The genre presented is electronica.
Composing method: Two ostinati were composed and played into a music sequencer. A dozen or so music fragments were composed to be played along with either one or the other ostinati. The composing process included determining where in the piece each fragment should be played, and whether or not the fragment should electronically influence the sequencer (retriggering), thus imparting a method of altering the ostinato. It also gave consideration to pacing, form, and texture.
Recording: Two stereo tracks were recorded simultaneously as a performance lasting six minutes, during which time I operated/played two instruments: a modular analogue synthesizer and a digital keyboard. I rehearsed for two weeks to become solid on the choreography, which included playing the aforementioned fragments and manipulating the synthesizer's operating parameters. I got the performance I was after on the third take (and, considered myself lucky). Later, I overdubbed a low frequency track, then a noise track, then a drumset track for the finale section.
Ostinato 1 is the foundation until 3:39. Ostinato 2 is the foundation from that point until the conclusion. "Foundation" in this context means something to alter. Both ostinati are introduced in a state of variation and are heard in their native state only momentarily throughout.
I've included here a page which shows the ostinati, one and two. I re-copied (neatly, for this discussion) the first eight bars which indicates principal control settings for the synthesizer, what to change when, and the first melodic fragment. The original, scribbled, was on my music stands during the recording.
Thank you for listening. --Ray
Example of the score: Score example.pdf
The recording is here: Sequential Study 2