Publications

Abstract

(From the chapter) the first section considers very briefly the kinds of processes that can be inferred to underlie errors that do not set in until after a period of correct usage acquisition often seems to be a more extended process than we have envisioned summarize a currently influential model of how linguistic forms, meaning, and communication are interrelated in the acquisition of language, point out some challenging problems for this model, and suggest that the notion of "meaning" in language must be reconceptualized before we can hope to solve these problems evidence from several types of late errors is marshalled in support of these arguments (From the preface) provides many examples of new errors that children introduce at relatively advanced stages of mastery of semantics and syntax Bowerman views these seemingly backwards steps as indications of definite steps forward by the child achieving reflective, flexible and integrated systems of semantics and syntax (

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.