In this article, the author proposes a number of general strategies for the realisation of existing music using live electronics. He bases these strategies on case studies of his own adapted realisations of Alvin Lucier's I'm Sitting in a Room (1969), which in this case was adapted to be performed in real-time, and Karlheinz Stockhausen's Mikrophonie (1965), realised using a new set of implements and playing techniques.