FR2827069A1 - DEVICES AND METHOD FOR PRODUCING MUSIC BASED ON PHYSIOLOGICAL PARAMETERS - Google Patents

Abstract

The present invention relates to a system (1) and a method of producing music as a function of physiological parameters (PP), and to a corresponding computer program. The system comprises a unit (11) for receiving at least one physiological parameter having at least one physiological rhythm, and a unit (12) for producing music having at least one musical rhythm (RM) and at least one other musical parameter dependent on the physiological rhythm. The physiological rhythm is essentially represented in the music by the other musical parameters. Preferably, although the musical rhythm comprises a contribution dependent on the physiological rhythm, this contribution is minor in the musical rhythm. Applications to vigilance during sporting activities or motor vehicle driving, and to the creation of music by dynamic or quasi-static movement.

Description

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 The present invention relates to the production of music as a function of physiological parameters.

 The practice of regular sports activities, such as for example jogging or weight training, is extremely widespread in the world, and helps to maintain its shape. However, people who practice these activities sometimes go too far in their efforts, for example for the sake of exceeding limits or following states of fatigue, and are exposed to heart accidents.

 We know systems that vary the rhythms of pre-recorded music according to the heartbeat. Such systems can be used to make it possible to control one's cardiac activity during the practice of sports exercises.

 However, it is difficult for users to adapt the intensity of their efforts according to the rhythm heard. Indeed, the rhythm of the heartbeat does not necessarily coincide with that of the efforts made, which may cause confusion. In addition, the user generally does not immediately have in mind an acceptable range of heart rhythms. At a minimum, he may realize that the pace is high or low, but he cannot clearly determine when it is his responsibility to moderate his efforts or to what extent he can afford to intensify them. In addition, music distorted by the heart rate may be quite unpleasant to hear in the long run. Finally, the use of such systems does not allow variations in rhythms other than those controlled by heartbeats; it therefore requires basic music at a very regular rate, the scrolling speed of which can be adjusted, which reduces the possibilities offered for the music broadcast.

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 US patent 4,883. 067 discloses the generation of musical signals according to a person's electroencephalogram (EEG), through electrical signals produced and converted to music. This music includes at least one voice which follows the contour of the EEG in real time, preferably by frequency modulation of a tone or a chord with the EEG signal. Additional voices are advantageously added, such as for example a voice using a modulation of timbre to indicate the relative frequency of occurrence of a particular character of the EEG signal (col. 5, 1.5-11). The method disclosed in this document is particularly suitable for relaxation techniques or therapeutic procedures.

 An adaptation of this technique to a cardiac activity control is possible and it would have the advantage of focusing on original music, generated according to the physiological characters of the users. However, it would cause the same inaccuracies and inconvenience as those mentioned above. In particular, variations in heart rate would then result in similar variations in tone or chord modulations, and in possible corresponding variations in timbre modulations, which would be difficult for a user wishing to adapt his efforts to his abilities. moment.

 Patent application EP-0966919 relates to a method of influence of the organism, in particular for treating sleep disorders.

Bio-signals such as an EEG, an electrocardiogram or others (page 2, lines 49-52) are recorded during a reference period. This duration is then divided into time intervals and on each of them, a frequency spectrum is calculated. Music is then generated by assigning a sound to each time interval, the duration, tone and volume of which are determined by a parameter K extracted from the frequency spectrum.

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This parameter K is equal to the ratio of spectral powers obtained over two disjoint frequency ranges.

 This technique could possibly be adapted to serve to control sports efforts. However, in addition to the fact that the results would be obtained offline (time intervals large enough to encompass several periods, Fourier transform and calculations to be performed on each of them, need to have enough time intervals to then compose a music taking into account the duration of each sound ...), the chosen musical parameters (tone, volume, duration) would evolve in a complex way with the rhythm of the heartbeat, thus providing almost unusable information. In particular, their values would be strongly influenced by the choice of measurement duration and time intervals, as well as by the overall frequency content of the signal over the frequency ranges considered in order to calculate the parameter K. In addition, according to In the illustrated example (cf. Figure 2 of the prior art), the speed of execution could vary significantly and very irregularly with the heart rate, which could disturb the user in the regularity of his sports efforts.

 Furthermore, international application WO-00/17850 describes a method of automatic musical generation, and in particular discloses the generation of music as a function of physiological quantities of the body of a user, such as for example those obtained by a tensiometer or a sensor. pulse (page 22, lines 1-12). To do this, it is indicated that parameters representative of physical quantities are matched with parameters of musical generation. This anticipation does not, however, give more explanations on the nature of these parameters and their correspondences.

