Publications

Abstract

It has been fifty years since Levelt’s monograph On Binocular Rivalry (1965) was published, but its four propositions that describe the relation between stimulus strength and the phenomenology of binocular rivalry remain a benchmark for theorists and experimentalists even today. In this review, we will revisit the original conception of the four propositions and the scientific landscape in which this happened. We will also provide a brief update concerning distributions of dominance durations, another aspect of Levelt’s monograph that has maintained a prominent presence in the field. In a critical evaluation of Levelt’s propositions against current knowledge of binocular rivalry we will then demonstrate that the original propositions are not completely compatible with what is known today, but that they can, in a straightforward way, be modified to encapsulate the progress that has been made over the past fifty years. The resulting modified, propositions are shown to apply to a broad range of bistable perceptual phenomena, not just binocular rivalry, and they allow important inferences about the underlying neural systems. We argue that these inferences reflect canonical neural properties that play a role in visual perception in general, and we discuss ways in which future research can build on the work reviewed here to attain a better understanding of these properties

Abstract

A series of experiments was carried out to investigate the syllable affiliation of intervocalic consonants following short vowels, long vowels, and schwa in Dutch. Special interest was paid to words such as letter ['leter] ''id.,'' where a short vowel is followed by a single consonant. On phonological grounds one may predict that the first syllable should always be closed, but earlier psycholinguistic research had shown that speakers tend to leave these syllables open. In our experiments, bisyllabic word forms were presented aurally, and participants produced their syllables in reversed order (Experiments 1 through 5), or repeated the words inserting a pause between the syllables (Experiment 6). The results showed that participants generally closed syllables with a short vowel. However, in a significant number of the cases they produced open short vowel syllables. Syllables containing schwa, like syllables with a long vowel, were hardly ever closed. Word stress, the phonetic quality of the vowel in the first syllable, and the experimental context influenced syllabification. Taken together, the experiments show that native speakers syllabify bisyllabic Dutch nouns in accordance with a small set of prosodic output constraints. To account for the variability of the results, we propose that these constraints differ in their probabilities of being applied.

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.