“At the moment a god manifests the will to bring himself or another god to life, to cause heaven and earth to appear, or to create humankind, he produces a sound. He exhales, sighs, speaks, sings, cries, screams, coughs, spits, sobs, thunders, or plays a musical instrument. In other cases, he makes use of a material object that symbolizes the creative voice. The source from which the world emanates is always an acoustic source” ([38]).

This ancestral image of the sound that gives life recalls the idea that human existence originates in a profound,primitive resonance with the world, to which one would generally wish to return.

According to the phenomenological view of the German philosopher E. Husserl, access to an experiential modethat precedes any classification or analysis of a rational and conscious nature is possible only through the phenomenological epochèor suspension of judgment, which places in bracketseverything that is already known in order to gain access to a pre-categorial dimension.

Only through this freely chosen act is it possible to draw near to and belong to the World-of-Life, in German Lebenswelt, thereby arriving at a profound confrontation with the darkness and mystery of the origins that precede consciousness: in this way, the psyche “expands and gives life to the world around it, endowing it with meaning” ([7]).

For E. Straus, a German-American psychiatrist and phenomenologist, subjective knowledge of the world always occurs through an aesthetic experience([43]), divided into two alternating moments: first, sensation, which predisposes the body to seek meaning in relation to an event; subsequently, perception, which is connected to psychic processes and, through language, tends to offer an interpretation. Aesthesiologyis the discipline that studies the functions of the senses, understood as specific spiritual characteristics that are suited to provide a differentiated representation of the environment: “The eye gives us the structure of the world, the skeleton of things; with the ear, instead, we listen to its beat, its pulse”. Sounds lack contours and boundaries, and for this reason, each interpenetrates the others, sometimes merging harmonically and consonantly, sometimes expressing itself dissonantly. Since sound “is born and dies,” it represents the natural narrative medium of human experience, understood as a functional unity between subject and environment, within which no genuine separation exists, as mutual influence occurs. Previously, the Russian psychiatrist E. Minkowski had regarded the environment as a complex of inner and outer experiences, without distinction, capable of determining a particular flow of life: “And this environment, once again, is neither a set of external stimuli, nor of atoms, nor of forces or energies; it is a moving wave that envelops us on all sides and constitutes the medium without which we could not live” ([28]).

Contrasting with this phenomenological perspective is the thymic space, laden with emotional meaning,proposed by the Swiss psychiatrist L. Binswanger,who also reflects on the function termed estrospection([2]), understood as the capacity to projectsubjective experiences onto the surrounding world. This is an extremely interesting idea that anticipates, by a considerable margin, the neuroscientific conception of the extended mind. The thymic space, in this sense, becomes a place characterized by an affective tonethat the Subject confers according to their personal state of mind. In this way, a specific coloringis attributed to the surrounding environment, which can in turn influence one’s personal way of seeingand feelingobjects. Many individuals may overuse,overestimate,or amplifytemporal horizons when they experience a thymic space, whose sonority in turn brings about a continuous transformation of moods, thoughts, and the very perception of time. This distinctive phenomenon is termed chronodesis.

For T. Fuchs, consciousness is even embodied in the acting body(enactive consciousness),and is not considered confined to the brain, although the latter is regarded as indispensable for the emergence of consciousness. Experiences, sedimented in bodily memory, progressively guide human action in the world, according to a circular and interactive structure ([17]).

Acousmatic music, by virtue of its distinctive structure, offers a syncretic perspective on the concepts discussed above, primarily by bringing the human mind closer to its origins, to the original substrate of acoustic perceptions and of Life. Moreover, listening fosters a somatic experiential modalitybecause it acts on sensations and inner perceptions, producing an expansion and an alteration not only at the level of space, but also of time. It stimulates a tendency to dwell on the present moment, on the here and now, due to the lack of musical links with long-term memory and the difficulty of projecting oneself into the future time of the sonorities, which are highly unpredictable.

Moreover, the continuous changes in register create a soundscape so rich in emotion-generating stimulithat it fosters a particular sensitivity to sound that is not evident in other acoustic experiences, even when these are lived with great intensity. Through technical strategies, the composer can accompany the listener and guide him through a range of sensations and emotions that alternate and succeed one another along a specific trajectory, which is difficult to reproduce with traditional instruments. The internal reverberation of the sonorities, together with the sharing of the experience with the musician and with the group, contributes to the perception of mind-body unity because it facilitates the mentalization of somatic experiences, which are so important for the development of self-reflective capacity and the Self, according to P. Fonagy’s view ([16]).

The primary aim of our research is precisely the experimental investigation of intersubjective experiences, co-generated in one or more present moments and structured according to a musical program created by the Composer. According to the cognitive psychologist D. Stern ([42]), every mind is constituted solelythrough the ongoing interaction of self-organized brain processes with the environment and with other minds. Emotions, therefore, are generated primarily through an act of shared participation, enabled by a common evocative experience.

In this direction, research onemotional intelligence, as examined by D. Goleman ([18]), identifies five components that a musical laboratory with acousmatic elements could help adolescents develop: self-awareness (the ability to achieve outcomes through the recognition of emotions), self-regulation, motivation, empathy (the ability to perceive the Other through a flow of contact), and social skills (interaction and understanding of intersubjective dynamics).

Within recent neuroscience research, it is necessary to consider the importance of the psychosomatic perspective of the Portuguese neurophysiologist A. Damasio ([12]). According to this new conception, the mind is represented and experienced within the body(embodiment), as it constitutes the meeting point between the biological and experiential aspects of an organism, which are continually modified by sensorimotor activity and by stimuli originating from the environment. According to the renowned researcher, all mental processes, conscious and unconscious, as well as emotions and language, areembodiedand, therefore, linked to somatic physiological activity.

Emotions are regarded as adaptive responses associated with biologically determined processes, dependent on brain structures shaped over the course of evolution and automatically activated, which regulate and represent bodily states.

The change produced by the activation of specific subcortical circuits constitutes the substrate from which thefeelings of emotions originate, that is, the perceptions of a change in the subjective emotional experiences of which one is conscious and which appear asimages (maps),spontaneous representations of bodily state. As soon as an emotion develops, a real-time change occurs in bodily maps, generated within brainstem regions and the insula. Knowing the feelings of emotionsis therefore indispensable in order to becomea mind-oriented organism geared toward survival, through the application of specific corrective behavioral maneuvers in the event of danger.

There are two types of emotion: primary, corresponding tothe five emotions universal basic emotions identified by P. Ekman ([15]) (joy, fear, sadness, disgust, and anger), with the variants: (sadness) melancholy and dissatisfaction, (fear) panic and shyness; secondary or social emotions, such as embarrassment, jealousy, guilt, and pride, which are more elaborated, also depending on the culture of belonging.

Some emotions are specifically individual and linked to past experiences: they elicit automatic emotional reactions in response to certain stimuli (somatic markers).

