Displaying 1 - 11 of 11
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Levelt, W. J. M. (1991). Die konnektionistische Mode. Sprache und Kognition, 10(2), 61-72.
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Levelt, W. J. M. (1991). Lexical access in speech production: Stages versus cascading. In H. Peters, W. Hulstijn, & C. Starkweather (
Eds. ), Speech motor control and stuttering (pp. 3-10). Amsterdam: Excerpta Medica. -
Levelt, W. J. M., Schriefers, H., Vorberg, D., Meyer, A. S., Pechmann, T., & Havinga, J. (1991). Normal and deviant lexical processing: Reply to Dell and O'Seaghdha. Psychological Review, 98(4), 615-618. doi:10.1037/0033-295X.98.4.615.
Abstract
In their comment, Dell and O'Seaghdha (1991) adduced any effect on phonological probes for semantic alternatives to the activation of these probes in the lexical network. We argue that that interpretation is false and, in addition, that the model still cannot account for our data. Furthermore, and different from Dell and O'seaghda, we adduce semantic rebound to the lemma level, where it is so substantial that it should have shown up in our data. Finally, we question the function of feedback in a lexical network (other than eliciting speech errors) and discuss Dell's (1988) notion of a unified production-comprehension system. -
Levelt, W. J. M., Schriefer, H., Vorberg, D., Meyer, A. S., Pechmann, T., & Havinga, J. (1991). The time course of lexical access in speech production: A study of picture naming. Psychological Review, 98(1), 122-142. doi:10.1037/0033-295X.98.1.122.
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Levelt, W. J. M. (1989). Speaking: From intention to articulation. Cambridge: The MIT Press.
Additional information
Speaking_Appendix_Bibliography.pdf -
Levelt, W. J. M. (1989). De connectionistische mode: Symbolische en subsymbolische modellen van het menselijk gedrag. In C. M. Brown, P. Hagoort, & T. Meijering (
Eds. ), Vensters op de geest: Cognitie op het snijvlak van filosofie en psychologie (pp. 202-219). Utrecht: Stichting Grafiet. -
Levelt, W. J. M. (1989). Hochleistung in Millisekunden: Sprechen und Sprache verstehen. Universitas, 44(511), 56-68.
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Levelt, W. J. M. (1989). Working models of perception: Five general issues. In B. A. Elsendoorn, & H. Bouma (
Eds. ), Working models of perception (pp. 489-503). London: Academic Press. -
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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