Pierre Boulez introduced the concept of ”creative analysis” in the late 80s: according to him, analysis has to aim at producing new pieces. Marcel Mesnage and André Riotte followed this way with works on computer-aided analysis and composition. This study will focus on Ligeti’s analysis of ”Structures pour deux pianos Ia” (first book in 1951-1952) by Boulez, where the compositionnal process is described in detail and set a model. In ”Structures”, Boulez uses a series of 12 pitches borrowed from Messiaen’s ”Mode de valeurs et d’intensité”, but also a series of 12 durations (borrowed from the same source), 12 attacks, and 12 dynamics. Following Boulez’s conception, our task is to start from this compositional model to then consider how it could be used to produce an other piece. First our work will start with the software OpenMusic, developed at the IRCAM, and built on functional paradigm. This graphical environment can be exploited to imitate the model used in ”Structures” , stressing on the functional point of view. Then a parallel approach will deal with Rubato, an universal music software environment which has been developed at the University of Zurich. The categorical point of view theorized by Guerino Mazzola is the application keystone and is related to OpenMusic as functional languages and category theory are strongly linked. Rubato would bring an other abstraction level and therefore new possibilities that have to be developed.