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

Two experimental results often reported in support of perceptual interpretations concerning the influence of set on perception are critically examined: (a) the relation between word frequency and recognition threshold, and (b) the so-called compromise reactions between set and stimulus, Alter elimination of certain methodological artifacts (e.g., introduction of a temporal forced-choice method instead of the ascending-limits method), both phenomena disappear; the influence of set on perception appears to be wholly a matter of response bias.

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.