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" 'Kankyō ongaku' is Japanese for 'environmental music', and as used here it’s an umbrella term for calm, spacious, and slightly chilly music.”(1)It "was established in the 1980s as a reaction to the rapid urbanisation and economic development of the time. Influenced by Erik Satie and Brian Eno, it consists of minimalist electronica infused with the ambient sounds of nature.”(2)Generative music is a form of music in which a piece of music creates itself from an initial set of musical elements and behaviours and rules defined by the composer and/or a system (natural or artificial). It is an “approach to music creation concerning itself with neither improvisation nor explicit composition, but rather with framing an indeterminate system from which music can emerge” (Priestley, 2014, p. 1). It is therefore not a musical genre or style on its own but rather a compositional practice where the composer is more concerned with creating or discovering a system or a process – physical or virtual – that will then generate the music autonomously of the composer, than with writing the composition from start to finish in the traditional sense. In generative music the role of the composer could be seen more as that of a gardener than an architect, to use Brian Eno’s analogy (Edge, November 10, 2011). Or to borrow another metaphor of his, “generative music is like trying to create a seed, as opposed to classical composition which is like trying to engineer a tree” (Toop, 2004, p. 182). (3)Having these definitions as starting point, this interpretative composition is created with generative techniques to bring a continuous ethereal movement of ambient music.


Kankyō Ongaku: generative music for

16-bit dolphins






Ecco the Dolphin is an action-adventure game originally developed by Ed Annunziata and Novotrade International for the Mega Drive/Genesis and published by Sega in 1992.

This interpretative composition is a tribute to the original game released on sega genesis, that in fact i feel it had an important role on my affection for ambient music. This piece was created with generative techniques to bring a continuous ethereal movement of ambient music. It was created with Max/MSP and software from Inphonik, Native Instruments, Eventide, Waves, Aberrant DSP, Spitfire Audio and Arturia.

(2022)






Kankyō Ongaku: generative music for

swimming days




generative ambient composition

On the creation of this piece it was used Oliver Patrice Weder’s The pool project toolkit (released through Spitfire Audio (4)) ; Max/MSP (5) ; and tools form Eventide (6) and ina-GRM (7).

(2021)





Kankyō Ongaku: generative music for 

insomniac beings