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 The present invention relates to a device for producing music as a function of physiological parameters of a user, in particular making it possible to reliably control the user's heartbeat during repetitive sports efforts.

 The device of the invention in particular prevents the user from appreciating himself the frequency of a musical rhythm in order to know whether or not he should moderate his efforts. It also allows him to avoid receiving confused information, risking more to mislead him than to help him measure the intensity of his activities.

 More generally, the invention relates to a device for producing music as a function of physiological parameters having physiological rhythms, which makes it possible to obtain reliable and directly usable information on these physiological rhythms.

 The invention applies not only to the control of repetitive sports efforts (jogging, bodybuilding, gymnastics ...), but also to various other situations such as: - the vigilance control of a driver of a vehicle; - the identification of psychic manifestations, such as affective or psychosomatic disorders, for therapeutic, prophylactic or diagnostic purposes; - the identification of physical disorders for medical purposes; - self-control by means of return of the music produced; - soothing techniques, in particular for treating sleep disorders; - the aesthetic creation of music from physiological quantities.

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 The invention also relates to a method of producing music as a function of physiological parameters and to a computer program product, corresponding to the device of the invention.

 To this end, the subject of the invention is a device for producing music as a function of physiological parameters, comprising: - a unit for receiving at least one physiological parameter having at least one physiological rhythm; - And a unit for producing music having at least one musical rhythm and at least one other musical parameter; these other musical parameters depend on the physiological rhythm.

 According to the invention, the music production unit is such that the physiological rhythm is essentially represented in music by the other musical parameters.

 By produced music is meant any music allowing variations in musical parameters. This music can notably consist of: - pre-recorded music; for example, separate records are assigned to different ranges of physiological rhythm values, respectively; - automatically generated music, in particular from other musical parameters, these musical parameters being determined as a function of physiological rhythm; - or music captured in real time via a network (for example on the air); by way of illustration, channels broadcasting different types of music (classical music, reggae, rock, etc.) are associated with different ranges of values for physiological rhythm.

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 The extraction of one or more musical rhythms from one or more physiological parameters is obtained by any method, and can be based on a filtering technique and / or on a frequency transformation. In practice, this is a dominant frequency (frequency peak) in the spectrum of the physiological parameter, representative of a periodic repetition. Similarly, the musical rhythm is identifiable by a dominant frequency in the spectrum of the music produced. According to variant embodiments, the device takes into account several physiological rhythms and / or several musical rhythms, each of the physiological parameters possibly having one or more physiological rhythms.

 The proposition that physiological rhythm is essentially represented in music by other musical parameters is articulated in two points. First, the other musical parameters represent the physiological rhythm. They are therefore such that significant variations of the latter are perceptible in music through these musical parameters. By significant variations is meant variations of interest with regard to the desired result, for example unambiguously indicating that the cardiac activity is either in an acceptable zone, or deserving of rest, or dangerous. This representation may possibly concern only certain modifications of the physiological rhythm, for example exclusively indicating the passage between a lower range and an upper range of values, by means of a binary selection between two values of the musical parameter considered.

 From a formal point of view, this characteristic of representation of the physiological rhythm by a musical parameter is expressed in the following way. We are interested in the physiological parameter on a given measurement domain of the physiological rhythm.

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 On this measurement domain, at least one value of the considered musical parameter is assigned to each value of the physiological rhythm.

 This attribution can be deterministic, that is to say that other data required independently of the physiological parameter being fixed (for example specificities of the person on whom the measurements are made), a single value of the musical parameter is associated with the value of the physiological rhythm. The attribution can also be non-deterministic, that is to say that several values of the musical parameter, which may include one or more ranges of values, are associated with the same value of the physiological rhythm. Such a non-deterministic allocation can be random, in which case the value actually taken by the musical parameter among the different possible values for the value of the physiological rhythm is unpredictable. It can also be pseudo-random, when the value selected for the musical parameter is determined by a selection parameter obtained automatically. This selection parameter is for example derived from the physiological parameter, or from any mathematical law (such as a looping of the different possible values of the musical parameter), or from the current time. The two types of allocation, deterministic and non-deterministic, can also be combined for the same musical parameter: in this case, the value of the musical parameter is unequivocal for certain ranges of the measurement domain, and indefinite for others.

