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This work is conceived as a de-construction ( as the French pholosopher J. Derrida defined it) of a famous score by Beethoven: the String Quartet op.130, including the Grosse Fugue, as its legitimate Finale.For this, the author used several procedures taken from electroacoustics and musical informatics, together with techniques found in generative grammars, particularly those free-of-context grammars (Chomsky sensu).With these complex tools he forged a series of sound organisms, from micro up to macro size(s).The entire score is a continuous series of transformations of different...