fter more than 60 years, the term performance practice in the context of elec-troacoustic music seems to be established in professional circles.1 However, the notion of the interpretation of electroacoustic music, at least of its purely electronic, non-instrumental parts, is not self-evident for experienced audiences and even for professional musicians who are not familiar with the repertoire. It is still not generally understood that this activity requires not only technological, but also musical knowledge, as well as specific performative abilities and artistic sensitivity. The practice, however, must also be further developed and consolidated inwardly. Performers have to become aware of the complexity of their task and create the conditions necessary to realise artistically valid performances.As there is no consolidated performance culture today, it is a common occur-rence for electroacoustic works to be performed without taking into account their musical and structural properties, their historical context or possible performance traditions, or for them to be realised with inadequate or technically faulty material. In some cases, this may be due to the often incomplete documentation or difficult access to unambiguous performance material. In any case, the impermanence of technical setups, and this includes all support types and instruments, adds to the difficulty of establishing favourable conditions for adequate performances. This problem is obviously more acute when dealing with works by composers of past generations. However, even the performance of works by living composers can present great challenges to performers, especially when they require specific setups or when they are inadequately documented.