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Journal of Arts, Culture, Philosophy, Religion, Language and Literature
e-ISSN: 2457-0346, Volume-3, Issue-1, January-April, 2019; pp. 30-38
Kavita Publishers and Distributors under Dr. Govind Chandra Mishra Educational Foundation
http://www.gcmishraedu.com/Publications.html

A Study on Emotional Intelligence and

Creativity among Musicians
Dr. Eswari Vadlamudi1 and Nochilu Curha2
1,2
St. Francis College, Begumpet, Hyderabad
E-mail: [email protected], [email protected]

Abstract—Music is an art in the form of sounds that expresses ideas 1.1 Emotional intelligence
and emotions. It has a way of filling in gaps in thoughts, feelings and
emotions that words cannot do justice. Each genre of music depicts Emotional intelligence has been defined as "the ability to
different emotions and creativity. Therefore, musicians use their monitor one's own and other people's emotions, to
creativity in making simple words become meaningful and inspire discriminate between different emotions and label them
people and use their emotional intelligence to monitor on one’s appropriately, and to use emotional information to guide
emotions and other people’s emotions. So, the present study focuses thinking and behavior" by Peter Salovey and John Mayer.
on the emotional intelligence and creativity among musicians in
Hyderabad and Secunderabad, between the age group 16-33. The Feelings that generally have both physiological and cognitive
research is done using Purposive Sampling method and correlational elements and that influence behavior. Feldman, (2015)
Research Design. The objectives of this study are to find the
relationship between Emotional Intelligence and Creativity, level of It is generally said to include at least three skills:
Emotional Intelligence and Creativity and the relation between
selected independent variables with emotional intelligence and  Preparing us for action: emotions act as the link between
creativity. The researcher has used valid and reliable scales. For events in our environment and our responses.
creativity, Creativity Assessment Inventory (CIS) scale is used, under
which six items were measured and for emotional intelligence,
 Shaping our future behavior: emotions promote learning
Emotional Intelligence Scale is used, under which 10 items were that will help us make appropriate responses in the future.
measure such as self-awareness, empathy, self-motivation, etc. the  Helping us interact more effectively with others: we often
result shows that 1) there is a correlation between financial support
communicate the emotions we experience through our
and Emotional intelligence 2) there is a correlation between financial
support and Creativity 3) there is a correlation between Emotional verbal and nonverbal behaviors, making our emotions
Intelligence and Creativity 4) there is a difference in emotional obvious to observers. Feldman (2015)
intelligence and family support based on family support. Five components of Emotional Intelligence as proposed by
1. INTRODUCTION Daniel Goleman are:
 Emotional self-awareness — knowing what one is feeling
Music can deepen the meaning of words that accompany it, at any given time and understanding the impact those
both in a religious context or even on pop radio station. Music moods have on others
has a way of filling in the gaps in thought, feeling, and
emotion that words cannot do justice, (Hannah Bethwars,  Self-regulation — controlling or redirecting one’s
2016). Making music has been an activity of human beings, emotions; anticipating consequences before acting on
both as individuals and with others, for thousands of years. impulse.
Written texts, pictorial representations, and folklore sources
 Motivation — utilizing emotional factors to achieve
provide evidence that people from all over the globe and from
goals, enjoy the learning process and persevere in the face
the beginnings of recorded history have created and performed
of obstacles
music for religious rituals, civil ceremonies, social functions,
story-telling, and self-expression, (Ray Allen.et.al, 2014). A  Empathy — sensing the emotions of others
musician is someone who works within the profession of
music in one or more specialist fields, (Dawn Bennett et.al,  Social skills — managing relationships, inspiring others
2012). Musicians are creative because they can make a simple and inducing desired responses from them, the most
word become meaningful, inspire and touch everybody’s widely discussed philosophical question concerning
heart. Only the best and the most dedicated musicians has the music and the emotions is that of how music can express
passion or craft to create a masterpiece. emotions. (Gracyk & Kania,2011).
A Study on Emotional Intelligence and Creativity among Musicians 31

