Method of creating music for psychophysiological impact and nervous system regulation and a service product providing such music

Abstract

The invention is concerned with a method for composing one or more music tracks for psychophysiological impact and nervous system regulation by one or more defined effects. The method comprises composing a preliminary music composition by determination of values for musical features for each track to be composed, mixing the preliminary music composition by including binaural beats and surround sound and achieving one or more music tracks, and storing each music track with labels about some of the determined parameter values in a database. The invention is also concerned with an audio service product in a public telecommunication network for psychophysiological impact and nervous system regulation. The audio service product is presented as a playlist of one or more music tracks being labelled with determined values for musical features, each music track including binaural beats and surround sound.

Description

[0001]METHOD OF CREATING MUSIC FOR PSYCHOPHYSIOLOGICAL IMPACT AND NERVOUS SYSTEM REGULATION AND A SERVICE PRODUCT PROVIDING SUCH MUSIC TECHNICAL FIELD The invention is concerned with a method for composing one or more music tracks for psychophysiological impact and nervous system regulation and with an audio service product in a public telecommunication network intended to be used for psychophysiological impact and nervous system regulation. BACKGROUND Workplace stress is a rising problem for knowledge workers, causing them many health problems. Companies that depend on the cognitive processes of their employees suffer from stress-related productivity losses and expensive sick leaves. Workplace stress management and productivity solutions on the market require employees to take breaks and do activities such as breathing exercises in order to release stress and regulate their nervous system. The way humans feel is defined by psychophysiological (i.e. mind / body) state - arousal level on a continuum of deep sleep to wakefulness and valence level on a continuum of negative to positive. All psychological states, from deep, peaceful relaxation to highly tense stress can be defined therein. Movement throughout psychophysiological space shifts the state of the nervous system. The nervous system is the signalling system between the brain and the body, based on neurons and neural fibres, and the activity of these signals controls not only the basic systems of life (cardiovascular and respiratory) but the way humans think and act. Changes in the activity of the nervous system can relax (i.e. slow breathing, regulate heart rate) or arouse the body (i.e. the fight or flight response). One of the most common present approaches to managing the nervous system by controlling psychophysiological states on a daily basis is pharmaceuticals. However, the use of pharmaceuticals to achieve states of concentration and relaxation presents a growing concern for individuals and societies, with increasing levels of dependency and long-term side effects on health and wellbeing. A popular alternative solution that has proven positive impacts on psychophysiological state for millennia is specially designed audio or sound, such as music and rhythms. Various modern attempts have been made to produce sound in the form of relaxing music to help ameliorate chronic medical conditions related to nervous system dysregulation, such as anxiety and depression. Music of this kind has been scientifically shown to e.g. calm the autonomic (fight or flight) nervous system, to modify the action of the endocrine system, to influence psychoneuroimmunology (i.e. the action of the immune system) and to stabilize human stress response. Classical music seems to be particularly effective in this regard. Music has multiple elements that have a direct impact on the nervous systems. Rhythm and beat are the basis of the vast majority of world music, and evidence demonstrates that slow, meditative rhythms decrease stress response, whereas fast rhythms increase attention and focus. Music that has a beat that is slower than an unstressed human pulse rate and which has a cyclic rhythmic pattern is considered to be most restful; it makes us breathe slower, which in turn regulates pulse rate, heart rate, and blood pressure. There are various types of sound therapy and sound healing, but of particular interest here is vibrational sound therapy, which uses special sounds that produce vibrations thought to alter brain wave activity and body rhythms (e.g. heart rate). All acoustic vibration, including unheard harmonic and disharmonic overtones, affects people, especially harmonic coherent music, i.e. music with coherent vibration. The human brain is made up of brain cells called neurons, which communicate with each other through electrical brain waves. Brain waves are patterns of electrical activity occurring in the brain and represent part of the activity of the nervous system. They are crucial to all aspects of brain functioning like thoughts, emotions, and behaviors. Brain activity is generally characterized by a combination of brain waves. The pattern of brain waves changes depending on one’s level of consciousness and cognitive processing. Depending on what one is doing at the time, a particular brain wave will be dominant over the others. For example, when one feels fatigued or dreamy, slower brain waves are likely dominant at that time. This balance is important, since if one’s brain waves are not balanced properly or at a level that meets the needs of concurrent demands, that individual may experience both emotional and neuro-physical health and wellbeing concerns. Thus, brain waves are relevant to mental health and physical well-being in general. Brain waves exist on a continuum but have been divided by scientists into 5 categories, ranging from low to high frequency within ca 0,5 - 100Hz. This division represents decades of research into the characteristics of brain waves that are recorded when humans are in the different stages of their waking cycle and regular occupations. Electroencephalogram, or EEG, is the typical method of recording brain waves. EEG is a widely accepted tool that provides useful information about one’s mental state and functioning, as well as being an effective diagnostic tool for epilepsy, sleep conditions, Alzheimer’s, stress, and other issues related to brain functioning. In summary and in order, Delta Waves (0.5-4Hz) are predominantly recorded when an individual is in a state of deep sleep or meditation, Theta Waves (4-8Hz) bridge the gap between wakefulness and sleep and occur in lighter sleep, relaxation and states of internal focus, Alpha Waves (8-13Hz) represent a relaxed and resting waking state, flow state, and low stress, Beta Waves (14-30Hz) represent focused attention and cognitive output including problem solving and analytical thinking, and Gamma Waves (31Hz - 100Hz) are associated with high level information processing, attention, creativity, memory recall and peak awareness. An ideal waking state is around high alpha / low beta waves where we are relaxed and present. Most of us live our lives in a state of primarily higher beta brain waves – aroused, alert, concentrated, but also somewhat stressed. Brain activity as defined by the above brain states is naturally influenced by the world around us and by our own activities. Brain activity can also be altered by the use of targeted interventions that are optimally designed to shift states between the five categories listed above. Desirable brain states can be achieved in those who are experiencing symptoms of certain mental health conditions or who just feel stressed. US patent 10,952,011B1 is an example of a solution for processing audio signals to achieve a desired effect on the brain. Binaural Beats or “binaural tones” are an auditory illusion created by playing slightly different frequencies separately into each ear. These frequencies are created by virtual generation of two pure tone sine waves using virtual instruments or synthesizers. The difference between the two frequencies stimulates a response in the brain which correlates with the frequency difference. For example, if a tone of 100 Hz is presented to the left ear and a tone of 105 Hz tone to the right ear, a frequency of 5 Hz is stimulated within the subconscious brain areas, such as the superior olivary nuclei and the brainstem. This is a form of a general tendency within the brain known as the “frequency following response”, whereby the brain attempts to match and align external audio frequencies in order to begin the process of decoding and understanding the message that they may contain. It is known that embedding binaural beats in music is a method by which one can bring about desirable changes in brain wave activity, thereby encouraging brain activity levels to shift into a desirable state depending on present need whether that be relaxation, deep meditation or sleep or focus, concentration, creativity and flow. Binaural beats depend on binaural (dichotic) presentation and the most popular method of presentation is via headphones. When played with headphones, users might be able to hear the binaural beats as a subtle pulsing sound beneath the music. This heard experience is an illusion - the person perceives the beat generated by their own brain, it does not exist within the music itself. Binaural beats are most consistently effective for the majority of people when experienced through headphones due to the sound directionality and directivity. If played on an open stereo system, the music may sound a little different and may not be as effective, but this varies from person to person and the playback system that the individual has integrated (for example, if it is a surround sound system. Further alignments and with the developments of surround sound systems and other devices, these conclusions can be changed in the plausible future. A prior art solution for inducing a required brainwave activity by using a binaural beat is presented in US patent 10,029,066B2. Another prior art solution for generating a binaural beat for brain wave induction is disclosed in US patent application 2010 / 0239096A1. US patent application 2021 / 0345059A1 presents a solution for optimization of a binaural beat. It is also known that different frequencies within music may be used for achieving changes in psychophysiological state, such as shifts in both mind and body. A solution for varying the brain state of a person by supplying audio signals of varying frequency to at least one ear is presented in US patent 5,135,468. US patent 7,674,224 provides a way to specify and modulate individual frequency components in an audio composition according to the required brain wave state. However, the existing solutions for producing therapeutic music, so far, have focused on the creation of music from a certain technical aspect. It has scientifically been shown that music of a certain type e.g. calms the autonomic nervous system and can influence the cardiovascular endocrine, immune and psychological stress responses as a result. However, these studies relate to the use and / or selection of already existing music or relate to methods of creating therapeutic music that are not based on a clinical or therapeutic approach. There is therefore a need for a systematic method for composing psychophysiologically effectful music for specified purposes and user experience. The object of the invention is to produce music that influences the action of the nervous system by driving change in subjective and objective psychophysiological states, and thereby regulating the long term state of the nervous system based on scientific research and with an improved accuracy compared to prior art. SUMMARY The invention is concerned with a method for composing one or more music tracks for psychophysiological impact and nervous system regulation by one or more defined effects. The method comprises composing a preliminary music composition by determination of values for musical features for each track to be composed, mixing the preliminary music composition by including binaural beats and surround sound and achieving one or more music tracks, and storing each music track with labels about some of the determined parameter values in a database. The invention is also concerned with an audio service product in a public telecommunication network defining one or effects for psychophysiological impact and nervous system regulation. The audio service product is presented as a playlist of one or more music tracks being labelled with determined values for musical features, each music track including binaural beats and surround sound. The preferable embodiments of the invention are presented in the subclaims and in the following text. The values for the musical