Publications

Abstract

The psychological process of translating semantic into syntactic structures has dynamic properties such as the following. (1) The speaker is able to start pronouncing an utterance before having worked out the semantic content he wishes to express. Selection of semantic content and construction of syntactic form proceed partially in parallel. (2) The human sentence generator takes as input not only a specification of semantic content but also some indication of desired syntactic shape. Such indications, if present, do not complicate the generation process but make it easier. (3) Certain regularities of speech errors suggest a two-stage generation process. Stage I constructs the “syntactic skeleton” of an utterance; stage II provides the skeleton with morpho- honological information. An outline is given of the type of grammar which is used by a sentence generation system embodying these characteristics. The system is being implemented on a computer.

Abstract

Rede, uitgesproken bij de aanvaarding van het ambt van lector in de taalpsychologie aan de Katholieke Universiteit te Nijmegen op Vrijdag 10 juni 1977

Abstract

The psychological process of producing sentences includes conceptualization (selecting to-beexpressed conceptual content) and formulation (translating conceptual content into syntactic structures of a language). There is ample evidence, both intuitive and experimental, that the conceptualizing and formulating processes often proceed concurrently, not strictly serially. James Lindsley (Cognitive Psych.,1975, 7, 1-19; J.Psycholinguistic Res., 1976, 5, 331-354) has developed a concurrent model which proved succesful in an experimental situation where simple English Subject-Verb (SV) sentences such as “The boy is greeting”,”The girl is kicking” were produced as descriptions of pictures which showed actor and action. The measurements were reaction times defined as the interval between the moment a picture appeared on a screen and the onset of the vocal utterance by the speaker. Lindsley could show, among other things, that the formulation process for an SV sentence doesn’t start immediately after the actor of a picture (that is, the conceptual content underlying the surface Subject phrase) has been identified, but is somewhat delayed. The delay was needed, according to Lindsley, in order to prevent dysfluencies (hesitations) between surface Subject and verb. We replicated Lindsley’s data for Dutch. However, his model proved inadequate when we added Dutch Verb-Subject (VS) constructions which are obligatory in certain syntactic contexts but synonymous with their SV counterparts. A sentence production theory which is being developed by the first author is able to provide an accurate account of the data. The abovementioned delay is attributed to certain precautions the sentence generator has to take in case of SV but not of VS sentences. These precautions are related to the goal of attaining syntactic coherence of the utterance as a whole, not to the prevention of dysfluencies.

Abstract

PHD thesis, defended at the University of Leiden

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.