1.2 Creativity  Gratification of perpetuation.

Creativity has been defined as the ability to produce work that  Provocative production.
is both novel and appropriate (Sternberg & Lubart, 1999)
A musician is someone who works within the profession of
In the cognitive psychology, creativity is accepted as a human music in one or more specialist fields, (Dawn Bennett et.al,
quality that depends on the individual capabilities, expertise 2012). Musicians are creative because they can make a simple
and motivation (Ambile, 1997) word become meaningful, inspire and touch everybody’s
heart. Only the best and the most dedicated musicians has the
The field of creativity study has its roots from 1930’s – passion or craft to create a masterpiece. A musician is a person
1950’s. who plays a musical instrument or is musically talented.
Creativity is the ability to generate new and unique ideas, Anyone who composes, conducts, or performs music is
creativity makes people stand out from the normal minds. It is referred to as a musician. Musicians can specialize in any
inherent in every person and has variety of levels: cognitive, musical style, and some musicians play in a variety of
socially, spiritually, etc. It requires both originality and different styles depending on cultures and background. Types
effectiveness. Original things must be effective to be creative. of music Genres are:
Many psychologists agree with the fact that creativity has an
 Metal/Rock
important place in giving birth to new thoughts, turning old
things into new and building relationship with irrelevant  Pop/Hip-Hop
objects and thinking beyond mainstream. Creativity is the
essence of making pre-existing objects and elements as new  Classical/Country
ones. Baron (1961).  Electronic/Beats
 Creativity is original.  Folk/Indie
 Creativity is innovative.  Others
 The process of creativity is goal-directed. Being able to perform music accurately may be attributed to
 Creativity is the ability to think differently. two factors. The first is audition, which involves acquisition of
sound and the processing of it. The other is the performer's
Some traits of a creative person are: technical acquaintance with his or her singing and movement
"instruments," which are largely kinesthetic (Weikart, 1987;
 Self-confident
Bertaux, 1989). Musicians are often trained at a young age and
 Adventurous requires the acquisition and maintenance of a range of skills
over the cost of a musician’s lifetime, with more focus on
 Taking risk quantity and quality practice one masters the art of music. The
 Determined relation of a musician and his/her emotions results directly
from one’s emotional self- awareness, and the identification
 Self-reliant and recognition of emotions, either positive or negative, is
Nature of Creativity are: extremely important in the preparation for public performance.
A musician with high self-awareness and self-control
 Creativity enhances the quality of matter or material. communicates with the audience better. Musicians with
generally optimistic and good mood tend to create happy
 Creativity is related to intelligence.
songs, while it is said that musicians who are into creating
 Thoughts of a creative person constantly changes rock genres are usually depressed and has unstable emotions
according to new situations. and tend to create sad song. Mood is the cornerstone of
emotional well-being. (Ekman & Davidson, 1994). Goleman,
 Flexibility of thoughts and behavior is found in creativity. (1998) opines that the ultimate act of personal responsibility
 The nature of creativity always moves towards maybe in the taking control of one’s own state of mind. He
progressive ideas. opines that an optimistic person is one who persists in seeking
goals despite obstacles and setbacks; operating from hope of
One theory of creativity is the Psychoanalytic theory. This success rather than fear of failure and sees setbacks as
theory suggests that creativity is based on unconscious, manageable circumstances rather than a personal flaw.
biological drives that result from primary processes. Freud
presents psychoanalytic theory in three terms: Anxiety is also an integral part of a successful performance, if
used appropriately. Musical performance is an opportunity for
 Strong deviation from interests which reduces the anxiety self-object experience. Musical performance involves a two-
of a person. phase, the first is the practice phase, in which the musician

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e-ISSN: 2457-0346, Volume-3, Issue-1, January-April, 2019
32 Dr. Eswari Vadlamudi and Nochilu Curha

seeks to achieve the experience of aesthetic resonance in Third example: confirmed the consistency of the 3D space
which self-experience and music is brought to perfection using excerpts of only 1 second duration. The results indicated
through sync. The second phase is the public performance, that emotional responses to music are very suitable within and
during which the musician exhibits his or her ideal creation between participants and are weakly influenced by musical
and experiences the mirroring of the audience. George Allen expertise and excerpt duration. These findings are discussed in
Hagman, (2005). the light of a cognitive account of musical emotion.