features are determined for each music track to be composed based on defined fixed criteria, which consist of at least one of frequency range, pattern, line, length, harmony, beats, tempo, instrumentation, style, sampling rate, and on variable criteria, which consist of the purpose and optionally tone of the track to be created, the criteria being defined in order to achieve the defined effect(s). Each track is organized with said labels in the database for presentation as such or by placing it as a part of a music collection, which is in the form of one or more playlists of several music tracks, wherein each playlist is tagged by determined values of fixed and / or variable elements. The fixed elements tagged for each playlist consist of for purpose, length, trajectory, and tone, whereby the determined values of them match with those of the individual tracks. The variable elements tagged for each playlist consist of binaural beat profile, audio gain profile, and Beats per Minute, BPM, the determined values matching with those of the individual tracks. The presentation of each track and / or playlist is followed by storing user feedback for AI based selection for presentation. The defined effect is a purpose selected for an individual track or as a fixed element of a playlist from at least one of work, focus, create, relax, sleep, commute, mood, boost, energize, and escape. The method of the invention is intended for composing music tracks for a defined effect on the human brain and body, as defined by changes to psychophysiological state and nervous system activity that may be realized in terms of brain waves, physiological changes and / or subjective and / or subjective psychological experience. Furthermore, the intervention defines how music should be mixed by specific evidence- based audio engineering and mixing processes, to maximize both the aesthetic impact (thereby improving enjoyment) and the degree of felt impact on psychophysiological state. Finally, the intervention prescribes a method by which to curate collections of music tracks in a cohesive and meaningful manner, such that they are valid and maximally effective for achieving regular aims in modern life (i.e. to improve sleep, reduce stress and work effectively). The creation, performance, significance, and even the definition of what music is varies according to culture and social context. Music as defined here include common elements known as musical features that include such elements as pitch, rhythm, articulation, dynamics and the sonic qualities of timbre and texture. Different genres, styles or types of music may, however, emphasize, de-emphasize or omit some of these elements. In the invention, the term music covers all of these by being generally an art form and cultural activity whose medium is sound organized in time. The first step of the intervention is the composing of a preliminary music composition with musical features including frequencies and rhythms etc defined more in detail below that are selected on the basis of a) a set number of musical and recording parameters that are optimized to ensure consistent style and format and b) the type of psychological state a person wishes to achieve, defined here as purpose and tone. These aspects are defined practically in a “House Style Guide” in the form of a set of composition criteria that are applied to every preliminary music composition. House Style, generally, is a term for a set of formatting rules regarding the presentation of documents but here used for the set of said composition criteria. The first step includes the determination of parameter values on the music features to be applied on the music track to be created. In the second step of the invention, the preliminary music composition is modified in its bare structure with the addition of binaural beats and thereafter to a surround sound structure. This surround sound approach allows the enrichment of the fidelity and depth of sound reproduction by using multiple audio channels that are translated to a headphone playback in binaural keeping the recreation of virtual multi speakers virtually intact. The second step also includes mastering for achieving a useful music track involving optimizing the sound quality and consistency. For the mastering, tools like equalization, compression, limiting, stereo enhancement, and / or audio restoration to balance sonic elements and enhance musicality can be used. The mastering also prepares the track for distribution and media formats. This final audio file is a music track that has all the preliminary music composition information that is tested according to its bit rate and depth to match music industry standards. Finally, a playlist is curated as an optional third step of the invention. A playlist is a collection of music tracks that have been made in accordance with the first and second steps. The playlist is organised using a systematic evidence-based approach such that it suitable with a defined purpose in terms of achieving a desired outcome either: 1) a state along the psychophysiological continuum of deep relaxation through to enhanced and focused work- related productivity; 2) the performance of a required task (e.g. work, commuting); 3) a psychological state (e.g. creative) or 4) a physical state (e.g. sleep). The set of criteria for a playlist can practically be defined in a “Playlist Curation Guide” and can be applied to each playlist, beginning with Purpose and moving on to define its length, tone, trajectory (journey form) and profiles of binaural beats, amplitude and speed (felt beats per minute). The service product of the invention, could in one of its simplest forms, consist of only one music track or of just a few music tracks, which in that case, preferably would be long enough in order to achieve its desired effect and purpose. The curation of a playlist of several, usually shorter, tracks is performed in an advantageous and practical embodiment for fulfilling the object of the invention. Thus, generally the invention comprises at least the steps of composition, mixing and mastering (engineering), and optionally the playlist curation, which are discussed in detail in the following. 1.The preliminary music composition: House Style Guide As mentioned above, criteria for the preliminary music composition can be included in House Style Guide in the form of basic requirements, fixed criteria for every music track to be composed and variable criteria that change for each music track. These fixed and variable criteria relate to parameter values and other definitions for musical features like frequency, pitch range, pattern, harmony, drum beats, tempo, instrumentation, length, style, as well as purpose and tone of the track and values of those, which are determined in the composing of the preliminary music composition. Also noted are technical criteria including sampling rates and minimum lines. Scientific research results, user measurements and user feedback are all used to determine criteria within the House Style Guide, which are detailed below. All the determinations of these criteria are here called “values”. The House Style Guide is critical to ensuring that all the musical tracks to be created achieve the aim of the intervention detailed above, and below is detailed how each criterion relates to this aim or, where appropriate, to engineering requirements (i.e. to fulfil the next stage in the process of production) Fixed criteria (The same rules for all tracks) a. Frequency. Frequencies of music and sound affect body frequencies. When music of a given frequency is played, the brain is stimulated to take a corresponding state that can trigger emotions, feelings, sensations and also memories of comfort or happiness Different frequencies for the music to be used in the service of the invention are selected or be provided as default. The acceptable frequencies of the preliminary music composition (defined in e.g. the House Style Guide) are within the range of 20 – 2000 Hz, which can extend to C7 (2093 Hz) (C7 is in reference to the note C at the 7 octave) depending on the instrument that is using it and its natural timbre. In some instruments, C7 on a string instrument may be too high pitched to be used and each situation therefore has to be evaluated separately. The reason for this limitation is that outside of this range, the frequencies are known for being too present or ‘in your face’ in terms of quality, and tends to grab more attention of the brain, which can cause tiredness when heard for long periods of time. The 20 HZ is the beginning point at which the human ear, in its full capacity, can hear clearly. This, however, does not mean that the music of the invention is fully restricted to this range since no hard cut is done during the mix process to exclude anything below or above that may arise from natural harmonics. The rest of the music range is full by its natural extension and by the natural harmonics of the music. b. Pattern. The preliminary music composition should have a cyclic pattern. Cyclic patterns in music are melodic or rhythmic patterns that are repeated over and over again. A cycle of sound within a track (as opposed to a constant linear evolution) is the most restful structure as it becomes familiar rather than inducing cognitive vigilance. This cyclic pattern is not only realized in the music that is composed but in the movement of the music in space that is created in the mixing process. A pattern of rotation of the different music elements that are panned in such a way that it creates a circulatory pattern around the head of the listener (see Mixing process below). The pattern should be cyclic since human attention is an automatic system that is triggered by changes in the environment. Vigilance is a natural phenomenon that cannot be changed so music needs to avoid inducing a vigilance reaction, where a person becomes distracted and begins searching for the source of the change in the environment. However, it can neither be monotonic, where the brain fuses the music information and can easily stop to pay attention to it. In conclusion, it can not be too severe but must be stimulating at the same time. If the music has a consistent cyclical structure, then it falls into the background of cognitive processing where it impacts on the nervous system without drawing attention away from concurrent activities. It has to be clarified that in music terms, cycle patterns do not correspond to the industry terms known as ‘loops’, although there might be some similarity in terms of repetition. In this case, there might be some formal structural repetition to extend the duration of the track to make it more effective in terms of how research affirms the length needed for a binaural beat to become effective. However, we also have to keep in mind the cycle patterns of the music lines themselves in terms of the western tonal harmony music theory terminology of a full music phrase. c. Lines. In this text, an instrumental line is a recording of one instrument in the preliminary music composition, which is made up of several of these instrumental lines. The instrumental lines are combined together to create the full composition or piece of music (aka. track) during the process of mixing. The preliminary music composition should consist of at least seven instrumental lines, bearing in mind the panning of the different lines in the mix. For example, if a line is put in the extreme diagonal left of space, it is necessary to create or put another in the extreme diagonal right. Because sound is spread in a 360º environment that is circulatory it needs to be multiplied by: top left, top right, central, behind right, behind left and directional left and right, very similar to a 7.1 surround sound system position used in movie theatres. Therefore, seven lines is the minimum; the maximum number of lines in a track will depend on the cumulative weight of those lines. The aim is to create background music, not a full symphonic piece, so that it causes minimal disruption to ongoing concurrent tasks. d. Length and sampling rate. Each track preferably has a length of at least five minutes and consists of 24bits and has an audio sample rate of 48000 Hz along with the length of the final track constituting the piece of music to be composed and recorded and along with the length of the final music track exported as one single master. . In recording music, a standard sample rate in streaming distribution is 44.1 kHz or 44,100 samples per second. This is the standard for most consumer audio, used for formats like CDs. 48 kHz is another common audio sample rate usually used for movies. This refers to the audio sampling and how the music data is converted to one single file for playback. This sample rate allows one to hear sound frequencies in more detail than with a regular audio sampling rate of 44000 Hz that