In this essay, the author first addresses the theme of disciplined somatic training and its relationship to self-awareness and transformation. Her attention is focused specifically on the chapter on Ludwig Wittgenstein, in which Richard Shusterman presents and then elaborates upon the philosopher's connections between conscious bodily feelings and aesthetics, ethics and politics. Situating her discussion in musical examples, the author traces the ways in which some of the main tenets he raises in the chapter are enacted within a musical context. She shares Shusterman's conviction that despite inadequacy with describing and analyzing somaesthetic feelings, they are essential parts of experience that should be theorized. She also takes seriously Shusterman's call for more investigation into pragmatic and practical methods of somatic practices. Therefore, her analysis of Shusterman's theory will draw extensively upon her own phenomenological investigations and her thoughts about the ways the theory unfolds in musical practice. This is a strategy that is congruent with Shusterman's call for more pragmatic and practical investigations into body practice as a means to build theory, and it is also congruent with Wittgenstein's contention that a theory of bodily feelings and sensations is best understood in terms of the ways in which such feelings are practiced and situated within larger social practices.