The aim of this essay is to resume and reinterpret the Heideggerian interpretation of emotional tonalites with a dual ‘focus’: that of music and that of the neurosciences. The paper will be divided into three parts. In the first, of a more historiographic and historical-critical character, we will focus, on the one hand, on Heidegger and music, on the other, on the creation of the concept of ‘Stimmung’, showing the development of a possible ‘musical’ interpretation of emotions. In the second part, more phenomenological-hermeneutic, we will present the Heideggerian vision of ‘Stimmungen’ (moods, emotional tonalities), trying to show how – in and beyond the musical origin of the term Stimmung – Heidegger develops an effective anti-dualistic reading of affective experience. In a short concluding part, we will ponder the question of how this seemingly only aesthetic (or, at most, existential) vision of the affective sphere can hold up in the face of the emergence of the findings of the neurosciences, and the resumption (in part related to them) of a more unbalanced phenomenology of emotions on the issues of empathy and emotional contagion (and, hence, on Husserl and Scheler).