To date, the literature on practice has been primarily pedagogical and psychological. Little attention is paid to the significance of practice, and especially to the role of embodied experience—of understanding gained through doing—in the forming of musical ideas. is primarily concerned with considering practicing as a practice in itself: a collection of processes that determines musical creativity and significance. The volume comprises four diverse case studies, in relation to music by J. S. Bach, Elliott Carter, Alfred Schnittke, and Morton Feldman, presenting both solo and ensemble perspectives.