28581 - Psychology of Music (1) (2nd cycle)

Course Unit Page


This teaching activity contributes to the achievement of the Sustainable Development Goals of the UN 2030 Agenda.

Good health and well-being Quality education Reduced inequalities

Academic Year 2022/2023

Learning outcomes

The course will outline the most recentstudies on music and emotion according to philosophical, musicological, psychological, biological and anthropological perspectives.The composers,performers and listeners pointsof view will be taken into account. Music and emotion studies will be presented within the actual musical education context.

Course contents

Music and emotion: multidisciplinary perspectives. Psychological theories on emotion. The influence of music structure on emotional expression. Communicating emotion in music performance. Emotions in everyday listening to music. Educational perspectives


1)  P. Juslin and John Sloboda, Music and Emotion. Theory and Research, Oxford University Press, Oxford, 2001.

or the following readings:

1)A. Mado Proverbio, Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza, Zanichelli, Bologna, 2019.

2) A. Mado Proverbio, Percezione e creazione musicale. Fondamenti biologici e basi emotive, Zanichelli, Bologna, 2022.

3) R. Caterina, G. Magherini e S. Nirenstein Katz (a cura di). Crescere con la musica. Dal corpo al pensiero musicale. Firenze: Nicomp, 2009.

Teaching methods

Traditional lectures. 

Assessment methods

Students who regularly attend the class  will be examined individually on topics which have been discussed during my lectures.  Not attending students will do an oral examination on the suggested readings. 

The evaluation of all these tests will be qualitative. Achieving an organic vision of the issues dealt with, the possession of expressive mastery and a specific language, the originality of reflection as well as the familiarity with the tools of analysis of psychology of music will be evaluated with excellent marks. Mostly mechanical or mnemonic knowledge of the subject, unmanaged synthesis and analysis skills, or a correct but not always appropriate language, as well as a scholastic domain of psychology of music not going further from what has already been discussed during the, will lead to good or fair evaluations. Lack of training or inappropriate language, as well as a lack of knowledge of the tools of psychology of music will lead to an evaluation that will stand on the threshold of sufficiency. Lack of training, inappropriate language, lack of orientation within the bibliography and inability to analyze the psychology of music can only be evaluated negatively

Teaching tools

Power point presentations. Musical examples. Didactic materials.

Office hours

See the website of Roberto Caterina