Displaying 1 - 13 of 13
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Brown, S., & Brown, P. (1965). Comparison of successive and simultaneous methods of pair presentation in paired-associate learning. Psychonomic Science, 309-310.
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Kempen, G. (1965). Leermachine en talenpracticum: Inleiding en literatuuroverzicht. Tijdschrift voor opvoedkunde, 11, 1-31.
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Klein, W. (1967). Einführende Bibliographie zu "Mathematik und Dichtung". In H. Kreuzer, & R. Gunzenhäuser (
Eds. ), Mathematik und Dichtung (pp. 347-359). München: Nymphenburger. -
Levelt, W. J. M. (1965). Binocular brightness averaging and contour information. British Journal of Psychology, 56, 1-13.
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Levelt, W. J. M. (1962). Motion breaking and the perception of causality. In A. Michotte (
Ed. ), Causalité, permanence et réalité phénoménales: Etudes de psychologie expérimentale (pp. 244-258). Louvain: Publications Universitaires. -
Levelt, W. J. M., & Plomp, R. (1962). Musical consonance and critical bandwidth. In Proceedings of the 4th International Congress Acoustics (pp. 55-55).
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Levelt, W. J. M. (1967). Note on the distribution of dominance times in binocular rivalry. British Journal of Psychology, 58, 143-145.
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Levelt, W. J. M. (1965). On binocular rivalry. PhD Thesis, Van Gorcum, Assen.
Abstract
PHD thesis, defended at the University of Leiden -
Levelt, W. J. M. (1967). Over het waarnemen van zinnen [Inaugural lecture]. Groningen: Wolters.
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Plomp, R., & Levelt, W. J. M. (1965). Tonal consonance and critical bandwidth. Journal of the Acoustical Society of America, 38, 548-560. doi:10.1121/1.1909741.
Abstract
Firstly, theories are reviewed on the explanation of tonal consonance as the singular nature of tone intervals with frequency ratios corresponding with small integer numbers. An evaluation of these explanations in the light of some experimental studies supports the hypothesis, as promoted by von Helmholtz, that the difference between consonant and dissonant intervals is related to beats of adjacent partials. This relation was studied more fully by experiments in which subjects had to judge simple-tone intervals as a function of test frequency and interval width. The results may be considered as a modification of von Helmholtz's conception and indicate that, as a function of frequency, the transition range between consonant and dissonant intervals is related to critical bandwidth. Simple-tone intervals are evaluated as consonant for frequency differences exceeding this bandwidth. whereas the most dissonant intervals correspond with frequency differences of about a quarter of this bandwidth. On the base of these results, some properties of consonant intervals consisting of complex tones are explained. To answer the question whether critical bandwidth also plays a rôle in music, the chords of two compositions (parts of a trio sonata of J. S. Bach and of a string quartet of A. Dvorák) were analyzed by computing interval distributions as a function of frequency and number of harmonics taken into account. The results strongly suggest that, indeed, critical bandwidth plays an important rôle in music: for a number of harmonics representative for musical instruments, the "density" of simultaneous partials alters as a function of frequency in the same way as critical bandwidth does. -
Seuren, P. A. M. (1965). Fonotheek, teniotheek. Levende Talen, 229, 221-222.
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Seuren, P. A. M. (1967). Negation in Dutch. Neophilologus, 51(4), 327-363.
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Van de Geer, J. P., Levelt, W. J. M., & Plomp, R. (1962). The connotation of musical consonance. Acta Psychologica, 20, 308-319.
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.
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