is commonly used. e. Instrumentation. Lines are defined as those belonging to different instrumental sounds that are defined by different ranges of timbres (irrespective of whether they are created by the original instrument or electronic reproduction) The preliminary music composition consists of at least seven different instruments, and optionally includes foley and / or other sonic textures. Instruments that are suitable to be used are exemplified by instruments that are accepted in the Western tonal harmony tradition and oriental music paradigm, but also virtual created instruments and sound designed sonorities. Suitable instrumental exemplars in the House Style include but are not limited to piano, clarinet, saxophone, low flutes, low strings (violin, viola), yoga horn, harp kalimba, tuning fork, and classical and bass guitar, and instruments used in addition are one or more of gong, singing bowl, hang, drums, djembe, rain sticks, wind chimes, and didgeridoo. These examples also include any instrument from the western tonal harmony tradition or oriental instrument. This also includes virtual instruments or electronic or virtually designed sounds that are not typically named as long as they respect the frequency range above mentioned. Calming timbres, as exemplified by the list of suggested instrumental sounds above, are chosen in order to regulate and stabilize the nervous system. The vibrations produced by the resonances of calming instruments such as those listed in the House Style above help people to concentrate and reduce stress. They also produce frequencies like ‘Alpha’, ‘Theta’ and ‘Delta’ which are known to be associated with psychophysiological shifts from stress towards relaxation states. f. Beats. Drum beats should be used strategically within an instrumental track to guide the pulse to the optimum, Beats Per Minute (BPM) range thereby encouraging the breathing to slow and soften. Since the other instruments listed in House Style are perceived as calming due to the nature of their timbral resonance (upper harmonic) structure, they should be prioritized. Drum beats are a naturally powerful way to induce physiological entrainment in humans as clear rhythm signals such as drum beats are processed automatically and quickly in the brain thanks to an effect known as action- perception coupling. Therefore, it is preferable to use drum beats strategically in partnership with the general contributions to Beats Per Minute (BPM) feel within the track in order to most effectively and rapidly guide the nervous system towards a rhythmic pulse rate that is associated with relaxation. g. Harmony. The preliminary music composition must be harmonically coherent. Harmonically consistent, a.k.a. tonal music is the easiest complex musical sound for the brain to process for the majority of listeners in the world today due to the pre- existing knowledge of these structures and their patterns within human long term musical memory acquired through a lifetime of music listening. The harmonically coherent structure can be based on established rules of Western Tonal harmony. Disharmonic and / or atonal musics do not conform to these known schemas and therefore increase cognitive load for the brain as it attempts to decode and understand the novel audio signals therein. A cogent paradigm is the ease at which the brain processes a native language compared to a foreign language, the latter for which it has no existing schema to explain the structure of the sound. Appealing to existing musical schema in memory therefore requires the least cognitive load and will be the least distracting and most successful background music, compared to disharmonic and / or atonal music. For this reason, it is important that the composition follows the western tonal harmony tradition norm of tonal triad and the 5ª. Manipulation of cents is not recommended unless the physical instrumentation is formatted in those conditions. As a side note, the same rule does not apply for the creation of the Binaural Beats (BB) band. h. Tempo. The tempo of the preliminary music composition with respect to average Beats Per Minute (BPM) is within 40 -120 bpm, preferably 50 – 70 bpm. The aim is to produce an average BPM that is significantly less than 72 BPM, which is an average resting heart rate, and therefore directing the user towards this peaceful resting pulse rate. The extreme limit of the acceptable range is between 40 - 120 bpm. Tempo is chosen to be significantly less than the resting heart rate, since it is used to guide the listeners heart rate down. i. Style. As a final preferable fixed requirement for the preliminary music composition as dictated in House Style Guide, is that only vowel-based open vocals should be used, and no word sounds, lyrics or verbally-associated meaning. The sound should be simple and relaxing for the user and verbal processing of any kind (i.e. even in non-native language), since it would require extra brain resources which the music should not require / trigger. This is not only a question of relaxation - the music should not interfere or drain valuable finite resources from the sound processing system (i.e. that which is shared between language and music). The brain processes verbal (language) sounds and musical sounds in overlapping brain systems. Therefore, if someone wishes to focus on a language-based task, such as writing or even thinking silently, then music with lyrics will automatically distract from their fixed potential to focus. The result is that the person is not as effective in their work. Verbal music also carries a higher cognitive processing load compared to non-verbal (i.e. instrumental) music because the brain must decode the language element. Hence non-verbal music is easier for the brain to process. Overall, the music of the invention does not contain lyrics for two main reasons - so that they support rather than hinder work by not taking up as much limited cognitive resources, and so that they are more relaxing for the brain to process. Variable criteria (can be different for each music track) j. Purpose. The purpose of each preliminary music composition describes the overall aim of the track to be created in its own right. The general aim for all music tracks is to make a person feel stable and secure, for the nervous system to be regulated away from the fight or flight response. There should therefore be no dramatic or dynamic shifts in any fundamental music parameter (e.g. volume, frequency or rhythm) such that a person may feel stable and secure without the musical sound. An additional specific subpurpose may be defined for a music track that relates to the psychological state that is appropriate at the time of listening to the track (e.g. a track for someone low on energy) and / or is desired as a result of listening to the track (e.g. a track to help focus). The purpose will be shown in text to a user in e.g. an app, or on the display of a user device, so that the intended use is clear for the user. The purpose is based on a psychological state that a person might wish to achieve. There can be a single purpose or more than one purpose can apply in combination, depending on the complexity / dynamic of the state that the user is aiming to achieve. The intended impact is defined as a purpose from the following list: work, focus, create, relax, sleep, commute, mood boost, energize, and escape. For example, escape describes the desire for a mental diversion from unpleasant aspects of daily life or bringing oneself away from persistent feelings of depression or general sadness or anxiety. Typically, this is done through activities involving imagination or entertainment. In the invention, however, this is done by music tracks composed in accordance with the purpose of escapism. k. Tone. The tone of the music track to be composed represents an emotional feeling or emotional character, such as movement, inspiration, mellowness, sentimentality, relaxation, energy, happiness, intensity or sadness. A musical tone is characterized by its duration, pitch, intensity, and timbre (or quality). Pitch is a perceptual property of sounds that allows their ordering on a frequency-related scale, or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical melodies. Timbre is the quality of a musical note. It is what makes a musical note sonically different in pitch from another one. Words like round, brassy, sharp, or bright, low and deep can be used to describe the timbre of a sound. Thus, these characteristics are selected in accordance with the aimed feeling selected from e.g. Moving, Inspiring, Mellow, Sentimental, Relaxing, Energetic, Happy, Intense, and Sad. Tone defines the emotional character of the piece of music. The Tone terms are based on a psychological scale called the GEMS- 9. The feelings of GEMS-9 are Peacefulness (calm, relaxed, serene, soothed, meditative), Power (energetic, triumphant, fiery, strong, heroic), Joyful activation (stimulated, joyful, animated, dancing feel, amused), Tension (agitated, nervous, tense, impatient, irritated), Sadness (sorrowful). The scale represents a known format currently used to measure musical emotions. The scale consists of 45 emotion terms, representing the above mentioned nine emotion factors (hereafter “GEMS subscales” or “GEMS factors”) for describing the wide range of emotions experienced while listening to music. Thus, where the Purpose defines the playlist intended use, the Tone defines the playlist's emotional character. The above requirements for fixed criteria are defined in the House Style Guide and are practical to set up as universal principles for the preliminary music composition that apply to every track. The point of the above section is that these are the things that all tracks should have in common, i.e. the musical elements that are designed to meet the aim of the intervention. The variable criteria for the preliminary music track are guidance for the composer (e.g. whether a music track should be energetic or intended for falling in sleep, defined as part of purpose and tone (discussed above). Otherwise, the preliminary music track can have any style as long as it fulfils the above requirements of House Style. The elements of House Style for each track, which are related to e. Instrumentation, h. Tempo and i. Intention (see above), are recorded in a database and can be used for personalisation of user experience. This process is further detailed in Figure 1 and in the section personalisation below. 2. Engineering the track: Mixing The process of mixing the preliminary music composition involves application of two key functional elements that drive psychophysiological change, i.e. binaural beats and spatialization. The mixing technique of the invention including both induction of binaural beats and spatialization (detailed below) is a part of the invention by being an especially preferable embodiment but is also inventive in itself. The way the preliminary music composition is combined with binaural beats and surround sound considerably improves output. The mixing process includes the standard preliminary approaches to the current industry level mixing ideal. In addition, the innovative process focuses on a first stage new process that enables us to integrate the Binaural Beat band into a musical sound without compromising the aesthetic of the music itself. As part of this process, three techniques are mainly used, namely; 1) Frequency Subtraction 2) Frequency addition and excitement, and Harmonic Enhancement. and 3) Loudness Control. There is a great deal of technical evaluation involved in how Binaural Beats and surround sound are mixed in each track. If a binaural beat induction were simply to be added in the background of a music track without any sensitivity to the existing frequency content, then the sound of the music track created would in most cases be horrible and would not serve its purpose at all and could even induce headaches and nausea. Furthermore, spatialization requires innovative processes to be applied in order to ensure a seamless and effective presentation of the sound in binaural space. In summary, the mixing should be done in a manner that ensures the right impact on the nervous system and psychophysiological state. The innovative three-part process outlined below is important since a bad mixing process can lead to an auto frequency annulation through phasing problems which by consequence leads to the compromise of one of parts of the binaural beat band, making the entire track non-effective as a therapeutic intervention. Below is detailed the three-part innovative process, how and when each technique element is applied. 