 The image of an interval of the measurement domain is called the set of possible values of the musical parameter considered (the other required data being fixed) for values of the physiological rhythm included in this interval. Each image generally comprises at least one isolated value and / or at least one range of values of the musical parameter, hereinafter called parametric value and parametric interval respectively. We then say that the musical parameter represents

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 the physiological rhythm if there is a partition of the measurement domain into at least two intervals, hereinafter called rhythmic intervals, such that the respective images of these rhythmic intervals are two by two separated by intervals of non-zero lengths. This proposition expresses that from any of these images of the musical parameter, we are able to unambiguously identify the rhythmic interval in question.

 This notion is illustrated by three curves 71, 72 and 73 (respectively represented in Figures 1A, 1 B and 1 C). Curve 71 corresponds to a random or pseudo-random distribution over two successive rhythmic intervals IR1 and IR2 forming a measurement domain DM on an axis 60 of physiological rhythm RP. The images of the rhythmic intervals IR1 and IR2 respectively consist of two parametric intervals upper IP1 and lower IP2 on an axis 61 of musical parameter PM, separated by an intermediate interval 74. This means that for any value of the physiological rhythm RP located in the 'rhythmic interval IR1, the musical parameter PM is located in the parametric interval IP1, without it being possible to give a priori its value, and likewise for the intervals IR2 and IP2. The intervals IP1 and IP2 being separated by the intermediate interval 74, the musical parameter PM represents the physiological rhythm RP. More precisely, it is able to indicate whether this physiological rhythm RP has lower (tir1) or higher (IR2) values.

 The discrimination can be effective even if the length of the intermediate interval 74 is small. On the other hand, we avoid the uncertainties that would exist if the interval 74 were reduced to a point: the parametric intervals IP1 and IP2 would then be adjacent at this point and, even if they were disjoint, the values on the rhythmic intervals IR1 as IR2 risk reaching the limit value of this point until it is

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 unrecognizable when listening. The representativeness of the musical parameter PM would then not be ensured.

 Curve 72 (Figure 1B) defines a deterministic distribution of a musical parameter PM (axis 62) as a function of the physiological rhythm RP on the measurement domain DM (axis 60). The latter is composed of three successive rhythmic intervals IR1, IR2 and IR3, having respectively as images three parametric values VP1, VP2 and VP3 (respectively levels 75, 76 and 77). These images being separated by intervals of non-zero lengths, the parameter PM represents the physiological rhythm RP. More precisely, it indicates whether this physiological rhythm RP has low (IR1), medium (IR2) or high (IR3) values.

 Curve 73 (Figure 1 C) corresponds to a non-deterministic distribution of a musical parameter PM (axis 63) over two successive rhythmic intervals IR1 and IR2 of the measurement domain DM (axis 60). The images of these intervals IR1 and IR2 are respectively made up of two parametric intervals IP1 and IP2 overlapping on a common area 78. Contrary to the previous cases, the intervals IP1 and IP2 are therefore not separated by an interval, but have an intersection, zone 78. The musical parameter PM is therefore incapable of representing the physiological rhythm RP. Indeed, a user identifying values of the musical parameter PM would be incapable of knowing whether the physiological rhythm RP is very high or very low.

 The second point of this proposition, of a qualitative order, is that the representation of the physiological rhythm is essentially carried out by the other musical parameters. The recognition of the physiological rhythm is therefore not basically carried out by the musical rhythm. The possible influence of the physiological rhythm on the musical rhythm is incidental, and has no significant vocation, if not as an accessory. When

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 this influence is not completely removed, but it can leave room for maneuver in the production of music. It is thus available either for artistic purposes, or to support the identification carried out by means of other musical parameters (for example, by crossing a threshold of the physiological rhythm, one changes musical instruments at constant cadence while giving more rhythmic vigor with a drum accompaniment).

 In practice, we can attest to the presence of these two characteristics in the following way: we select several significant values of the physiological rhythm and, all other specificities of the physiological parameter considered being equal, we produce by means of the device of the invention music corresponding respectively to these significant values. We then perform temporal transformations of the music obtained, so as to give them an identical average musical rhythm. This makes it possible to overcome variations in musical rhythm due to variations in physiological rhythm.

A simple listening to the music thus transformed must then allow an experienced listener to distinguish according to the music, the significant aspects desired from the physiological rhythm.

 The music production device of the invention contrasts with the known techniques showing variations in the physiological rhythm exclusively by means of variations in the musical rhythm. The physiological rhythm is here perceived through other parameters, which can be much more discriminating when listening, such as in particular the nature of the style of music or melody, the instrumentation, the scale, the pitch of the notes. and / or the tone.

