A more recent meaning of the term 'performance', i.e. more in the sense of achievement takes account of aspects like capability, precision and measurability. There is also new research in the fields of sociology and economy dealing with questions regarding the current status of professionalism in artistic performative processes.
High performance (including conceptional, mnemotechnical and coordination skills) being always a precondition, is not necessarily the sole objective of performative, musical professionalism. However, there are new trends in electro-acoustic technology and audio-visual media. Those trends have caused changes, which relate specificallly to the productive and re-productive areas of music.
By focusing on the development, meaning and change of musical professionalism we strike a topic of musical performance, which opens up new prospects in the sense that it is linking practical and analytical reasearch methods: firstly, the aspect of professionalism with regard to a performance contains the question of achievement and success orientated action, which concerns not only music production as such but also the communication processes between those performing and the perceiving audience. As such 'performance' is to be understood in the same way as it is used in the field of technology and as it has been adopted by Jean-François Lyotard (La condition postmoderne, 1979) in connection with changes in scientific pragmatics.
Secondly, the perspective of musical professionalism allows an insight into the creation and development of new competencies within music and music theory – especially due to the high standards needed for using electro-acoustic devices and techniques – which have to first proof their efficiency within performative settings. Thirdly, when talking about musical professionalism within the context of contemporary music, we face the question of how traditional performance settings have been changed according to the widening of musical skills with regard to vocal and instrumental techniques. For at least one generation now another politico-culturally highly charged issue has been linked to that: the 'undermining' of the official and commercially orientated music business by the experimental works of the musical avantgarde which brings up the topic of democratizing the sphere of musical performance.
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