When a new emotion arises, neurons in the hypothalamus, basal forebrain, and brainstem release chemicals such as serotonin, norepinephrine, and dopamine that affect other, higher brain regions, temporarily altering the functional mode of many neural circuits.

In any case, each emotion is characterized by specific schemas and subjective experiencesand activates particular brain regions: for example, sadness stimulates the ventromedial prefrontal cortex, the hypothalamus and the brain stem; fear and anger activate only the brainstem. Therefore, the modeof the subjective emotional reaction does not change over the course of life, even though the reasonsthat may elicit particular responses differ.

Moreover, there are background emotionsthat constitute the overall self-perception of the bodydependent on posture, facial expression, the speed of eye movements, and bodily movements, from which we derive a general sense of well-being or ill-being. For example, when intense joy is perceived, one no longer feels the background emotion, but experiences the feeling of a new emotion.

Typically, the inducers of background emotions are internal—reasoning processes or thoughtsthat may promote the representation of th internal state; however, in many cases, they are linked to specific environmental stimuli. One may experience, such emotions of background, tension or relaxation, fatigue or energy, anticipation, or fear. Background emotions are signaled primarily by the viscera and by the internal milieu(the internal state of a particular organism). The latter helps the organism maintain homeostasis by modulating its functioning in response to events in the external world.

“The internal milieusends signals to the brain: not through the nerves, but by relying on chemical substances that make their way directly into certain parts of the brain predisposed to receive their messages” ([13]).

Sensations also contribute to the perception of the internal milieu.

In the body, there are three sensory-detection systems: interoception, proprioception, exteroception.

Interoceptionrecords the body’s internal state. This includes sensations of hunger, thirst, drowsiness, alertness, body temperature, tension, pain, or restlessness. Sensory neurons carry information from muscles, organs, and connective tissue to the brain. By contrast, proprioceptionrefers to the body’s position in space in relation to gravity. This awareness enables balance and is activated by neurons that send sensory information from the body’s joints and the inner ear to the brain. Finally, exteroceptionrefers to the sensory experience of the external environment, facilitated by sensory neurons that, from the body’s periphery, transmit sensations to the brain through the five senses.

Perceptions of an organism’s internal state, at the origins of existence, during the first months of life, constitute the primordial feelings, understood as a rudimentary sketch of the capacity to feel as a function of the bodyand to recognize oneself as an entity separate from the external world. This primitive Self, spontaneously generated, can be identified as the Proto-self, a first elementary form of consciousness, accompanied by a progressive sense of bodily individuality relative to the environment. For the emergence of the Self, necessary neural-organization devices such as the superior colliculus and associative thalamic nuclei are required; these interact with the regions that generate the Proto-self, namely the brainstem, the insular cortex, and the somatosensory cortices.

Subsequently, the refined maps will give rise to the mind and to the core Self,endowed with perceptual intentionality, which makes possible awareness of feeling emotions and the relationship of the subject with a storable object, without yet having access to verbal language. Feelings(feelings) are formed thanks to core consciousness, that is, thanks to the capacity to feel emotions. However, consciousness remains something transient that manifests only when the subject has an experience, in the here and now.

Only progressively does the extended consciousness or the autobiographical Self emerge, which corresponds to the most developed and integrated level of human consciousnessbecause it enables the ability to preserve and maintain memories of the emotions and sensations arising from specific experiences and to integrate them among others, thanks to the memory process.

Thus, the Self, continually evolving, represents the outcome of conscious mental activities of varying complexity and is able to continue its vital development, thanks to constant interaction with the environment.

Body, mind and sound are inseparable: indeed a sequence of sounds, cannot be translated into pure sensory data because it always points back to something else, something deeper, capable of intervening, thanks to hearing, at the level of embodiment.

The perception of music is thus organized: the sounds, originating from the external environment, pass from the ear, to the eardrum, to the cochlea, and to the brainstem, the first stage of the sound within the brain. In this area, the vibrations are decoded by duration, intensity and frequency (Figure 1). Above the brainstem is located the superior colliculus, which, through its seven cellular layers, connects, via the structures of the periaqueductal gray matter and the cerebral cortex,vision,hearing and movement, providing the body with spatial orientation and initial emotional recognition of external signals ([45]).The auditory information then passes to the thalamus, connected to the amygdala, which assembles it, grasps its rhythm and, finally, sends it to the cerebral cortex (temporal lobe) for the final attribution of meaning.

It is also necessary to consider the spatial position relative to the sound, the conditions of the auditory system,and,above all,the form that the brain assigns to the acoustic stimulus and that is integrated with musical experience, all variables capable of interacting with the sound and modifying it (Figure 2).

Moreover, music listening can influence the activity of theendocrine,cardiovascular,respiratory,and gastrointestinal systems.

Through this complex psychosomatic process, music is able to evoke emotionsand feelings of emotionsin many people: for some listeners with musical expertise, engagement is linked to appreciation of musical structure and composition, whereas for others emotional responsiveness is often elicited by associations with memory and recollection ([37]). Emotions not immediately connected to the type of sound, but rather to the structure of the piececan be defined as aesthetic emotions, although physiological responses triggered by particular timbres and rhythms are always present.

Figure 1. Anatomical table of the auditory system, in which are visible (Timpano) eardrum, (Coclea) cochlea and (Tronco Cerebrale) brainstem.

Figure 2. Anatomical table of brain areas linked to hearing. Two (insule) islands and two(aree acustiche) acoustic areas, located in cerebral hemispheres, are visible.

According to [19], music has the capacity to evoke emotions that are indispensable for the maintenance of an organism’s homeostasis because they activate innate physiological processes both at the level of the cerebral cortex(the insula and cingulate cortex, in particular for sadness,fear,and joy) ([4]; [24]; [41]) and at the level of the limbic and paralimbic system([5]; [23]; [52]).

Other studies have focused on the regions of the primary and secondary auditory cortex ([31]; [32]; [48]) and the inferior frontal regions ([6]; [22]; [46]).

Any unexpected change in acoustic features, pitch (frequencies), timbre, loudness, or timing can trigger an arousal response and intensify an emotional reaction. Physiological arousal, such as chills or changes in heart rate and skin conductance, often coincides with sudden changes in acoustic features, especially when unexpected ([40]).

With regard to listening to sounds perceived as pleasant, an experiment conducted by [3] showed, using Brain imaging (PET), an increase in blood flow, in specific brain regions accompanying the perception of chills, associated with increased respiration and heart rate, characteristic of the hyperarousal condition, with excitation resulting from activation of the sympathetic nervous system. Indeed, chill intensity was correlated, in rCBF, with increased activity in the ventral striatum, orbitofrontal cortex, insular and anterior cingulate cortex, and with decreased activity in the amygdala, hippocampus, and ventromedial prefrontal cortex. The musical passages during which these psychosomatic reactions occurred depended on individual personality characteristics ([3]).

