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The methods used comprise experimental manipulation as well as naturalistic observation and various combinations thereof. The experimental approach means that musicians (or dancers and speakers) are asked to perform various pieces of music (dance, text) or to improvise music (dance, speech) so as to express various emotions or other qualities. Their performances are judged by listeners (viewers) in experiments, and approved performances are analyzed in physical detail to clarify the means used by the performers to achieve the desired expression.
The naturalistic approach means observation of performances of music (dance, speech), usually stored on various media, for which the underlying intention is known or may be inferred. The performances are also judged by listeners/viewers in selected aspects and analyzed to see what means are used by the performer.
Recorded performances are also manipulated ex post facto to study how the impression of the performances is affected by systematic changes of one or more variables, for example, to remove or exaggerate variation in selected variables.
Using these different approaches in a flexible interplay provides important information about the experiential effects of systematic changes of variables, as well as opportunities to compare performances in different situations to see what remains invariant and what is influenced by the actual context. As a rule, professional performers are used, representing various instruments and genres in music and dance. Listeners and viewers are chosen to represent variation in gender, age, previous experience etc.
An important part of the project is further to identify such factors in the individual and in the physical and social environment that tend to favor or inhibit expressive performance. Coping strategies for handling various problems are discussed. Moreover, the relation between psychosomatic problems and the artist's disposition to experience shame will be studied.
These studies are conducted by means of experiments, observations, interviews, and questionnaires in a longitudinal approach.
Practically all studies are carried out in cooperation with institutions for performing arts in Sweden, such as the Royal College of Music, the National College of Dance, the National College of Opera, and so forth.
The project started in January, 1997 and is supported by The Bank of Sweden Tercentenary Foundation.