2.1. Frequency subtraction. Subtractive equalisation is the use of an equaliser as a means to attenuate aspects of the frequency response. An equalizer is used to cut frequencies that collide with other frequencies in the music atmosphere. This process does not result in the total removal of a particular frequency but in the reduction of its presence to a level that is almost not audible. For example, if we have a Binaural Beat that is 5Hz (100Hz- 105Hz, the bass instrument or a foley that is present will be reduced by at least -17 dB thereby making the frequency response less present without compromising the natural timbre of the instrument. Not doing this would compromise the response of the Binaural Beat or create a phasing problem that would result in the partial annihilation of the Binaural Beat. This reduction also includes a low cut band around 0- 100 HZ of -5 dB in bass sounds and any other instrument that is strong with the low end frequency range. This is necessary because it is very easy for low range sounds to mask other harmonics in the full mix. By this process, a clearer mix is created across all ranges including non-masking of harmonics and disharmonic frequencies. Frequency addition and excitement, and Harmonic Enhancement. Frequency subtraction as described above in point 1. Above can be an aggressive process upon the nature of normal sound. This is because of the aggressive sibilance, and subtle discordant frequencies that are a natural part of the sound and therefore their absence, for more trained ears for example musicians, can become unattractive. Because of that perceptual reality we compensate for the Frequency subtraction process with our own Frequency Addition and Harmonic Enhancement processes, where these natural frequencies are situated, mostly in the mid and high range. Harmonic enhancement is applied for a generic increase of the range above 1000 HZ since a binaural band will never go above this range. The natural harmonic pitch of instruments in this range can also increase in loudness. Considering that the music is made (mostly) by virtually created instruments, the tones are made of steady frequencies which are lined up in multiples ranging from lowest to highest, beginning with the lowest, the fundamental of the sound. For sounds such as these, the ear recognizes the lowest frequency as the defining pitch, named as fundamental. The overtone frequencies above the fundamental blend more or less imperceptibly into the overall tone, but at the same time they contribute to the perceived timbre or tone quality. The Harmonic Enhancement of the invention therefore complements the natural timbre of musical instruments, ensuring that the overall timbric quality of the music track is full and rich and is not lostt in the final master. Loudness Control. Empirical studies inform us that pleasant music requires a good balance of all the elements of a music track. For that it is preferable to control the loudness of each music line in the invention. This process ensures that there are not any over compressed sounds or peaks or unbalanced lines in comparison with other elements. Loudness Control also ensures that all the elements created by the composer are heard and transitioned effectively and without any dynamic suppression that can distract the listener from their focus when they are working. For this to happen, a personal levelling with adaptation of gain is done throughout the entire music track making sure that final measurement of the master never goes above -1 in Peak. Below, there is detailed how the two independent elements are added together to a preliminary composition as a second step for creating the music track of the invention; i) binaural beats and ii) spatialization. i Binaural beats Binaural beats arise as a result of the presentation of audio signals, in the present case by the presence of two slightly different frequencies (e.g.100Hz and 105Hz) in the extreme left and extreme right, respectively. The resulting unresolved difference between the ears (e.g. 5Hz) generates a frequency following response in the brain. In effect, the brain produces that frequency difference of 5Hz, which is perceived as a soft beat of hum by the listener. Scientific studies indicate that the induction of binaural beats impacts on baseline brain activity, psychophysiological state, as well as that of the wider nervous system. Measurements showed changes in brain waves in different case studies following the presentation of binaural beat inducing audio. Several scientists also suspect that binaural beats of certain frequencies can promote cognitive abilities, such as concentration and imagination. The ability to alleviate depressive moods or anxiety states is also attributed to binaural beats. Depending on the frequency of the music, the brain waves of Delta, Theta, Alpha, Beta or Gamma frequencies may be influenced. The frequencies of Alpha music (waves about 8 – 12Hz) encourages a state of alpha relaxation and a resting state and can be considered the mid-point of normal human waking state. Moving down from Alpha into deeper relaxation, Theta music (waves about 4Hz – 8Hz) is another effective choice of frequency when the aim is relaxation, the benefits of which include improved concentration, reduced hyperactivity and improved memory. Theta represents a deep state of relaxation that is excellent for deep hypnosis and mental programming. Moving deeper again, Delta (waves about 0,5 – 4Hz) music frequencies further encourage a state of delta relaxation. Delta brainwaves are most prevalent during deep, dreamless sleep and deep meditation. Reorienting to central Alpha now and going in an upward direction, Beta waves (about 13 – 30 Hz) are the most common pattern in the normal waking state when one is alert and focused on problem solving. Gamma waves (30 Hz and above) are the fastest brainwave frequency range. Gamma brain waves are believed to link and process information from all other parts of the brain. A high amount of gamma wave activity in the brain is associated with intelligence, compassion, focus and feelings of happiness. High levels of gamma brain waves have also been linked to improved memory and an increased sensitivity to sensory input. Low amounts of gamma brainwave activity have been linked to learning difficulties, poor memory and impaired mental processing. Returning to the creation of the Binaural Beat within the invention: Firstly, it is critical that the chosen frequency bands do not go below 20HZ and or above 1000HZ. The 20Hz comes from studies that declare this is the lower range limit of the human ear. Regarding the maximum of 1000Hz, this figure is chosen due to it being the middle range common to the human ear. This is due to the stimuli inside of the acoustic array of the human ear and the sensorineural action potentials created via mechano-electrical transduction. Furthermore, between 20Hz and 1000Hz is the normal number / range of frequency used when calibrating audio equipment. The fact that the frequency range of the intervention is in the ear’s middle range is designed to bring comfort for the brain as it is within its normal daily working range. The Binaural Beat creation, according to the invention, also adopts formal consideration of the generic range of the music track in the sense that extremities are more emphasized in each particular music. Meaning, if a Delta binaural beat track is to be created, the spectrum of the music will be analysed so the extremes of the binaural beat are concise with the music. If the frequency range of a track is more emphasized between 40 Hz to 1500Hz, and knowing that the range of creation for a binaural beat cannot go further than 1000 Hz, the extremes of that band will be around 45-and 50 Hz to its full integration in the natural range of the music. To make the band more effective, frequency subtraction is used (explained above) for this particular interval (45 – 50Hz) so there is no collapsing or annulation of frequencies between the band and the music itself. ii. Spatialization The preliminary music composition is made of several music lines that represent the different instruments that are part of the integral (final) music track. For the mixing process to be applied. These music lines are worked on individually to be part of the final music track. These tracks can, however, be duplicated in number. For example, an instrument can be duplicated more than once to create a better spatialization of the music line or a better integration in the mix. However, this fact does not represent an increase of the music lines. For example, if a track has seven instruments and two of them are multiplied four times, the track still has seven instruments. It just increases the content in the mix. This normally happens with nature-based sounds because it easily can create comfort for the human ear when positioned in the extreme left and right -as duplicated tracks – and have all the remaining music, per say, in the remaining middle. The spatialization process can be compared to the regular panning process that is used to create a stereo environment. Panning is the act of placing or moving a sound anywhere in the stereo field of a stereo playback system and in this case in a 360 space. With panning, sound sources can be placed in a way that they are perceived as coming from the left speaker, the right speaker, or from anywhere in between. However, in this case we are talking about a 360º process that is inclusive of diagonal transversality in a surrounding spherical space having as variable the distance and reverb of a recreated physical space. The preliminary music composition is encoded into Ambisonics and decoded into Binaural Output so the playback and its spatialization can easily be perceived by the listener. This allows the encoding of the entire audio information for automated playback with the whole spherical sound field created around the listener head allowing that all the harmonics to be intact and be faded by its natural acoustic reverberation process. For this entire process the invention preferably uses Ambisonics in B-Format. The Ambisonics format uses spherical harmonics to encode audio such that the sources can be mapped to any location on the inner surface of a sphere where the listener is positioned at the center. This Format is used by most Virtual Reality (VR) headsets due to its application that allows full rotation of the sound field in three dimensions. Critically for the invention, this process allows for the audio to be presented binaurally and responds to a virtual representation of the head movement in real time, just like it was mapped during the mixing process. Ambisonics can be considered as the method wherein the listener is positioned in the ‘sweet spot’; the directionality of all the sounds goes towards and around the listener. The entire space is filled with spherical harmonics filling the space with sound. The innovative spatialization process involves techniques that are not regularly applied when considering the common listener experience or common methods of dynamic and interactive spatialization. This is due to the requirement that the tracks of the invention should not distract attention away from concurrent cognitive activity (i.e. working) therefore special parameters are made to avoid triggering vigilance / attention mechanisms. Specifically: - The mapping of the sound is made in a movement trajectory that is panned in a constant circulatory movement. - This circulatory movement is triggered in repetition motion thereby triggering cognitive mapping effects related to the familiarity of movement. - The trajectory of surround sound is maintained in circulatory motions using the entire atmosphere of the surround sound as different points of sound positioning. - This familiarity of movement is consistent in all the inventive tracks, which has cumulative impact; the therapeutic experience will be more effective over time since every inventive track will always bring a pattern of consistency. - The usage of 3º Order Ambisonics, which is proven to be the most accurate to translate and perceive location cues for the listener. This spatialization process helps trigger brain wave synchronization whenever, as part of its trajectory movement, the musical sound appears close to the ear level position of the human head. This spatialized audio format also helps with concentration in contrast to other music said to be for the same objective because it creates a constant source of interactivity and reactivity within the brain as part of the natural process behind understanding the location cues provided. This helps the brain to be in constant activity and exercise rather than in a state of fluctuating attention / distraction. Tracks that aim to help productivity and anxiety are differentiated by the rhythm patterns described above in music guidelines together with how fast the trajectory mapped during the spatialization is done. For example, a more exciting track for productivity will feature Gamma binaural beats, and will therefore have a faster circulatory and surround