In conclusion, with this research paper I have demonstrated that musicians can indeed consciously adjust their musical interpretations in advance, and in ways that are uniquely adapted to maximize the advantages and minimize the challenges of specific performance environments. Through my background research, by compiling a list of factors presented by three different kinds of venues (concert hall, music club, private home), and by planning and performing three different performances designed specifically for these spaces, I have tried to concretize and rationalize a process that is either ignored or dealt with instinctively in the moment of performance.


Far beyond the tiny subconscious modifications performers make when faced with venue-specific factors however, through this process I have become accustomed to rationally planning out and executing much more dramatic interpretive alterations. While I have become much more flexible in terms of tone production, phrasing, voicing, rhythm, tempo, and structure during this process, I have also experimented with more theatrical gestures, public speaking, and even making eye contact during performances. While the focus here has been to plan interpretations specially adapted to various kinds of venues, this process has opened me up to many more possibilities well beyond this goal, and has given me permission to be more bold and flexible in my decisions and to break free from old habits and understandings. While I found that rationally planning out and sticking to minute interpretive decisions in advance can diminish one's instinctual reactions in the moment of performance, this means that this kind of preparation must be practiced, like any other skill, to the point that it too becomes reflexive.