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Levelt, W. J. M. (2008). An introduction to the theory of formal languages and automata. Amsterdam: John Benjamins.
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Levelt, W. J. M. (2008). Formal grammars in linguistics and psycholinguistics [Re-ed.]. Amsterdam: Benjamins.
Abstract
Contains: Vol. 1 An introduction to the theory of formal languages and automata Vol. 2 Applications in linguistic theory Vol. 3 Psycholinguistic applicationsAdditional information
Table of contents -
Levelt, W. J. M. (2008). Speaking [Korean edition]. Seoul: Korean Research Foundation.
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Levelt, W. J. M. (2008). What has become of formal grammars in linguistics and psycholinguistics? [Postscript]. In Formal Grammars in linguistics and psycholinguistics (pp. 1-17). Amsterdam: John Benjamins.
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Levelt, W. J. M., Van Gent, J., Haans, A., & Meijers, A. (1977). Grammaticality, paraphrase, and imagery. In S. Greenbaum (
Ed. ), Acceptability in language (pp. 87-101). The Hague: Mouton. -
Zwanenburg, W., Ouweneel, G. R. E., & Levelt, W. J. M. (1977). La frontière du mot en français. Studies in Language, 1, 209-221.
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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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