DEVICE AND METHOD FOR OUTPUTTING AN ACOUSTIC SIGNAL BASED ON PHYSIOLOGICAL DATA

Description

AREA OF INVENTION

[0001] The present invention relates to a method and a device for outputting an acoustic signal which is composed of acoustic signal sequences and wherein the composition of the acoustic signal is based on physiological data. BACKGROUND OF THE INVENTION

[0002] It is known that music can resonate with people in a special way when it is attuned to physiological parameters of the person, such as breathing or heart rate (pulse).

[0003] The D1 (US2004077934) describes a system that converts physiological parameters—specifically, a user's breathing—into sound and rhythm. This creates polyphonic, multi-layered music with several instruments: A basic melody is assigned to a specific breathing phase, while additional layers (up to four) are dynamically added to adapt the music to the current breathing rate. The choice of instruments depends on the musical style as well as the perception of different breathing rates and inspiration / expiration ratios. In contrast to classical composition theory, the generated music is flexible in tempo and rhythm because it adapts directly to individual breathing characteristics. EP2113194A1 describes a device for the acoustic and visual representation of physiological data such as pulse, skin conductance, or brain waves, for influencing heart or respiratory rate.

[0004] The conversion of physiological parameters by an electrical circuit, thereby generating a tone and a rhythm, is described in US6662032.

[0005] In EP0432152, electroencephalogram data are translated into music, whereby in the EEG-specific area brain activity is difficult to actively influence and this biofeedback method can therefore be very tiring and lengthy.

[0006] US7177672B2 also describes devices for measuring and storing heartbeat intervals and encoding them in music, whereby the rhythm of the music is coupled with the stored heartbeat intervals.

[0007] US2020214615A1 describes a system that transmits a patient-specific audio file to a patient for therapy or rehabilitation while the patient performs an exercise, wherein the audio file comprises several complete music tracks, simultaneously with a second audio file containing a motivational message, and wherein furthermore the tempo of the track or the selection of tracks is changed based on data received from sensors.

[0008] EP0301790A2 describes a method in which signals are captured using attached or implanted electrodes and converted into digital data. Music or videos are then generated via a MIDI code.

[0009] EP1128358A1 describes methods for generating audio programs based on the user's preferences.

[0010] WO2019231835A1 describes a device for generating a melody in which a user's emotions or data from their environment are used to select a melody from a variety of melodies that corresponds to the person's current situation. The emotion is determined as a parameter for melody selection by measuring facial expression or posture, or by measuring heart rate, pulse, or blood pressure.

[0011] US2010192754A describes a device and a method for generating music files, wherein a user's biosignal is captured and adapted to music composition information. The biosignal is determined exclusively by means of electrocardiogram and photoplethysmography signals as soon as the command to generate a music file is given.

[0012] US2016098980A1 describes a music-generating system that takes into account the physiological and environmental parameters of a user.

[0013] US2009256801A1 describes a system in which a user's gestures are captured and this data is used to generate sounds from an instrument.

[0014] US5471009A describes a device for generating noise.

[0015] JP4496993B2 describes a device and a method for generating sounds that reflect the state of a moving body.

[0016] US8672852B2 describes a device and a method for generating tones that make the inhalation and exhalation process audible with an associated timbre in the sense of biofeedback, especially for lowering blood pressure; however, it does not enable the creative creation of ever new musical works or complete acoustic sequences in real time, each of which is only played once; furthermore, the method is not suitable for critically ill or sedated persons in intensive care units or during mechanical ventilation.

[0017] US2014 / 0249358A1 describes a device and a method for adapting or selecting music based on HRV (heart rate variability measurements) to ultra- or circadian rhythms, specifically including speech and lullabies. Breathing or motion sensors are not used. However, US2014 / 0249358A1 also does not enable the creative creation of new musical works in real time, each of which is played only once.

[0018] Existing methods currently lack a solution for sensor-controlled algorithmic composition that specifically realizes a directed musical form and, within it, an intentionally designed and clinically effective musical-energetic envelope. Known methods, for example, use single tones instead of phrases, assigning individual pitches to arbitrary physiological value ranges during melody formation. This results in a completely arbitrary assignment, causing the results to be perceived acoustically as sonification of data, but not as music. Therefore, the term "music generation" in existing solutions is often misleading. Furthermore, these methods fail to consider the application in intensive care medicine (ICU) and mechanical ventilation, including the weaning phase, delirium, and neurorehabilitation.

[0019] Therefore, the object of the present invention is to provide a method and a device with which the resonance formation between persons and music can be optimized and physiology can be clinically effectively modulated and triggered by music. The quality of the aesthetic perception of the final acoustic product is an important feature in this context. BRIEF SUMMARY OF THE INVENTION

[0020] The invention is set out in the attached claims. BRIEF DESCRIPTION OF THE FIGURES

[0021] Figure 1 : Elements of the digital system solution according to the invention. Figure 2Schematic representation of an embodiment of the method according to the invention. Musical "building blocks" or "molecules" (also called "phrases") are selected from a pool of such "molecules" based on physiological data and are adapted and strung together according to certain musical rules, resulting in a continuous musical flow that exhibits resonance-forming patterns. Figure 3 Schematic representation of an embodiment of the method according to the invention. Musical "building blocks" or "molecules", also called "phrases", are selected on the basis of gesture-controlled commands and adapted and strung together according to certain musical rules, so that a continuous musical flow is created which exhibits resonance-forming patterns. Figure 4The musical form is determined by redefining its total duration (3 minutes, 5 minutes, 10 minutes, 20 minutes) and subsections (named according to the clinical application in INTRO - STIM 1...STIM x - END) for each individual application, whereby a time value is defined for each subsection to be determined, so that the individual sums of all subsections add up to the pre-defined total time. Figure 5For the entire musical form—as for each subsection—an energetic envelope is simultaneously defined. The values ​​to be determined include at least the time and amplitude profile of the curve by setting breakpoints. The shape of the curve between the individual breakpoints can be arbitrarily shaped. The number of breakpoints is arbitrary, as is the time interval between them; however, this interval, with respect to the shortest possible interval, is determined by the length of the shortest interval available in the system, as defined in step B (see Figure 6 or example 2) correlated with a pre-produced musical phrase. Figure 6Flowchart of steps A to E and their dependencies in relation to the selector. The RULE POOL defines: 1.) the overall musical form; 2.) the number and duration of the subsections (musical form parts) of the overall form (INTRO, STIM1...STIMx, END); 3.) the shape of the energetic envelope; 4.) musical rules that determine the combinability of the individual phrases. The MUSIC GENERATION MODULE "SELECTOR" selects the individual pre-composed and stored phrases in .mid format based on the current time sequence, their assignment to musical form parts, energetic envelope values, and physiological signals (e.g., I:E 1:1, 1:2, 1:3), and combines them based on the pool of musical rules. The pool of specially pre-composed musical phrases, which are typical for or classified according to 1.) specific musical forms (INTRO, STIM1...STIMx, END) 2.) certain values ​​of the energy envelope 3.) certain values ​​of the physiological data (I:E 1:1, 1:2, 1:3). . Figure 7 : Physiological data of a patient collected in the context of the therapy method according to the invention in an intensive care unit a) respiratory period, b) respiratory ratio, c) respiratory amplitude. DETAILED DESCRIPTION OF THE INVENTION