Another study conducted by V.N. Salimpoor ([35]), using the same experimental methodology, also reported a increase in skin conductanceand a decrease in body temperatureduring moments when chills were perceived most intensely, accompanied by increased dopamineproduction in the nucleus accumbens, as the so-called reward circuit was activated during listening. The most surprising finding emerged when dopamine release was detected in the right caudate nucleus even during the anticipation of listening to music,as an anticipation of expected pleasure.

During adolescence, physiological dopamine deficiencymay lead to a compulsive pursuit of exciting conditions, often dangerous, capable of stimulating the reward circuit ([42]). Music could therefore represent a viable alternative to extreme experiences.

With regard to inharmonic sounds, A. Gritten and E. King ([19]) focused on the processing of dissonance, particularly in the parahippocampal gyrus and the amygdala, based on fMRI ([19]). According to the authors, the right amygdala may therefore be associated with emotions of fear and sadness in relation to unpleasant memories evoked by music. In these cases, alternating physiological responses may occur, characterized by fear (hyperarousal) or by emotional numbing and sadness (hypoarousal), as a result of the alternating activation of the sympathetic and parasympathetic nervous systems.

Other studies have focused more on the phenomena of synchronization of music with brain rhythms (Entrainment) ([25]; [30]), sometimes so intense as to cause trance phenomena in music ([20]), in that listening would be able to influence brain waves through rhythm and frequencies([1]).Indeed, the organization of the central nervous system is determined by bioelectrical processes that allow information to travel along neural circuits. Fluctuations in electricity produced by sounds give rise to electrical activity patterns, brain waves orbrainrhythms, detectable with anelectroencephalogram (EEG) and summarized in the table below (Figure 3).

Figure 3. Cerebral frequencies recorded with electoencephalogram, associated with the different types of brain waves.

The unit of measurement for brain oscillations is the Hertz(Hz), that is, the frequency of a periodic phenomenon equivalent to 1 cycle per second, whereas amplitude is measured in microvolts (mV). When music is listened to, it produces effects on brain frequencies because each musical note corresponds to specific frequencies. The generated sounds are converted by the inner ear into vibrations that are subsequently processed in brain regions (Figure 4).

Figure 4. Frequencies of the musical notes corresponding to the natural scale.

The compositional framework underlying the creation of Gabriele Barlera’s pieces was based primarily on the search for distinctive timbres. For this reason, the SOMA Laboratory instrument line was employed—specifically Lyra-8, Cosmos, Enner, Ether, and ROAT—which offers high timbral quality and enables the exploration of a new concept of sound. Two self-built noise boxes were also added for sound processing, featuring metal strings bowed with an arch, following an approach that combines elements of traditional acoustics with possibilities for electronic manipulation, thereby enabling the exploration of unique timbres and particularly rich sonic textures. Finally, a digital audio workstation running Steinberg Cubase Pro was integrated into the live electronics chain, suitable for managing pre-programmed sequences and for the complete recording of the performance. Sound manipulation focused on slowing down and retuning sounds to make them mysterious and surreal, as well as on dynamic changes, with sudden shifts from loud to soft or vice versa to evoke surprise or anxiety. To this end, continually different and shifting positions within the listening space were identified in order to affect listeners’ sense of safety or vulnerability.

The narrative approach of the compositions is intended to guide listening through specific moments—such as an introduction, climax, development, and conclusion—ultimately creating a fully fledged sonic story. The precise use of frequencies generates bodily vibrations and highly diverse reflexes that physically engage the listener; rhythmic impulses are indispensable elements of the compositions and tend to synchronize with the listener’s heartbeat, depending on the type of stimulation, to promote a range of behaviors that express the individual’s personal emotional state.

Specifically, in line with the experiment’s initial design, the compositional intent sought to elicit various emotional responses—such as excitement, joy, anger/rage, panic, anxiety, fear, sadness, and calm/harmony—through the use of particular frequencies, textures, rhythmic sequences, and masses sound balanced. Also the evolution of the spectrum sound and of the dynamics interactive has been carefully designed to support the development of a guided psychoacoustic pathway for subjects participants in the laboratory. The use of organic analogsynthesizers from SOMA Laboratory to construct emotional pathways is an innovative and compelling approach, as these instruments are characterized by their ability to generate dynamic, “animated” sounds, often shaped by external inputs and environmental interactions. This makes it possible to explore not only timbre but also the spontaneous and natural evolution of sound, creating genuine emotional narratives. The new generation of analog synthesizers consists of instruments designed to behave in a “biological” manner: they employ sounds that emerge from complex dynamic processes, often unpredictable, which require the musician’s presence and bodily contact. Their main features include chaotic circuits capable of producing variable sonic behaviors rich in texture, high interactivity—responding to touch, sensors, or environmental conditions—and a natural aesthetic, as the sound evolves as a living organism would. Creating works with this type of synthesis means creating emotional pathways, constructing sonic journeys that elicit emotions, as discussed in several studies by the composer Peter Scherer. The musician used a Moog synthesizer to systematically vary the configurations of acoustic cues, asking listeners to assign to the sounds the corresponding evoked emotional states.

The six pieces specifically composed by Gabriele Barlera for the laboratory project exhibit sonic characteristics corresponding to specific configurations of acoustic parameters, designed to elicit multiple psychosomatic responses, such as:

movement, comprising factors that predict rapid sequences, high registers, extensive use of harmonics in textures, sound gestures with sharply defined contours and wide variation in tonal fields, with a predominance of dynamic and bright parameters that tend to convey energy and intense stimulation; anger, achieved through the use of large spectral jumps, textures with modulated contours that are predominantly ascending and strident, broad variations in frequency range characterized by intense sounds, marked timbral energy, and dynamism conveyed through high pitches; fear, elicited through signals rapid and piercing acoustic, with sounds designed to convey tension and unease, including through high speeds and rising contours; joy, associated with lively and open sounds, with tonal variations that promote movement and positive energy; sadness, evoked by slow sounds, dark and descending, that evoke introspection and melancholy.

For these reasons, the relationship between acousmatic musicand body languageproves to be extremely fruitful for exploration artistic and educational purposes. The sounds produced constitute powerful expressive means that can touch deep emotional chords, tell stories, and convey universal symbolic meanings, capable of leading to a vibration of the soul and to a self/world resonance.

The specific frequencies employed therefore exert a pronounced influence also on corporeality, owing to their strong capacity to evoke primordial sensationsassociated with the soundscape: soundobjects act from the outside on the bodyand, conversely, giving rise to a resonant circuit of sounds that are sometimes distinct but more often overlapping.

For all these reasons, acousmatic music may elicit phenomena involving the activation of primordial feelings and of deep, archaic parts of the Self, such as those belonging to the Proto-selfor, more frequently, to the core self, that is, the consciousness of the object situated in the here and nowwhich, during listening, evokes a pre-reflective senseof subjectivity, specific to early infancy, linked to the initial representation of the body schema.

