My research investigated the practicability of diverse electroacoustic music compositional approaches which were applied in a series of works that explored specific relationships between real-world and abstracted sound materials, through the strategic use of pitched, melodic and non-pitched materials (and specific characters and behaviours of those materials) as integral elements in the compositional process. All compositions were related to Greece at many different levels, in direct or symbolic ways. My main aim was to explore all of these different levels in a musical way via electroacoustic music and to present transformed aspects of Greece. In addition, I attempted to explore new electroacoustic music territories by undertaking a journey from real-world instrumental and concrete soundworlds based on aspects of Greek culture (history, music, mythology and legends), towards abstract soundworlds. This could be summarized as: "How does one 'perform' the Greek coasts as a re-imagined Greek orchestra to expand the field of pan- and cross-cultural original music?" Real-world soundworlds consist of sounds, spaces and places that can potentially communicate human experiences: familiar impressions, aural images and evocations for the listener. Abstract soundworlds that emerge from real-world ones through various transformation processes also consist of particular sounds, spaces and places which can be very different compared to the ones emerging from real-world soundworlds. Developing innovative techniques and processes that explore the intersections, contrasts, connections and discourse between the two was my main overall aim.