[0022] The invention is a digital solution in the field of computer music, implemented using artificial intelligence (AI), i.e., a self-learning and self-optimizing computer program. This solution uses at least one sensor, such as a camera, breath sensor, or motion sensor, to generate and produce functional music in real time, specifically composed and precisely tailored in its parameters to the purpose of resonance generation with physiological data. The music's horizontal and vertical structural progression is tracked and reproduced in real time. In accordance with the state of the art of MIDI (Musical Instrument Digital Interface), this music can also be adapted in tempo, volume, articulation, and timbre based on the sensor data, synchronously with physiological processes. The system can be used for the direct, active act of music-making by up to two people.

[0023] The invention particularly represents a system and a method for algorithmic composition for clinical use and thus a system and a method for generating aesthetically highly appealing music that can be coupled with the "physiological system" of man on the basis of resonance phenomena.

[0024] A clinically effective acoustic signal, such as clinically effective music, should also possess a quality that ideally facilitates the development of resonance effects, such as the regulation of respiration and heart rate. This can be achieved, for example, by tailoring the energetic level (in the sense of Ernst Kurth) and content of the music to the receptive capacity of individuals (sedated individuals perceive and absorb stimuli differently than awake individuals) and to specific aspects of their respective physiological states, which are often pathologically influenced in clinical settings, particularly in intensive care units. This can be accomplished by aligning these aspects as closely as possible with parameters specific to respiration and movement. For instance, if the heart rate is 72 beats per minute, a music tempo of 72 bpm should be chosen.

[0025] For people on mechanical ventilation, the music must also be tailored to the functioning of the ventilator and the stage of weaning from mechanical ventilation.

[0026] In particular, the present invention allows the achievement of a. a specific musical form b. an energetically and musically designed progression of the entire musical work required for this purpose, and thus an energetic envelope of the musical time course as well as all subsections and all musical parameters c. melody and phrase formation of the resulting music, which is in accordance with physiological parameters of breathing or movement and acoustically represents them d. the use and combination of musical partial phrases instead of individual tones and e. the inclusion of aspects of mechanical ventilation.

[0027] A key feature of the invention is its aesthetic and functional-compositional aspect, namely the sensor-controlled generation of "horizontal" musical progression (i.e., in time and the resulting musical form) in real time. To this end, the system does not store complete musical pieces in .mid (MIDI) format, but rather musical fragments, also called signal sequences or phrases, which are assembled into a complete work, i.e., a complete sequence, the acoustic signal, based on the sensor data. Furthermore, the AI, through self-learning, directly generates the music, i.e., the creation of a final acoustic signal, also referred to as "adaptomorphic music."

[0028] Furthermore, the combination of breath and motion sensors can create particularly effective applications, including playing music together. Thus, a new, aesthetically sophisticated musical (overall) progression, sound image, acoustic signal, or complete acoustic sequence can be generated for each session, which is only played once. The device according to the invention is therefore a digital system for functional composition and simultaneously a digital musical instrument.

[0029] According to the invention, the term "acoustic signal" or "acoustic sequence" or "acoustic signal" refers to an acoustic entity (musical piece) composed of several acoustic signal sequences. An acoustic signal is defined by the result of categorizing parameters of physiological data such as the ratio of inhalation to exhalation, respiratory rate, respiratory period, respiratory stroke, or specific movements of the fingers, hands, and arms and their temporal trends, whereby the individual categories of parameters are assigned to selected acoustic signal sequences.

[0030] The term "acoustic signal sequence" refers to short, consecutive acoustic sequences of approximately 0.5 to 70 seconds.

[0031] The term "partial signal" refers to musical building blocks, also called "musical molecules" or "phrases", which consist of at least, but not exclusively, two tones.

[0032] "Categorizing" the parameters of physiological data in connection with the invention means assigning the partial signals and / or signal sequences to a ratio of the physiological parameters, for example, I:E in the ratio 1:1, 1:2, 1:3, etc., the energetic envelope, and musical subsections (INTRO, STIM1... STIMx, END). Each of these subsections can, for example, have a duration of approximately 20 seconds to 9 minutes. Specifically, the duration can be 20, 30, 40, 50, or 60 seconds, or 1, 2, 3, 4, 5, 6, 7, 8, or 9 minutes.

[0033] In the context of the invention, "discretization" and "quantization" refer to the conversion of an analog signal into a digital signal, whereby sampling occurs at defined times and the sampled values ​​are represented as numerical values. Digital values ​​are typically encoded as binary numbers. Their quantization is therefore specified in bits. The data supplied by the sensors is recorded numerically and statistically evaluated, particularly with regard to its trends over specific time periods. Furthermore, scaling to the numerical value range (0-127) defined in the MIDI protocol is performed.

[0034] MIDI is a digital interface for musical instruments ("Musical Instrument Digital Interface"). It is a data transmission protocol that, among other things, enables communication between a (personal) computer and various instruments. MIDI is the industry standard for exchanging musical control information and data between electronic musical instruments.

[0035] The MIDI protocol is currently supported by many sound cards in personal computers. Therefore, the MIDI protocol does not provide audio signals, but rather consists of commands for controlling instruments or the sound card. The corresponding command that is transmitted can be structured, for example, as "Note-on" (turn on a note), "Velocity" (specify the velocity), and "Note-off" (turn off a note). These control commands are sent to a sound generator, such as a sound card, a synthesizer, a sampler, or a suitably prepared sound library consisting of various instrument sounds.

[0036] The term "adaptive music" refers to music for and within a computer game (game music) that must be flexible in every respect, since it is not known in advance how long a person will remain in a particular game situation. This is to be distinguished from the term "adaptomorphic" used here, which emphasizes the overall shaping with the syllable "morph."

[0037] Functional music refers to music that is determined by extramusical influences and is thus intended or created for specific purposes. The process of creating such music is called functional composition.