As the English composer T. Wishart states: “In listening […] we are left adrift in an entirely aural world […]. Sounds can once again assume some of the ‘magical’ power they must have had for pre-literate peoples. If we allow it, we can return to the stage of perception in which Myths have their power, where the environment is vibrant with meaningful sounds.” ([51]; cited in Polato, M., 2018). This evokes, as it were,primitive artthat recalls the unspoiled worldof Picasso’s masks, so close to the primordial forces of nature.

Moreover, empathic understanding during the performance of a musical piece is physiologically associated with the activation of the so-called mirror neurons. They are activated in parieto-motor regions, in Broca’s area, and across much of the premotor cortex and the inferior parietal lobule of the brain, both in the individual who physically executes the gesture with the acousmaticand in the individual who observes the same actions performed by the Other, as a result of embodied simulation([49]), that is, somatic resonance,unconscious,automatic,and pre-reflective, achieved through the internal representation of movement that occurs in both subjects. Thus, it is the activation of a neural mechanism, shared by observer and observed, by musician and spectator, that produces a co-transformationwithin co-presence, in reciprocal resonance. In this way, it is possible to understand how music acts within the bodyand how the gestures performed by the Musician can exert a particular influence on emotional perception.

The same activation of mirror neurons also occurs during small-group listening, aided by the observation of facial expressions and by the role of music itself, which fosters more collaborative and empathic behaviors, promoting in participants a sense of belonging and engagement.

In [9], It was demonstrated that the anterior insula can be regarded as a neural relay station between the mirror neuron system and the limbic system, which is involved in emotion processing, in order to provide a subject with an automatic representation of the musical stimulus ([9]) (Figure 5).

Figure 5. Example of processing visual and auditory and co-representation by watching a concert, through mirror neurons activity.

In conclusion, the musician J. Shacher (Shacher, 2019) argues that bodily characteristics, together with its ability to resonate, to remember, and to re-engage emotions through physical movement, help to create a shared rhythmic experience with the musician, which is essential for strengthening the sense of personal and social identity.

The results reported below are selected and presented based on the significance of the changes perceived in the body before and during the concert performance.

The transition from the Pre-listening (P) to Post-listening (D) phase was tested not only through significance (p-value), but above all through Cohen’s d, which measures the actual strength of the change. The study showed large effects in the emotional domain, with a peak value (d = 1.76) for panic. Non-significant data (e.g., relating to some physical sensations) have been reported in full to demonstrate the scientific integrity of our findings.

It was possible (with the invaluable support of Prof. Villella) to prepare the graphs depicting the continuous modulation of emotions following exposure to Prof. Barlera’s acousmatic music, which can generate an extremely rich soundscape characterized by ongoing musical variations. Using the recordings made during the musical/sensory workshop, it was possible to observe the participants’ movements: through their repeated transitions from one poster board to another, they indicated changes in their personal emotions (Figure 62), in response to auditory stimuli. Moreover, it was possible to investigate perceptions of anxiety and calmness/harmony that questionnaires alone had not examined in depth.

The graphs highlighting the most significant results are presented and analysed. Each graph shows the number of participants standing at a specific sign indicating the emotion subjectively perceived, depending on the moment in the musical piece. For the purposes of timing, a time interval of approximately 10 seconds prior to the photographic shot is considered as the reaction time required to allow participants to move to a new sign. This accurate recording makes it possible to identify the most common emotions within the group in relation to specific frequencies of the pieces.

Figure 62. Boys and girls on the mats, placed near the signs, in a moment of laboratory.

1’ passage:ABYSS

ABYSS unfolds like a wave, drawing the listener into a vortex of layered electronic sounds oscillating between dark textures and moments of sparse suspension. Its sonic architecture relies on the contrast between tension and release, between sounds that expand like distant echoes and pulses that emerge from silence, like fragments of submerged thoughts.

Duration track: 7 minutes and 25''

A rapid escalation (from 0 to 5) and subsequent stabilization (4) are observed for anxiety (Figure 63), whereas the calm/harmony curve (Figure 64), after a slight dip midway through the composition (from 3 to 1), subsequently rose again toward the end (4). This differentiated pattern, depending on the participants, already indicates that the emotional response is subjective and may also depend (as this is the first piece) on baseline emotionalstates before the concert and on the degree of personal involvement, depending on the characteristics of each composition. The group, with Abyss, is beginning to immerse itself in the soundscape and to orient itself among the different acousmatic timbres.

Figure 63. C.5 = Anxiety.

2’ passage:INTERFERENCE

INTERFERENCE is the sound of doubt, instability, and inner voices overlapping until they create a sonic landscape of colliding fragments. The piece investigates the insecurities of the human mind through an interplay of superimpositions and distortions. Each sound seems to strive to prevail over the others, generating an unstable equilibrium that is perpetually on the verge of breaking.

Duration track: 7 minutes and 10''

The anger/rage (Figure 65) reaches a peak (6) shortly before the midpoint (3 minutes from the beginning) of the piece and is reduced to zero by the end. Panic (Figure 66) peaks (5) after approximately 2 minutes and 30 seconds and then, after a slight decline, stabilizes at 3 before dropping to 1. Anxiety (Figure 67), by contrast, remains fairly constant throughout the composition (from 4 it decreases to 3). Fear (Figure 68) peaks at approximately 1 minute and 30 seconds (5); around the midpoint it declines (2), then returns to a higher level (4) at 4 minutes and 30 seconds, and then progressively decreases until the end (1). Calm/harmony (Figure 69) rapidly rises to 6, then after approximately 1 minute and 30 seconds drops to 1, and within a few seconds to 0; it rises to 2 after 3 minutes and 30 seconds; at 4 minutes and 30 seconds it drops to zero again, and then rises to 6 at the end of the piece. Indeed, in Interferencethe emotions experienced by participants are more variable and diverse.

Figure 64. C.8 = Calm/Harmony.

Figure 65. C.3 = Anger/Rage.

Figure 66. C.4 = Panic.

Figure 67. C.5 = Anxiety.

Figure 68. C.6 = Fear.

3’ passage:NO CONTROL!

NO CONTROL! is a piece that challenges the perception of time and space through a fragmented pulse and a constantly evasive, unstable sonic attitude, perpetually in tension. Rather than anchoring to a regular beat, the rhythmic cells seem to elude, dissolve, and reassemble into unpredictable forms, as if the mind were attempting to free itself from the constraints of time and structure in order to explore a more abstract, indefinable dimension.

