Displaying 1 - 6 of 6
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Levelt, W. J. M. (1980). On-line processing constraints on the properties of signed and spoken language. In U. Bellugi, & M. Studdert-Kennedy (
Eds. ), Signed and spoken language: Biological constraints on linguistic form (pp. 141-160). Weinheim: Verlag Chemie.Abstract
It is argued that the dominantly successive nature of language is largely mode-independent and holds equally for sign and for spoken language. A preliminary distinction is made between what is simultaneous or successive in the signal, and what is in the process; these need not coincide, and it is the successiveness of the process that is at stake. It is then discussed extensively for the word/sign level, and in a more preliminary fashion for the clause and discourse level that online processes are parallel in that they can simultaneously draw on various sources of knowledge (syntactic, semantic, pragmatic), but successive in that they can work at the interpretation of only one unit at a time. This seems to hold for both sign and spoken language. In the final section, conjectures are made about possible evolutionary explanations for these properties of language processing. -
Levelt, W. J. M. (1980). Toegepaste aspecten van het taal-psychologisch onderzoek: Enkele inleidende overwegingen. In J. Matter (
Ed. ), Toegepaste aspekten van de taalpsychologie (pp. 3-11). Amsterdam: VU Boekhandel. -
Levelt, W. J. M., & Plomp, R. (1964). De waardering van muzikale intervallen. Hypothese: Orgaan van de Psychologische Faculteit der Leidse Studenten, 9(3/4), 30-39.
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Levelt, W. J. M. (1962). Motion breaking and the perception of causality. In A. Michotte (
Ed. ), Causalité, permanence et réalité phénoménales: Etudes de psychologie expérimentale (pp. 244-258). Louvain: Publications Universitaires. -
Levelt, W. J. M., & Plomp, R. (1962). Musical consonance and critical bandwidth. In Proceedings of the 4th International Congress Acoustics (pp. 55-55).
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Van de Geer, J. P., Levelt, W. J. M., & Plomp, R. (1962). The connotation of musical consonance. Acta Psychologica, 20, 308-319.
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.
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