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Levelt, W. J. M., Drenth, P., & Noort, E. (
Eds. ). (2012). Flawed science: The fraudulent research practices of social psychologist Diederik Stapel. Tilburg: Commissioned by the Tilburg University, University of Amsterdam and the University of Groningen.Abstract
Final report Stapel investigation -
Levelt, W. J. M. (1980). On-line processing constraints on the properties of signed and spoken language. In U. Bellugi, & M. Studdert-Kennedy (
Eds. ), Signed and spoken language: Biological constraints on linguistic form (pp. 141-160). Weinheim: Verlag Chemie.Abstract
It is argued that the dominantly successive nature of language is largely mode-independent and holds equally for sign and for spoken language. A preliminary distinction is made between what is simultaneous or successive in the signal, and what is in the process; these need not coincide, and it is the successiveness of the process that is at stake. It is then discussed extensively for the word/sign level, and in a more preliminary fashion for the clause and discourse level that online processes are parallel in that they can simultaneously draw on various sources of knowledge (syntactic, semantic, pragmatic), but successive in that they can work at the interpretation of only one unit at a time. This seems to hold for both sign and spoken language. In the final section, conjectures are made about possible evolutionary explanations for these properties of language processing. -
Levelt, W. J. M. (1980). Toegepaste aspecten van het taal-psychologisch onderzoek: Enkele inleidende overwegingen. In J. Matter (
Ed. ), Toegepaste aspekten van de taalpsychologie (pp. 3-11). Amsterdam: VU Boekhandel. -
Levelt, W. J. M. (1965). Binocular brightness averaging and contour information. British Journal of Psychology, 56, 1-13.
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Levelt, W. J. M. (1965). On binocular rivalry. PhD Thesis, Van Gorcum, Assen.
Abstract
PHD thesis, defended at the University of Leiden -
Plomp, R., & Levelt, W. J. M. (1965). Tonal consonance and critical bandwidth. Journal of the Acoustical Society of America, 38, 548-560. doi:10.1121/1.1909741.
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.
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