movement. Differentiation of the sound position is possible to be understood to the triggering of the head-related transfer function (HRTF), interaural location difference (ILD) and interaural time difference (ITD) which all combine to help a listener comprehend sound position even if that listener does not perceive this movement consciously. The brain will react like it normally reacts when we are in a street and come to know if a sound is coming from the left or the right position for example. Further explanation related to the matter will be described below. As a special final consideration, this process of positioning of sound in space is applied together with the common stereo positioning of some sounds in some cases - basic LEFT and RIGHT. The discriminatory factor that drives this need is if the melodic sound is in harmonic parallel to the binaural beat frequency. This is calculated when converting the frequency range to an actual note. By this innovation process, the reposition of the sound materials from the source for its spatialization is achieved in 3º Order Ambisonics, technology already being used or other occasions. The mechanism of creation and methodology and its technical developments within the audio engineering process that is applied to the composition take advantage of and mimic the natural functions of the hearing organism, and the typical listening system including and the typical human functional of usage of the two ears, together with the muscles for orienting them to a sound source, thereby creating a natural sample of acoustic array. This imitation of the natural sound array permits the pick-up of invariants that specify the mechanical sound-producing event. This leads to the one-to-one mapping process from sound-field properties to sound source properties. For example, interaural time and amplitude differences and their patterns of change as the head moves are specifiers of the location of a source, as mentioned above as ILD and ITD. The head-related transfer function (HRTF) affects every source position and angle of incidence, including different elevations and front-back positions. Because there are numerous spectral peaks and dips, particularly at high frequencies, and common features that have been found that characterize certain source positions, the brain encodes the direction that each sound is making. Typically, sources to the rear give rise to a reduced high frequency response compared to those at the front, owing to the slightly forward facing shape of the pinna. The head’s size makes it an appreciable barrier to sound at high frequencies but not at low frequencies. Taking this process into account, the sound is in the invention adjusted by reducing the dB of the low frequencies so in space they can travel and be distinguished with the same intensity as the high frequencies, without losing notion of the musical balance. It also allows the Binaural beat to become clear since there is no collapsing with the overload of low frequencies register. Furthermore, the unusual shape of the human pinna (outer ear) gives rise to reflections and resonances that change the spectrum of the sound and the eardrum depending on the angle of incidence of a sound wave, the so-called ‘pinna effect’. This effect is increased with the usage of manipulation of reverb or decay in the final master. In order to compensate for this in a track, the time of reverberation of the spatial environment is increased making the total track more cohesive. This manipulation is also used along with the duplication of signal for better understanding of cue location by duplication of the integral and more important parts of a track - this is a decision made ad hoc - adding a 0,02 delay to a number of the melodic lines and positioning this particular music line on an integral part of the 360 space for a clear understanding of its location. This in total describes the innovative spatialisation process of a product to be created that is effective in terms of the brain response and which has an impact that penetrates to the natural torso movement affecting the nervous system of the entire body. Thus, once mixed, the musical track used in the invention encourage changes in the nervous system that enable and support shifts in psychophysiological state, for example consciousness, from light alfa relaxation to deep theta, or down deeper still into delta sleep. Finally, it should be noted that music is not only what is heard but also what we can sense through bodily vibration therefore a combination of low frequency sinus sound and the phenomenon of resonance is critical. These frequencies must be actively adjusted as part of the mixing process by addition, subtracting and / or adjusting the volume of different frequency bands within the preliminary composition by equalization, as explained in the mixing section above. 3. Playlist curation There are different ways to organize and present the music tracks to a listener. In the simplest way of providing intended music, only one track might be presented. In other ways, more tracks can be offered without being organized in any special way. In those cases, the user just selects a track to listen at according to its purpose, instrumentation, composer or some other feature. Preferably the tracks, especially if several tracks are provided, are organized in some way for facilitating for a user to find a desired track usually based on purpose. An example of an advantageous way of organizing the tracks for presentation is described in the following. Once a music track is composed and mixed to its final resolution then it is placed within at least one playlist. A playlist is a collection of tracks brought together using a process of curation for intended outcomes that align with the pressures of everyday life, that in turn rely on the effective action of the nervous system and optimized psychophysiological state (i.e. sleep, work, stress, recovery). The Playlist Curation Guide comprises criteria for the creation of an effective music collection of music tracks. These criteria relate first to the defined purpose of a playlist but also to other fixed elements (i.e. that do not vary within the playlist: its length, trajectory, and tone) as well as additional variable elements (i.e. that vary within the playlist: its binaural beat profile, audio gain, and felt BPM). Scientific research results, user measurements and user feedback are all used to determine the criteria within the Playlist Curation Guide, which are detailed below along with how each criteria relates to the aim of the intervention. Playlist curation is critical to ensure psychological impact because to be effective - to be fit for purpose - a playlist must a) contain the musical and sound mixing features needed to achieve the Purpose and b) be sensitive to the present state of the individual. The evolving psychophysiological state during the listening experience (e.g. from waking to sleep) must be matched and mirrored by the music tracks in order for the playlist to effectively guide the changing response of the psychophysiological state and the resulting shift in the nervous system. Each music track is organized with labels in a database as a part of a music collection, which is in the form of one or more playlists of several music tracks, wherein each playlist is tagged by values of fixed and / or variable elements. When using a playlist or some other similar way of organization, each track does not necessarily have labels for every possible criterion a. – p. They are instead or additionally describing a playlist. 3.1. Fixed elements l. Purpose. The purpose defines the overall aim of the playlist. The purpose will be shown in text to a user in e.g. an app, or on the display of a user device, so that the intended use of the playlist is clear for the user. The purpose is based on a psychological state that a person might wish to achieve. There can be a single purpose or more than one purpose can apply in combination, depending on the complexity / dynamic of the state that the user is aiming to achieve. The intended impact is defined as a purpose from the following list, which matches that detailed in the House Style Guide described above for individual music tracks: work, focus, creativity, relax, sleep, commute, mood boost, energy, escape. For example, escape describes the desire for a mental diversion from unpleasant aspects of daily life or bringing oneself away from persistent feelings of depression or general sadness or anxiety. Typically, this is done through activities involving imagination or entertainment. In the invention, however, this is done by a playlist of musical tracks curated in accordance with the purpose of escapism. m. Length. The minimum playlist length is that defined by the House Style Guide, i.e. it is selected to be five minutes in minimum, because multiple sources of evidence suggests that less than five minutes is ineffective for inducing changes in brain entrainment and neurological synchronization / integration in relation to binaural beats. Therefore, a minimum time is set for the tracks that allows sufficient time for the binaural beats to have an effect on the brain, according to existing research. Choices regarding the length beyond a decided standard length of e.g.5 minutes are related to either practical considerations as evidenced in popular cultural studies (e.g. the average commute journey length or average focused working session) or psychological evidence relating to human capability or function (e.g. the average attention span or sleep induction cycle of humans). n. Trajectory. The Trajectory defines the pathway of a playlist, i.e. the overall journey of the musical pieces by nature of the variable elements. It may be a unidirectional journey (upward, rising in binaural beats, audio gain and felt BPM, or downward, falling in those elements) or dynamic (U shaped). The description of the trajectory depends on the prescribed Binaural Beat steps, Audio Gain Profile and Felt BPM profile that are required to achieve the Purpose. The playlist contents (i.e. the created music tracks) are manipulated so that the trajectory of the resulting playlist varies dynamically on either two or three points in time according to one of four trajectories being an upward trajectory, a downward trajectory, an U-shape trajectory and an inverted U- shaped trajectory. To be aware that this parameter does not relate with the trajectory term being used in the Spatialization chapter since the previous one is independent and fixed and does not relate with the trajectory of the playlist. o. Tone. The tone of the playlist represents an emotional feeling or emotional character, such as movement, inspiration, mellowness, sentimentality, relaxation, energy, happiness, intensity or sadness. A musical tone is characterized by its duration, pitch, intensity (or volume or loudness), and timbre (or quality). Pitch is a perceptual property of sounds that allows their ordering on a frequency-related scale, or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical melodies. Timbre is the quality of a musical note. It is what makes a musical note sonically different in pitch from another one. Words like round, brassy, sharp, or bright, low and deep can be used to describe the timbre of a sound. Thus, these characteristics are selected in accordance with the aimed feeling selected from e.g. Moving, Inspiring, Mellow, Sentimental, Relaxing, Energetic, Happy, Intense, and Sad. Tone defines the emotional character of the piece of music. The tone terms are based on a validated scale called the GEMS-9, whose items include Peacefulness (calm, relaxed, serene, soothed, meditative), Power (energetic, triumphant, fiery, strong, heroic), Joyful activation (stimulated, joyful, animated, dancing feel, amused), Tension (agitated, nervous, tense, impatient, irritated), Sadness (sorrowful). The GEMS represents a known format currently used to measure musical emotions. The scale consists of 45 emotion terms, representing the above mentioned nine emotion factors (hereafter “GEMS subscales” or “GEMS factors”) for describing a wide range of feelings of emotion experienced while listening to music. Thus, where the Purpose defines the playlist intended use, the tone defines the playlist's emotional character. When deciding about values on parameters to the fixed elements of a playlist, the purpose is defined first. Thereafter, the length, and thereafter preferably the trajectory, and last, the tone. It is noted that a music track is used here for a term, within which the trajectory does not change, and thus the dynamically varying trajectory within a playlist is achieved by means of tracks of different features. Neither does the tone vary within a track. 