Here is a short section from the Instrumentalist magazine. 

Barbara Butler, July 2010 

 I found out years ago that musicians can actually control how an audience thinks about the music. At a lesson a student played a piece for me and sounded great, but part way through it I realized my mind had wandered. I was embarrassed and simply asked him to start over without explaining why. He replied, “I’d love to start again. I was really into it until the double bar.” This surprised me because it was at the double bar that my mind started to wander.

    Later that week at a group lesson, I experimented and played a lyrical piece in three sections for them. In the first section I focused on playing as though I were an opera singer who brought meaning to every word in the lyrics. During the second section I thought only about my trumpet technique, while during the third section I thought only about going out to dinner. After I finished I asked which section they liked best, and every single person chose the first section, describing it as singing and beautiful, almost like a dream. About the second section they commented about the clean tonguing and neat slurs; all comments pertained to my technique. About the third section there were so few specific comments because their minds had wandered just as mine did. From that moment I learned that a performer can control how the audience thinks about and reacts to the music. If you teach music solely by emphasizing notes and technique, no one will be thrilled by the result.