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Levelt, W. J. M. (1989). Speaking: From intention to articulation. Cambridge: The MIT Press.
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Speaking_Appendix_Bibliography.pdf -
Levelt, W. J. M. (1989). De connectionistische mode: Symbolische en subsymbolische modellen van het menselijk gedrag. In C. M. Brown, P. Hagoort, & T. Meijering (
Eds. ), Vensters op de geest: Cognitie op het snijvlak van filosofie en psychologie (pp. 202-219). Utrecht: Stichting Grafiet. -
Levelt, W. J. M. (1989). Hochleistung in Millisekunden: Sprechen und Sprache verstehen. Universitas, 44(511), 56-68.
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Levelt, W. J. M. (1989). Working models of perception: Five general issues. In B. A. Elsendoorn, & H. Bouma (
Eds. ), Working models of perception (pp. 489-503). London: Academic Press. -
Levelt, W. J. M. (1967). Note on the distribution of dominance times in binocular rivalry. British Journal of Psychology, 58, 143-145.
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Levelt, W. J. M. (1967). Over het waarnemen van zinnen [Inaugural lecture]. Groningen: Wolters.
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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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