 The device of the invention also contrasts with known methods in which a variation of musical parameters,

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 not restricted to the musical rhythm, is caused by modifications of the physiological parameter considered. Indeed, the music production unit here is such that these other musical parameters are representative of the physiological rhythm, and are not only dependent on it in a complex and unusable manner. The technique of document EP-0966919 leads for example to complete uncertainty if a frequency peak (corresponding to the physiological rhythm considered) is located in the interval A or a of FIG. 1, because the musical parameters depend on the ratio of the spectral densities in intervals 0 and ss. Thus, a low value of the parameter K, determining for the musical parameters, could for example just as well correspond to a very slow rhythm (interval A) as to a very fast rhythm (interval ss). The musical parameters defined cannot therefore represent the physiological rhythm.

 Thus, unexpectedly compared to known techniques, the physiological rhythm is represented significantly in the music produced through other musical parameters than the musical rhythm.

 Preferably, the musical rhythm comprising a dependence contribution to the physiological rhythm, the music production unit is such that this dependence contribution is a minority in the musical rhythm.

 This contribution is defined as the maximum amplitude of variation of the musical rhythm when the physiological rhythm sweeps across the entire measuring range, all other specificities of the physiological parameter considered being equal. This measurement range may cover the entire positive part of the real axis, or be more restricted for physiological reasons (for example, heartbeats are

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necessarily within a range of physically possible values).

This contribution is a minority in the sense that the ratio of the contribution to the average value of the musical rhythm over the measurement range is less than 50%. The contribution of the physiological rhythm can in particular be zero, the musical rhythm then being completely independent of the physiological rhythm. As an example, the user chooses a basic musical rhythm, while the effective musical rhythm is given by an increasing curve as a function of the physiological rhythm on the measurement domain, having on this interval an average value equal to the musical rhythm base and an amplitude equal to 30% of this value.

 By the existence of this limitation, we limit the influence of the physiological rhythm on the musical rhythm. This can avoid excessive disturbance of the second by the first, and thereby allow a listener to be more receptive to the really significant variations in music. This arrangement can also avoid unpleasant rhythmic deviations when listening. It also makes it possible to select a given musical rhythm, completely independent of the physiological rhythm and therefore able to carry other information. In particular, this musical rhythm is advantageously used to indicate the frequency of sporting efforts desired.

 Advantageously, the musical rhythm having an average over a range of measurement of the physiological rhythm, the contribution of dependence on the physiological rhythm over this range is less than 20% of this average, and preferably less than 10%. The percentage of this contribution is calculated as indicated above.

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 In a particular advantageous embodiment, the dependence contribution of the musical rhythm to the physiological rhythm is zero, so that the musical rhythm is independent of the physiological rhythm.

 According to a first form of this embodiment, the musical rhythm is substantially constant over time. This consistency is understood without the intervention of a user, likely to modify the musical rhythm.

 The music production device then preferably comprises a unit for controlling the musical rhythm by a user, allowing this user to choose the musical rhythm which is substantially constant over time. This achievement can be particularly useful for rhythmic sports efforts. Indeed, it is then desirable to dissociate the pace of the efforts, for example of a stride, of weight pulls or of a pedaling, of that of the cardiac beats.

With the present embodiment, the user has both this reference frequency and musical indications of his physical capacities. In other circumstances, the choice of musical rhythm makes it possible in particular to have a pleasant rhythm, for example for a car driver, or a lively rhythm, for example for music produced in a disco.

 According to a second form of the embodiment with zero contribution of the physiological rhythm to the musical rhythm, the latter is variable over time. This leaves room for variations in rhythms in the music produced, which allows for example to choose different songs without worrying about rhythms, or to introduce pleasant diversity and avoiding monotony.

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 The other musical parameters are advantageously chosen from styles of music, melodies, instrumentations, scales, pitch, notes and any combination of these parameters. A variation in sound intensity is also possible, but is rather desirable on an ancillary basis than on a primary basis, because of the uncertainties of listening distinction and the unpleasant consequences which can result from excessive sound variations.

 The physiological parameters are advantageously chosen from heartbeats, an electroencephalogram, a blood pressure, an eye pupil size, overall body movements, a muscle tension (in particular quasi-static movement, such as a strength training) and any combination of these parameters. Among interesting applications of such measures, one can distinguish in particular the use: - heartbeats for the control of sports efforts; - sizes of eye pupils for the vigilance control of motorists; - overall body movements (arms, legs ...) for musical entertainment in a disco; - and an electroencephalogram for relaxation techniques.

