Publications

Abstract

This chapter reviews the findings of 58 word production experiments using different tasks and neuroimaging techniques. The reported cerebral activation sites are coded in a common anatomic reference system. Based on a functional model of language production, the different word production tasks are analyzed in terms of their processing components. This approach allows a distinction between the core process of word production and preceding task-specific processes (lead-in processes) such as visual or auditory stimulus recognition. The core process of word production is subserved by a left-lateralized perisylvian/thalamic language production network. Within this network there seems to be functional specialization for the processing stages of word production. In addition, this chapter includes a discussion of the available evidence on syntactic production, self-monitoring, and the time course of word production.

Abstract

In this article, we present an account of developmental data regarding the acquisition of syllable types. The data come from a longitudinal corpus of phonetically transcribed speech of 12 children acquiring Dutch as their first language. A developmental order of acquisition of syllable types was deduced by aligning the syllabified data on a Guttman scale. This order could be analyzed as following from an initial ranking and subsequent rerankings in the grammar of the structural constraints ONSET, NO-CODA, *COMPLEX-O, and *COMPLEX-C; some local conjunctions of these constraints; and a faithfulness constraint FAITH. The syllable type frequencies in the speech surrounding the language learner are also considered. An interesting correlation is found between the frequencies and the order of development of the different syllable types.

Abstract

It is quite normal for us to produce one or two million word tokens every year. Speaking is a dear occupation and producing words is at the core of it. Still, producing even a single word is a highly complex affair. Recently, Levelt, Roelofs, and Meyer (1999) reviewed their theory of lexical access in speech production, which dissects the word-producing mechanism as a staged application of various dedicated operations. The present paper begins by presenting a bird eye's view of this mechanism. We then square the complexity by asking how speakers control multiple access in generating simple utterances such as a table and a chair. In particular, we address two issues. The first one concerns dependency: Do temporally contiguous access procedures interact in any way, or do they run in modular fashion? The second issue concerns temporal alignment: How much temporal overlap of processing does the system tolerate in accessing multiple content words, such as table and chair? Results from picture-word interference and eye tracking experiments provide evidence for restricted cases of dependency as well as for constraints on the temporal alignment of access procedures.

Abstract

A comparison of Merge, a model of comprehension, and WEAVER, a model of production, raises five issues: (1) merging models of comprehension and production necessarily creates feedback; (2) neither model is a comprehensive account of word processing; (3) the models are incomplete in different ways; (4) the models differ in their handling of competition; (5) as opposed to WEAVER, Merge is a model of metalinguistic behavior.

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.