| Fig. 3.1 | Claude’s new French horn. Vienna apartment. 1957. | 34 |
| Fig. 3.2 | The current Universität für Musik und darstellende Kunst Wien, abbreviated Mdw (University of Music and Performing Arts, Vienna), formerly known as the Vienna Academy. Author photo. November 2017. | 39 |
| Fig. 3.3 | The plot where Claude was originally buried in February 1960. Zentralfriedhof, Vienna. The plot remains his, in perpetuity. Author photo. November 2017. | 40 |
| Fig. 3.4 | Claude the conductor. Professional portrait. Vienna. 1957. | 45 |
| Fig. 7.1 | Scena 2007–2009 (2.a version) by Tomás Maia e André Maranha. | 85 |
| Fig. 7.2 | Scena 2007–2009 (2.a version) by Tomás Maia e André Maranha. | 86 |
| Fig. 7.3 | Scena 2007–2009 (2.a version) by Tomás Maia e André Maranha. | 86 |
| Fig. 7.4 | A group of three sounds from the beginning of the piece. This idea occurs throughout the whole piece in various forms of presentation. Different instrument registers are explored, as well as dynamic variations. | 89 |
| Fig. 7.5 | Variation of the initial cell with different speed, intensity and acceleration. | 89 |
| Fig. 7.6 | The cell with only two notes, varying the other parameters. | 89 |
| Fig. 7.7 | A new articulation and a different dynamic in ‘Fortissimo’. | 89 |
| Fig. 7.8 | Insistence of the small cell through repetition and a four note ornamentation. | 89 |
| Fig. 3.1 | Claude’s new French horn. Vienna apartment. 1957. | 34 |
| Fig. 3.2 | The current Universität für Musik und darstellende Kunst Wien, abbreviated | 39 |
| Fig. 3.3 | The plot where Claude was originally buried in February 1960. Zentralfriedhof, Vienna. The plot remains his, in perpetuity. Author photo. November 2017. | 40 |
| Fig. 3.4 | Claude the conductor. Professional portrait. Vienna. 1957. | 45 |
| Fig. 7.1 | 85 | |
| Fig. 7.2 | 86 | |
| Fig. 7.3 | 86 | |
| Fig. 7.4 | A group of three sounds from the beginning of the piece. This idea occurs throughout the whole piece in various forms of presentation. Different instrument registers are explored, as well as dynamic variations. | 89 |
| Fig. 7.5 | Variation of the initial cell with different speed, intensity and acceleration. | 89 |
| Fig. 7.6 | The cell with only two notes, varying the other parameters. | 89 |
| Fig. 7.7 | A new articulation and a different dynamic in ‘Fortissimo’. | 89 |
| Fig. 7.8 | Insistence of the small cell through repetition and a four note ornamentation. | 89 |
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