Emotional and neutral sounds rated for valence and arousal were used to investigate the influence of emotions on timing in reproduction and verbal estimation tasks with durations from 2 s to 6 s. Results revealed an effect of emotion on temporal judgment, with emotional stimuli judged to be longer than neutral ones for a similar arousal level. Within scalar expectancy theory (J. Gibbon, R. Church, & W. Meck, 1984), this suggests that emotion-induced activation generates an increase in pacemaker rate, leading to a longer perceived duration. A further exploration of self-assessed emotional dimensions showed an effect of valence and arousal. Negative sounds were judged to be longer than positive ones, indicating that negative stimuli generate a greater increase of activation. High-arousing stimuli were perceived to be shorter than low-arousing ones. Consistent with attentional models of timing, this seems to reflect a decrease of attention devoted to time, leading to a shorter perceived duration. These effects, robust across the 2 tasks, are limited to short intervals and overall suggest that both activation and attentional processes modulate the timing of emotional events.

The phenomenon commonly known as subjective accenting refers to the fact that identical sound events within purely isochronous sequences are perceived as unequal. Although subjective accenting has been extensively explored using behavioral methods, no physiological evidence has ever been provided for it. In the present study, we tested the notion that these perceived irregularities are related to the dynamic deployment of attention. We disrupted listeners' expectancies in different positions of auditory equitone sequences and measured their responses through brain event-related potentials (ERPs). Significant differences in a late parietal (P3-like) ERP component were found between the responses elicited on odd-numbered versus even-numbered positions, suggesting that a default binary metric structure was perceived. Our findings indicate that this phenomenon has a rather cognitive, attention-dependent origin, partly affected by musical expertise.

No abstract