 In a first form of deterministic relationship between the physiological rhythm and the other musical parameters, the latter depend on the physiological rhythm according to a relationship of continuous dependence. A user can thus gradually perceive an evolution of the music listened to according to the physiological rhythm, which allows a nuanced distinction. In addition, the transitions are thus pleasant to listen to.

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 In a second form of deterministic relationship between the physiological rhythm and the other musical parameters, the latter depend on the physiological rhythm according to a relationship of dependence in stages. This embodiment can make it possible to make the user clearly hear significant transitions between several ranges of physiological rhythm values (for example, passage from an acceptable range to a dangerous range for sporting efforts).

 These two forms are advantageously combined, so as to ensure continuity of listening (rather quantitative perception) while highlighting important transitions (rather qualitative perception).

 The music production device advantageously comprises a unit for selecting a dependence relation of the other musical parameters at physiological rhythm, on the basis of user information and reference dependence relations stored in a database. We can thus adapt the evolution of the musical parameters to the specificities of the user, such as his age, sex, height and weight ... To do this, it is possible to use abacuses giving curves appropriate.

 Preferably, the music production unit comprises a music generator, this generator having at least one input parameter consisting of the musical parameter or the musical parameters. This makes it possible to take full and nuanced account of the various other musical parameters, while producing original and varied music.

 In a preferred embodiment of the musical ringtone generator, it conforms to the disclosure of document WO-00/17850.

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Thus, the ringtone generator preferably comprises: - a means of defining musical moments during which at least four notes can be played, - a means of defining two families of note pitches, for each musical moment, the second family of note pitches having at least one note pitch which is not in the first family of note pitches, - a means of constituting at least one succession of notes having at least two notes, each succession of notes being called a musical phrase, a succession in which, for each moment, each note whose pitch belongs exclusively to the second family is surrounded exclusively by notes from the first family, and - a means for outputting a signal representative of each pitch of note of each said succession.

 Thanks to these provisions, the succession of pitch pitches has both great richness because the number of successions that can be generated in this way is several billion, and harmonic coherence, because the polyphony generated is governed by constraints.

 According to particular characteristics, the means for defining two families of note pitches is adapted to define, for each musical moment, the first family as a set of note pitches belonging to a duplicate chord from octave to octave.

 According to other particular characteristics, the means for defining two families of note pitches is adapted to define the second family of note pitches so that it comprises at least the note pitches of a range which are not in the range first family of note pitches.

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 Thanks to these provisions, the definition of families is easy and the alternation of notes of the two families is harmonious.

 According to other particular characteristics, the means of constituting at least one succession of notes having at least two notes is adapted so that each musical phrase is defined as a set of notes whose start times are not separated from each other. , two by two, more than a predetermined duration.

 Thanks to these arrangements, a musical phrase is, for example, made up of notes whose beginnings are not separated by more than three sixteenth notes.

 The invention also relates to a method of producing music as a function of physiological parameters, according to which music is produced having at least one musical rhythm and at least one other musical parameter, these other musical parameters depending on at least one rhythm. physiological of at least one physiological parameter.

 According to the invention, the physiological rhythm is essentially represented in music by the other musical parameters.

 The music production method is preferably implemented by means of a music production device according to any one of the embodiments of the invention.

 Preferably, the physiological rhythm of the physiological parameter used to produce the music is measured on a user. Advantageously, the music produced is then sent to the user in real time. The user can thus adapt his behavior according to the

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 information received, whether deliberately (for example in the event of a warning of excessive effort) or involuntary (for example, relaxation).

 In another embodiment, recorded data is used to produce music. This provides interesting information that can be directly interpreted by listening.

 The invention also relates to a computer program product.

According to the invention, it comprises functionalities capable of producing any of the embodiments of a music production device according to the invention and / or of implementing any of the forms of a method of producing music according to the invention when this program is executed on a computer.

 By computer program product is meant any materialization of a computer program, which can target not only storage media (cassettes, discs ...) but also signals (electrical, optical ...).

