The dual theories of embodied mind and situated cognition, in which physical/temporal embodiment and physical/social/cultural environment contribute crucially to the structure of mind, are brought to bear on issues in music perception. It is argued that cognitive universals grounded in human bodily experience are tempered by the cultural specificity that constructs the role of the body in musical performance. Special focus is given to microrhythmic techniques in specific forms of African-American music, using audio examples created by the author or sampled from well-known jazz recordings.