2. LITERATURE REVIEW Peter et.al., (2010) conducted a study to evaluate claims that
emotional intelligence is significantly related to
Elizabeth S Nawrot (2003) conducted a study to investigate transformational and other leadership behaviors. The research
the development of the perception of emotions in music. Study consisted of 62 independent samples. Results indicated a
one was conducted on preschool children and adults matched validity estimate of 59 when ratings of both emotional
nine pieces music to five photographed facial expression intelligence and leadership behaviors were provided by the
(Happy, sad, anger, fear and neutral). Their pattern of same source. However, the ratings were derived from different
responding to the music, both with photograph choices and sources and the validity estimates were low for both
verbal labels were similar. This resulted to how emotional transformational leaders and emotional intelligence.
perception from music maybe due to innate perceptual and E. Glenn Schellenberg (2011) conducted a research on
predisposition together with learned association that develop musically trained and untrained participants to test their
in childhood. Emotional Intelligence and IQ. The research included test on
Joel E Resicow et.al., (2004) conducted a research to identify, IQ composite score and on its verbal and non-verbal subtests.
understand, reason and manage emotions using Mayer- The groups performed equally well, however on the test of
Salovey-Caruso Emotional Intelligence Test. 24 Emotional Intelligence and score on IQ test were weakly
undergraduates took part in the test to identify the indented correlated. Results imply that associations between musical
emotions in performance of classical piano music. Emotional and non-musical abilities are limited to the intellectual ability.
intelligence and Emotional recognition in music task were M. J. Sánchez-Ruiz et.al., (2011) investigated the association
significantly co-related (r=.54), resulting to identification of between two creativity indicators: Divergent Thinking (DT)
emotions in music performance draws sensibilities that make and Creative Personality (CP), and key aspects of cognitive
up every day emotional intelligence. ability, personality (Big Five), and trait emotional intelligence
K. V. Petrides et.al., (2006) conducted a research to (trait EI or trait emotional self-efficacy). The sample consisted
investigate the validity of emotional intelligence trait using the of 175 Spanish undergraduates and recent graduates from
Trait Emotional Intelligence Questionnaire (TEIQ). 237 music three university subject domains: Technical & Natural
students participated and resulted to a positive relation Sciences, Social Sciences, and Music. Cognitive ability was
between scores in Emotional Intelligence trait and the time found to bear little relationship to either index of creativity. In
spent in music teaching. The result conceptualized the trait as contrast, strong relationships were demonstrated between
a construct of General Emotionality and validity of the Trait personality traits, including trait EI, and creativity, some of
Emotional Intelligence Test as an instrument for the measures which varied significantly across subject domains. Results
of construct. suggest that future research will have to pay particular
attention to individual differences in the affective parts of the
Oscar Odena et.al., (2007) conducted a research to examine personality realm that are comprehensively captured by the
the relationship between six secondary school teachers’ construct of trait EI.
backgrounds and their perceptions of musical creativity.
Participants selected were from age 11-14. Their experiences Sandra Garrido et.al., (2011) tested the hypothesis that
fell into three strands, namely musical, teacher-education, and individual differences in dissociation, absorption, fantasy
professional teaching. Data analysis indicated that the most proneness, empathy, and rumination that could relate to the
influential strand is the musical. Participants with composing enjoyment of negative emotion in music. Fifty-nine
experience and practical knowledge of different music styles participants completed a survey which results revealed
were more effective at describing the environment for statistically significant positive relationships between
creativity. enjoyment of evoked negative emotion in response to music
with both absorption and the recently reported construct of
E. Big. Et.al., (2010) conducted a study on musically trained 'music empathy,' Factor analysis and a regression model
and untrained people to listen to 27 musical excerpts (snippet, confirmed these results
part, section) and group those that conveyed a similar
emotional meaning using multi-dimensional scaling method Myriam V. Thomas et.al., (2011) conducted a study to
(MDS). For the first example: A3-Dimensional space was investigate whether and how individuals employ music in
found to provide a good fit of the data, with arousal and everyday situation. Furthermore, the study investigated
emotional violence as the primary dimension. Second and whether specific e-regulation style influence music selection.

