This past November, two dissident voices of French postwar music were the subject of retrospectives in New York. The resolutely unclassifiable Luc Ferrari (1929–2005) was warmly celebrated in “Stereo Spasms,” a two-night program of performances at Pioneer Works in Brooklyn on November 18–19, while the series “Recherches Filmiques” at Anthology Film Archives (November 21–27) spotlighted his work in cinema, both as a filmmaker and as a composer of scores. Meanwhile, musician Éliane Radigue (b. 1932) has been the subject of “Intermediate States,” an ongoing program organized by Blank Forms in collaboration with Radigue herself. That Radigue and Ferrari should be toasted in parallel is appropriate: while their work took wildly different forms, both figures began their careers in the orbit of musique concrète, or music created by manipulating recorded sound on tape. They separately broke from this blueprint, cultivating practices that have proven radically prescient.