3.2. Variable elements The variable elements consist of parameters that vary during the course of the playlist but not within one music track. The profile of these elements changes because each music track has its own binaural beat, audio gain and Beats Per Minute (BPM) character and hence their combination generates a profile that can be curated to influence the trajectory of the playlist to achieve the desired purpose (i.e. work, focus, energize etc.) p. Binaural beat profile. The binaural beat profile is selected to be fixed or dynamically changing along the playlist by selecting the brain waves to be induced during the course of the playlist journey from the options of Delta, Theta, Alpha, Beta, and Gamma in accordance with e.g. the defined purpose. For example, the playlist Commuting Bliss has a defined purpose to inspire a positive shift in mood and increase energy. Therefore, the binaural beat profile shifts upwards from Alpha to Beta. q. The audio gain is flat or dynamic combined with high or low. Gain (related to volume intensity but not related with loudness) is a basic acoustic signal that stimulates energy (when increasing) or induces relaxation (when decreasing). Therefore gain is one element that shapes an overall impact, in alignment and support alongside the Purpose and Tone. r. The tempo being felt by Beats Per Minute (BPM) are selected to be fixed or dynamically changing along the playlist from low (40 – 54), slow (55 – 65), mid range (65 – 75), moving (76 -85), or fast (86 – 100) speed of music. Although we stand the norm of calculation of the BPM as the beat calculation per minute we also consider the fact that the extension of the same beat per bar, will modify the full sensation of how fast a beat is really being performed. The reality of felt BPM is that most tracks will possess a slower rhythm or more controlled sense compared to the natural tempo of the track , making the beat per minute a little slower that what was registered when composed. Standard algorithms are used to calculate Felt BPM. The order for deciding about the values on the parameters to the variable elements is the Binaural profile, then the Audio Gain profile, and last the felt Beats per Minute (BPM) profile. Technical equipment The technical equipment for playing the sound, especially music, might be a sound reproducer that presents (and possibly strengthens or forms) sound in real time or by streaming or repeating stored presentations of sound. The sound to be presented (the piece of music / music track) is music preferably to be listened to from the sound reproducer through headphones. The audio files (pieces of music / music tracks) to be played through a computer can consist of application software. The systems for reproducing the sound in the invention are preferably electric. When the sound to be presented has been composed or converted to an electric form as digital audio data, the music produced in digital format as audio files. It can be stored on e.g. a computer and repeated with different storing and reproducing means in the form of audio files. The files are stored into a database / backend of the service provided by the invention. The music is served to users via mobile and laptop applications using APIs to access the database / backend of the service. The audio file(s) can be played through a device, such as a computer, by application software or hardware pieces. The audio files can be played by means of application software through different devices, such as tablets, personal computers (PC), laptops, or smartphones. The service may be provided by means of a user interface available from a computer or device, from which a user can select a desired combination of functions and parameters via a graphical user interface to make up the service to be used but usually there is a ready composed piece of music created in accordance with the principles of the invention. The realization of the service of the invention and the selection of parameters for the function constituting audio or sound, especially music, is based on science. Personalization Human responses to brainwave audio vary from person to person. Some people are very sensitive to it and will find it to have a very potent effect on their state of mind. Others may notice very little effect. Usually, listening to a certain type of music effectively alters brain wave speed, producing brain activity that has a therapeutic effect on the mind and body. Thus, certain sound frequencies, when combined in specific ways, can be used to alter brain waves e.g. to induce a state of deep relaxation. Brainwaves can be measured with a machine called an electroencephalograph (EEG). When being awake and alert, higher frequency brain waves tend to dominate, whereas lower frequency brainwaves become more pronounced when drowsy or asleep. These changes can be measured with EEG, just as it allows us to measure the brainwave frequencies of a person who is in a state of deep relaxation. Such measurements can be included in the service of the invention as additional functions, which are described more in detail later in the text. All parameters of the different functions might be selectable or be provided as default. Also, the number of functions to be used can be provided as a default or be selectable. A more personal approach would require a thoughtful consideration of a variety of functions and issues, including ethics, ethnic questions, clinical efficacy, cultural awareness, and client preferences as well as readiness. In some embodiments, the service might provide a variation of programs constituting an asset of different combinations of functions. In some further embodiments, the invention may provide programs, wherein a user even can select the different parameters to end up to a desired combination. This is because, the way of how the calming effect is achieved can vary somewhat from person to person and therefore there can only be general guidelines based on what people in average experience. The more senses that are involved in the service of the invention, the better aimed effect. Physiological measurements or functions for measuring vital signs can be provided as one or more additional functions to be linked to the use of the service of the invention. The measurements (used e.g. to measure the stress level) are performed before, during and after the use of the service, in order to see how the service impacts the body of the person that used the service. The measurements give quantitative results and show in which extent the service works or has worked. The measurements thus show this impact in numbers and people get quantitative results for qualitative feelings, such as to feel calm, rested, more focused and the feel of having more energy after use of the service. Such physiological measurements might include vital signs that indicate the status of the body’s vital (life-sustaining) functions. These measurements are taken to help assess the general physical and sometimes give clues to the psychological health of a person. There are four primary vital signs, i.e. the body temperature (BT), blood pressure (BP), pulse / heart rate (HR), and breathing rate / respiratory rate) (RR), of which the three last mentioned are most relevant in the invention, especially the pulse / heart rate and heart rate variability (HRV). Also some other physiological measurements that are measured via instruments that read bodily events are relevant in the invention and they might include heart rate change, electrodermal activity (EDA), muscle tension, and cardiac output. Also measurements of modern psychophysiology might be performed, including measuring brain waves by electroencephalography (EEG), including functional Magnetic Resonance Imaging (fMRI), electrodermal activity (EDA) (a standardized term encompassing Skin Conductance Response (SCR), and Galvanic Skin Response (GSR)), cardiovascular measures (heart rate (HR); beats per minute (BPM); heart rate variability (HRV); vasomotor activity), muscle activity (electromyography (EMG), electrogastrogram (EGG) changes in pupil diameter with thought and emotion (pupillometry), eye movements, recorded via the electro-oculogram (EOG) and direction-of-gaze methods, and cardiodynamics, recorded via impedance cardiography. These measures are beneficial because they provide accurate and perceiver-independent objective data recorded by machinery. In one embodiment, these measurements are performed during the use of the service and the user might then just get a report of the results after the use and possibly recommendations for functions and parameters for the next session. User feedback is followed and stored in a database for e.g. AI-based selection for presentation. Data will be stored about how certain music tracks impact the user in real time and during a longer time period. Meaning by getting data from measurement devices such as smart watches and rings at the same time while a user is listening to a music track we can analyze the impact of the track in real time, and also monitor which tracks the user has been using and what has been the impact over a longer time period. With this dataset we can learn what are the individual differences in reactions, what are the variables behind the individual differences, which tracks are the most favorable for each user and start to use this data to build a machine learning model for 100% personalized user experience that offers the right track, for right user, at the right time and for the right purpose. We might monitor the user over the time, see how her data evolves. For instance, for a person experiencing long term stress, heart rate variability tends to be low. By monitoring data, and asking qualitative questions, we can see how the service product of the invention impacts the user, and adjust the recommended playlists accordingly. In an other embodiment, the results of the measurements performed during the use of the service are used as an input to a program, which either recommend a combination of functions and parameters or a default program (the same or another one) for the next session to be used as the service of the invention or the program might suggest changes of functions and parameters, or change of default program during a service. The service can learn from the physiological measurements which combinations work the best generally for each purpose, and specifically for a given user. The service can design optimal combinations based on these measurements and recommendations for the next session are provided for the user. Through measurements and machine learning, the service learns which content combinations work best for a given user and his purpose (i.e. for relaxation, to improve performance, boost creativity, off-loading etc) and can offer optimal service combinations for the users. Algorithm The service can use an algorithm for optimizing the content combinations for the user’s need(s). The algorithm can compare the results of the measurements before, after, and over the duration of the service and possible user feedback to desired measurement results and can learn effective combinations of functions and / or parameters constituting the service for automatically changing those during the service and / or to be automatically used in the next session of the service or give recommendations for combinations of functions and / or parameters constituting the service. This algorithm uses the measurement results and user’s quantitative and optionally qualitative feedback in order to optimize the content packages for specific purposes. The quantitative feedback consists of the measurement results. The algorithm can help each person in each individual situation. The basis for the algorithm can in addition be a comprehensive academic literature survey. The algorithm can recommend appropriate tracks for a determinate period of time considering the hours of the day, task load, heart rate, stress levels and other subjective and objective measures of present state provided by the user. The data for the algorithm is collected from wearable devices, questionnaires and users’ calendars. Through that, an understanding of how user’s stress levels and other states are impacted by the service of the invention is achieved in realtime and over a longer time period. It is also possible to learn which kind of workdays are typical for a user and which kind of workdays are more stressful than the others. This data is used to anticipate stressful days, in order to help recovering during and after the service. Artificial Intelligence (AI) will be employed that uses historical data records, which will allow the system to learn how to adapt to each individual in a way that reflects and anticipates their behavior within the service reflecting e.g. music taste and liking for specific music characteristics, nature sound, piano solo, ambient music, EDM, etc. In one embodiment, the service might be able to take qualitative feedback from the user into consideration