 The invention will be better understood and illustrated by means of the following examples of embodiment and implementation, in no way limiting, with reference to the appended figures in which: - Figure 1A shows the variations of a first musical parameter representative of a rhythm physiological in a music produced, according to this physiological rhythm; - Figure 1B shows the variations of a second musical parameter representative of a physiological rhythm in a music produced, as a function of this physiological rhythm;

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 - Figure 1 C shows the variations of a third musical parameter, not representative of a physiological rhythm in a music produced, as a function of this physiological rhythm; - Figure 2 is a block diagram of a music production assembly comprising a music production device according to the invention; - Figure 3 details a music production unit of the music production device of Figure 2; - Figure 4 shows continuous parameterized curves giving a first musical parameter used in the music production device of Figures 2 and 3, as a function of a pressure rhythm; - Figure 5 shows a step curve giving a second musical parameter used in the music production device of Figures 2 and 3, depending on the pressure rhythm; - Figure 6 shows a flow diagram of automatic music generation, implemented for music generation by means of the music production unit of Figures 2 and 3; FIG. 7 shows in the form of a block diagram a music generator usable in the music production unit of FIGS. 2 and 3 and allowing automatic musical generation in accordance with FIG. 6.

 A music production unit as a function of physiological parameters PP comprises (FIG. 2) a music production device 1 including in particular a reception unit 11 for these PP parameters and a music production unit 12 for M as a function of these parameters PP . The music production unit also includes a detector 2 of a physiological quantity on a user and a filter 3, making it possible to extract from the detected quantity the desired physiological parameters PP and to transmit them to the reception unit 11 of the music production device 1. As an illustration, the greatness

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 physiological measured is a blood pressure and we extract variations of this pressure over time, in particular, a pressure rhythm RP.

 The music production unit is also provided with a listener 4 receiving the music M supplied by the music production device 1 and broadcasting it to a user, who is preferably the one on which the measurements are carried out. This user thus has, advantageously in real time, a feedback in musical form of his variations in blood pressure, that is to say of his heart beats.

 The music production device 1 also has a unit 14 for selecting dependency relationships RD between the pressure rhythm RP measured and musical parameters PM, which serve to produce the music M. In the example illustrated, this selection only concerns a part of the musical parameters PM, the other musical parameters each having a dependency relationship already fixed. The selection unit 14 is provided for determining for each musical parameter PM the appropriate dependency relationship RD, on the basis of user information IU (sex, age, frequency of the sports activities practiced, etc.), for example entered beforehand. by the user himself.

 The dependency relationships RD themselves are intended to be stored in a database 5, accessible by the music production unit 12. The selection unit 14 notably has the function of recording in the database 5 an identifier IRD of the dependency relationship RD selected, so that the music production unit 12 can directly access it among the various relationships of dependency RD available in the database 5.

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 The music production device 1 further comprises a rhythm control unit 13, intended to specify to the music production unit 12 a musical rhythm RM to be adopted for the music M produced. This control unit 13 acts as a function of user commands C. In the example illustrated, this rhythm RM is imposed on a basic music MO having a rhythm that is substantially constant over time.

 The music production unit 12 will now be detailed (Figure 3). This includes a module 21 for calculating musical parameters PM, from the dependency relationships RD recorded in the database 5, some of these dependency relationships RD being selected by means of the corresponding IRD identifiers.

C1A, C1 B, C1 C et C1 D, le choix de la courbe C1 correcte étant effectué par l'unité de sélection 14 et étant enregistré dans la base de données 5 sous la forme de l'identificateur IRD associé à ce paramètre PM1. Un deuxième des paramètres musicaux, PM2 (axe 32), est défini indépendamment de toutes autres informations, en fonction du rythme de pression RP (Figure 5). Ce paramètre PM2 est donné par une courbe C2 comprenant des paliers P1-P5 successifs, de telle sorte que le paramètre PM2 a des valeurs constantes sur des plages de valeurs respectives du rythme de pression RP. Les deux paramètres PM1 et PM2 sont utilisés conjointement pour la génération de la musique de base MO, éventuellement en combinaison avec encore d'autres paramètres musicaux PM. La musique M produite varie ainsi à la fois de deux manières distinctes, en indiquant des modifications minimes de rythme de pression RP tout en soulignant des changements significatifs de ce By way of illustration (Figure 4), one of the musical parameters PM1 (axis 31) is given by a decreasing curve C1 as a function of the pressure rhythm RP (axis 30), this curve C1 being determined from user information IU. We distinguish different possible curves