[0038] The term "musical form section" or "musical subsection" describes structure-forming subsections of a musical work. Musical form is also referred to as "musical architecture".

[0039] The term "energetics" (also called musical energetics) refers to the research findings of music theorist and music psychologist Ernst Kurth and is, among other things, a measure of how eventful music is. Crucial to its invention is to ensure, with the greatest possible correspondence to sensory-detected physiological processes, a freely definable, clinically effective energetic progression within the overall form as well as in its individual musical sections, also called subsections.

[0040] The term "sound image" describes the entirety of what is heard, including all impressive sensory impressions such as tone sequence density, amplitude, musical style or timbre, etc.

[0041] The term "improvisation" (musical improvisation) describes a spontaneous creative act of producing a new musical work, a new acoustic signal. Improvisations at the bedside, with or without patient participation, are among the most important working methods in music therapy. Improvisations arise spontaneously and are performed only once. This invention simulates this approach to music therapy and thus represents a digital music therapy assistant.

[0042] The term "harmonic progression" encompasses rules governing how to progress from one chord to the next. According to William E. Caplin, this includes prolonging progression, in which a harmonic function is maintained through the interpolation of subordinate harmonics; cadential progression, which proceeds from the initial tonic, "predominant" (e.g., a chord of the subdominant = IV degree, subdominant relative = II degree, or tonic relative = VI degree), dominant, and final tonic, confirming tonality; and sequential progression, in which the harmonies are organized according to a regular scheme of tonic motion and contrapuntal voice leading. The terms tonic, subdominant, and dominant, etc., denote specific scale degrees within major-minor tonal music that require a specific compositional sequence or treatment.These examples taken from major-minor tonal music serve only to clarify the concept and do not in any way restrict the invention, which also includes modal, chromatic, and non-European tonal systems.

[0043] The term "ambitus" describes the tonal range of, for example, a melody, measured from the lowest to the highest note occurring in it.

[0044] The term "modulation" describes the intentional and deliberate, unambiguous change from one key to another.

[0045] The term contrapuntal voice leading (counterpoint) describes the leading of musical lines (melodies), motifs or themes in a regular relationship to each other.

[0046] In the context of the invention, "sounds" or "timbre" refers to the assignment of individual MIDI signals to specific instrument sounds (digital instrumentation or orchestration), e.g., in a VSTi, or the playback of samples in any audio format by means of a VSTi.

[0047] In the context of the invention, the term "gesture(s)" or "movements" refers to hand movements that are clearly defined and internationally standardized with regard to their execution through therapeutic procedures in the field of neurorehabilitation [flexion and extension (elbow joint), pronation and supination (forearm), (large) fist closure (flexion of finger joints or opposition of thumb), "tapping movements" (palmar flexion and dorsiflexion in the wrist), bringing together the respective fingertips (finger closure) of both hands in the combinations thumb-index finger | thumb-middle finger | thumb-ring finger | thumb-little finger] or artistic movement sequences (e.g. conducting movements).

[0048] The term "physiological data" refers to the result of physiological measurements such as the duration of inhalation and exhalation, respiratory rate, respiratory period, respiratory stroke, or specific movements of the fingers, hands, and arms, which can be determined by appropriate sensors.

[0049] In the procedure described here, the period duration can be used as a parameter for physiological data with a periodic pattern. For example, a period duration can comprise 1, 2, 3, ... x breaths or be 60 seconds / respiratory rate per minute x times.

[0050] A trend in the categorized parameters can be determined, for example, by identifying whether the physiological parameters remain unchanged, improve, or worsen compared to the starting point of data collection. This is done by comparing the results with physiological normative values ​​known from the literature.

[0051] Sensors are instruments that detect physiological parameters (signals) and convert them into electrical or digital signals. Non-limiting examples of respiratory sensors are known from the prior art, such as respiratory sensors, thermal respiratory sensors, respiratory sensors with pressure transducers to generate an output voltage relative to atmospheric pressure, respiratory sensors in which airflow is detected by a piezoelectric sensor, respiratory sensors in which the signal is detected by radar, and respiratory sensors in which respiratory activity is determined by tensile forces on a sensor (chest strap).

[0052] Relevant to the present invention is that no biofeedback system is implemented, i.e., the final acoustic signal is not continuously synchronized 1:1 with breathing.

[0053] Non-restrictive examples of motion sensors include Leap Motion motion sensors, 3D gesture controllers (e.g., based on GestlC technology), 3D infrared gesture controllers, or motion detection via camera.

[0054] Heart rate is the number of heartbeats per minute. Heart rate is often equated with pulse. It can be measured, for example, using an electrocardiogram (ECG).

[0055] The term "parameter" in physiological data encompasses measurable, endogenous signals related to psychological, mental, or organ functions. These signals are detected by sensors and analyzed numerically and methodically, discretized, parameterized, and categorized.

[0056] The term "breathing period" refers to the cycle consisting of one inhalation and one exhalation; the length of the breathing period is mathematically determined by the following relationship: 60 seconds / breathing rate per minute.

[0057] The term "respiratory stroke" refers to the volume of air inhaled per cycle / breath.

[0058] The respiratory rate describes the number of cycles / breaths per minute.

[0059] "Real-time" according to the present invention refers to the generation of the acoustic signal within a few seconds.

[0060] The term "educational guideline" refers to the specific structure of the musical fragments specially composed for the database, then to rules that establish connections between the physiological data and the selection and nature of the musical fragments, and on the other hand to music-theoretical rules that determine the sequence of the fragments in the purely musical sector.

[0061] The rules derived from the principles of European and / or non-European art music include, for example, the sequence of specific scale degrees or intervals, such as the tonic, subdominant, and dominant. Particularly suitable are musical strategies based on the musical traditions of classical Greece and Persia, Gregorian chant, and the compositional techniques of A. Vivaldi, J.-S. Bach, G.-F. Handel, J. Haydn, W.A. Mozart, L.V. Beethoven, A. Reicha, F. Liszt, and C. Debussy.

[0062] The "database" described here comprises a multitude of specially crafted musical fragments, i.e., acoustic sub-sequences, stylistically based on European and non-European art music, from which the acoustic signal can be generated. These fragments can be stored in .mid (MIDI) format (POOL MUSIC, (11)). The length of these fragments can range from 0.5 to 70 seconds. Furthermore, another "database" exists containing a multitude of musical rules for linking the fragments (POOL LOGIC, (9)).

