Publications

Abstract

Recent research in speech production has shown that syntactic structure is reflected in segmental phonology--the application of certain phonological rules of English (e.g., palatalization and alveolar flapping) is inhibited across phrase boundaries. We examined whether such segmental effects can be used in speech perception as cues to syntactic structure, and the relation between the use of these segmental features as syntactic markers in production and perception. Speakers of American English (a dialect in which the above segmental effects occur) could indeed use the segmental cues in syntax perception; speakers of British English (in which the effects do not occur) were unable to make use of them, while speakers of British English who were long-term residents of the United States showed intermediate performance.

Abstract

This paper is an attempt to show that given the available observations on the behaviour of negation and presuppositions there is no simpler explanation than to assume that natural language has two distinct negation operators, the minimal negation which preserves presuppositions and the radical negation which does not. The three-valued logic emerging from this distinction, and especially its model-theory, are discussed in detail. It is, however, stressed that the logic itself is only epiphenomenal on the structures and processes involved in the interpretation of sentences. Horn (1985) brings new observations to bear, related with metalinguistic uses of negation, and proposes a “pragmatic” ambiguity in negation to the effect that in descriptive (or “straight”) use negation is the classical bivalent operator, whereas in metalinguistic use it is non-truthfunctional but only pragmatic. Van der Sandt (to appear) accepts Horn's observations but proposes a different solution: he proposes an ambiguity in the argument clause of the negation operator (which, for him, too, is classical and bivalent), according to whether the negation takes only the strictly asserted proposition or covers also the presuppositions, the (scalar) implicatures and other implications (in particular of style and register) of the sentence expressing that proposition. These theories are discussed at some length. The three-valued analysis is defended on the basis of partly new observations, which do not seem to fit either Horn's or Van der Sandt's solution. It is then placed in the context of incremental discourse semantics, where both negations are seen to do the job of keeping increments out of the discourse domain, though each does so in its own specific way. The metalinguistic character of the radical negation is accounted for in terms of the incremental apparatus. The metalinguistic use of negation in denials of implicatures or implications of style and register is regarded as a particular form of minimal negation, where the negation denies not the proposition itself but the appropriateness of the use of an expression in it. This appropriateness negation is truth-functional and not pragmatic, but it applies to a particular, independently motivated, analysis of the argument clause. The ambiguity of negation in natural language is different from the ordinary type of ambiguity found in the lexicon. Normally, lexical ambiguities are idiosyncratic, highly contingent, and unpredictable from language to language. In the case of negation, however, the two meanings are closely related, both truth-conditionally and incrementally. Moreover, the mechanism of discourse incrementation automatically selects the right meaning. These properties are taken to provide a sufficient basis for discarding the, otherwise valid, objection that negation is unlikely to be ambiguous because no known language makes a lexical distinction between the two readings.

Abstract

The present experiment tested the suggestion that human listeners may exploit durational information in speech to parse continuous utterances into words. Listeners were presented with six-syllable unpredictable utterances under noise-masking, and were required to judge between alternative word strings as to which best matched the rhythm of the masked utterances. For each utterance there were four alternative strings: (a) an exact rhythmic and word boundary match, (b) a rhythmic mismatch, and (c) two utterances with the same rhythm as the masked utterance, but different word boundary locations. Listeners were clearly able to perceive the rhythm of the masked utterances: The rhythmic mismatch was chosen significantly less often than any other alternative. Within the three rhythmically matched alternatives, the exact match was chosen significantly more often than either word boundary mismatch. Thus, listeners both perceived speech rhythm and used durational cues effectively to locate the position of word boundaries.

Abstract

The roles which word class (open/closed) and sentential stress play in the sentence comprehension processes of both agrammatic (Broca's) aphasics and normal listeners were examined with a word monitoring task. Overall, normal listeners responded more quickly to stressed than to unstressed items, but showed no effect of word class. Aphasics also responded more quickly to stressed than to unstressed materials, but, unlike the normals, responded faster to open than to closed class words regardless of their stress. The results are interpreted as support for the theory that Broca's aphasics lack the functional underlying open/closed class word distinction used in word recognition by normal listeners.

Abstract

An introductory study of the perception of stochastically specified events is reported. The initial problem was to determine whether the perceiver can split visual input data of this kind into random and determined components. The inability of subjects to do so with the stimulus material used (a filmlike sequence of dot patterns), led to the more general question of how subjects code this kind of visual material. To meet the difficulty of defining the subjects' responses, two experiments were designed. In both, patterns were presented as a rapid sequence of dots on a screen. The patterns were more or less disturbed by “noise,” i.e. the dots did not appear exactly at their proper places. In the first experiment the response was a rating on a semantic scale, in the second an identification from among a set of alternative patterns. The results of these experiments give some insight in the coding systems adopted by the subjects. First, noise appears to be detrimental to pattern recognition, especially to patterns with little spread. Second, this shows connections with the factors obtained from analysis of the semantic ratings, e.g. easily disturbed patterns show a large drop in the semantic regularity factor, when only a little noise is added.

Abstract

As a preliminary to further research on musical consonance an explanatory investigation was made on the different modes of judgment of musical intervals. This was done by way of a semantic differential. Subjects rated 23 intervals against 10 scales. In a factor analysis three factors appeared: pitch, evaluation and fusion. The relation between these factors and some physical characteristics has been investigated. The scale consonant-dissonant showed to be purely evaluative (in opposition to Stumpf's theory). This evaluative connotation is not in accordance with the musicological meaning of consonance. Suggestions to account for this difference have been given.