In this chapter, the author discusses issues regarding the production and analysis of electroacoustic music from a compositional perspective. In discussing the manipulation of subscores (tables of input variables that are used by computer-based composition programs) as a tool for the sound design of compositions for loudspeakers, he reviews the musicological notion of score and defines the compositional notion of score in contrast to it. He illustrates his ideas through an analysis of the structure of the processes used to realise his works, Terpsichore (1980) and Trilogy (1999-2001).