This paper tells the story of a researcher's analysis process that became a journey to an unfamiliar place and, ultimately, to a new way of conceiving analysis and a new way of seeing--at least, new to the author as researcher. The study was an analysis of interview data gleaned from a series of conversations about what it is to be a musician. She had interviewed about forty highly accomplished professional musicians inviting them to talk about their musicianship and how they think they learned what they know--from whom, under what circumstances, and at what points in their lives. From transcription and analysis of the transcripts and recordings, a wide range of themes had emerged, reflecting visions of musicianship, the nature of participants' music learning experiences, and insight into their musical lives. In this paper, the author explores one of these themes: the physical nature of musical knowing and experience. She had invited each musician to engage in an open-ended, semi-structured interview lasting two to three hours. Most participants were Western art musicians: (1) performers; (2) conductors; (3) composers; (4) teachers; and (5) scholars. Several were professional jazz musicians. Some of the art musicians also had extensive experience with other genres, often jazz or rock, and in a few cases, non-Western music or American folk music. (Contains 7 footnotes and 1 figure.)