Duration track: 5 minutes and 21''

Excitation (Figure 70) reaches 7 at 1 minute and 30 seconds into the piece, then drops to 1 at approximately 3 minutes from the start, and subsequently rises progressively to 8 at the end of the composition. Joy (Figure 71) starts strongly (7) and then decreases to 0 at 35 seconds, remaining very low until 3 minutes, then rising at 3 minutes and 15 seconds (4) and reaching 3 at the end. Anger/rage (Figure 72) rises to 7 at 35 seconds, then falls back to 0 at 1 minute from the start of the performance, then rises to 2, at 2 minutes from the start, and then at 2 minutes and 30 seconds drops to 0 and rises at 3 minutes of the piece (3), then decreases to 0 toward the end. For panic (Figure 73) the peak (5) occurs at 35 seconds from the start, after which it decreases and then rises again to 4 at 2 minutes and 30 seconds, before falling again to 0 at the end of the composition. Anxiety (Figure 74) increases progressively to its peak at 3 minutes from the start (6), then declines rapidly to 2 at 3 minutes and 20 seconds, and then reaches 3 at the end of the piece. Finally,

Figure 69. C.8 = Calm/Harmony.

Figure 70. C.1 = Excitation.

Figure 71. C.2 = Joy.

Figure 72. C.3 = Anger/Rage.

Figure 73. C.4 = Panic.

Figure 74. C.5 = Anxiety.

fear (Figure 75) reaches the peak (7) at one minute from the start, then decreases to 1 after 1 minute and 30 seconds from the start, rises to 4, at 2 minutes and 30 seconds, and then decreases progressively to 0 at the end of the performance. No control!, precisely because of the particular nature of its variations, elicited highly variable and discontinuous emotional responses among participants.

4’ passage:FRAGMENTS

FRAGMENTS is a mosaic of fragmented rhythmic impulses that emerge and dissolve within an ethereal soundscape, a suspended sonic exploration that is simultaneously rarefied and unstable. The piece is shaped by the contrast between motion and stillness: deconstructed, alien rhythmic cells seem to drift without any real point of anchorage, while static textures unfold in the background, as if time were suspended in an eternal present.

Duration excerpt: 5 minutes and 15''

Immediately, excitation arousal (Figure 76) begins; at 4 and within 30 seconds it rapidly reaches the peak (7), then declines fairly quickly to 0 at 3 minutes and 20 seconds. Panic (Figure 77) also reaches its minimum in about 1 minute and 30 seconds, dropping from 2 to 0, and then, at 3 minutes and 20 seconds, it rises to 4, immediately thereafter to 5, and then decreases again to 2 at the end of the piece. Anxiety (Figure 78) in 2 minutes and 30 seconds rises from 2 to 5 and

Figure 75. C.6 = Fear.

Figure 76. C.1 = Excitation.

tends to remain stable (4) until the end of the composition. Fear (Figure 79) decreases from 4 to 0 within 30 seconds, and then rises again to 2 at the end of the piece. Calm/harmony (Figure 80) is at 2 at the beginning and reaches 7 at 2 minutes and 30 seconds; it drops to 2 at 3 minutes and 20 seconds from the start, and then increases to 5 at the end of the performance. This indicates that Fragments, at the beginning, predominantly elicited arousal; midway through the piece, both anxiety and calm/harmony predominate, highlighting the extent to which emotional responses to music are subjective.

Figure 77. C.4 = Panic.

Figure 78. C.5 = Anxiety.

Figure 79. C.6 = Fear.

5’ passage:FRAGILE

FRAGILE is the moment in which the human soul strips itself of all artifice and confronts the unknown. The piece is a suspended sonic universe, an architecture of rarefied sounds that move slowly, allowing the sense of stillness before something unfathomable to emerge. At the center of the sonic gesture, there is a fixed, constant, and impassive frequency, a symbol of an invisible bond between the finite and the infinite, between human fragility and the idea of the divine.

Duration track: 5 minutes

Within 1 minute and 45 seconds, joy (Figure 81) decreases from 5 to 0; after a further 1 minute and 30 seconds, it reaches 1, rises to 3 after 35 seconds, and then drops to 0 at the end of the piece. Fear (Figure 82),within 1 minute and 45 seconds, increases from 3 to 5; at 3 minutes and 10 seconds from the beginning of the composition, it reaches 2; after 35 seconds it drops to 0, and then rises again to 2 at the end of the performance. Calm/harmony (Figure 83) follows a curve: from 0 it reaches 4 within 1 minute and 45 seconds; at 3 minutes and 45 seconds from the beginning of the piece, it reaches 5, then 6 (4 minutes and 30 seconds), and then gradually decreases to 2 at the end of the composition. Joy and fear exhibit continuous oscillation in Fragile; thus, these emotions are highly unstable, whereas the perception of calm/harmony follows a gradual upward trajectory and then declines in an equally gradual manner.

Figure 80. C.8 = Calm/Harmony.

Figure 81. C.2 = Joy.

Figure 82. C.6 = Fear.

Figure 83. C.8 = Calma/Armonia.

6’ passage:ETHEREAL

ETHEREAL represents the culmination of an inner journey, the moment when the soul rises and detaches itself from the uncertainties that have accompanied it. The piece opens onto a suspended soundscape, composed of rarefied harmonies and ethereal timbres that evoke abstract spaces of peace and relaxation. A central element of the composition is a percussive sound—almost a bell—small and distant, which resonates with disarming gentleness, granting the listener a sense of meditative depth and profound sacredness. The journey concludes, but this is not an ending; rather, it is an opening, instilling a sense of belonging to something greater and intangible.

Duration track: 9 Minutes and 18''

Regarding anxiety (Figure 84), the perceived level reached a maximum of 3 at the beginning, and then again at 2 minutes and 55 seconds from the beginning, subsequently oscillating between 2 and 3 for almost the entire duration, before stabilizing at 1 at the end. Sadness (Figure 85) was perceived in a slightly more intense manner, with a peak of 4 at 6 minutes and 30 seconds from the beginning, and decreased slightly (to 3), persisting until the end of the composition. In the final excerpt, calm/harmony (Figure 86) was experienced profoundly by most participants, peaking at 10 at 3 minutes and 30 seconds from the beginning. Ethereal primarily elicited calm/harmony (Figure 87) that, in several participants, persisted even after the concert, as indicated by the images and by the group discussion.

Figure 84. C.5 = Anxiety.

Figure 85. C.7 = Sadness.

Figure 86. C.8 = Calm/Harmony.

The acoustic spectrogram is a frequency-time plot showing the frequencies that constitute the sound wave as a function of time: the horizontal axis reports the temporal progression of the performance, expressed in minutes and seconds, whereas the vertical axis represents frequency values.

Figure 87. Boys and girls on the mats, placed near the signs, while listening to ethereal, at the end of laboratory.

Whereas frequency depends on the number of vibrations per second, sound intensity depends on vibration amplitude: the greater the sound wave amplitude, the more the sound perceived is loud, whereas a vibration at the same frequency but with lower amplitude produces a weaker sound. Spectrograms provide information about wave amplitude (and thus sound intensity), represented through a color code: sound intensity is shown with warmer colors (such as yellow and red), which indicate greater amplitudes, whereas cooler colors (such as blue and purple) indicate lower amplitudes.

