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The pluriversal richness of Arabic musical culture provides a fertile ground for artistic experimentation. Whilst the 20th century witnessed many developments of its theory and practice, innovative exploration of its core principles and logics has been conspicuously rare. This doctoral research considers how to achieve experimental composition whilst maintaining both one's culture and individuality. Through this, it aims to create a repertoire of musical works based on, and inspired by, the cross- pollination of Arabic music fundamentals with experimental compositional techniques, instrumentation and technologies. Music-making today has become inextricably reliant on sonic technologies, and whereas research about this is detailed and varied, the impact of these technologies on transcultural musical practice has been little discussed. Drawing on Édouard Glissant's theories of Relation for navigation, this research interweaves the practice of composition with critical study, identifying and addressing the scholarly, technological and creative challenges encountered. By using tuning as a prism, it highlights the repressed possibilities of transcultural music-making as a result of the inherited biases embedded within sonic technologies and the music theory underpinning them, positing them as dominant remnants of Anglo- European colonial logics. In response, it offers solutions through a body of creative work and open access technological tools, that could be used to inspire a transcultural sonic imaginary.