To make a sound-be it with one’s body, or with a traditional instrumentretains a direct, visible, audible, and tactile link between the human making it and the temporal, timbral, and spatial organisation of the sound made. In listening to sounds made and organised in this bodily way, a listener, even if not directly involved in the making herself, partakes in this game of contact, articulation, and withdrawal. One facet of the game is that one can hear something of the human making the sound in the sound, or, to appeal to Roland Barthes’s frequently quoted notion of ‘grain’: one can hear the musician’s body in the music.1