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e-ISSN: 2457-0346, Volume-3, Issue-1, January-April, 2019
A Study on Emotional Intelligence and Creativity among Musicians 33

Non-metric multi-dimensional scaling revealed a clear Intelligence Scale - EIS (Schutte et al., 1998). The results
preference for piece of music that were emotionally related to indicate that, according to adolescents’ preference for certain
emotional situation. music styles, there are associations between their emotional
intelligence and certain personality traits.
Andrea N. Coulson et.al., (2013) studied children from age 5-
11, data included students’ in-class written work and 3. METHODOLOGY
homework, and field notes taken during observations of
classroom discussions after improvisation lessons. Analysis of 3.1. Statement of Problem
this data provided evidence that students produce more
creative, original music when they are more confident with Music is the language of our very soul. It adds the most
their musical ability. Students viewed music they enjoyed as colours and spices in our life. Musical Creativity and
creative. Students also believed that a variety of instruments or Emotional Intelligence are among the most complex and
rhythms make music creative. Although improvisation skills abstract aspects of human behaviour. When we hear a good
were demonstrated for students, the results indicated that song, the thing we would probably think is about how good it
students might take more risks when creating music if their sounds and not how it was created. All the musical pieces and
teachers played music and demonstrated skills more often in albums that we enjoy are the products of musician’s struggles
class. in discovering and composing which are the elements for a
successful musician. Creativity requires certain tolerance of
Ramy et.al., (2014) studied the relationship between frustration, involving problem solving, experiences,
emotional intelligence and creativity in Student University. understandings, ability to understand one’s own emotions as
The statistical population of the research included 1370 well as other emotions correctly. All these are monitored with
students. The sample size was determined by cluster sampling the help of Emotional Intelligence that a person possesses.
method (n=375). In this study two standard questionnaires Artistic Creativity is not sufficiently valued in society, apart
were used, one relating to EQ and the other to creativity. The from a very few lucky artists most artists encounter obstacles
reliability and validity of these two instruments were reported to the acceptance of their work. Most parents do not allow
to be significant in different studies. The findings indicated their children to pursue music due to financial and educational
that there was significant and positive relationship between disturbances, also there is no guarantee in their financial
Creativity its subscales with EQ. status. Since there is very less studies conducted on Emotional
Charilaos Lavranos et.al., (2015) conducted a research to Intelligence and Creativity in music, hence, there arises a need
investigate between musician’s information seeking behaviour for the study of Musicians.
and the creative process in music. Several studies have been 3.2. Objectives
carried out in an attempt to model cognitive, affective,
behavioural and contextual factors associated with music 1. To know the profile of the respondents (Age, Gender,
information seeking behaviour. However only a few studies Genre of Music, Occupational Status, Primary Music
have addressed the relationship between information seeking Occupation, Family Support, Financial Support.)
behaviour and musical creativity activities like composition,
2. To study the Levels of Emotional Intelligence and
performance and improvisation, listening and analysis.
Creativity.
Charilaos Lavranos et.al., (2015) conducted a study. Three
3. To study the relationship between Emotional Intelligence
thematic categories were identified regarding music
and Creativity.
information needs: (a) those related to scholarly activities, (b)
musically motivated, as well as (c) those which are related to 4. To know the relationship between selected Independent
socializing and communication. In addition, 3 categories of Variables with Emotional Intelligence and Creativity.
music information sources were connected to musical
creativity: (i) those that are related to Internet and media 3.3 Hypothesis
technologies, (ii) those that are related to music libraries, 1. There is a relation between Emotional Intelligence and
organizations, and music stores, and (iii) those that are related Creativity.
to the subjects' social settings. 2. There is a relation between Financial Support and
Laura-Elena Nastasa et.al., (2015) conducted a study to Emotional Intelligence.
highlight the relationship between adolescents' favourite 3. There is a relation between Financial Support and
musical styles, their level of emotional intelligence Creativity.
development and their personality traits. 97 teenagers took 4. There exists a difference in emotional intelligence and
part, who individually note information on their favourite creativity based on family support.
musical genres and the frequency of listening to their favourite
music. Subjects were administered with the High School
Personality Questionnaire - HSPQ (Cattel) and the Emotional

