Publications

Abstract

An acoustically invariant one-word segment occurred in two versions of one syntactic context. In one version, the preceding intonation contour indicated that a stress would fall at the point where this word occurred. In the other version, the preceding contour predicted reduced stress at that point. Reaction time to the initial phoneme of the word was faster in the former case, despite the fact that no acoustic correlates of stress were present. It is concluded that a part of the sentence comprehension process is the prediction of upcoming sentence accents.

Abstract

Four probe latency experiments show that the ‘constituent boundary effect’ (transitions between constituents are more difficult than within constituents) is a retrieval and not a storage phenomenon. The experimental logic used is called paraphrastic reproduction: after verbatim memorization of some sentences, subjects were instructed to reproduce them both in their original wording and in the form of sentences that, whilst preserving the original meaning, embodied different syntactic constructions. Syntactic constructions are defined as pairs which consist of a pattern of conceptual information and a syntactic scheme, i.e. a sequence of syntactic word categories and function words. For example, the sequence noun + finite intransitive main verb (‘John runs’) expresses a conceptual actor-action relationship. It is proposed that for each overlearned and simple syntactic construction there exists a retrieval plan which does the following. It searches through the long-term memory information that has been designated as the conceptual content of the utterance(s) to be produced, looking for a token of its conceptual pattern. The retrieved information is then cast into the format of its syntactic scheme. The organization of such plans is held responsible for the constituent boundary effect.

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

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.

Abstract

The structure of relative clauses has attracted considerable attention in recent years, and a number of authors have carried out analyses of the syntax of relativization. In our investigation of syntactic structure and change in New Guinea Tok Pisin, we find that the basic processes involved in relativization have much broader discourse functions, and that relativization is only a special instance of the application of general ‘bracketing’ devices used in the organization of information. Syntactic structure, in this case, can be understood as a component of, and derivative from, discourse structure.

Abstract

An introductory study of the perception of stochastically specified events is reported. The initial problem was to determine whether the perceiver can split visual input data of this kind into random and determined components. The inability of subjects to do so with the stimulus material used (a filmlike sequence of dot patterns), led to the more general question of how subjects code this kind of visual material. To meet the difficulty of defining the subjects' responses, two experiments were designed. In both, patterns were presented as a rapid sequence of dots on a screen. The patterns were more or less disturbed by “noise,” i.e. the dots did not appear exactly at their proper places. In the first experiment the response was a rating on a semantic scale, in the second an identification from among a set of alternative patterns. The results of these experiments give some insight in the coding systems adopted by the subjects. First, noise appears to be detrimental to pattern recognition, especially to patterns with little spread. Second, this shows connections with the factors obtained from analysis of the semantic ratings, e.g. easily disturbed patterns show a large drop in the semantic regularity factor, when only a little noise is added.

Abstract

Dichoptic mixtures of equiluminous components of different wavelengths were matched with a binocularly presented "monocular" mixture of appropriate chosen amounts of the same colour components. Stimuli were chosen from the region of 490-630 nm. Although satisfactory colour matches could be obtained, dichoptic mixtures differed from normal mixtures to a considerable extent. Midspectral stimuli tended to be more dominant in the dichoptic mixtures than either short or long wavelength stimuli. An attempt was made to describe the relation between monocular and dichoptic mixtures with one function containing a wavelength variable and an eye dominance parameter.