In a spectrogram, light purple denotes low sound intensity relative to a specific high frequency at a given time point. Red, by contrast, indicates the opposite. Moreover, when interpreting the spectrogram, it is necessary to assess whether the combination of simultaneously very low and very high frequencies is associated with specific compensations and the resulting cancellation of the emotional effect (+1 and −1 = 0). Indeed, the emotional impact derives primarily from the relationships between the different frequency bands and from the way in which these support the content of a piece.

Spectral analysis was therefore used not only descriptively, but also to identify relationships between acoustic structure and perceptual response. For each track, a high-resolution spectral analysis was performed using the short-time Fourier transform (STFT) method, using the professional audio editing and mastering software WaveLab PRO 12, developed by the German company Steinberg Media Technologies GmbH, based in Hamburg. This analysis allowed us to observe the temporal evolution of sound energy across different regions of the spectrum. The spectrogram was then segmented into constant, short-duration time windows, transforming the continuous flow of sound into analyzable intervals in which to measure the distribution of energy across different frequency bands.

In each time segment, several spectral quantities, relevant to affective perception, were extracted: first, the energy distribution in three macro-bands—low frequencies (approximately below 200 - 250 Hz), medium frequencies (approximately 250 - 2000 Hz), and high frequencies (above 2000 Hz). This subdivision allows us to distinguish regions of the spectrum with different perceptual effects: low frequencies tend to produce a direct bodily impact, often associated with pressure or tension; medium frequencies are central to intelligibility and sound presence; high frequencies are more often perceived as bright, light, or airy. In addition to energy distribution, the spectral centroid, an indicator of sound brightness—high values correspond to brighter sounds, low values to darker sounds—and spectral density, understood as the degree of band filling over time and a possible correlate of perceived timbral complexity, were also analyzed.

A spectrogram was created for each of the six acousmatic compositions for live electronics by Prof. Barlera, and the frequencies of the pieces were correlated with specific reactions and psychosomatic experiences. The results for anxietyandcalmness are reported below. These mood states were found to be significantly modulated by specific sound frequencies.

1)ABYSS—Duration track: 7 minutes and 25'' (Figure 88)

Figure 88. Spectrogram of abyss.

Anxiety

The frequencies progressively increase to 2500 Hz at around 1 minute; at 1 minute and 50 seconds there is a slight interruption in the low frequencies, with a sudden decline. Subsequently there is a steady recovery until reaching 2 minutes and 30 seconds: at that exact moment anxiety is observed at 5. From that point onward, the frequencies remain compact and constant, at approximately 2500 Hz, for the entire duration of the piece: anxiety remains fairly stable (from 5 to 4) until the conclusion. Some intermittent frequencies also appear and remain stable at around 3000 Hz (lines with green-yellow coloration) up to 7 minutes (end of the piece).

The observed level of anxiety, indicated by the low frequencies, is partially mitigated by very high and brief frequencies (light purple) that, at certain moments, rise sparsely to 18,500/19,000 Hz and overlap across almost the entire track.

Calmness/harmony

The highest frequencies, corresponding to very high-pitched sounds, were probably detected within a range of very brief and sparse acoustic stimuli that rises and falls from 2500 Hz to 19,500 Hz (light purple shading), mirroring the oscillation of calmness. The rise is consistently alternated with drops between 1' and the end of the track, that is, at 7 minutes and 25 seconds, and this result corresponds to what is shown in graph C 8 (calmness/harmony).

2)INTERFERENCE—Duration track: 7 minutes and 10'' (Figure 89)

Figure 89. Spectrogram of interference.

Anxiety

Frequencies reaching up to 2500/3000 Hz (yellow-green coloration) remain stable in blocks starting at 0'35'' and throughout the entire track (and anxiety decreases from 4 to 3). Some interruptions are observed, with a decrease marked in frequencies, in particular between 2'58'' and 3'20'' (and anxiety from 3 drops to 2 at that moment). Frequencies decrease slightly at 2000 Hz and become more sparse only at the end of the track (and anxiety also increases from 2 to 3).

Calm/harmony

Calmness/harmony rises rapidly to 6 because high frequencies persist—up to 18,500 Hz—from the beginning of the piece; starting at approximately 1'40'', there is a sudden and progressive disappearance of the high sounds of light purple: from here the rapid drop to 0 in calmness, in order to then rise slightly to 2, at approximately 3' and 35''. Then, at 4'30'', there is another brief disappearance of the light-purple high sounds, which brings calmness again from 2 to 0; subsequently, the frequencies become more perceptible and distributed across differentiated bands starting at 5'20'' (and calmness rises to 6), with frequencies dropping to 13,500 Hz and appearing more sparse, more rarefied and in vertically parallel lines, in order to then return to 18,000 [ph 43] [ph 44]and above, from 6'25'' until the end of the piece.

3)NOCONTROL!—Duration excerpt: 5 minutes and 21'' (Figure 90)

Figure 90. Spectrogram of no controll.

Anxiety

At 3 minutes anxiety reaches 6 (and the yellow/green frequency bands rise slightly to 2500/3000 Hz and become more intense). In particular, from 2' and 40'' to 3' and 15'', the lower band (up to 250 Hz) turns red. Shortly thereafter, at 3' and 20'', anxiety decreases to 2 (and the red frequency bands nearly disappear). From 4' and 10'' to 4' and at 45'', the frequencies shown in red increase slightly. Subsequently, at 4'45'' and until the end of the piece, the low frequencies highlighted in yellow/green and red are almost completely interrupted (and anxiety increases slightly to 3). The high frequencies, represented by extremely thin light-purple lines, do not compensate for the numerous emotions elicited by the piece.

4)FRAGMENTS—Duration track: 5 minutes and 15'' (Figure 91)

Figure 91. Spectrogram of fragments.

Anxiety

Very low frequencies up to 250 Hz, shown in red and constantly present, promote a progressive increase in anxiety, which from 2 minutes and 30 (5) tends to remain fairly stable until the end of the piece (4). From 3'15'' to 3'30'', no anxiety peak is observed because the low frequencies in red and yellow/green, which at this point reach a peak at 1500 Hz, are strongly counterbalanced by the thin, more compact high frequencies that reach 18,500/19,000 Hz.

Calmness/harmony

Calm emerges to some extent from the beginning (2) and in intermittent bursts, because low frequencies (shown in violet) are continuously present and only rarely reach around 7000 Hz; from 2'20'' the frequencies drop to 2000 Hz and then rise rapidly at 2'30'' up to 10,500 Hz (calm at 7), subsequently reaching 18,500/19,000 Hz, with a peak from 2'55'' to 3'40'' that should have facilitated calm. However, these frequencies are strongly counteracted by low frequencies (highlighted in yellow/green, but especially red) precisely from 2'55'' to 3'35'', and calm thus drops to 2. Subsequently, the low frequencies become barely perceptible, giving way at 4'50'' to still high frequencies up to 15,000 Hz, which bring calm back to 5 at the end of the performance.