[0063] The invention also comprises a device for carrying out the methods according to the invention, comprising at least one sensor such as a respiratory sensor, a gesture controller or a camera for the continuous acquisition of selected physiological data, such as the ratio of inhalation and exhalation duration or hand movements, means for discretizing, quantizing and categorizing the course of predetermined parameters of the physiological data (STAT module, (3)), means for assigning acoustic signal sequences to the categories (SELECTOR, (8)) and means for combining the acoustic signal sequences according to the course of the categorized parameters of the physiological data to form an acoustic signal and for outputting the signal, which is formed into a final sound image (INTEGRATOR, (10)).

[0064] The apparatus for carrying out the method according to the invention may, for example, comprise the following elements: A breathing or motion sensor; a standard computer with the following program elements (1) to (13): GUI (1): Graphical interface with input field for communication with the user; Sensor (DATA INPUT) (2): as an interface to the breathing sensor, motion sensor, etc.; STAT MODULE (3): for receiving the sensor data and its statistical evaluation; BRIDGE MODULE (4): for converting the statistical data into MIDI commands; POOL GESTURES (PG, (5)): as a supplement to the Bridge module, for identifying the specific gesture; MIDI MATRIX (6): for setting the assignment in relation to the MIDI commands; MODULATOR (7): for adapting the MIDI commands; SELECTOR (8): based on the sensor data or its statistical evaluation, the SELECTOR decides which piece of music is selected and played.The rules for selecting the musical sections and for their combinability are defined during the preceding compositional process when creating the specific musical sections for the system. The SELECTOR, acting as an expert system, accesses these rules, which are implemented in POOL LOGIC (9). POOL LOGIC (9): contains the musical rules accessed by the SELECTOR (8), including all details of the at least four musical sections and the energy envelope. INTEGRATOR (10): ensures the correct overall flow, including tempo and other musical parameters. POOL MUSIC (11): database containing specially created musical sections. PLAYER (12): generates a MIDI data stream. VSTi (13): Virtual Studio Technology Instrument. VST is a programming interface and an industry standard for audio plug-ins, established in 1996 by Steinberg Media Technologies.VST instruments are virtual instruments within this interface. For example, the industry standard NI Kontakt 7 and the Best Service Engine (2.7) can be used as VST instruments; however, in principle, any Windows-compatible VST instrument can be used. The sounds used within the scope of the invention are created / programmed specifically for the respective VST instrument ("Sounds" / "Presets"). Sound programming is an integral part of the invention-specific composition.

[0065] A loudspeaker (14), for example a commercially available loudspeaker or headphones / earbuds / noise-cancelling headphones.

[0066] The invention is also used in the field of computer music.

[0067] In electronic sound generation, an envelope is a tool for shaping sound. Envelopes determine, for example, how quickly and intensely a sound should rise and fall in terms of volume, filter frequency, etc. By convention, time is plotted on the x-axis when graphically representing an envelope. The y-axis represents the value of a parameter from its minimum to its maximum. Often, four "breakpoints" are defined and described: A = Attack (rise), D = Decay (fall), S = Sustain (hold), and R = Release (release). The Attack breakpoint determines how long it should take for the rising value of a parameter to reach a specific level. Decay determines how long it should take for the falling value of a parameter to reach the Sustain level. Sustain defines the level of a parameter value that remains constant until the corresponding control signal ends.The release parameter determines how long it should take for the falling value of a parameter to reach a specific minimum. Modern software instruments also offer envelopes with more than these four ADSR breakpoints.

[0068] The concept of the energetic envelope adopts this concept and approach, but applies it not, as has been customary, to sound shaping within electronic instruments, but rather to the compositional structure and algorithmic composition of music itself. The individual breakpoints on the energetic envelope, as defined by the invention ( Fig. 5The energy envelope determines the timing and intensity of the richness of musical events (the "energy density"). This is defined primarily, but not exclusively, by the density of the sequence of notes and the range of the music generated at that moment, including intervals, chords, modulations (changes of key), and rhythms, etc. Thus, the energy envelope, as defined by this invention, determines the structure and style of the music to be generated, rather than the progression of an electronic sound. Breakpoint 1 of the energy envelope accordingly determines the event density to be present in the music at that moment, and so on.The number of set breakpoints is arbitrary, but correlates in time interval with the shortest acoustic partial signal (phrase) held in the system, the duration of which forms the lower limit for the interval at which breakpoints can be set on the x-axis.

[0069] The invention serves the purpose of breath-assisted control of MIDI-enabled devices or musical composition, improvisation and interpretation.

[0070] Example: A digital musical instrument is to be influenced in its sound behavior via breathing, whereby both inhalation and exhalation as well as their ratio and period are to be used as control signals.

[0071] The invention can also serve entertainment and relaxation purposes. For example: A person wants to enjoy calming music in the evening to relax before falling asleep and seeks the greatest possible musical variety with identical musical characteristics in every listening experience.

[0072] The invention also serves the motion-based control of MIDI-enabled devices or musical composition, improvisation or interpretation.

[0073] Example: During a performance, the stage lighting should be controlled by specific gestures.

[0074] The invention can also serve the entertainment and relaxation of several people. For example: Older people playfully make music with children in a duo. Whoever remembers the sequence of movements that lead to the correct music playback most quickly wins (Music Movement Memory).

[0075] The device according to the invention is intended for use in music therapy in all its forms and enables a very high degree of effectiveness through the combined use of breathing and movement-related components via entrainment.

[0076] Example: Music therapy students prepare for their professional careers in intensive care medicine and neurorehabilitation by using the system.

[0077] The invention is intended for use in the field of musical composition, improvisation and interpretation, and enables a very natural artistic process through the combined use of breath- and movement-related components.

[0078] Example: In a stage performance, light and sound effects are triggered by specific hand gestures, the intensity of which is modulated by the consciously controlled breathing of the person performing. Pedagogy

[0079] The invention serves to train musicians and therapists and enables a varied, multi-layered task through the combined use of breathing and movement-related components.

[0080] Example: Students studying conducting have problems with correct breathing during the upbeat. They practice this using the method according to the invention – however, the system only allows the conducting hand gestures to be used as triggers if the student has breathed correctly beforehand.

[0081] The system according to the invention can also serve for entertainment and relaxation and offer a corresponding variety through the combined use of breathing and movement-related parameters.

[0082] Example: For entertainment purposes, a person playfully creates music with the system using gestures, while simultaneously modulating the room lighting through breathing. The goal is to synchronize the flow of the music and the changing colored light. EXAMPLES

[0083] The examples described here serve to illustrate the present invention and are not to be understood as limitations thereof. Various embodiments of the present invention are described. Many modifications and variations can be made to the techniques described and illustrated herein without departing from the scope of the invention. Example 1

[0084] The device according to the invention can be used in areas where wireless connections are not possible for safety reasons, for example in intensive care units, on mobile devices such as Windows tablets. Furthermore, a server-based version is possible, allowing the use of any end device.