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34 Dr. Eswari Vadlamudi and Nochilu Curha

3.4. Research Design 4. INSTRUMENT

Research design is the logical and systematic planning in 1. Emotional Intelligence Scale (EIS)- the scale used in the
directing the research. The present study is performed using a present research is designed by Ankool Hyde, Sanjyot
quantitative methodology with a non-experimental Pethe and Upinder Dharin, 2002. The questionnaire has
comparative design and propose to analyse my data using 34 statements, each to be rated on a five-point scale
measures of central tendency, dispersion, correlation and t- ranging from “strongly agree” (5) to “strongly disagree”
test. Non-experimental comparative design is also known as (1). The statements relate different components of
correlational research design. Within correlational research, emotional intelligence like self-awareness (4 items),
researchers are primarily interested in determining non-causal empathy (5 items), self-motivation (6 items), emotional
relationships amongst variables. More specifically, the stability (4 items), managing relations (4 items), integrity
correlational research design is a type of non-experimental (3 items), self-development (2 items), value orientation (2
study in which relationships are assessed without manipulating items), commitment (2 items) and altruistic behaviour (2
independent variables or randomly assigning participants to items). The obtainable score ranges from 34 to 170, where
different conditions. higher scores indicated higher level of emotional
intelligence. There are no negative items. Individual
3.5. Sample
subscales scores are obtained by summing the scores
The researcher used questionnaire method to collect data. The belonging to a subscale.
researcher approached musicians from Hyderabad and The split half reliability coefficient was found to be 0.88.
Secunderabad. Respondents were informed that participation Besides face validity, as all items were related to the variable
was voluntary and that the information provided by them in under focus, the scale has high content validity. In order to
the questionnaire will be confidential. The participants were find out validity from the coefficient of reliability ( Garrett,
requested to answer the questions with complete honesty and 1981) the reliability index was calculated which indicated high
were supposed to be as reliable as possible. They were also validity on account of bring 0.93.
informed that there was no definite time limit to finish the
questionnaires. 2. Creativity Assessment Inventory (CAI)- the scale used in
the present study is designed by Rachita Sinha under the
3.5.1 Inclusion and Exclusion Criteria guidance of Surabhi Purohit. It was developed to measure
Inclusion Criteria six dimensions – Challenge, Freedom, Openness, Conflict
and Risk Taking. It contains 24 statements, four for each
 Musicians who were within the Twin Cities of Hyderabad of the six aspects. There is no negative item. The
and Secunderabad were included in the sample. obtainable score ranges from 35 to 59 where higher score
indicates higher level of creativity.
 Participants from age 16-33 were included.
The split half reliability coefficient was found to be 0.22.
 Genre of Music namely Metal/Rock, Pop/Hip-Hop,
Classical/Country, Electronic/Beats, Folk/Indie, Jazz, 5. TABLES
Blues, Contemporary Choral, Multi-genre, Indie Rock,
Alternative Pop, Contemporary Christian Rock, Worship Table 1: Age of the Respondents
were included
Age Frequencies Percentage
Exclusion Criteria
Young (16-20) 35 35
 Participants outside the Twin Cities of Hyderabad and Middle (21-23) 64 64
Secunderabad were excluded. Old (24-33) 1 1
Total 100 100
 Participants more than 50 female or male were excluded. Mean=72.59 SD=17.54
 Multi-genre, Indie Rock, Alternative Pop, Contemporary In the present study, age has been divided into three categories
Christian Rock, Worship were included (young, middle and old) groups into three categories namely
young (16-20), middle (21-23) and old age (24-33). We can
Exclusion Criteria clearly see that the middle age has the most no of participants
 Participants outside the Twin Cities of Hyderabad and (i.e. 64 per cent), followed by the young age with 35 per cent
Secunderabad were excluded. and old age has one per cent.

