Kvinnliga tonsättare

Includes bibliographical references

Introduction -- Éliane Radigue and an "unreal impalpable music" / Charles Curtis -- Dreaming machines (Journal de Genève) / Helene Cingria -- Combinatory musics / Éliane Radigue -- Les musiques sans fin / Éliane Radigue -- Σ = A = B = A + B / Éliane Radigue -- Radigue threshold / Paul Jenkins -- Music to exhibit by Éliane Radigue (Le Point) / Jack Gousseland -- ...In reality : from an interview with Éliane Radigue / Georges Haessig -- Miss Radigue gives a concert on tape (New York Times) / John Rockwell -- Minimal material : Éliane Radigue (Village Voice) / Tom Johnson -- Shredding the climax carrot (Village Voice) / Tom Johnson -- Interview with Éliane Radigue / Patrick de Haas -- On the fringe of Paris (Village Voice) / Tom Johnson -- Songs of Milarepa / Éliane Radigue -- 15th year of avant-garde (New York Times) / John Rockwell -- Samsara on the synthesizer (EAR Magazine) / Neil Strauss -- Interview with Éliane Radigue / Ian Nagoski -- Conversations with Éliane Radigue / Bernard Girard -- Mode diffusion électronique / Éliane Radigue -- Being and nonbeing : an analysis of Kyema / Daniel Silliman -- Sound, offering, and liberation: locating Eliane Radigue’s Trilogie de la mort (1988-93) in Tibetan Buddhist thought and history / Dagmar Schwerk -- Contours of the sense / Madison Greenstone – An anti-ideal: Radigue and the paradoxes of recording / Anthony Vine, Charles Curtis, and Madison Greenstone

"The tenth and final anthology from Blank Forms explores the early electronic work of French composer Éliane Radigue, whose radical approach to feedback, analog synthesis, and composition on tape has long evaded historical and technical interpretation. Combining key texts, newly translated primary documents, interviews, and commissioned essays, this compendium interrogates the composer's idiosyncratic compositional practice, which both embraces and confounds the iterative nature of magnetic tape, the subtleties of amplification, and the very experience of listening.Among these entries is an in-depth overview by cellist Charles Curtis, a close collaborator of Radigue's, examining the composer's earliest experiments with feedback techniques and analog synthesis, her eventual shift to composing for unamplified instruments and live performers, and her unique aesthetic configurations of time and presence. A number of detailed conversations between the composer and researchers Georges Haessig, Patrick de Haas, Ian Nagoski, and Bernard Girard provide crucial insights into her working methods at different points throughout her career. Religious studies scholar Dagmar Schwerk reflects upon Radigue's profound synthesizer work Trilogie de la Mort (1988-93) in the context of Tibetan Buddhist thought and its history, while texts by musicians Daniel Silliman and Madison Greenstone examine, in notably different ways, the technical characteristics of Radigue's sound practice. Sketches for unrealized work, contemporary reviews, concert programs, and other ephemera mapping the performance history of Radigue's early work are presented together for the first time. The anthology concludes with a roundtable discussion between Curtis, Greenstone, and Anthony Vine, untangling the knot of paradoxes at the center of Radigue's artistic practice to trace the thread of her continued "ethos of resistance."-- Provided by publisher

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