![]() They thus judge time to be shorter when these events occur earlier in the piece than expected, and longer when they occur later. The way musical accents are patterned through time leads listeners to anticipate the timing and nature of incoming events. According to Jones and Boltz (1989), the effect of music on time estimation is due to the perceptual expectancies that listeners develop when they hear a piece of music. Much of the published literature considers that the major cause of subjective time distortions in response to music is due to the temporal regularities of musical events. ![]() Music is a complex structure of sounds whose different parameters can affect the perception of time. These findings raise the question: What are the musical parameters that produce emotions and change our time judgments? A number of studies have indeed shown that a period of waiting is judged shorter when there is accompanying music than when there is none (e.g., Stratton, 1992 North and Hargreaves, 1999 Roper and Manela, 2000 Guegen and Jacob, 2002) and that this subjective shortening of time appears to be greater when the subjects enjoy this accompanying music ( Yalch and Spangenberg, 1990 Lopez and Malhotra, 1991 Kellaris and Kent, 1994 Cameron et al., 2003). Music is therefore used in waiting rooms to reduce the subjective duration of time spent waiting or in supermarkets to encourage people to stay for longer and buy more. Time does indeed seem to fly when listening to pleasant music. Music is a powerful emotional stimulus that changes our relationship with time. Nevertheless, emotional valence did modulate the tempo effect on time perception, the pleasant music being judged shorter than the unpleasant music. When the tempo was held constant, no significant effect of timbre on the time judgment was found although the orchestral music was judged to be more arousing than the piano music. The results showed that the effect of tempo in music, associated with a subjective arousal effect, was the major factor that produced time distortions with time being judged longer for fast than for slow tempi. atonal (unpleasant) versions of the same musical pieces. In Experiment 3, affective valence was also tested by contrasting the effect of tonal (pleasant) vs. The musical pieces were indeed judged more arousing with a fast than with a slow tempo and with an orchestral than with a piano timbre. slow) (Experiment 1) or their instrumentation (orchestral vs. This effect of valence was combined with a subjective arousal effect by changing the tempo of the musical pieces (fast vs. In order to manipulate the positive and negative valence of music, Experiments 1 and 2 contrasted the effect of musical structure with pieces played normally and backwards, which were judged to be pleasant and unpleasant, respectively. ![]() The present study used a temporal bisection task with short (2 s) stimulus durations to investigate the effect on time estimation of several musical parameters associated with emotional changes in affective valence and arousal. ![]() 4Laboratoire d'étude de l'apprentissage et du développement, University of Burgundy, CNRS, Dijon, France.3Faculdade de Filosofia, Ciências e Letras, University of São Paulo, São Paulo, Brazil.2Departamento de Mùsica, Federal University of Paraná, Paraná, Brazil.1Laboratoire de Psychologie Sociale et Cognitive, University Blaise Pascal, CNRS, Clermont-Ferrand, France.Sylvie Droit-Volet 1*, Danilo Ramos 2, José L. ![]()
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