In this article, the author discusses the relationship between musical language and material from the perspective of the electroacoustic composer as a sonic craftsman/woman. He argues that meaning in musical language is based on the discovery of satisfactory relations between the motion of musical structures and physical human experience. He examines his own approach to composing with rhythmic structures through the context of some of his selected works and proposes that by shaping motion through the lens of realistic aural experience the composer can articulate musical time and form in a way that has poetic meaning for the listener.