Abstract
ABSTRACT This article explores various aspects of Éliane Radigue's approach to working with her ARP 2500 modular synthesiser, analysing sketches, recordings, and technical information about her instrument to fill gaps in currently available accounts, such as those found in Holterbach, Rodgers, and Eckhardt. Drawing on correspondence with François J. Bonnet, the second section outlines the general process she undertook to commit these compositions to tape, with attention paid to the limited set of tools at her disposal. Throughout the text I suggest that Radigue intentionally occludes her role as the work's author. I argue that this is a trend that characterises Radigue's music-making process in general.
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