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Preliminary communication

The Emotional Aspect of Listening to Music

Tihana Škojo ; Academy of Arts and Culture in Osijek, J. J. Strossmayer University of Osijek, Osijek, Croatia

Fulltext: croatian, pdf (178 KB) pages 91-108 downloads: 166* cite
APA 6th Edition
Škojo, T. (2021). Osvrt na emocionalni aspekt slušanja glazbe. Diacovensia, 29. (1.), 91-108.
MLA 8th Edition
Škojo, Tihana. "Osvrt na emocionalni aspekt slušanja glazbe." Diacovensia, vol. 29., no. 1., 2021, pp. 91-108. Accessed 5 Dec. 2021.
Chicago 17th Edition
Škojo, Tihana. "Osvrt na emocionalni aspekt slušanja glazbe." Diacovensia 29., no. 1. (2021): 91-108.
Škojo, T. (2021). 'Osvrt na emocionalni aspekt slušanja glazbe', Diacovensia, 29.(1.), pp. 91-108.
Škojo T. Osvrt na emocionalni aspekt slušanja glazbe. Diacovensia [Internet]. 2021 [cited 2021 December 05];29.(1.):91-108.
T. Škojo, "Osvrt na emocionalni aspekt slušanja glazbe", Diacovensia, vol.29., no. 1., pp. 91-108, 2021. [Online].

Despite the exceptional interest in studying emotions in music, only a few music pedagogues have warned of the importance of this phenomenon in teaching music.
The paper analyzes the results of empirical research to determine the experienced emotions on listening to the following musical examples: C. Saint-Saëns: Carnival of Animals, Finale; I. Stravinsky: The Rite of Spring, Introduction; J. Williams: Schindler’s List; F. Livadić: Nocturne in F-sharp minor; I. Malec: Lumina; and I. Krajač, K. Metikoš and M. Prohaska: Gubec-Beg, Jana’s Madness.
The results of the research actualize the importance of students’ emotional response to a musical work and contribute to the efforts of individual music pedagogues to emphasize the need for a comprehensive reception of a musical work that will include emotional dimension in addition to knowledge and understanding.

emotions; listening; musical work; music repertoire; music pedagogue; music teaching; student

Hrčak ID: 255909



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