The experience of the performer is fundamental to the creation of any music performance, but has as yet received relatively little attention from researchers. Empirical investigation has been undertaken across a range of disciplines (mainly psychology, physiology and psychoacoustics), but hitherto using predominantly quantitative methods. This theoretical article seeks to build on more recent trends towards qualitative research, with the aim of revealing hitherto unexplored aspects of performance, specifically through the subjective world of the performer. To this end, the authors draw on advances in qualitative theory across a range of disciplines, including philosophical reasoning, social science and music education. Cross-discipline theoretical perspectives are offered that centre on both social and cognitive sciences. Theoretical support for a phenomenological approach as a form of philosophical enquiry is discussed, including its potential to illuminate qualitative methods and procedures which have already been shown to be effective in music performance research. Suggestions for further research include the potential to gain insight from a deeper appreciation of the aesthetic embodiment of the artist through more wide-ranging analysis of interview data (for example, relating to the use of metaphor) and also drawing on methodological discussions within other artistic disciplines.
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