This paper develops a methodology for understanding how relations between people and place are co-constituted through music and sounds. Using the case of Four Winds Festival Bermagui, New South Wales, the paper discusses our use of "sound diaries" as a means to better understand the role of sound in participants' understanding of place. Highlighted within our discussion is how our experimental methodology overcomes some of the inherent problems of researching so-called "sound geographies." Sound diaries provide a possible technique to provide partical insights into the embodied knowledge triggered by sounds and music. Woven within these personal interpretations and their attributed meanings are more general themes concerning the concept of soundscapes, practices and listening, the role of sound in the mutual constitution of place and identities, and the embodied underpinnings of place-making practices in relation to sound and music.