The purpose of this paper is to show the creative relationship that can be established between scientific knowledge and musical innovation, through the example of Marco Stroppa’s work performed between 1980 and 1991 in three specific places: Padova CSC (and the Conservatory of Venice), Ircam (Paris) and MIT (USA). The following methodological tools allow to understand the links between Stroppa’s technico-scientific innovation, and musical invention: an analysis of his training years from 1980 to 1983 and of the main sources of cognitive models; a genetic study of the work Traiettoria (1982-1988), that is, the systematic study of traces, sketches, drafts, computer jotters and other genetic documents; written work published by Stroppa between 1983 and 1991; multiple interviews with the composer and witnesses of the period; a partial reconstitution under OpenMusic (OMChroma workspace) of the electronic part initially performed under Music V. In fact, Traiettoria constitutes what can be labelled a laboratory of Marco Stroppa’s “workshop  of composition”.