Publications

Abstract

In the speech production model proposed by [Levelt, W. J. M., Roelofs, A., Meyer, A. S. (1999). A theory of lexical access in speech production. Behavioral and Brain Sciences, 22, pp. 1-75.], syllables play a crucial role at the interface of phonological and phonetic encoding. At this interface, abstract phonological syllables are translated into phonetic syllables. It is assumed that this translation process is mediated by a so-called Mental Syllabary. Rather than constructing the motor programs for each syllable on-line, the mental syllabary is hypothesized to provide pre-compiled gestural scores for the articulators. In order to find evidence for such a repository, we investigated syllable-frequency effects: If the mental syllabary consists of retrievable representations corresponding to syllables, then the retrieval process should be sensitive to frequency differences. In a series of experiments using a symbol-position association learning task, we tested whether highfrequency syllables are retrieved and produced faster compared to low-frequency syllables. We found significant syllable frequency effects with monosyllabic pseudo-words and disyllabic pseudo-words in which the first syllable bore the frequency manipulation; no effect was found when the frequency manipulation was on the second syllable. The implications of these results for the theory of word form encoding at the interface of phonological and phonetic encoding; especially with respect to the access mechanisms to the mental syllabary in the speech production model by (Levelt et al.) are discussed.

Abstract

Individuals speak incrementally when they interleave planning and articulation. Eyetracking, along with the measurement of speech onset latencies, can be used to gain more insight into the degree of incrementality adopted by speakers. In the current article, two eyetracking experiments are reported in which pairs of complex numerals were named (arabic format, Experiment 1) or read aloud (alphabetic format, Experiment 2) as house numbers and as clock times. We examined whether the degree of incrementality is differentially influenced by the production task (naming vs. reading) and mode (house numbers vs. clock time expressions), by comparing gaze durations and speech onset latencies. In both tasks and modes, dissociations were obtained between speech onset latencies (reflecting articulation) and gaze durations (reflecting planning), indicating incrementality. Furthermore, whereas none of the factors that determined gaze durations were reflected in the reading and naming latencies for the house numbers, the dissociation between gaze durations and response latencies for the clock times concerned mainly numeral length in both tasks. These results suggest that the degree of incrementality is influenced by the type of utterance (house number vs. clock time) rather than by task (reading vs. naming). The results highlight the importance of the utterance structure in determining the degree of incrementality.

Abstract

This study investigated the monitoring of metrical stress information in internally generated speech. In Experiment 1, Dutch participants were asked to judge whether bisyllabic picture names had initial or final stress. Results showed significantly faster decision times for initially stressed targets (e.g., KAno ‘‘canoe’’) than for targets with final stress (e.g., kaNON ‘‘cannon’’; capital letters indicate stressed syllables). It was demonstrated that monitoring latencies are not a function of the picture naming or object recognition latencies to the same pictures. Experiments 2 and 3 replicated the outcome of the first experiment with trisyllabic picture names. These results are similar to the findings of Wheeldon and Levelt (1995) in a segment monitoring task. The outcome might be interpreted to demonstrate that phonological encoding in speech production is a rightward incremental process. Alternatively, the data might reflect the sequential nature of a perceptual mechanism used to monitor lexical stress.

Abstract

In three experiments we test the assumption that idioms have their own lexical entry, which is linked to its constituent lemmas (Cutting & Bock, 1997). Speakers produced idioms or literal phrases (Experiment 1), completed idioms (Experiment 2), or switched between idiom completion and naming (Experiment 3). The results of Experiment 1 show that identity priming speeds up idiom production more effectively than literal phrase production, indicating a hybrid representation of idioms. In Experiment 2, we find effects of both phonological and semantic priming. Thus, elements of an idiom can not only be primed via their wordform, but also via the conceptual level. The results of Experiment 3 show that preparing the last word of an idiom primes naming of both phonologically and semantically related targets, indicating that literal word meanings become active during idiom production. The results are discussed within the framework of the hybrid model of idiom representation.

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.