Participants more than 50 female or male were excluded.

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A Study on Emotional Intelligence and Creativity among Musicians 35

Table 2: Gender of the Respondents Table 7: Do you have enough family support in your musical field

Gender Frequencies Percentage Do you get enough family support Frequency Percentage
Male 64 64 Yes 74 74
Female 35 35 26 26 26
Others 1 1 Total 100 100
Total 100 100

The above table shows that that 74 per cent of the respondents
The above table indicates that most of the respondents in the got enough family support in their musical field, while 26 per
present study are male (i.e. 64 percent). There are 35 percent cent pf the respondents does not get enough family support.
respondents who are female and only one percent who belong
to the other category. Table 8: Do you have enough financial support in your musical
career?
Table 3: Occupational status”
Do you have enough financial support Frequency Percentage
Occupational status Frequency Percentage in your musical career?
Student 79 79 Yes 45 45
Private sector 10 10 No 55 55
Government sector 1 1 Total 100 100
Freelance 10 10
Total 100 100
The above based on the quartiles, the table above shows that
The above shows the occupational status of the respondents, 45 per cent of the respondents have family support in their
out of which 79 per cent are students, 10 per cent works in musical career. There are another 55 per cent of the
private sector, one per cent for government sector and the respondents who answered that they do not have enough
remaining 10 percent belong to the freelance sector. family support for their musical career.
Table 4: Primary music occupation Table 9: Have you ever felt like giving up on your musical career
due to societal pressure?
Primary music occupation Frequency Percent
Instrumentalist 50 50 Have you ever felt like Frequency Percentage
Vocalist 38 38 giving up on your musical
Lyricists 1 1 career due to societal
Other 11 11 pressure?
Total 100 100 Yes 37 37
No 63 63
Total 100 100
The above table indicates the primary music occupation in
which most of the respondents are instrumentalist (i.e. 50
percent), 38 per cent of the respondents were vocalist, one The above table indicates that 37 per cent of the respondents
percent lyricists and the remaining 11 percent belonged to the felt like giving up on their musical career due to societal
other category. pressure. While the remaining 63 per cent of the respondents
Table 6. Is music your
did not have a negative impact on societal pressure for their
musical career.
Is music your Frequency Percentage Table 10: Do social media influence you in any way?
Profession 3 3
Passion 68 68 Do social media influence you in any Frequency Percentage
Both 29 29 way?
Total 100 100 Yes 92 92
No 8 8
Total 100 100
The above table indicates that most of the respondents selected
music as their passion (i.e. 68 per cent), three per cent for
profession and 29 per cent for other. The above table shows that majority of the respondents (i.e. 92
per cent) have been influenced by media. The other eight per
cent of the respondents were not influenced by media.

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36 Dr. Eswari Vadlamudi and Nochilu Curha

Table 11: Levels of creativity From the above table, it can be observed that the correlation
coefficient between creativity and financial support to pursue
Levels of creativity Frequency percentage music is .090 and the p-value for one- tailed test of
Low (24-43) 28 28 significance is 0.186. From these figures we can conclude that
Medium (44-49) 41 41 there is no correlation between creativity and financial support
High (50-70) 31 31 to pursue music and that this correlation is insignificant at the
Total 100 100 significance level of 0.05.
Mean=46.7 SD=7.199
Table 15: Correlation between Emotional Intelligence and
In the present study, the level of creativity has been divided Creativity
into three categories namely low (24-43), medium (44-49) and
high (50-70). We can clearly see that most of the respondents Creativity
have medium level of creativity (i.e. 41 per cent), followed by Emotional
Pearson Correlations 0.307
Intelligence
high level of creativity with 31 per cent and low level of Sig. (one tailed) 0.001
creativity with 28 per cent. N 100
Table 12: Levels of emotional intelligence
From the above table, it can be observed that the correlation
Levels of emotional Frequency Percentage coefficient between emotional intelligence and creativity is
intelligence
.307 and the p-value for one- tailed test of significance is .001.
High (85 and above) 19 19
From these figures we can conclude that there is strong
Normal (52-84) 73 73
Low (51 and below) 8 8 positive correlation between emotional intelligence and
Total 100 100 creativity and that this correlation is significant at the
Mean = 72.59 SD=17.54 significance level of 0.01.