[0085] Example hardware components could include: 1 breathing sensor (Bluetooth) | 1-2 motion sensors (leap motion or webcam) | 1 USB-to-Bluetooth audio splitter (or alternatively a Y-cable) | 2 Bluetooth headphones (or alternatively a wired connection to the headphones or a speaker system)

[0086] In Figure 1 The elements of the digital system solution according to the invention are presented.

[0087] The sensor data is transferred to the software via DATA INPUT (2), statistically evaluated in various ways using the STAT module (3), or identified as a specific gesture, PG = POOL GESTURES (5), and converted into MIDI commands (BRIDGE module, (4)). All communication with the users takes place via a graphical user interface, GUI (1).

[0088] The MIDI MATRIX (6) enables assignment settings with regard to the output MIDI commands (especially MIDI CC data), which can be further adapted by the MODULATOR (7) in a musically meaningful way before they are forwarded by the PLAYER (12) via virtual MIDI cables to the VSTi (13) software instrument together with the central sequencer data (note on / off commands etc.), which finally generates the audio data stream that is played back by the monitoring device, the SPEAKER (14).

[0089] As a key element of the invention, the music is composed specifically for the application; the compositions, i.e., the final acoustic signals, are subject to copyright. However, what is realized is not complete ("finished") pieces of music, but rather musical fragments, the so-called acoustic (partial) signals / acoustic signal sequences / phrases, which can be combined or strung together according to specific rules derived from both physiological, i.e., sensor data, and musical principles to form the finished composition, the final acoustic signal. Music from different cultural backgrounds can also be taken into account. In a particular embodiment of the invention, the music, i.e., the musical fragments, is also prepared in such a way that one-handed, two-handed, and sequential playing by one or two people is possible.The resulting musical segments, the signal sequences, are stored in POOL MUSIC (11) in .mid (MIDI) format. A key element is the SELECTOR (8), which, based on the sensor data and its statistical evaluation, decides which musical segment, i.e., which signal sequence, is selected and played. The SELECTOR (8) is an integral part of the overall compositional concept of the invention. The rules for selecting the segments, the signal sequences, as well as for their combinability, are defined during the compositional process. The SELECTOR (8) accesses these rules, implemented in POOL LOGIC (9), in the manner of an expert system. All information about the overall musical form, including its subsections and the energy envelope defined for each session, is also provided to the selector there.The INTEGRATOR (10) ensures an aesthetically pleasing overall flow, including tempo and other musical parameters. The actual playback / generation of the MIDI data is performed by the MIDI sequencer PLAYER (12), as described in the previous paragraph. The timbres / sounds ("Sounds" / "Presets") used by the VST instrument for playback are specifically created / programmed during the composition process and are an integral part of the composition. These are stored directly within the VST instrument as "Presets" in a sound library.

[0090] The artificial intelligence program element is integrated into the areas SELECTOR (8), [POOL LOGIC (9), POOL MUSIC (11) and POOL GESTURES (5) and performs the following tasks: 1.) Monitoring and optimization of the application per person -> Improvement of the result for one and the same person through self-learning during repeated sessions. 2.) Monitoring and optimization of the application per purpose -> Improvement of the result for a specific condition through self-learning, derived from a group of people during repeated sessions. 3.) Monitoring and optimization of the application in a creative sense and improvement of the result in terms of creative novelty through self-learning, derived from the entirety of the sessions. The acoustic signal sequences stored in POOL Music are gradually replaced by completely new and original creations by the AI, so that ultimately the system creates and performs music completely independently, without assembling pre-made parts.The music is thus generated de novo by the AI ​​from a certain point onwards, meaning that from this point on, the POOL logic (9) and the POOL music (11) only serve to extend the system. 4.) Optimization of gesture recognition, e.g., improvement of the result through self-learning, both for an individual and simultaneously for the entirety of individuals, including their specific behavioral and state patterns.

[0091] Functioning of a first embodiment according to the invention: The data from the breathing sensor are analyzed with respect to the parameters respiratory rate, respiratory period, respiratory stroke, and inhalation:exhalation ratio (I:E). Depending on the I:E value, the SELECTOR (8) selects a phrase that is categorized in the POOL MUSIC (11) for the I:E ratios 1:1, 1:2, and 1:3 in the form of the categories "EQUAL," "LONGER," and "OPTIMUM." The system allocates approximately 10 minutes per session. This duration of 600 seconds is calculated according to the (approximately) golden ratio and divided into the time segments, i.e., musical sections, "INTRO" (96 seconds), "STIM1" (228 seconds), "STIM2" (144 seconds), and "END" (132 seconds). In the "INTRO" section, acoustic signal sequences from the categories "EQUAL" and "LONGER" are available, in the "STIM1" and "STIM2" sections from all three categories, but in the final section "END" only the categories "LONGER" and "OPTIMUM" are available.In this way and according to the procedure described below, a musical trend towards 1:3 is generated during the session, which simultaneously realizes the session goal - an extension of the exhalation, which represents a resonance formation between music and physiology. Process:

[0092] Phase 1: Files are selected from the "INTRO" folder that correspond to an alternating I:E ratio of 1:1 or 1:2. Attention is drawn to the melodic structure: it should become apparent that melodic patterns encode breathing.

[0093] Phase 2 Subsection 1: Files from the "STIM1" folder are selected that correspond to an I:E ratio of 1:2. If the person follows along "playfully," or is already at the beginning of Phase 2 at this level, files from the "STIM1" folder are selected that correspond to 1:3. If the ratio remains at 1:2, individual 1:3 files are "interspersed" for stimulation.

[0094] Phase 2 Subsection 2: Files from the "STIM2" folder are selected that correspond to an I:E ratio of 1:3. If the sensor data indicates that the person is not following / cannot follow, the system switches back to individual files from "STIM2" with a ratio of 1:2 and then immediately increases it back to 1:3.

[0095] Phase 3: Files are selected from the "END" folder, alternating between a 1:2 or 1:3 ratio, depending on the sensor data (with a focus on 1:3).

[0096] The prevailing density of musical events is also partly determined by the energy envelope.

[0097] The measured breathing rate is directly incorporated into the tempo information of the music, and the breath volume into the timbre information (filter, LFO, etc.), with the assignments being variable and selected via a matrix, MIDI MATRIX (6). The musical core lies in the encoding of breathing activity in the sense of functional musical composition. The physiological values ​​are primarily, but not exclusively, translated into the musical parameters of note sequence density and pitch (ambitus) ("ambitus tension" and "melismatic activity"). The method can also be called "adaptomorphic music" or "adaptomorphic composition." The total duration of 10 minutes is flexible and depends on the tempo modifications required during the session. The system plays the last acoustic signal sequence in the "END" section up to the last "Note off" information, so that the piece does not stop.