C1A, C1 B, C1 C and C1 D, the choice of the correct C1 curve being made by the selection unit 14 and being recorded in the database 5 in the form of the IRD identifier associated with this parameter PM1. A second of the musical parameters, PM2 (axis 32), is defined independently of all other information, as a function of the pressure rhythm RP (Figure 5). This parameter PM2 is given by a curve C2 comprising successive stages P1-P5, so that the parameter PM2 has constant values over ranges of respective values of the pressure rhythm RP. The two parameters PM1 and PM2 are used jointly for the generation of the basic music MO, possibly in combination with still other musical parameters PM. The music M produced thus varies both in two distinct ways, indicating minimal changes in pressure rhythm RP while highlighting significant changes in this

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 pace. For example, the PM1 parameter corresponds to note pitches, while the PM2 parameter targets the instruments used to play these notes. In another example, the parameter PM1 represents a continuous passage from one type of instrument to another (such as a passage from a string instrument to a wind instrument), while the parameter PM2 defines the presence and the intensity of percussion instruments.

 The music production unit 12 also includes a music generator 22, capable of producing the basic music MO at a substantially constant rhythm over time from the musical parameters PM supplied by the calculation module 21.

 Finally, it has an adaptation module 23 for the rhythm of the music M produced, as a function of the musical rhythm RM communicated by the rhythm control unit 13 and by rhythmic adaptation of the basic music MO from the music generator. 22.

 An advantageous embodiment of a music generator 22 will now be explained, with reference to Figures 6 and 7. Detailed procedures are set out in international application WO-00/17850.

 FIG. 6 schematically represents a flow diagram of automatic musical generation used for the generator 22.

 After the start 41, musical moments are defined during an operation 42. For example, a musical piece is then defined comprising measures, each measure comprising beats, each beat comprising note locations. In this example, operation 42 consists in assigning a number of measures to the musical piece, a number of beats for each measure and a number of note locations for each beat or a minimum note duration. Every musical moment there

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 is defined in such a way that at least four notes are likely to be played during its duration.

 Then, during an operation 44, two families of note pitches are defined for each musical moment, the second family of note pitches having at least one note pitch which is not in the first family. For example, each half measure of the musical piece is assigned a scale and a chord, the first family comprising the pitch of this chord, duplicated from octave to octave and the second family comprising at least the pitch of the note. range that are not in the first family. It is observed that different musical moments or consecutive musical moments can have the same families of note pitches.

 Then, during an operation 46, at least one succession of notes having at least two notes is formed with, for each moment, each note whose pitch belongs exclusively to the second family being surrounded exclusively by notes from the first family. For example, a succession of notes is defined as a set of notes whose start times are not separated from each other, two by two, more than a predetermined duration. Thus, in the example explained with operation 44, for each half measure, a succession of notes does not have two consecutive note pitches which are exclusively in the second family of note pitches.

 During an operation 48, a signal representative of the note pitches of each succession is emitted. The musical generation then stops at operation 50.

 FIG. 7 represents, in the form of a block diagram, an embodiment of the generator 22. In this embodiment, the generator 22

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 comprises, interconnected by at least one signal line 55, a generator of note pitch families 52, a generator of musical moments 54, a generator of musical phrases 56 and an output port 58.

The output port 58 is connected to an external signal line 59 connected to the earpiece 4 via the rhythm adaptation module 23.

 Signal line 59 is a line capable of conveying a message or information. For example, it is an electrical or optical conductor of known type. The musical moments generator 54 defines musical moments in such a way that during each musical moment, four notes can be played. For example, the musical moments generator 54 defines a musical piece by a number of measures it contains and, for each measure, a number of beats, and for each beat, a number of possible note start locations or a minimum note duration.

 The note pitch family generator 52 defines two note pitch families for each musical moment. The generator 52 defines the two families of note pitches such that the second family of note pitches has at least one note pitch which is not in the first family of note pitches. For example, each half measure of the musical piece is assigned a scale and a chord, the first family comprising the pitch of this chord, duplicated from octave to octave, and the second family comprising at least the pitch of note. the range that is not in the first family. It is observed that different musical moments or consecutive musical moments can have the same families of note pitches.

 The musical phrase generator 56 generates at least one succession of notes having at least two notes, each succession

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 being constituted in such a way that, for each moment, each note whose pitch belongs exclusively to the second family is surrounded exclusively by notes from the first family. For example, a succession of notes is defined as a set of notes whose start times are not separated from each other, two by two, more than a predetermined duration. Thus, in the example explained with the generator of note pitch families 52, for each half-measure, a succession of notes does not have two consecutive note pitches which are exclusively in the second family of note pitches.

