This D.M.A. dissertation consists of a portfolio of four musical works: Areas (for chamber orchestra), Torcal (for great organ), Gotlhar (for chamber ensemble), and Seco (for two pianos and two percussions). These pieces are the compositional application of my research on computational generative models of music material. One substantial idea during the writing of these compositions is that of formalizing the structure and organization of musical events with the aid of programmable algorithms. A common procedure for the composition of these works observes the Sensory Dissonance Curve model proposed by William Sethares. This model establishes a relationship between the spectrum of a sound and a tuning system in which the timbre of the former will appear most consonant (or dissonant otherwise) to a given scale configuration. The reversal process of defining timbral qualities of sounds given arbitrary scale/tuning fields is also possible. 'Dissonance-curve' scales and tunings defined by specific instrumentations (via their spectra), are subsequently mapped to harmonic/inharmonic chord configurations, whose ratio proportions determine the local rhythmic patterns and the durations of the large-scale form of the pieces. To facilitate the translation of the 'sensory dissonance curve' model and its subsequent mappings into music scores with a high level of notational/symbolic expressivity, I have developed Xa-Lan, a computer program written in Common LISP that uses the 'Expressive Notation Package' of PWGL for final output.