This study explores the sound world of the performer, building on increasing evidence that timbre is the most salient variable performance parameter and can also be the primary source of inspiration and structure in composition. Psychological, psychoacoustic, musicological and aesthetic literature is reviewed, to establish the connection between existing (listener focused) research and potential performer motivation and affect. An interview study with one elite performer/composer (classical guitar) was undertaken to investigate timbre in live performance, specifically as part of the communication process. Results show that timbre salience varies according to style: in Baroque music it mainly enhances other performance parameters and in ‘contemporary’ music it is integral to composition and interpretation. Emotional affect in the performer appears to be related to inner drive towards optimal representation of musical understanding, which then generates the evolution of extended instrumental techniques, allowing ever more imaginative use of timbre. Parallels with aesthetic and philosophical theory are offered as explanation for some of the more intangible elements of performance, particularly in relation to the main priorities and motivations of the performer. Further research might synthesize psychological and philosophical reasoning in this respect and establish whether these findings are common to other instruments, performers and cultures.
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