The array structures of Babbitt’s music, which present twelve-tone series fixed in narrow registers, seem abstract and impersonal. Nevertheless, numerous commentators on Babbitt’s music have celebrated the sense of motion the music inspires in its listeners. This chapter explores the tension between the music’s static contrapuntal structures and the dynamic experience that results, drawing from research on musical embodiment by Matthew Baileyshea and Seth Monahan, Candace Brower, Arnie Cox, Robert Hatten, Mariusz Kozak, Justin London, Patrick McCreless, and Andrew Mead. An exploration of these gestural dialectics sheds light on a variety of topics: virtuosity, text setting, the liminal periodicity of Babbitt’s later rhythmic practice, anomalous deviations from serial expectations, closing rhetoric, and partitioning. The chapter ends by discussing how scholars may navigate the distinction between Babbitt’s formalistic prose and the gestural experience of his music.