ODNOS EMOCIONALNE KOMPETENTNOSTI I PREPOZNAVANJA EMOCIJA U GLAZBI

Cilj je ovog rada bio istražiti odnos između prepoznavanja emocija u glazbi i rezultata na standardnim mjerama emocionalne kompetentnosti. U istraživanju je sudjelovalo 329 studenata, koji su najprije ispunili Upitnik emocionalne kompetentnosti (Takšić, 2002.), a zatim i Upitnik za procjenu glazbenih ulomaka tijekom slušanja šest ulomaka klasične glazbe različita emocionalnog ugođaja. Zadatak sudionika bio je navesti dominantnu emociju koju su prepoznali u glazbenom ulomku te označiti je li im glazbeni ulomak poznat otprije. Rezultati su pokazali da poznatost glazbenih ulomaka uglavnom nije utjecala na prepoznavanje emocija u glazbi, a sudionici su s najvećom točnosti prepoznali emociju sreće, zatim tuge, a s najmanjom točnosti emociju straha. Potvrđena je i glavna pretpostavka istraživanja o odnosu prepoznavanja emocija u glazbi i rezultata na Upitniku emocionalne kompetentnosti, pri čemu je utvrđeno da sudionici koji su iskazali veću točnost prepoznavanja emocija u glazbi postižu i više rezultate na Upitniku emocionalne kompetentnosti, posebno na podskali sposobnosti razumijevanja i uočavanja emocija, gdje je utvrđena značajna razlika u prepoznavanju svih triju osnovnih emocija iz glazbe. Značajne su korelacije dobivene između rezultata svih podskala Upitnika emocionalne kompetentnosti i sposobnosti prepoznavanja emocija u glazbi, osim povezanosti između sposobnosti upravljanja i regulacije emocija i sposobnosti prepoznavanja tuge u glazbi.The aim of this study was to investigate the relationship between recognition of emotion in music and emotional competence. The study included 329 students who first filled out the Emotional Competence Questionnaire (Takšić, 2002), and then the Assessment of Musical Excerpts Questionnaire (six instrumental musical excerpts of classical music of different emotional context). The participant’s task was to quote a dominant emotion which was recognized in the musical excerpt and mark whether they know that excerpt from earlier. The results showed that the familiarity of musical excerpts did not affect recognition of emotion in music, and the participants identified most accurately the emotions of happiness and sadness, while with the lowest accuracy the emotion of fear. The main hypothesis about the relationship between the recognition of emotions in music and the results on the Emotional Competence Questionnaire was confirmed. It was also established that the participants who demonstrated greater accuracy in recognizing emotions in music achieved higher scores on the Emotional Competence Questionnaire, particularly on the subscale of understanding and perception of emotion, where a significant difference for the recognition of three basic emotions was observed. Significant correlations were obtained between the results in all subscales of the Emotional Competence Questionnaire and ability of recognition of emotions in music except for the correlation between the ability of management and regulation of emotions and the ability to recognize sadness in music