A performer's personality makeup is often reflected in their performance style. Consider the cerebral clarity of a Glenn Gould, the emotional exuberance of an Arthur Rubinstein. A listener's preference for one or the other may be more an indication of that person's own psychological makeup than the inherent superiority of either style. Great artistry comes in many different forms, and neurophysiological research indicates that there could be actual differences in brain function between these contrasting performance styles.The right brain is considered to be the domain of intuitive, holistic, spontaneously emotional creative activity, whereas intellectually rigorous, mathematically precise creative activity is seen to originate more in the left brain.A performing musician ideally should have both sides of the brain more or less equally developed although there will, of course, be dominances attributed to personality type. How can we as pedagogues cultivate the harmonious development of all the creative parts of an artist - neurophysiologically?This paper examines which aspects of musical performance tend to be left or right brain dominant, and discusses physical performance strategies that can lead to the improvement of both the physical, intellectual, and emotional sides of a performing musician.A student plays with great verve and abandon, but their musicianship is somewhat disorganized, leaving an impression of superficial hysteria rather than deep emotion. They need to develop certain left brain activities in their music-making. Another student laboriously reads through the notes correctly, but it resembles typing more than music making. They need to develop certain right brain music-making activities. Codifying aspects of music-making that tend to originate in one or the other side of the brain can help our students develop all sides of their musical personality harmoniously.I will begin with a chart codifying left and right brain activities in music making - for instance, the difference between meter (left brain) and rhythm (right brain), the note names (left brain) and melodic contour (right brain). I will then introduce ways of working to address perceived deficiencies in either the left or the right brain aspect of a musical function. Use of physical choreography will often be central to these strategies.As many methods tend to emphasize a left brain approach to learning music, we’ll focus primarily, but not only, on enhancing right brain function.