5)FRAGILE—Duration track: 5 minutes(Figure 92)

Figure 92. Spectrogram of fragile.

Calmness/harmony

By examining the frequencies marked in light purple, it can be observed that, starting at 1'30'', the frequencies, which had previously been continuous (up to 18,500 Hz), undergo a brief interruption, for then resuming at 1'40'' with block-like parallel frequencies that span different bands (and calmness reaches 4). After a drop at 2'40'', subsequently, at 3'40'', the frequencies decrease and remain constant at 8000 Hz (and calmness reaches 5). At 4'30'' the frequencies across different bands, horizontally parallel, resume up to 17,000 Hz (and calmness at that moment rises to 6). At 5'30'' the distribution of light-purple frequencies is barely perceptible; for a few more seconds it still covers different bands, and it becomes increasingly less distinguishable until the end of the piece (and calmness drops to 2). Low frequencies (highlighted mainly in yellow/green) are present, but in a truly intermittent manner. It is also interesting to note that the high frequencies, consistently indicated throughout the piece by sparse, horizontally parallel line blocks in light purple, kept anxiety at imperceptible levels.

6)ETHEREAL—Duration track: 9 minutes and18'' (Figure 93)

Figure 93. Spectrogram of ethereal.

Calmness/harmony

At the beginning of the excerpt, high frequencies are already present, with light purple lines forming small blocks arranged in vertically and horizontally parallel patterns. The light purple frequencies are constant and sparse, becoming more perceptible and distinguishable up to 9000 Hz. Extremely faint frequencies around 18,000 Hz begin to appear approximately 40 seconds after the start of the excerpt, but they are more detectable from 3' and 25'' from the beginning of the composition because they become more continuous and frequent. At that moment, calmness reaches a peak of 10, then drops to 0 at the end of the excerpt and subsequently returns to 6 when the composition ends and participants remain silent.

Anxiety

A very low level of anxiety emerges during listening, fluctuating between 2 and 3 for almost the entire piece. However, there is a time window between 4' and 5'40'' during which no anxiety emerges (0); at that moment, the green-colored frequencies, highlighted intermittently, which previously extended up to 2500 Hz, disappear from 4'30'' until 5'40'', with a background tone below 500 Hz. Then, after rising again to 3 at approximately 8'30'', anxiety drops to zero at the end of the piece. Moreover, the very low and constant frequencies below 500 Hz, with very slight superimpositions of yellow/green lines extending up to 2500/3000 Hz, were frequently offset by the high frequencies present in the piece, up to 18,000 Hz.

Sadness, among all the emotions elicited by acousmatic music, was generally the least perceived by the group during the concert, except in the final piece, in which it nevertheless did not exceed 4. Anger/rage peaked in the 2nd (6) and 3rd piece (6), whereas in the other compositions, its perception was extremely limited (2). Joy was also perceived in a very intense manner at the beginning of the 3rd (7) and of the 5th piece (5), only then to decrease rapidly over the remainder of the duration of the compositions and shift toward other emotions. Except for the penultimate piece, anxiety was consistently reported as a constant element, with peaks of 5 in the 1st and 4th piece and 6 in the 3rd. However, in the final composition, Ethereal, this emotion proved rather moderate: indeed, the peak reaches only 3. Excitement was perceived very intensely in the 3rd (8) and in the 4th piece (7), whereas in the remaining pieces it was not particularly significant. Fear was perceived in particular in the 2nd and 5th (5), while in the 3rd piece (7) it reached its peak. Panic in the 2nd, 3rd, and 4th piece was the emotion that maintained stable peaks at 5, reaching 6 in the 6th, whereas calm/harmony reached as high as 10 in the final composition, and had already reached 6 in the 4th and 5th piece. The last three compositions were probably perceived as more relaxing and, in any case, in the final minutes theemotionaloutburst previously experienced underwent a positive dissolution into tranquillity and reconciliationwithoneselfandwiththegroup, as shown in the images. Toward the end of the concert, the boys and girls gathered almost entirely around the final poster, such that the physical distances between participants were markedly reduced, to the benefit of greater proximity and a stronger shared experience of emotions.

During the discussion, following Prof. Barlera’s performance, the participants expressed their enthusiasm for the compositions performed in live electronics and highlighted their surprise at the wide variability of emotions and sensations perceived during the performance of the six pieces. The students also experienced an altered perception of the passage of time and did not believe that 40 minutes had already elapsed.

Thus, thanks to the line of organic synthesizers of SOMA Laboratory, it was possible to experiment with the extremely diverse and discontinuous range of arousal, joy, anger/rage, panic, anxiety, fear, sadness, calm/harmony, a key objective of our music laboratory.

As we had assumed, gender reaction to acousmatic music should show significant differences, such as great relaxation, calmness, and ability to unwind, at the end of the concert, in males; great panic, fear and anger/rage during the concert and, consequently, less relaxation at the end of the musical performance, in females.

The study’s primary conclusion was identified as the change in Psychophysical Well-Being, measured using a validated 5-item scale (SUD scale) that demonstrated excellent internal consistency (α = 0.94). Pre-post changes were analyzed using Student’s t-tests for paired samples. For secondary comparisons, given the exploratory nature of the research (considering a small sample), we have reported the d coefficients in full in the attached file, in Appendix. Although these data reveal robust results (e.g., d = 1.76 for emotion 4) (panic) that appear to largely overcome random fluctuations, regardless of the sample size, we avoided generalizing the conclusions, believing them to be related to the particular sample chosen.

The results from both the SUD and WELL-BEING scales and the questionnaires confirmed that acousmatic music, in addition to fostering the development of introspectivecapacities and feelingsofemotions in adolescents, can also bring about significant improvements in peer relationships, as it promotes groupcohesion and intensenonverbalcommunication during the sharing of this distinctive experience, and leads to greater mentalizationofbodilyexperiences.

The results obtained from the exploratory associations between frequencies and moods experienced by participants are important because they allow for an interesting initial exploration of perceived emotions, using measurable and quantifiable acoustic parameters. The gender-specific results attempt to offer an initial exploration of the different ways in which males and females react to musical stimuli, based on their sensitivity and musical enjoyment. However, it should be noted that this is an initial experiment on a small sample of young adolescents from a single class, without a control group that would have provided truly meaningful validation of the results obtained. Furthermore, the results of the scales and questionnaires relating to perceived emotions and sensations are based on self-assessment.

It is necessary to trust subjective responses, which were analyzed by Prof. Villella using the t-test. Although significant divergent patterns emerged (for example, a greater reduction in anxiety in males with d = 2.28), it is not possible to draw general conclusions because, as mentioned, the nature of the study presents limitations. Furthermore, reliance on subjective measures could be influenced by social desirability, although the high internal consistency of the data (? = 0.94) supports their reliability.

