In this chapter a method of ‘somatic enquiry’ is put forward, which demonstrates ways in which the bodily knowledge of the minuet might inform analytical approaches to this repertoire. Drawing on other contributions to the field of somatic studies by scholars such as Suzanne Ravn and Maxine Sheets-Johnstone, it demonstrates ways in which the sensation of dancing informs my perception of the musical sounds, and conversely how the sounds affect my body’s kinaesthetic sensations. Taking Elisabeth Le Guin’s similar exploration of Boccherini’s body as a model, it considers challenges faced by any attempts to grapple with bodily knowledge. It builds on Christopher Hasty’s notion of projection, or ‘throwing forth’, in his theory of metre, arguing that to dance is a physical throwing forth of one’s body. The method of somatic enquiry is illustrated through detailed accounts of dancing to movements from Haydn’s Minuets Hoboken IX:11, composed in 1792 for the first annual ball of the Gesellschaft bildender Künstler at the Hofburg Redoutensaal. Ultimately, it argues that musical listening (even when seated) is a more active bodily experience than is typically recognised, even when one’s awareness of this activity is limited.