[0098] Protection mechanism: If a respiratory rate of less than 6 / min or more than 35 / min is detected, the system switches off.

[0099] Extension to include gesture-triggered (movement-triggered) phrases: By adding the motion sensor, the adaptomorphic music can be structured and controlled polyphonically, contrapuntally, and rhythmically-metrically by the user triggering phrases via gestures (see below), thus utilizing highly effective entrainment effects (Haas, François & Distenfeld, S & Axen, K. (1986). Effects of perceived musical rhythm on respiratory pattern. Journal of applied physiology (Bethesda, Md.: 1985). 61. 1185-91. 10.1152 / jappl.1986.61.3.1185.).

[0100] According to a second embodiment, the data from the motion sensor are analyzed and recognized as specific and relevant gestures, i.e., movements, stored in a database, PG=POOL GESTURES (5). Simultaneously, the quality of execution is assessed by determining the speed of the gesture and the degree of its completion. Furthermore, it is determined whether the gesture is performed with one or both hands, which hand is active, and whether, in the case of two-handed execution, the action is simultaneous or sequential. Depending on the successful execution of the gesture, the SELECTOR (8) selects a phrase from the POOL MUSIC (11) and outputs it as an audible musical event via the method described above.

[0101] A training session lasts approximately 20 minutes.

[0102] This is divided into FIVE PHASES, each lasting 4 minutes. If the person has already mastered a phase, it can be skipped or shortened. The remaining time is then divided equally among the subsequent phases. If phases are skipped or shortened further, the accumulated remaining time remains entirely with the final phase (Example I: Phase 1 only takes 2 minutes, therefore the duration of the subsequent phases increases to 4 minutes and 30 seconds each. Example II: Phases I-IV are completed in 2 minutes each, therefore 12 minutes remain for Phase V).

[0103] PHASE 1: "LIFTING" Gestures / movements: Flexion and extension (elbow joint).

[0104] Procedure: Files from the "LIFT" folder are selected and played sequentially. The distance to the gesture controller affects the control of timbre and vibrato in these files.

[0105] PHASE 2: "ROTATING"Gestures / movements: Pronation and supination (forearm).

[0106] Procedure: Files from the "DRIVE" folder are selected and played sequentially. The deviation of the hand's rotation angle from the vertical to the sensor field affects these files with regard to the control of: TIMBER, PITCH BEND, and VIBRATO.

[0107] PHASE 3: "FAUST" Gestures / movements: (large) fist closure (flexion of finger joints or opposition of thumb).

[0108] Procedure: Files are selected from the folder "FAUST" and played sequentially. The fully open or closed hand (as a distinct gesture) affects the selection of these files (categorized in the subfolders "FOPEN" and "FCLOSED") and also controls the timbre, vibrato, and volume (the default is: closed fist = silence - this can also be inverted).

[0109] PHASE 4: "KNOCKING" Gestures / movements: "Tapping movements" (palmar flexion and dorsiflexion at the wrist).

[0110] Procedure: Files are selected from the "Knocking" folder and played back sequentially. The direction of hand movement affects the tempo of these files. Individual tones / sounds can be directly triggered by the corresponding tapping motion ("drum function"). Only the endpoints of palmar flexion are used as trigger points for the sensor.

[0111] PHASE 5: "FINGER" Gestures / movements: Bringing the respective fingertips of both hands together (finger closure) in the combinations thumb-index finger | thumb-middle finger | thumb-ring finger | thumb-little finger.

[0112] Procedure: Files are selected from the "FINGER" folder. The system internally numbers the movements as follows: 1 Thumb - RIGHT index finger | 2 Thumb - LEFT index finger | 3 Thumb - RIGHT middle finger | 4 Thumb - LEFT middle finger | 5 Thumb - RIGHT ring finger | 6 Thumb - LEFT ring finger | 7 Thumb - RIGHT little finger | 8 Thumb - LEFT little finger. Each successful finger closure (with a tolerance range, see below) starts the file uniquely assigned to it (1-8). Additional files for two-player mode are available for therapists. These are triggered via a second controller and are also numbered 1-8, corresponding to the individual finger closures. The combined effect creates musical pieces with accompaniment. The timbre of the files can also be adjusted.Additional files enable variations, triggered purely algorithmically: Every second exercise run contains a variation. Additional function: The individual exercises are linked by transition files, also triggered algorithmically. Each exercise runs five times; repetitions can be skipped. The overall speed of PHASE 5 can be continuously adjusted via an input field on the GUI (1). The finger closure (tolerance range) can be preset in three stages relative to the trigger point: a) perfect, b) approximate, c) barely perceptible.

[0113] By adding the breathing sensor, adaptomorphic music can be structured and controlled in multiple voices, with the user transmitting control commands via breathing (especially MIDI-CC controllers) and thus influencing the timbre or triggering phrases.

[0114] The timbre and tuning / tone system can be freely chosen. In principle, the specific VST instrument can also be freely selected. Example 2: Step A

[0115] Using a sensor, wherein a a. 3D infrared gesture sensor b. Respiratory sensor (in any conceivable design: chest strap traction system, radar, respiratory curves derived from ECG sensor data, intentionally generated trigger signals via the 3D infrared gesture sensor, etc.) c. and control data from ventilators (of any make, manufacturer, design, and functional model) are used. Physiological data significant for respiration and movement are recorded and analyzed in real time with regard to the periodicity (especially the period durations) of the values ​​occurring therein (as well as their respective trends). Categories are formed in the process, which subsequently influence the system's decision logic.

[0116] In this way, it is recorded and determined in the system whether, for example, a. the (temporal) ratio of inhalation and exhalation (I:E) corresponds to the patterns 1:1, 1:2, 1:3, 1:4, 1:5, 1:6, 1:7, 1:8, 1:9, 1:10, 1:11, 1:12, 1:13, 1:14, 1:15 etc. b. or the completion of a cyclically repetitive movement of the hands (1 - complete, 0.9 ... 0.6 mostly complete, 0.5 half-complete, 0.4 ..... 0.1 partially complete, 0 completely incomplete). Step B

[0117] Musical phrases are composed. According to the generally accepted definition, these are musical subsections / sections (functional-compositional building blocks) that comprise at least, but not exclusively, two notes and thus define a specific musical time span and within it a musical progression (e.g., a melodic arc).

