Studying electroacoustic music in all its many forms forced us to re-examine all previous notions of ���music analysis���. Ours rapidly became a multidiscipline. The absence of the traditional ���score��� prompted borrowing from non-western music and acoustics new forms of transcription, and a range of integrated audio-visual tools has developed. But tensions have emerged, summarised in a pair of phrases I shall critique: ���in time��� and ���outside time��� information. The nature of memory has been progressively changing over the centuries. We have only just begun to harness our abilities (less than 150 years old) to ���hold time��� (not hold it back) in audio and video recording. We appear to be able to do externally the same ���hop, skip and jump��� that we do in head-space memory. I shall suggest we can build better schemas to perceive these relationships. My holding metaphor is as old as reflection itself ��� the flow of the river (from Heraclitus to Wittgenstein), with care to allow the riverbed and banks their full role. To what end? I shall suggest a shift from ���mapping��� to ���wayfinding��� (after Ingold), from hovering above an abstraction to experiencing the flux from within. In our subject field it makes more sense to ���study the music��� through experiencing it.