book, Louis was able to build
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on April 23, 1920. As a young man, he had an affinity for working with a
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Neil Norman had proclaimed the film (and the soundtrack) his favorites.
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equipment. The only other competition in town were the studios owned by
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Cybernetics: Or, Control and Communication in the Animal and the Machine
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1040:"Bebe Barron: Co-composer of the first electronic film score, for"
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518:, which had already been using electronic instruments such as the
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290:. They also reversed and changed the speed of certain sounds. The
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https://web.archive.org/web/20101227184937/http://www.ei-mag.com/
845:(1958) one of two alternative soundtracks, the other composed by
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Bebe Barron was a founding member and the first Secretary of the
702:. In order to not upset the union, the association with the word
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composed in the United States, and the first entirely electronic
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Music from the Soundtrack of 'Destination Moon' and Other Themes
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soundtrack LP. Small Planet Records (1956). Album sleeve notes.
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The Barrons did not know what to call their creations; it was
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Speeding up and slowing down the tape in effect changed the
928:(1986) Pennsylvania Public Radio Associates Cassette Series
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themselves. The circuit generated sound was not treated as
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as a wedding gift. As a recording medium, it utilized thin
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788:" a molecule that has stubbed its toes." — From the
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scene did not reap many financial rewards. They turned to
1070:"Bebe Barron, 82, Pioneer of Electronic Scores, Is Dead"
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The producers of the film had originally wanted to hire
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Soon after relocation to New York, the Barrons opened a
119:. She moved to New York, and worked as a researcher for
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Society for Electro-Acoustic Music in the United States
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Society for Electro-Acoustic Music in the United States
1156:"The Barrons: Forgotten Pioneers of Electronic Music"
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The Barrons: Forgotten Pioneers of Electronic Music
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445:were also home built prize possessions. They had a
135:. She married Louis Barron in 1947. They lived in
1101:"Electronic Music Pioneer Bebe Barron Dead At 82"
761:In 2000, she was invited to create a new work at
405:For a short time, the Barrons held a monopoly on
833:/UA Home Video, 1991; 2-DVD Warner edition, 2006
73:November 1, 1989) were pioneers in the field of
961:of the recorded material and individual sounds.
1321:"Bebe Barron, Scored the Science Fiction Film
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870:Louise Huebner's Seduction Through Witchcraft
725:The Musicians' Union forced MGM to title the
656:remind them of what their dreams sound like.
545:. The most notable of these three films were
476:scene. During 1952–53 the studio was used by
159:. He died on 1 November 1989 in Los Angeles.
155:and electrical gear. He studied music at the
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1583:Studio di fonologia musicale di Radio Milano
1126:"Louis Barron; Made Music Electronically".
769:and organized to create Bebe's final work,
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1578:Studio for Electronic Music (WDR, Cologne)
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357:" a molecule that has stubbed its toes."
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490:with other notable composers, including
179:The couple married in 1947 and moved to
1327:- AllAboutJazz.com - Posted: 2008-04-28
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763:University of California, Santa Barbara
522:in film soundtracks for several years.
383:. These recordings were pressed on red
1006:"'Forbidden' scorer Barron dead at 82"
472:The Barrons' music was noticed by the
343:reading their work in a form of early
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926:New Age Synthesis II on Totally Wired
510:The Barrons quickly learned that the
243:Massachusetts Institute of Technology
7:
1246:, Morning Edition, February 7, 2005.
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983:Quoted from the sleeve notes of the
644:soundtrack, Louis and Bebe explain:
30:Basic waveforms of electronic music
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888:(1971) Tape; revised and used for
187:), gave the newlyweds their first
16:American electronic music pioneers
14:
1626:SEAMUS Lifetime Achievement Award
1558:Philips Natuurkundig Laboratorium
1224:Electronic and Experimental Music
640:On the album sleeve notes of the
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1226:(2nd ed.). New York: Routledge.
1154:Susan Stone (February 7, 2005).
815:For an Electronic Nervous System
700:American Federation of Musicians
576:(1959), which featured music by
1930:20th-century American composers
1920:American experimental composers
1568:San Francisco Tape Music Center
568:in the audio production of the
1488:Groupe de Recherches Musicales
898:(1974) Driver's education film
537:. The Barrons scored three of
425:that could produce very heavy
1:
480:for his very first tape work
387:and released on the Barrons'
1242:. Text and Audio Broadcast.
