Publications

Abstract

A series of experiments was carried out to investigate the syllable affiliation of intervocalic consonants following short vowels, long vowels, and schwa in Dutch. Special interest was paid to words such as letter ['leter] ''id.,'' where a short vowel is followed by a single consonant. On phonological grounds one may predict that the first syllable should always be closed, but earlier psycholinguistic research had shown that speakers tend to leave these syllables open. In our experiments, bisyllabic word forms were presented aurally, and participants produced their syllables in reversed order (Experiments 1 through 5), or repeated the words inserting a pause between the syllables (Experiment 6). The results showed that participants generally closed syllables with a short vowel. However, in a significant number of the cases they produced open short vowel syllables. Syllables containing schwa, like syllables with a long vowel, were hardly ever closed. Word stress, the phonetic quality of the vowel in the first syllable, and the experimental context influenced syllabification. Taken together, the experiments show that native speakers syllabify bisyllabic Dutch nouns in accordance with a small set of prosodic output constraints. To account for the variability of the results, we propose that these constraints differ in their probabilities of being applied.

Abstract

Originally published in Cognition International Journal of Cognitive Science, Volume 42, Numbers 1-3, 1992 This paper introduces a special issue of Cognition 011 lexical access in speech production. Over the last quarter century, the psycholinguistic study of speaking, and in particular of accessing words in speech, received a major new impetus from the analysis of speech errors, dysfluencies and hesMions, from aphasiology, and from new paradigms in reaction time research. The emerging theoretical picture partitions the accessing process into two subprocesses, the selection of an appropriate lexical item (and "lemma") from the mental lexicon, and the phonological encoding of that item, that is, the computation of a phonetic program for the item in the context of utterance These two theoretical domains are successively introduced by outlining some core issues that have been or still have to be addressed. The final section discusses the controversial question whether phonological encoding can affect lexical selection. This partitioning is also followed in this special issue as a whole. There are, first, four papers on lexical selection, then three papers on phonological encoding, and finally one on the interaction between selection and phonological encoding.

Abstract

Formerly published in: Cognition : international journal of cognitive science, vol. 42, nos. 1-3, 1992

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.