The second edition of Conversations—a collection of interviews conducted by British composer John Palmer with an international cast of composers, musicians, and scholars—includes a chapter about LeBaron's trajectory as a composer and performing musician: "Anne LeBaron --- Surreal Confluences."

LeBaron contributed two essays to Looking Within: The Music of John Palmer - Dialogues and Essays.

Follow the Artist—Twenty Years of CalArts Center for New Performance includes LeBaron's essay "What to Think About What to Wear," which discusses the Richard Foreman/Michael Gordon REDCAT production of "What to Wear." 

I’ve written about some of my experiences with electroacoustic music for the Composers Edition newsletter. My fellow composers John Palmer and Jack Van Zandt share their music and thoughts as well.

As a committed chess player from a very young age, I’ve been fascinated by the current blockbuster mini-series, “The Queen’s Gambit,” as well as the book upon which it’s based, (by Walter Tevis. In response to a New York Times article, “How the Queen’s Gambit Started a New Debate About Sexism in Chess,” by Dylan Loeb McClain (Nov. 10 2020), I wrote a letter to the Times that remains unpublished. I’d like to share it here.

In the arena of contemporary music and performance, truthiness—a fuzzy-edged concept linking “truth” and “post-truth”—provides a malleable framework for examining how musicians and musical communities are confronting, reacting to, or embodying belief systems grounded in deception. Does the notion of authenticity embrace deliberate falsifications? In an attempt to answer such questions, I will offer examples of performers, writers, and artists cavorting along the truthiness bridge.

Uneven Measures, a series published by I Care if You Listen, invited composers, musicians, and art leaders to address the question, What Does the 19th Amendment Mean to You? Please read my response here, and I invite you to read the others too!

Thirteen songs composed in cherished memory of Emma Bee Bernstein.

These essays on postmodernism and music include topics such as the importance of technology and marketing in postmodern music, the appropriation and reworking of Western music by non-Western bands, and issues of music and race

When a contemporary musician hears the word “Darmstadt,” he automatically associates it with a certain school of thought rooted in the highly structured musical languages of the 50’s and exemplified by such strong figures as Boulez, Stockhausen, and Xenakis.