When one observes some external object, as for instance sound, there are simultaneously present a number of other objects, which are intimately connected with the observing of sound, and which may not be themselves observed clearly. The muscular sensations from the tympanum, neck, breast, and other regions; the visual image; the feelings; the visceral sensations; all these are definitely modified in the for sound, and yet may not be vivid. (Dunlap, 1912)From the sight of the conductor on first raising the baton to the sound of the final applause, a performance is a rich sensory experience for musicians and audience alike. It is the musicians who are the performers but all are listeners, and it is on musical listening that the spotlight falls here. The aim of this paper is to raise awareness of the kinesthetic dimension in and to investigate the nature and possible significance of subtle kinesthetic vocal sensations that I observe when to music. The importance of kinesthesis in performance (or action) is well-known but its role in perception, while suspected in the late 19th and early 20th centuries (e.g., Vernon, 1932), is little considered today. The terms kinesthesis and kinesthetic are used here to refer to the sense of muscular effort that accompanies bodily adjustments or movements. They are to be distinguished from their use in literature concerning imagery where mental images of sound occur in the absence of peripheral adjustments or movements (Brodsky, Kessler, Rubinstein, Ginsborg, & Henik, 2008; Lotze, 2013).What do we mean by the term listening? To hear is to perceive sound through the ear. Understanding how we listen, however, is not so straightforward because we can listen intently without focusing on the sound itself: it is possible to focus on a sound's qualities (reduced or focused listening), its source (causal listening), or its meaning (semantic listening) (Chion & Gorbman, 1994, pp. 25-34). We use focused when we try to identify the pitch of a note, or the interval between two notes. In causal listening, we listen beyond the sound and pay attention to things or auditory objects (Christison-Lagay, Gifford, & Cohen, 2015) that cause them rather than the qualities of the sounds themselves. In semantic listening, we listen past the sound to its meaning, which varies according to context (Ihde, 1976, p. 59). However, in addition to focusing on the sound, its source or its meaning, it is also possible to detach oneself from focusing on the sound, source or meaning, and become aware of subtle kinesthetic sensations that accompany the process. Petitmengin-Peugeot (in Varela & Shear, 1999, pp. 67-68) described this kind of attention as attention that does not expect anything in particular or focus on any special object but that is relaxed and sensitive to the slightest detail.By unintentionally adopting this kind of panoramic attention, I became aware that to music (through headphones) was accompanied by subtle movements that appeared to involve the ears, eustachian tubes, nasopharynx, vocal tract, and even muscles of facial expression (mimetic muscles). As my awareness of these kinesthetic (movement) sensations increased, it became apparent that the patterns of sensations varied according to incident sounds in a number of ways (see Table 1). The movements were fast and occurred in response to novelty, following voluntary switches of attention or, even more surprisingly, in anticipation of familiar sounds, suggesting their involvement as an integral part of the process. These observations posed a stimulating problem (Bekesy & Wever, 1960, p. 5), first, because they are not explained by traditional accounts of perception devoid of motor contributions from peripheral vocal structures (Christison- Lagay et al. …