Performance as Knowledge: Rethinking the Role of Performance in Music Research Paradigms

Music performance has traditionally been conceptualized as the execution of musical works; however, contemporary research increasingly recognizes it as a multidimensional phenomenon encompassing cognitive, embodied, cultural, and interpretive processes. This conceptual paper critically examines how “performance” is understood across music research paradigms, highlighting fragmentation in definitions and methodological approaches. Drawing on interdisciplinary literature from musicology, psychology, education, and performance science, the paper reconceptualizes performance as a form of knowledge production rather than merely an outcome of technical execution. A four-dimensional framework is proposed, positioning performance as (1) technical execution, (2) interpretive act, (3) cultural practice, and (4) embodied knowledge. The discussion further situates these dimensions within positivist, interpretivist, and practice-based research paradigms, revealing tensions between measurable performance outcomes and experiential, context-dependent meaning-making. The paper argues that recognizing performance as knowledge can bridge disciplinary divides, inform more holistic pedagogical and assessment practices, and support emerging interdisciplinary methodologies. Implications for music education, performance evaluation, and future research directions are discussed.

music performance, embodied knowledge, performativity, music research paradigms, music education

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