[0118] The compositional approach to these individual phrases is such that all musical parameters that make up the phrases are aligned with the acoustic representation and triggering of human (physiological) breathing and movement, in the sense of functional music.

[0119] Categories are formed that correspond to both the physiological categories used in step A (e.g. 1:1, 1:2, 1:3) and different musical energy levels (scaled from 0-127, where 0 means minimum ENERGY and 127 means maximum ENERGY).

[0120] Each individual phrase is designed in such a way that it can be combined musically meaningfully with any other phrase held in the system, whether used sequentially or simultaneously.

[0121] A system of rules is defined that establishes this meaningful combination of phrases based purely on musical principles. The individual phrases can be monophonic or polyphonic, or they can contain only rhythmic information. The phrases are stored in the system in MIDI format (.mid), while the rule system is stored in a database. Step C

[0122] A musical form is defined by redefining its duration (e.g., 3 minutes, 5 minutes, 10 minutes, 20 minutes) and subsections (named according to the clinical application in INTRO - STIM 1...STIM x - END) for each individual application, whereby a time value is defined for each subsection to be determined, such that the individual sums of all subsections add up to the pre-defined total time. Fig. 4 )

[0123] For the entire musical form—as for each subsection—an energetic envelope is simultaneously defined. The values ​​to be determined include, but are not limited to, at least the time and amplitude profile of the curve by setting breakpoints. Each breakpoint is defined by a time value and a numerical value. The shape of the curve between the individual breakpoints can be arbitrarily shaped. The number of breakpoints is, in principle, arbitrary, as is the time interval between the breakpoints; however, this interval is correlated with the length of the shortest possible musical phrase pre-produced in step B and held in the system. Fig. 5 ) Step D

[0124] An algorithm (called: SELECTOR) is defined that a. Based on the categories determined in step A and b. taking into account the formal sections and energetic envelope defined in step C, musical phrases created in step B are selected and meaningfully combined according to the musical rules in such a way that they result in a complete musical sequence which c. exactly represents the current physiological situation during the session, d. the desired musical form (and its substructure) determined before each session, e. the desired musical energy sequence determined before each session, and f. the desired physiological trend towards normal values ​​of breathing and movement, and is of high aesthetic value and clinically effective.

[0125] The algorithm simultaneously, but not exclusively, adjusts the respective speed, but also, for example, timbre, volume, transposition or pitch, of the phrases in such a way that the predetermined playing time of the defined overall form is not exceeded or fallen short of by more than 10% and the transition from one to the next phrase is imperceptible; in addition, the tempo is correlated with the period of the physiological signals at every point in time. STEP E

[0126] The data flow generated in this way is output in real time as control data (in MIDI .mid format) or stored in the system as a music file (MIDI file). These MIDI data are then transmitted within the system via virtual MIDI cables to a software instrument (software sampler, software synthesizer, e.g., in the VSTi interface format) (or, via a MIDI hardware interface, to external hardware sound generators). These software or hardware instruments then translate the data into audio signals of any timbre, etc., which are subsequently emitted via loudspeakers / headphones of any type.

[0127] During clinical use, it is essential to comply with applicable safety standards / EU standards regarding the maximum emitted volume. Furthermore, care must be taken to ensure that the acoustic signals do not startle people.

[0128] Figure 6: Flowchart of steps A to E and the dependencies therein in relation to the selector. Example 3

[0129] This example describes a 10-minute therapy session with a patient in an intensive care unit. The curves for a) respiratory period, b) respiratory volume, and c) inhalation-to-exhalation ratio clearly show a corresponding physiological response in the sense intended by the application. Regulatory patterns are evident, which, in dynamic response to the musical performance, manifest as a lengthening of the respiratory period (curve a)) and, following a "targeted airflow," trends in the inhalation-to-exhalation ratio (I:E) (curve b)), while simultaneously stabilizing the respiratory volume (curve c)).

[0130] The physiological data shows Figure 7 .

[0131] The I:E ratio reaches a peak value under the influence of music during the recorded measurement period (arrow in 7b)). The data were collected using the respiratory sensor (based on a tension belt) of a device according to the invention; the data storage of the individual sessions is routinely performed in the system. Additionally, data such as blood pressure, heart rate, etc., which are also routinely entered into the patient data management system, were documented in the intensive care unit, and a music therapy protocol (including a questionnaire on the patient's auditory history) was also compiled. This revealed, among other things, reactions such as a reduction in blood pressure and / or heart rate.In the example shown, the patient who completed a session with the device according to the invention on three consecutive days experienced the following blood pressure readings during the session on day 2: at the start of the application: 159 / 96, after 5 minutes: 143 / 74, after 10 minutes at the end of the application: 138 / 77, and 30 minutes AFTER the application: 137 / 77. This, especially since the trend proved stable 30 minutes after the session, indicates a clearly positive response from the patient to the application. The patient also gave positive verbal feedback on each session, expressing preferences regarding the tone of the device before the third session and thanking the device for its implementation afterward.

Claims

1. A method for outputting an acoustic signal that is formed from acoustic signal series consisting of concatenated acoustic sequences of 0.5 to 70 seconds, and / or from part-signals, and wherein the structure of the acoustic signal is based on physiological data, characterised in that the method comprises the following method steps: - selected sensor-determined physiological data of a person, comprising at least the ratio of inspiration duration to expiration duration, are provided, - the profile of parameters of the physiological data, selected from the ratio of inspiration duration to expiration duration, respiratory frequency, respiratory period, tidal volume, movements of the fingers, hands and arms, and the trends of these parameters over time are discretised, quantised and categorised by assigning, in the categorisation, the part-signals and / or the signal series to a ratio of the physiological parameters, to an energetic envelope, and to musical part-sections, - the categories thus obtained of the parameters are assigned acoustic signal series, including at least four musical form elements, which are structure-forming sub-sections of a musical work, and an energetic envelope, - the acoustic signal series are combined and output according to the profile of the categorised parameters of the physiological data in real time to form a final acoustic signal, wherein the combination and output of the acoustic signal series to form an overall acoustic sequence takes place according to a connective logic that follows the musical principles of European and / or non-European art music, selected from the series of keys and the degrees defined therein, series of melodic and harmonic progressions, series of musical form elements, series of timbres, rhythms and tempos, wherein these principles are present in a database, and the acoustic signal is formed into an acoustic pattern that develops anew and uniquely each time in its chronological profile, and the assignment of the acoustic signal series to the categories takes place according to a formation rule that at least four part-sections of a defined time profile of 10 to 20 minutes are filled with acoustic signal series that are correlated with the particular physiological state, taking into account the setting of stimuli in the direction of physiologically norm-variant target and setpoint values and taking into account musical rules, such that a continuous and in each case novel overall acoustic sequence develops.