It is hoped that these laboratories, based on listening to acousmatic music, will become more widely adopted in schools, given the psychosomaticbenefits they may provide and their potential contribution to the development of emotionalintelligence in this new experimental direction. Moreover, it would be appropriate to investigate additional aspects of the influence of acousmatic music on listeners’ psychological state, particularly among adultorelderlyindividuals, inordertounderstandthepotentialtherapeuticimplications.

There is no ethics committee in Italian schools. The study related to this article was conducted in accordance with the ethical principles established in the “World Medical Association. Declaration of Helsinki: Ethical Principles for Biomedical Research Involving Human Beings” (Declaration of Helsinki) and the “Convention on Human Rights and Biomedicine” (Oviedo Convention).

Informed consent was obtained from all subjects involved in the study.

We thank the Principal of the “Arcoeste” Institute, Prof. Giancarlo Gobbi Frattini, for authorizing the musical/sensory laboratory experience in the Aula Magna of the “I. d’Este” High School in May 2024 and for supporting the initiative with particular interest and attentive consideration.

We also thank SIMP (Italian Society of Psychosomatic Medicine) for approving and permitting the organization of the Symposium CONSCIENCE AND PSYCHOSOMATICS, included in the program of the XXX S.I.M.P. Congress, entitled TheHorizonsofPsychosomatics, which was held in Vicenza on 10 and 11 October 2025.

Finally, we thank Raffaella Negri for her important contribution to English revision and translation.

ForKazakhResearch(2023):https://somasynths.com/psychosomatic/

To address the need for reliability, we used two distinct approaches:

Internal Consistency Analysis: To analyze the internal consistency of the “Distress Rating Scale (SUD)” and the emotions questionnaires, we calculated Cronbach’s Alpha indices. In particular, the “Distress Rating Scale (SUD)” questionnaire (composed of 5 items, all related to well-being except the first, which we negativized) showed excellent internal consistency, with a Cronbach’s Alpha of 0.94.

This value confirms that the items used constitute a set of highly reliable and consistent indicators for measuring the construction under examination. Regarding the emotions section of the questionnaire (anxiety and calm, which are already covered by the SUD Scale, are not included), we divided them into two groups:

Positive emotions: Excitement, Joy.

Negative emotions: Anger, Panic, Fear, Sadness.

This allowed us to group the items into homogeneous dimensions, obtaining excellent Cronbach’s Alpha indices (up to 0.89). This demonstrates that the instrument did not collect random responses, but rather measured solid psychological constructs.

Sensory Specificity Analysis : For the Sensations questionnaire, it was not possible to obtain a Cronbach’s Alpha index, given the diversity of the sensations investigated. This demonstrates the multidimensionality of the experience. Therefore, we proceeded with an analysis of individual items (before and after listening) to respect the subjective and physiological nature of each sensation (heartbeat, breathing, thermal perception, etc.).

We report the reference tables in this link:

https://docs.google.com/spreadsheets/d/e/2PACX-1vR4sY8KzFWrX6zl98EnI4dy1Gemz3a2DNjiPal0kesUo4-2MeygtEfXD6jwA3X7lpe6NCMtI5pmhf_A/pubhtml

Name: Surname: Class:

Date:

Questionnaire for the evaluation of emotionsfeltbeforetheconcert:

1EPreferringtoyourpersonalexperience,indicateonthescalefrom0(minimum)to10(maximum)howexcitedyoufeel

2EPreferringtoyourpersonalexperience,indicateonthescalefrom0(minimum)to10(maximum)howmuchjoyyoufeel

3EPreferringtoyourpersonalexperience,indicateonthescalefrom0(minimum)to10(maximum)howmuchanger/rageyoufeel

4EPreferringtoyourpersonalexperience,indicateonthescalefrom0(minimum)to10(maximum)howmuchyoufeelpanic

5EPreferringtoyourpersonalexperience,indicateonthescalefrom0(minimum)to10(maximum)howmuchfearyoufeel

6EPreferringtoyourpersonalexperience,indicateonthescalefrom0(minimum)to10(maximum)howsadyoufeel

Questionnaire for the evaluation of sensationsfeltbeforetheconcert:

Referringtoyourpersonalexperience, rightnowyouarefeeling:

1SPheartbeat variation

LessintensethanusualMoreintensethanusual

□Discontinuousheartbeat

2SPbreath variation

LessintensethanusualMoreintensethanusual

□Discontinuousbreathing

3SPfeeling cold

LessintensethanusualMoreintensethanusual

4SPfeeling warm

LessintensethanusualMoreintensethanusual

□Alternatingperceptionsofhot/cold

5SPneed to move

LessintensethanusualMoreintensethanusual

6SPneed to shout

LessintensethanusualMoreintensethanusual

7SPother sensations:

Name: Surname: Class:

Date:

Questionnaire for the Evaluation of EmotionsFeltDuringtheConcert

1EDreferringtoyourpersonalexperience,indicateonthescalefrom0(minimum)to10(maximum)howexcitedyoufelt

2EDreferringtoyourpersonalexperience,indicateonthescalefrom0(minimum)to10(maximum)howmuchjoyyoufelt

3EDreferringtoyourpersonalexperience,indicateonthescalefrom0(minimum)to10(maximum)howmuchanger/rageyoufelt

4EDreferringtoyourpersonalexperience,indicateonthescalefrom0(minimum)to10(maximum)howmuchpanicyoufelt

5EDreferringtoyourpersonalexperience,indicateonthescalefrom0(minimum)to10(maximum)howmuchfearyoufelt

6EDreferringtoyourpersonalexperience,indicateonthescalefrom0(minimum)to10(maximum)howmuchsadnessyoufelt

Questionnaire for the Evaluation of sensations duringtheconcert

Referringtoyourpersonalexperience, DURINGtheperformanceoftheconcertyouheard:

1SDheartbeat variation

LessintensethanusualMoreintensethanusual

□Discontinuousheartbeat

2SDbreath variation

LessintensethanusualMoreintensethanusual

□Discontinuousbreathing

3SDfeeling cold

LessintensethanusualMoreintensethanusual

4SDwarm feeling

LessintensethanusualMoreintensethanusual

□Alternatingperceptionsofhot/cold

5SDneed to move

LessintensethanusualMoreintensethanusual

6SDneed to shout

LessintensethanusualMoreintensethanusual

7SDOthersensationsexperiencedduringtheconcert:

During the Concert How Did You Feel in:

8SDspace perception

NarrowerthanusualWiderthanusual

9SDperception of the passage of time

SlowerthanusualFasterthanusual

10SDperceptionofbeingintunewiththeexternalenvironment

NotveryintuneVeryintune

11SDperceptionofbeingintunewiththegesturesperformedbyProf.Barleraintheexecutionofthepieces

NotveryintuneVeryintune