Publications

Abstract

In deze bijdrage wordt een modulair model van zinsproductie besproken. De planningsprocessen, die aan de productie van een zin voorafgaan, kunnen in twee hoofdcomponenten onderverdeeld worden: deconceptualisering (het bedenken van de inhoud van de uiting) en de formulering (het vastleggen van de linguïstische vorm). Het formuleringsproces bestaat weer uit twee componenten, te weten de grammatische en fonologische codering. Ook deze componenten bestaan elk weer uit een aantal subcomponenten. Dit artikel beschrijft wat de specifieke taak van iedere component is, hoe deze uitgevoerd wordt en hoe de componenten samenwerken. Tevens worden enkele belangrijke methoden van taalproductie-onderzoek besproken.

Abstract

P. A. Starreveld and W. La Heij (1995) tested the seriality view of lexical access in speech production, according to which lexical selection and the encoding of a word's form proceed in serial order without feedback. In 2 experiments, they looked at the combined effect of semantic and orthographic relatedness of written distracter words in tasks that required conceptually driven naming. They found an interaction between semantic relatedness and orthographic relatedness and argued that the observed interaction refutes the seriality view of lexical access. In this comment, the authors argue that Starreveld and La Heij's rejection of serial access was based on an oversimplified conception of the seriality view and that interaction, rather than additivity, is predicted by existing conceptions of serial access.

Abstract

The CELEX lexical database includes a list of Dutch syllables and their frequencies, based on syllabification of isolated word forms. In connected speech, however, sentence-level phonological rules can modify the syllables and their token frequencies. In order to estimate the changes syllables may undergo in connected speech, an empirical investigation was carried out. A large Dutch text corpus (TROUW) was transcribed, processed by word level rules, and syllabified. The resulting lexeme syllables were evaluated by comparing them to the CELEX lexical database for Dutch. Then additional phonological sentence-level rules were applied to the TROUW corpus, and the frequencies of the resulting connected speech syllables were compared with those of the lexeme syllables from TROUW. The overall correlation between lexeme and speech syllables was very high. However, speech syllables generally had more complex CV structures than lexeme syllables. Implications of the results for research involving syllables are discussed. With respect to the notion of a mental syllabary (a store for precompiled articulatory programs for syllables, see Levelt & Wheeldon, 1994) this study revealed an interesting statistical result. The calculation of the cumulative syllable frequencies showed that 85% of the syllable tokens in Dutch can be covered by the 500 most frequent syllable types, which makes the idea of a syllabary very attractive.

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.