The word "emotion" in the field of art and especially in music presents us with a paradox. On the one hand, the word is widely avoided, on the other hand omnipresent. It is clear that emotion is consistently present in musical performance. There are two essential participants in the field of classical music: the musician and the listener. My aim is to bring these two groups closer together by trying to understand the listener's emotional reaction to music and by giving the artists the tools to trigger, control and manipulate these emotional reactions. I believe that parameters of the composer such as harmony, melody and rhythm, in combination with the parameters of the performer such as dynamics, tempo and phrasing are influencing the listener's emotional level. Using emotion measuring theories, such as the ATT (Aesthetic Trinity theory), together with the theory of expectations I intend to discover which exact parameter combinations and techniques are responsible for the fluctuation of emotional intensity. I intend to focus on passages in music where the listener experiences a climax of emotional intensity and features physiological reactions such as thrills and gasps. Once I fully understand which parameter combinations are responsible for these reactions I will collaborate with musicians in order to add my findings to their own artistic practices. The history of art proves that recontextualization of "old musical material" into a contemporary setting can enhance artistic creativity. My personal artistic output will be: compositions for piano, chamber music pieces and a piano concerto composed and performed by myself based on the extracted parameter combinations.