Not particularly contemporary, but in the 1950-60’s, Shostakovich was famous for reusing the “D-S-C-H” (D-Eb-C-B) motif in his music. The same 4-note motif can be heard many times, particularly in String Quartet No. 8 and Symphony No. 10.
This from the Wikipedia entry on Symphony No. 10 -
The DSCH-motif is anticipated throughout the first movement of the 10th Symphony: In the 7th bar of the start of the symphony the violins doubled by the violas play a D for 5 bars which is then directly followed by an E♭; 9 bars before rehearsal mark 29 the violins play the motif in an inverted order D-C-H-S (or D-C-B-E♭). The first time the motif is heard in its correct order in the whole symphony is in the 3rd movement, right after a short canon on the beginning melody starting from the 3rd beat of the 5th bar after rehearsal mark 104 where it is played in unison by the piccolo, the 1st flute and the 1st oboe (compassing a range of three octaves).
I tried to avoid all discussions of intellectual concepts and to keep the conversation on a simple, everyday level, but she just stared at me blankly and asked me what I meant about the mathematical variance equivalent in Dorbermann’s Fifth Concerto