This study aimed to investigate the notion that musicians adjust their performance to suit the acoustics of concert halls. First, a schematic model was developed to provide a basis for the investigation. Second, a performance experiment was conducted: musicians performed under different acoustic conditions simulated in an anechoic room. The performances were recorded, and the musicians were interviewed about the technical details of the adjustments that they made to suit the acoustics. The results showed how expert musicians adapted their performances to the acoustics. Third, as a pilot study to examine if differences could be objectively identified, a listening test and acoustic analysis were conducted on a recorded violin performance. The study confirmed that differences could indeed be objectively identified, at least in terms of the tempo and extent of vibrato.