Publications

Abstract

Previous research has shown that listeners use the prosodic structure of utterances in a predictive fashion in sentence comprehension, to direct attention to accented words. Acoustically identical words spliced into sentence contexts arc responded to differently if the prosodic structure of the context is \ aricd: when the preceding prosody indicates that the word will he accented, responses are faster than when the preceding prosodv is inconsistent with accent occurring on that word. In the present series of experiments speech hybridisation techniques were first used to interchange the timing patterns within pairs of prosodic variants of utterances, independently of the pitch and intensity contours. The time-adjusted utterances could then serve as a basis lor the orthogonal manipulation of the three prosodic dimensions of pilch, intensity and rhythm. The overall pattern of results showed that when listeners use prosody to predict accent location, they do not simply rely on a single prosodic dimension, hut exploit the interaction between pitch, intensity and rhythm.

Abstract

Speech production is constrained at all levels by the demands of speech perception. The speaker's primary aim is successful communication, and to this end semantic, syntactic and lexical choices are directed by the needs of the listener. Even at the articulatory level, some aspects of production appear to be perceptually constrained, for example the blocking of phonological distortions under certain conditions. An apparent exception to this pattern is word boundary information, which ought to be extremely useful to listeners, but which is not reliably coded in speech. It is argued that the solution to this apparent problem lies in rethinking the concept of the boundary of the lexical access unit. Speech rhythm provides clear information about the location of stressed syllables, and listeners do make use of this information. If stressed syllables can serve as the determinants of word lexical access codes, then once again speakers are providing precisely the necessary form of speech information to facilitate perception.

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

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.