As a classically trained violist and musical artist, I have often struggled to form connections with the audiences I perform for. This is because a nonverbal connection through music requires a universal and personal sound. The universal sound is something that everyone can relate to, but needs a personal aspect to be meaningful and memorable. Using personal experiences of performing hymns where I have always felt particularly connected and effective as a performer, I have defined four categories that contribute to the overall musical effect of hymns: the spirit, musical and textual elements, the history of hymnody, and the brain. After researching these categories I conducted live interviews asking volunteers about their personal experiences with hymns.

This paper presents the data from this research alongside the experiences of research participants. Findings include parallels between classical music and the genre of hymns, similarities and differences in the personal experiences of participants, and the applications this has for performing classical music.

Following the research and interview portions, a section is included where I used an additional tool to discover my personal artistic voice: transcribing and arranging hymn tunes for viola solo. One of my arrangements is included in this document and represents the practical applications of this paper on the performance stage.

Ultimately, defining one's purpose as a performer, considering the musical elements, historical elements, and the neuroscience of emotional musical experiences create a fulfilling artistic presentation and the teleiosis form of perfection. This type of performance is not only judged on the technical flawlessness of a performer, but more importantly, what they are saying artistically and how they are saying it. With the experiences and reflections of participants as literal proof, this dissertation informs and encourages new perspectives to performance preparation and performative experience.