In a constant back and forth between writing of and about music, André Boucourechliev, like many composers of his generation, has never ceased to fathom the creative gesture. This exploration was translated into a considerable number of articles and books to which must be added hundreds of hours of radio programs produced in the 1970–1990s for France Culture and France Musique. With a consummate art of intrigue, Boucourechliev invites the listener to visit the musical language of Stravinsky, Beethoven or Debussy. It also often happens—this time, in a dialogical configuration—that he listens and looks at his own works. The care taken in the language, in its scansion and in its pulse suggests the existence of a true “radiophonic writing,” an apparently fleeting material but whose textual analysis allows to find scattered traces in texts published by Boucourechliev. This article focuses on this singular writing regime still too neglected by musicologists.