2. The method according to Claim 1, characterised in that, in the case of physiological data having a periodic profile, the period duration and / or the amplitude profile is used as a parameter.

3. The method according to Claim 1 or 2, characterised in that a memory unit having a database containing a plurality of acoustic part-signals and / or signal series is used.

4. The method according to one of Claims 1 to 3, characterised in that the selected sensor-determined physiological data of a person additionally comprise the respiratory frequency, the respiratory period and / or the tidal volume.

5. The method according to one of Claims 1 to 4, characterised in that the selected sensor-determined physiological data are provided by a respiratory sensor, a camera, a movement sensor, or a 3D infrared gesture controller, and a sensor for detecting the heart rate is optionally additionally used.

6. The method according to one of Claims 1 to 5, characterised in that the selected sensor-determined physiological data are provided by devices for mechanical ventilation and for monitoring patient data.

7. The method according to one of Claims 1 to 6, characterised in that the acoustic part-signals and / or signal series can be linked to form a plurality of different sequences that form the acoustic signal, wherein in particular the sequences vary in terms of the signal series, melodic density, pitch, number of voices, loudness, articulation, timbre, tempo and / or rhythm.

8. The method according to one of Claims 1 to 7, characterised in that the acoustic part-signals and / or signal series can be linked to form a plurality of different sequences, and the acoustic part-signals and / or signal series vary in terms of their tonal attributes, in particular tone quality, timbre, pitch, articulation and / or loudness.

9. The method according to one of Claims 1 to 8, characterised in that selected sensor-determined physiological data of a person are provided, comprising movements of one or both hands and / or arms, in particular comprising the speed and degree of completion of these movements.

10. A device adapted for carrying out the method according to one of Claims 1 to 9, characterised in that the device contains at least the following: - at least one sensor (2) for detecting selected physiological data of a person, comprising the ratio of inspiration duration to expiration duration (I:E) and / or the movements of the hands, - STAT module (3) for discretising, quantising and categorising the profile of specified parameters of the physiological data, - SELECTOR (8) for assigning acoustic signal series to the categories and algorithmic composition according to the profile of the categorised parameters of the physiological data, and - INTEGRATOR (10) for continuously combining the acoustic signal series to form an acoustic signal and for outputting the signal, and the acoustic part-signals and / or signal series are stored in a database and classified into at least 4 categories: a. category 1 comprising part-signals and / or signal series that correspond to a ratio of inspiration duration to expiration duration of 1:1; b. category 2 comprising part-signals and / or signal series that correspond to a ratio of inspiration duration to expiration duration of 1:2; c. category 3 comprising part-signals and / or signal series that correspond to a ratio of inspiration duration to expiration duration of 1:3; d. category 4 comprising part-signals and / or signal series that correspond to certain movements of the fingers, hands and arms.

11. The device according to Claim 10, characterised in that categories 1 to 3 are divided into the sections "INTRO", "STIM1", "STIM2", "END", and category 4 is assigned to one or more sections that are preferably named after fingers, hands and arms.

12. The device according to Claim 11, characterised in that the rules of the musical connective logic for the individual acoustic part-signals and / or signal series and for the series of individual time sections and the energetic envelope are stored in a database.

13. A computer-implemented method for assigning physiological data to at least one acoustic part-signal or acoustic signal series and for creating a series of sounds composed of at least two acoustic signals by a method of Claims 3 to 9, comprising the steps of: a. providing a database comprising a plurality of acoustic part-signals and / or signal series; b. determining physiological data at least by means of a respiratory sensor or a movement sensor, wherein the physiological data comprise at least the ratio of inspiration duration to expiration duration; c. evaluating the physiological data; d. assigning the physiological data to an acoustic part-signal or an acoustic signal series; e. additionally assigning the acoustic part-signals and / or signal series to at least four musical form elements and an energetic envelope; and f. creating and outputting a series of sounds composed of at least two acoustic part-signals, signal series, or signals.

14. The use of the method according to one of Claims 1 to 9, adapted for the modulation of the respiratory frequency, respiratory period and / or the ratio of inspiration duration to expiration duration or for training the coordination of hand movements.

15. The method according to one of Claims 1 to 9, adapted for the modulation of the breathing pattern of a person, comprising the steps of: a. providing a database comprising a plurality of acoustic part-signals and / or signal series; b. determining physiological data of the person using at least one respiratory sensor and preferably a movement sensor, wherein the physiological data comprise at least the ratio of inspiration duration to expiration duration, and optionally the respiratory frequency, respiratory period and / or tidal volume and specific movements of the fingers, hands or arms, and the speed and degree of completion of the movements of one or both hands and / or arms; c. evaluating the physiological data; d. assigning the physiological data to an acoustic part-signal or an acoustic signal series; e. assigning the acoustic part-signals and / or signal series to at least four musical form elements and an energetic envelope; f. creating a series of sounds composed of at least two acoustic part-signals or signal series; and g. outputting the series of sounds to the person, wherein the combination and output of the acoustic signal series to form an overall acoustic sequence takes place according to a connective logic that follows the musical principles of European and / or non-European art music, selected from the series of keys and the degrees defined therein, series of melodic and harmonic progressions, series of musical form elements, series of timbres, rhythms and tempos, wherein these principles are present in a database, and the acoustic signal is formed into an acoustic pattern that develops anew and uniquely each time in its chronological profile.

16. The method according to Claim 14, wherein the modulation of the breathing pattern comprises lengthening expiration in relation to inspiration.

17. A method for training the hand coordination of a person by one of the methods of 1 to 9, comprising the steps of: a. providing a database comprising a plurality of acoustic part-signals and / or signal series; b. providing physiological data of the person by means of a movement sensor and optionally a respiratory sensor, wherein the physiological data comprise the speed and completion of the movements of one or both hands and / or arms, and the ratio of inspiration duration to expiration duration, respiratory frequency, respiratory period and / or tidal volume; c. evaluating the physiological data; d. assigning the physiological data to an acoustic part-signal or an acoustic signal series; e. creating a series of sounds composed of at least two acoustic part-signals or signal series; and f. outputting the series of sounds to the person, wherein the combination and output of the acoustic signal series to form an overall acoustic sequence takes place according to a connective logic that follows the musical principles of European and / or non-European art music, selected from the series of keys and the degrees defined therein, series of melodic and harmonic progressions, series of musical form elements, series of timbres, rhythms and tempos, wherein these principles are present in a database, and the acoustic signal is formed into an acoustic pattern that develops anew and uniquely in its chronological profile each time.