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In celebration of Pride, Tor.com Publishing presents a free download of 4 critically acclaimed novellas featuring LGBTQ+ characters. In Our Own Worlds, Volume 2 presents novellas from Katharine Duckett, Seanan McGuire, Lina Rather, and Kai Ashante Wilson. Queer voices, new worlds.

THE SORCERER OF THE WILDEEPSby Kai Ashante WilsonThe Sorcerer follows the Captain, a beautiful man with song for a voice and hair that drinks the sunlight. The two of them are the descendants of the gods who abandoned the Earth for Heaven, and they will need all the gifts those divine ancestors left to them to keep their caravan brothers alive.

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Figure 3. Spectrographic view of an observed song cycle in January 2018; generated using Fast Fourier Transform (FFT) size 8092 Hann-window with a frequency resolution of 5.69 Hz and a 70% overlap. Audio is provided in Supplementary Audio 2.

We can now ask the bird: can you swap the order of these sounds? Can you insert this syllable into that string? Birds were able to solve these tasks, but never in a single step. Instead of swapping syllable order or inserting syllables into strings, the birds solved those tasks in a series of steps, gradually approximating the target syntax. For example, to transform the song ABC-ABC to ACB-ACB, the bird learns one transition, say CB (and sings ABCB-ABCB for awhile), a few days later it might learn a second transition, say AC. Finally, once the bird learned the third transition BA, it promptly switches to the target ACB-ACB song, and will never sing ABC again. We found that Bengalese finches learn their more complex song in a similar manner. Strikingly, human infant babbling also develops in a similar manner: each uttered syllable is first performed singly, reduplicated, or at an utterance edge. Then, over 20 weeks or so, the new syllable type gets connected to other syllables in a stepwise manner. Eventually, the infant can babble 'freely' but this is not the starting point of vocal learning -- it is an endpoint of an elaborate developmental process, where combinatorial abilities are gradually acquired. This slow process can explain the developmental gap between the early perceptual capabilities to perceive complex vocal sequences, and the delayed motor capabilities of producing them.

What is clear is that arcade music should sound repetitively, so it should be composed so that the end of each song fits the beginning without the player gets to notice it, since it will play in a loop.

Today, composers like Yōko Shimomura, Tamayo Kawamoto or Ayako Mori, pioneers of arcade music for video games, are recognized as legendary composers, because despite the simplicity of the sounds that could be made with the sound chips of that time, their songs were quality music, it is very valuable what these musicians composed, although at that moment it would be lost and could not be appreciated.

You can listen to any of the songs by clicking on the integrated player in the right column. I also added a small description so that you know what they are about and the possible situation in which they could be included, something very important when creating a soundtrack for your video game.

Remember that, if you are going to use my works, you have to attribute the authorship to patrickdearteaga.com or to Patrick de Arteaga, simply by adding a link to this site, since the songs you see here have been registered with the Creative Commons license, which allows commercial reuse, and modification, as long as the original author is mentioned. If you prefer to avoid having to give credit, you can buy a Pro License of all the tracks you want.

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