829:(1956) Videotape; Laserdisc
710:in the soundtrack category.
377:and four other stories from
1483:Electronic Music Foundation
987:soundtrack. See References.
371:recorded a full version of
1951:
1266:Wierzbicki, James (2005).
1011:United Press International
937:from Sid Davis Productions
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18:
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1288:, e/i Magazine, Issue 3,
732:modern digital technology
605:. The Barrons approached
147:Louis Barron was born in
127:. She studied music with
1935:American audio engineers
1553:BBC Radiophonic Workshop
1286:Strange Cues from the ID
1215:Barron, Louis and Bebe.
943:by Bebe Barron (2000) CD
920:Elegy for a Dying Planet
882:, Cinema Records LP-8005
323:at 9 West 8th Street in
103:Bebe Barron was born as
19:Not to be confused with
1292:, pp. 18–23, 2004?
1274:. The Scarecrow Press.
1268:Louis and Bebe Barron's
792:, Volume 7 (1966-1974).
488:Music for Magnetic Tape
113:University of Minnesota
65:April 23, 1920 –
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561:
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431:Electronic oscillators
400:Barron Sound Portraits
364:
362:, Volume 7 (1966-1974)
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45:June 16, 1925 –
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1878:Scott A. Wyatt (2018)
1711:Bebe and Louis Barron
1493:Institute of Sonology
1478:Computer Music Center
1366:electroacoustic music
1312:Bebe and Louis Barron
1303:Bebe and Louis Barron
1222:Holmes, Thom (2002).
1161:National Public Radio
932:What's the Big Hurry?
896:What's The Big Hurry?
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663:
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574:The Very Eye of Night
564:The Barrons assisted
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457:. A Stancil-Hoffmann
389:Contemporary Classics
353:
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170:
157:University of Chicago
29:
1639:Vladimir Ussachevsky
1193:on 28 September 2011
1130:. November 17, 1989.
327:that catered to the
245:(MIT) mathematician
53:April 20, 2008) and
603:Metro-Goldwyn-Mayer
535:experimental cinema
451:spring reverberator
360:Diary of Anais Nin
258:electronic circuits
129:Wallingford Riegger
125:musical composition
1390:Experimental music
1272:A Film Score Guide
1270:Forbidden Planet:
1187:John Cage database
1128:The New York Times
1099:(April 29, 2008).
1075:The New York Times
803:Heavenly Menagerie
790:Diary of Anais Nin
767:Macintosh computer
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468:Composer John Cage
380:Under a Glass Bell
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337:Tennessee Williams
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208:Heavenly Menagerie
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105:Charlotte May Wind
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1284:Zvonar, Richard,
1181:Chaudron, André.
914:The Circe Circuit
910:(1975) Film score
904:(1974) Film score
890:film of same name
866:(1968) Film score
858:Music of Tomorrow
854:(1959) Film score
839:(1956) Film score
823:(1954) Film score
811:(1952) Film score
809:Bells of Atlantis
547:Bells of Atlantis
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273:music composition
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1415:Musique concrète
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1323:Forbidden Planet
1249:Brockman, Jane,
1217:Forbidden Planet
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1078:. April 25, 2008
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985:Forbidden Planet
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843:Bridges-Go-Round
827:Forbidden Planet
727:Forbidden Planet
696:Musicians' Union
666:Forbidden Planet
654:Forbidden Planet
650:Forbidden Planet
642:Forbidden Planet
635:electronic music
631:Forbidden Planet
621:Forbidden Planet
614:Forbidden Planet
598:Forbidden Planet
582:Bridges-Go-Round
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321:recording studio
315:Recording studio
309:Forbidden Planet
266:Forbidden Planet
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1236:Stone, Susan.
