The actual placeof performance in music education has been the subject of nu-merous debates over the years. Most debates have revolved within the paradigmof the performance ability of the teacher and consequently the performance abil-ity of the students. Is the level to be attained that of a winning concertband/marching band/choir? Or, is the level to be attained the level at which thestudents and teacher feel the most comfortable and pleased? Most of this debate,along with the development of various assessments (including the Watkins-Farnum Test) and various rubrics to score music performance competitions, hasemphasized characteristics of performance pertaining to accuracy of notes, pre-cision of rhythm, and attendance to musicianship, style, and interpretation. Onthe other hand, the aesthetic value of performance has also been questioned inthat the value of music in the schools should not be assessed solely by the impor-tance placed on the attainment of performance skills by the students, suggestingthat it is only through performance that one may know music. For example, in arecent article in the Music Educator’s Journal,