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Fig. 11.1 Pierre-Henri
Vulliard at the March é de
Lerme
Fig. 11.2 Ga
l Domenger
using eMotion and MuZICO
softwares
ë
Schmidt 2003 ). Some exploratory experiments have been carried out from the start
of the project by one of the authors, involving professionals such as masseurs and
hypnotists.
11.3
Interaction Between Emotions and Synthesis of Music
11.3.1 Representation of Emotions
We propose here a generalization of vigilance states to emotional states in order to
increase the expressive potential of the musical generation, by adding a second
 
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