The above table indicates, the level of Emotional Table 16: Difference between Emotional Intelligence and
Creativity about Family Support
Intelligence has been divided into three categories namely
high (85 and above), normal (52-84) and low (51 and below).
Status of Family N Mean SD
We can clearly see that most of the respondents have normal
Support
level of emotional intelligence (i.e.73 per cent), followed by Emotional Yes 74 70.9054 17.1002
high level of emotional intelligence with 19 per cent and low intelligence No 26 77.3846 18.2342
level of emotional intelligence with eight per cent. Status of Family N Mean SD
Support
Table 13: Correlations between Emotional Intelligence and
Creativity Yes 74 45.9189 6.68623
Financial Support
No 26 49.2308 8.14031
Financial Support Emotional Intelligence
Pearson
0.223
Correlations t df Sig.(2-tailed)
Sig. (one tailed) 0.013 Emotional Intelligence -1.584 41.481 0.121
N 100 Creativity -1.865 37.534 0.043

From the above table it can be observed that the correlation The above table shows the difference in emotional intelligence
coefficient between Emotional Intelligence and Financial and creativity based on the family support they get to pursue
support to pursue music is .223 and the p-value for one- tailed music. The t-test result of emotional intelligence shows t
test of significance is .013. From this we can conclude that statistic of -1.584 with 41.81 degree of freedom. The
there is a positive correlation between emotional intelligence corresponding two-tailed p-value is .121, which is higher than
and financial Support is significant at the significance level of
0.05. Therefore, the average of emotional intelligence does not
0.05.
have any difference because of having or not having family
Table 14: Correlations between Creativity and Financial Support support.
The t-test result of creativity shows t statistic of -1.865 with
Financial Support Creativity
37.534 degree of freedom. The corresponding two tailed p-
Pearson Correlations 0.09
value is 0.043, which is lesser than 0.05. Therefore, we can
Sig. (one tailed) 0.186
accept hypothesis at 5 % significance level. Thus, creativity
N 100
significantly differs based on having or not having family
support.

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A Study on Emotional Intelligence and Creativity among Musicians 37

6. LIMITATIONS intelligence to positively predict creativity. Participants who

scored high on the RTME test tended to score high on most
Limitation of this study was the small sample size. Result of markers of creativity as well. This pattern then suggests that
the current study may be limited by number of years of there is an important link between the ability to know others’
experience of the participants. This study had been restricted feelings and the ability to create products that others find
to a limited set of factors like questionnaires were filled by amusing.
musicians and a limited range of age group was taken which
does not generalize the study. Therefore, there could be Another hypothesis of the present study is to see if there is a
difference in emotional intelligence and creativity based on
chances that their responses would differ.
family support, results shows that, creativity significantly
7. APPLICATION VALUE differs based on having or not having family support whereas
it does not differ for emotional intelligence.
The findings from this study will help individuals to The relation between Financial support and emotional
understand the relation between Emotional Intelligence and
intelligence were significant at a level of 0.01, whereas for
Creativity. The study will also help parents to enhance their
creativity it was insignificant.
children to take up music to enhance their Emotional
Intelligence and Creativity based on their correlations. Certain REFERENCES
tolerance of frustration, involving problem solving,
experiences, ability to understand one’s own emotions as well [1] Allen, R., Cohen, D., Hager, N., & Taylor, J. (2015). Music: Its
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e-ISSN: 2457-0346, Volume-3, Issue-1, January-April, 2019
38 Dr. Eswari Vadlamudi and Nochilu Curha

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e-ISSN: 2457-0346, Volume-3, Issue-1, January-April, 2019

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