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805:(1951–52) Tape
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736:Mixed Emotions
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619:Main article:
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586:Shirley Clarke
551:Jazz of Lights
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492:Morton Feldman
455:tape recorders
453:, and several
433:that produced
407:tape recording
367:In June 1949,
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262:ring modulator
247:Norbert Wiener
235:The 1948 book
231:Norbert Wiener
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1884:Gordon Mumma
1815:Curtis Roads
1807:Larry Austin
1791:Joel Chadabe
1783:Alvin Lucier
1775:Wendy Carlos
1767:Barry Vercoe
1759:Jon Appleton
1743:Herbert Brün
1710:
1663:Otto Luening
1322:
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1195:. Retrieved
1191:the original
1186:
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1165:. Retrieved
1159:
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1110:. Retrieved
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1080:. Retrieved
1073:
1048:. Retrieved
1046:. 2008-05-08
1043:
1016:. Retrieved
1009:
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487:
483:Williams Mix
481:
471:
459:reel to reel
443:square waves
404:
395:
392:record label
388:
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372:
366:
359:
333:Henry Miller
318:
308:
307:required by
301:
281:
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265:
255:
236:
234:
226:
207:
201:
193:plastic tape
178:
146:
143:Louis Barron
133:Henry Cowell
123:and studied
104:
102:
90:
55:Louis Barron
54:
34:
33:
1735:Paul Lansky
1687:Max Mathews
1671:Robert Moog
1420:Noise music
974:atmospheric
922:(1982) Tape
916:(1982) Tape
860:(1960) Tape
817:(1954) Tape
714:Later works
664:Poster for
607:Dore Schary
549:(1952) and
512:avant-garde
500:David Tudor
496:Earle Brown
474:avant-garde
329:avant-garde
305:soundscapes
251:cybernetics
227:Cybernetics
163:Early works
149:Minneapolis
109:Minneapolis
99:Bebe Barron
35:Bebe Barron
1909:Categories
1855:Dave Smith
1751:Don Buchla
1443:By country
1410:Microsound
1373:Techniques
1362:Electronic
1167:2010-10-01
1112:2010-10-01
1106:Synthtopia
1082:2010-10-01
1050:2019-02-18
1018:2010-10-01
992:References
878:(1970) on
847:Teo Macero
783:Quotations
627:soundtrack
590:Teo Macero
584:(1958) by
570:soundtrack
566:Maya Deren
560:Maya Deren
506:Film works
415:Eric Siday
394:under the
297:projectors
288:tape delay
202:The first
83:film score
69:1989-11-01
61:1920-04-23
49:2008-04-20
41:1925-06-16
1405:Tape loop
1261:1066-5447
886:Space Boy
821:Miramagic
720:John Cage
688:Altair IV
681:Hollywood
578:Teiji Ito
543:Anaïs Nin
531:art films
516:Hollywood
478:John Cage
398:series. (
369:Anaïs Nin
354:Anaïs Nin
345:audiobook
121:Time-Life
1863:Pamela Z
1647:Les Paul
1544:Inactive
1528:Toonzaal
908:Cannabis
553:(1954).
539:Ian Hugo
520:theremin
435:sawtooth
95:(1956).
85:for the
1460:Germany
968:Manual
423:speaker
1894:(2020)
1886:(2019)
1873:(2017)
1865:(2016)
1857:(2015)
1849:(2014)
1841:(2013)
1833:(2012)
1825:(2011)
1817:(2010)
1809:(2009)
1801:(2008)
1793:(2007)
1785:(2006)
1777:(2005)
1769:(2004)
1761:(2003)
1753:(2002)
1745:(2001)
1737:(2000)
1729:(1999)
1721:(1998)
1713:(1997)
1705:(1996)
1697:(1995)
1689:(1994)
1681:(1993)
1673:(1991)
1665:(1990)
1657:(1989)
1649:(1988)
1641:(1987)
1536:studio
1530:Studio
1518:SEAMUS
1469:Active
1455:France
1278:
1259:
1230:
1197:9 July
976:music.
892:, 1973
498:, and
447:filter
441:, and
339:, and
292:mixing
284:reverb
229:(1948)
218:Method
89:movie
1523:STEIM
1508:IRCAM
1450:Chile
959:pitch
948:Notes
797:Works
708:Oscar
704:music
385:vinyl
277:notes
1534:WORM
1513:NIME
1503:ICMA
1498:ICEM
1400:Loop
1364:and
1316:IMDb
1307:IMDb
1276:ISBN
1257:ISSN
1228:ISBN
1199:2011
629:for
625:The
572:for
533:and
529:for
449:, a
439:sine
427:bass
413:and
286:and
131:and
1563:NHK
1314:at
1305:at
1244:NPR
831:MGM
241:by
107:in
87:MGM
1911::
1263:).
1185:.
1158:.
1136:^
1103:.
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437:,
429:.
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347:.
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185:3M
1617:e
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67:(
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59:(
57:(
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47:(
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39:(
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23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