 The output port 58 transmits, via the external signal line 59, a signal representative of the note pitches of each succession.

Claims (17)

1. Device for producing (1) music as a function of physiological parameters (PP), comprising: - a reception unit (11) of at least one physiological parameter (PP) having at least one physiological rhythm (RP), - and a production unit (12) of music (M) having at least one musical rhythm (RM) and at least one other musical parameter (PM), said other musical parameter depending on said physiological rhythm (RP), characterized in that that said music production unit (12) (M) is such that said physiological rhythm (RP) is essentially represented in said music by said other musical parameter (PM).  2. Music production device (1) according to claim 1, characterized in that said musical rhythm (RM) comprising a contribution of dependence on said physiological rhythm (RP), said music production unit (12) is such that said dependency contribution is a minority in said musical rhythm (RM).  3. Music production device (1) according to claim 2, characterized in that said musical rhythm (RM) having an average over a measurement range of said physiological rhythm, said contribution of dependence to said physiological rhythm (RP) over said domain is less than 20% of said average, and preferably less than 10%.  4. Music production device (1) according to claim 3, characterized in that said contribution of dependence on said physiological rhythm (RP) is zero, so that said musical rhythm (RM) is independent of said physiological rhythm (RP) . <Desc / Clms Page number 27>  5. Music production device (1) according to claim 4, characterized in that said musical rhythm (RM) is substantially constant over time.  6. Music production device (1) according to claim 5, characterized in that said music production device (1) (M) comprises a control unit (13) of the musical rhythm (RM) by a user, allowing said user to choose said musical rhythm (RM) substantially constant over time.  7. Music production device (1) according to any one of the preceding claims, characterized in that said other musical parameters (PM) are chosen from styles of music, melodies, instrumentations, scales, pitches of notes, tones and any combination of these parameters.  8. Music production device (1) according to any one of the preceding claims, characterized in that said physiological parameters (PP) are chosen from heartbeats, an electroencephalogram, a blood pressure, an eye pupil size, overall body movements, muscle tension and any combination of these parameters.  9. Music production device (1) according to any one of the preceding claims, characterized in that said other musical parameter (PM1) depends on said physiological rhythm (RP) according to a continuous dependence relation (RD) (C1A-C1 D).  10. Music production device (1) according to any one of the preceding claims, characterized in that said <Desc / Clms Page number 28>  another musical parameter (PM2) depends on said physiological rhythm (RP) according to a dependency relation (RD) in stages (C2).  11. Music production device (1) according to any one of the preceding claims, characterized in that it comprises a selection unit (14) of a dependence relation (RD) of said other musical parameter (PM) to said physiological rhythm (RP), based on user information (UI) and reference dependency relationships stored in a database (BD).  12. Music production device (1) according to any one of the preceding claims, characterized in that said music production unit (12) comprises a music generator (22) (MO), said generator ( 22) having at least one input parameter consisting of said musical parameter (PM).  13. Music production device (1) according to claim 12, characterized in that said music generator (22) comprises: - a means for defining (54) musical moments during which at least four notes are capable of be played, - a means of defining (52) two families of note pitches, for each musical moment, the second family of note pitches having at least one note pitch which is not in the first family of pitch pitches note, - a means of constitution (56) of at least one succession of notes having at least two notes, each succession of notes being called a musical phrase, succession in which, for each moment, each note whose pitch belongs exclusively to the second family is surrounded exclusively by notes from the first family, and <Desc / Clms Page number 29>  - An output means (58) of a signal representative of each pitch of each said succession.  14. Method for producing music as a function of physiological parameters (PP), according to which music (M) is produced having at least one musical rhythm (RM) and at least one other musical parameter (PM), said other musical parameter being dependent at least one physiological rhythm (RP) of at least one physiological parameter (PP), characterized in that said physiological rhythm (RP) is essentially represented in said music by said other musical parameter (PM), said production process music preferably being implemented by means of a music production device (1) according to any one of claims 1 to 13.  15. A method of producing music according to claim 14, characterized in that said physiological rhythm (RP) of said physiological parameter (PP), used to produce said music (M), is measured on a user.  16. A method of producing music according to claim 15, characterized in that the music (M) produced is sent in real time to the user.  17. Computer program product, characterized in that it comprises functionalities capable of producing a music production device (1) in accordance with any one of claims 1 to 13 and / or of implementing a method of production of music in accordance with one <Desc / Clms Page number 30>  any of claims 14 to 16 when said program is executed on a computer.