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The last decade has offered a surge in scholarship on music performance. Scholars interested in music performance can draw from a range of perspectives.

Ethnomusicologists examine the performed activity of music1 as a social and cultural discourse. 2 Musicologists examine the performance histories of musical works, 3 perfor mance as critique of musical content, 4 and performance as a form of semiotic self awareness. 5 Music theorists have been interested in the relationship of analysis to per formance. 6 Creativity theorists examine performance from a systems perspective, 7 draw ing on widely interdisciplinary methodologies and perspectives to understand musical creativity and interaction.