Publications

Abstract

The topic of this paper is the way in which speakers order information in discourse. I will refer to this issue with the term "linearization", and will begin with two types of general remarks. The first one concerns the scope and relevance of the problem with reference to some existing literature. The second set of general remarks will be about the place of linearization in a theory of the speaker. The following, and main part of this paper, will be a summary report of research of linearization in a limited, but well-defined domain of discourse, namely the description of spatial networks.

Abstract

Speakers tend to repeat materials from previous talk. This tendency is experimentally established and manipulated in various question-answering situations. It is shown that a question's surface form can affect the format of the answer given, even if this form has little semantic or conversational consequence, as in the pair Q: (At) what time do you close. A: “(At)five o'clock.” Answerers tend to match the utterance to the prepositional (nonprepositional) form of the question. This “correspondence effect” may diminish or disappear when, following the question, additional verbal material is presented to the answerer. The experiments show that neither the articulatory buffer nor long-term memory is normally involved in this retention of recent speech. Retaining recent speech in working memory may fulfill a variety of functions for speaker and listener, among them the correct production and interpretation of surface anaphora. Reusing recent materials may, moreover, be more economical than regenerating speech anew from a semantic base, and thus contribute to fluency. But the realization of this strategy requires a production system in which linguistic formulation can take place relatively independent of, and parallel to, conceptual planning.

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.