in optimizing a content combination, such as a rating from a user based on feeling. Such qualitative feedback can thus be given in a measurable format, when the user, after having used the service, rates how well the service helped him / her to achieve the stage the user was aiming to achieve. In a still further embodiment, the program might automatically change functions and / or parameters along with the measurements in accordance with a programmed strategy. Sometimes, there might be two or more or several sessions needed before the best program for a particular person has been found. In addition, the person him- or herself might need different programs over time or from time to time. Use The aim of the intervention is to produce music tracks and playlists that modulate the activity of the nervous system and thereby shift psychophysiological state along a potential continuum from deep relaxation up to focused creativity. The key of the innovation is to recharge and regulate the nervous system while the employee is working by utilizing audio treatments that reduce stress level, improve concentration and regulate the nervous system. The invention includes the methodology and audio technology designed to shift the psychophysiological state and thereby impact the nervous system of employees without them actively listening to the audio treatments or doing nervous system regulation activities like breathing exercises and meditation. The invention has been created for that purpose - to alter the psychophysiological state and nervous system without intervening with the user’s work process. Music tracks are created that shift psychophysiological state and modify the activity of the nervous system along a potential continuum from deep relaxation up to focused creativity. Advantages The music methodology of the invention gives an immersive experience to users and leads to wellbeing benefits that until now could only be achieved partially with pharmaceuticals or expertise dependent relaxation techniques, non-medical approved, such as yoga and meditation. The variable parameters of the sound in both the preliminary music composition and the piece of music to be composed and the combinations of the functions and parameters are especially selected and designed for the purposes of relaxation, improving performance, boosting creativity and / or a general off-loading of the brain. The choices are in each case based on a scientific body of evidence that support the use of the selected parameters. The invention provides a unique combination of critical elements of musical artistry from a new approach on the basis of each of audio engineering, music psychology and neuroscience. The invention provides a user-friendly, easy-to-use and practical application of using sound and music to maintain or shift psychophysiological state through the action of the sound on the nervous system. The music of the invention also modulates physiological and pathophysiological processes, with longer term use enabling greater nervous system regulation and stability. There does not exist earlier known music that would have been especially created by taking different elements of music into consideration also from a therapeutic view. Thus, the invention uses psychophysiological, nervous system and brainwave impacting music to enhance the quality of life of users depending on their daily needs whether that be to experience deep relaxation, self-confidence, stress relief, pain management, improving concentration, and / or improving the quality of one's sleep. Whenever it comes to finding the right combination of functions and parameters to make up the service to be experienced, the aim is to provide a possibility of a time of regulating the nervous system and de-stressing while working or doing other activities The invention provides a user friendly, quick, and local help for such a goal. In contrast to pharmacological methods for stress management and cognitive enhancement, the invention provides a non-invasive approach for handling relaxation, concentration and / or engagement of working capacities to its users without the need for intensive training or break times and without the danger of side effects or dependency. The inventive methodology of music production puts together music industry techniques with science based proven research for a better result for those who listen – from the health point of view – as well as bringing an innovative and high resolution of music in comparison to the ones available in regular streaming devices. Evidence of effect has been gathered by scientific monitoring. Pilot data shows between a 30% and a 45% decrease in stress-related symptoms in a month, as measured using the Karolinska Exhaustion Disorder (KEDS), a validated tool from the academic literature. Furthermore, 63% of 200 new users reported a reduction in stress levels after listening for 10 minutes, whilst 73% of regular users reported increased productivity following use of the product of the invention. Data therefore supports the argument that the invention exceeds the stress reduction potential of existing sound therapies designed for corporation purposes (e.g. Calm). A detailed discussion and example of the functions and parameters that make up the service is presented in the detailed description part. FIGURES The Figure is a flow scheme describing the methodology of the invention for creating music for psychophysiological change and nervous system regulation. DETAILED DESCRIPTION The method of the invention is intended for composing music tracks for psychophysiological change and nervous system regulation, mixing them to optimize brain and body impacts as well as enhancing and optimizing aesthetics, and providing curated playlists for defined everyday purposes and situations, and is presented as a flow scheme in figure 1. As a first step 1, a preliminary music composition is a preliminary track composed as a starting point according to certain requirements. Minimum requirements (i.e. fixed elements) are defined as criteria as described above in the summary section but there can be additional needs or desires to be met in certain cases (i.e. variable elements). A basic requirement is associated with its frequencies that are selected on the basis of the type of brain waves to be affected but different frequencies for the music to be used in the service of the invention can also be selected as default. Several other fixed criteria can also be defined for the preliminary music composition to make it suitable as a start for the music track to be composed. These criteria might relate to e.g. minimum length, pattern, structure, tempo, beat, and instruments etc. to be used to play it as was presented above in the summary. In addition, each preliminary music composition can have an ad hoc purpose (a.k.a. sub purpose) and tone according to the intended outcome. In step 2, the preliminary music composition is mixed with the aim of creating a clear and balanced product that includes binaural beats and spatialization in surround sound. The preliminary music composition is composed digitally with addition of live recorded instruments, if desired, as e.g. several lines of music, which represents the ‘raw’ state of the music that is then exported into stems. Stems are stereo or mono recordings exported from the original sessions where the composed worked that resolute to multiple individual tracks, representing the individual instruments, such as drums, violins, piano, and bass etc. Frequencies might be adjusted by addition, subtracting and / or adjusting the volume of different frequency bands within the preliminary music composition by an equalization method supported by compression or other techniques. It is then processed into an encoded surround sound version using in 3º order B Format Ambisonic and exported as a stereo track with binaural panning information. In step 3, the composed music track is then placed in a database, such as a backend database, along with labels presenting the determined parameter values. The labels can also include information of its title and composer. In step 4 it is determined whether the music track should be placed in an existing playlist or a new playlist to be created. Curated playlists of music tracks are organized or planned to be organized for the user according to specific daily purposes (e.g. to sleep, to commute, to work, to escape). If a suitable playlist exists (preliminary with respect to its purpose but also desired values of fixed and variable elements with which it is tagged), then the process continues directly with step 6 by placing the music track in an existing playlist. If a new playlist is to be curated, then in step 5, its purpose is decided first and then values are decided for different fixed elements; the length, a trajectory, and a tone are selected, which should match the defined purpose, and also for different variable elements. The variable elements consist of parameters that can be the same or vary along the playlist and they consist of the binaural beat, audio gain, and felt Beats Per Minute (BPM) for the music track. The new playlist is labelled with tags according to the determined values to parameters of said fixed and variable elements. The music track can then be placed in the curated playlist in step 6, by storing the labelled music track in a suitable playlist of several composed tracks of music either of similar labels (where the intention is to stay in a desired state, such as focus) or alongside labels that represent the intended trajectories in the case of a dynamic playlist (e.g. commute increases in energy by increasing Binaural Beats trajectory. The position of the music track is curated in an existing or a new playlist, which has been created according to defined values of fixed and variable elements that match defined features of the music track. It has been decided what type of music tracks the existing playlists should comprise and in which order. When the composed music track is to be presented to a user in step 7, it might be searched by users themselves according to intended need on the basis of the purpose of the track or other elements including its tone, binaural beat range or style. The user may also select a playlist based on the purpose or its other elements therein as defined above (which might be named as in the following examples). The user can choose an individual music track to listen to or choose a playlist and listen successively to all tracks in a selected playlist. When there is enough data in the database, the music track might also be selected by means of Artificial Intelligence. The selected music track is then presented in step 8 for a user through e.g. an application in a sound reproducer. After use, the user can give feedback to the database in step 9. This feedback is collected and can be used later by Artificial Intelligence. EXAMPLES Each Playlist has a Purpose and is defined by the fixed and variable elements defined earlier. Thus, the Purpose, Length, Trajectory, Tone, Binaural Beat profile, Audio Gain profile, and Felt BPM profile are defined for each Playlist e.g. in the specific order shown in Table 1. Examples are given below in Tables 1 - 4, and each Playlist will eventually be defined by means of a table like this. Example 1 The piece of work created in example 1 is meant to give energy and improve the mood for a person when e.g. going to work. The values of all elements match this purpose. Title Commuting Bliss Purpose Energized, Mood improvement Length 50 mins Trajectory Upward Tone Inspiring , Energetic Binaural beat Alpha, beta Felt BPM 50 - 90 Audio Gain Dynamic, low to high TABLE 1: COMMUTING BLISS Example 2 The piece of work created in example 2 is meant to relax a person who is stressed and tired and improve the mood. The values of all elements match these purposes. Title Against Frustration Purpose Relaxation, Mood improvement, Escape Length 50 mins Trajectory Upward Tone Inspiring Binaural beat Alpha Felt BPM 45 - 70 Audio Gain Dynamic, low to high TABLE 2: AGAINST FRUSTRATION Example 3 The piece of work created in example 2 is meant to energize a person, who is e.g. working and wants to improve focus and concentration. The values of all elements match these purposes. Title Work with the flow Purpose Concentration, Energized Length 45 mins Trajectory Upward Tone Inspiring, mellow, happy Binaural beat Alpha to Beta Felt BPM 50- 90 Audio Gain Dynamic, low to high TABLE 3: WORK WITH FLOW Example 4 The piece of work created in example 2 is meant to energize a person, who is e.g. working and wants to improve focus and concentration. The values of all elements match these purposes. Title Sleepy Time Purpose Relaxation, Escape Length 40 mins Trajectory Downward Tone Relaxing , Happy Binaural beat Low alpha, theta, delta Felt BPM 35 - 70 Audio Gain Flat, Low TABLE 4: SLEEPY TIME

