Publications

Abstract

In two experiments, we studied the role of frequency information in the production of deverbal adjectives and inflected verbs in Dutch. Naming latencies were triggered in a position-response association task and analysed using stepwise mixed-effects modelling, with subject and word as crossed random effects. The production latency of deverbal adjectives was affected by the cumulative frequencies of their verbal stems, arguing for decomposition and against full listing. However, for the inflected verbs, there was an inhibitory effect of Inflectional Entropy, and a nonlinear effect of Lemma Frequency. Additional effects of Position-specific Neighbourhood Density and Cohort Entropy in both types of words underline the importance of paradigmatic relations in the mental lexicon. Taken together, the data suggest that the word-form level does neither contain full forms nor strictly separated morphemes, but rather morphemes with links to phonologically andin case of inflected verbsmorphologically related word forms.

Abstract

We investigated the role of syllables during speech planning in English by measuring syllable-frequency effects. So far, syllable-frequency effects in English have not been reported. English has poorly defined syllable boundaries, and thus the syllable might not function as a prominent unit in English speech production. Speakers produced either monosyllabic (Experiment 1) or disyllabic (Experiment 2–4) pseudowords as quickly as possible in response to symbolic cues. Monosyllabic targets consisted of either high- or low-frequency syllables, whereas disyllabic items contained either a 1st or 2nd syllable that was frequency-manipulated. Significant syllable-frequency effects were found in all experiments. Whereas previous findings for disyllables in Dutch and Spanish—languages with relatively clear syllable boundaries—showed effects of a frequency manipulation on 1st but not 2nd syllables, in our study English speakers were sensitive to the frequency of both syllables. We interpret this sensitivity as an indication that the production of English has more extensive planning scopes at the interface of phonetic encoding and articulation.

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.

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.