This thesis accompanies the folio of electroacoustic compositions, describing the reasons behind, and methods of realising, the compositions. Each approach is designed to create a musical structure that relates sound materials throughout the work in a meaningful way, with the final aim of presenting a memorable experience, enticing further listening. These relationships are explained by analysing the musical structure and by presenting sound examples on local and global scales. The methods by which we may perceive and remember sound information are important to the compositional processes. Detailed relationships achieved by using computer sound-transformation and mixing techniques are shown to provide scope for listeners to explore and react personally to the music, investigating the structure with different listening strategies. The significance of pitch in acousmatic music is shown to have an underlying and unifying structural role. Methods of unifying structure and capturing the listeners' attention over longer durations are investigated by considering sound-behaviour throughout the composition, and the listeners' perception of time in relation to different sound materials. The discussions suggest coherence not evident on a local scale. Composition of the work involving mixed media attempt to integrate the different parts such that the listener's attention focuses on the totality. Consideration of the differences between acousmatic, visual, and live aspects, affect the structural coordination between different media and the complete structure itself.