Claims

CLAIMS 1. Method for composing one or more music tracks for psychophysiological impact and nervous system regulation by one or more defined effects, comprising a) composing a preliminary music composition by determination of values for musical features for each track to be composed, b) mixing the preliminary music composition by including binaural beats and surround sound and achieving one or more music tracks, c) storing each music track with labels about some of the determined parameter values in a database.

2. Method of claim 1, wherein the values for the musical features are determined for each music track to be composed based on defined fixed criteria, which consist of at least one of frequency range, pattern, line, length, harmony, beats, tempo, instrumentation, style, sampling rate, and on variable criteria, which consist of the purpose and optionally tone of the track to be created, the criteria being defined in order to achieve the defined effect(s).

3. Method of claim 2, wherein the frequency range of the preliminary music composition is within the range of 20 – 2000 Hz depending on instrument used and its timbre.

4. Method of claim 2 or 3, wherein the preliminary music composition has a cyclic pattern.

5. Method of any of claims 2 - 4, wherein the preliminary music composition has a harmonally coherent structure based on established rules of Western Tonal harmony.

6. Method of any of claims 2 - 5, wherein each music track has a length of at least five minutes.

7. Method of any of claims 2 - 6, wherein each music track is labelled with 24 bits and a sample rate of 48000 HZ along with the length of the final music track exported as one single master.

8. Method of any of claims 2 - 7, wherein the preliminary music composition consists of at least seven different instruments, and optionally includes foley and / or other sonic textures.

9. Method of claim 8, wherein instruments that are suitable to be used are exemplified by instruments that are accepted in the Western tonal harmony tradition and oriental music paradigm but also virtual created instruments and sound designed sonorities.

10. Method of any of claims 2 - 9, wherein the tempo of the preliminary music composition with respect to average Beats Per Minute (BPM) is within 40 -120 bpm, preferably 50 – 70 bpm.

11. Method of any of claims 1 - 10, wherein the surround sound mixed with the preliminary music composition is integrated in 3° order Ambisonic B-format.

12. Method of any of claims 1 - 11, where the trajectory of surround sound is maintained in circulatory motions using the entire atmosphere of the surround sound as different points of sound positioning.

13. Method of any of claims 1 - 12 wherein each track is organized with said labels in the database for presentation as such or by placing it as a part of a music collection, which is in the form of one or more playlists of several music tracks, wherein each playlist is tagged by determined values of fixed and / or variable elements.

14. Method of claim 13, wherein the fixed elements tagged for each playlist consist of purpose, length, trajectory, and tone, the determined values of which matches with those of the individual tracks.

15. Method of claim 13 or 14, wherein the variable elements tagged for each playlist consist of binaural beat profile, audio gain, and Beats per Minute, BPM, the determined values of which matches with those of the individual tracks.

16. Method of any of claims 13 - 15, wherein the presentation of each track and / or playlist is followed by storing user feedback for AI-based selection for presentation. 17.Method of any of claims 1 – 16, wherein the defined effect is a purpose selected for an individual track or as a fixed element of a playlist from at least one of work, focus, create, relax, sleep, commute, mood, boost, energize, and escape.

18. Method of any of claims 2 – 17, wherein the tone is defined as a fixed element from at least one of the following: moving, inspiring, mellow, sentimental, relaxing, energetic, happy, intense, and sad.

19. Method of any of claims 13 - 18, wherein a profile for the trajectory is selected to vary dynamically according to one of four directions being an upward trajectory, a downward trajectory, an U-shape trajectory and an inverted U- shaped trajectory.

20. Method of any of claims 13 - 19, wherein the variable elements consist of a binaural beat profile, an audio gain profile, and felt Beats Per Minute (BPM) profile.

21. Method of claim 20, wherein the binaural beats are selected to be fixed or dynamically changing along the playlist by selecting the brain waves to be induced from Delta, Theta, Alpha, Beta, and Gamma in accordance with the defined purpose.

22. Method of claim 20 or 21, wherein the felt Beats Per Minute (BPM) is selected to be fixed or dynamically changing along the playlist from low, slow, mid range, moving, or fast speed of music.

23. An audio service product in a public telecommunication network for psychophysiological impact and nervous system regulation defining one or more effects and presented as a playlist of one or more music tracks being labelled with determined values for musical features, each music track including binaural beats and surround sound.

24. Audio service product of claim 23, wherein the musical features consist of frequency range, pattern, line, length, harmony, beats, tempo, instrumentation, style, sampling rate, tone and purpose, the values of which are in accordance with any of claims 3 – 10, 13 - 14, and 16 – 22.

25. Audio service product of claim 23 or 24, wherein the surround sound has the 3° order Ambisonic B-format.

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