Publications

Abstract

Four experiments investigated the role of frequency information in compound production by independently varying the frequencies of the first and second constituent as well as the frequency of the compound itself. Pairs of Dutch noun-noun compounds were selected such that there was a maximal contrast for one frequency while matching the other two frequencies. In a position-response association task, participants first learned to associate a compound with a visually marked position on a computer screen. In the test phase, participants had to produce the associated compound in response to the appearance of the position mark, and we measured speech onset latencies. The compound production latencies varied significantly according to factorial contrasts in the frequencies of both constituting morphemes but not according to a factorial contrast in compound frequency, providing further evidence for decompositional models of speech production. In a stepwise regression analysis of the joint data of Experiments 1-4, however, compound frequency was a significant nonlinear predictor, with facilitation in the low-frequency range and a trend toward inhibition in the high-frequency range. Furthermore, a combination of structural measures of constituent frequencies and entropies explained significantly more variance than a strict decompositional model, including cumulative root frequency as the only measure of constituent frequency, suggesting a role for paradigmatic relations in the mental lexicon.

Abstract

In recent decades, psychologists have become increasingly interested in our ability to speak. This paper sketches the present theoretical perspective on this most complex skill of homo sapiens. The generation of fluent speech is based on the interaction of various processing components. These mechanisms are highly specialized, dedicated to performing specific subroutines, such as retrieving appropriate words, generating morpho-syntactic structure, computing the phonological target shape of syllables, words, phrases and whole utterances, and creating and executing articulatory programmes. As in any complex skill, there is a self-monitoring mechanism that checks the output. These component processes are targets of increasingly sophisticated experimental research, of which this paper presents a few salient examples.

Abstract

Three experiments examined the time course of phonological encoding in speech production. A new methodology is introduced in which subjects are required to monitor their internal speech production for prespecified target segments and syllables. Experiment 1 demonstrated that word initial target segments are monitored significantly faster than second syllable initial target segments. The addition of a concurrent articulation task (Experiment 1b) had a limited effect on performance, excluding the possibility that subjects are monitoring a subvocal articulation of the carrier word. Moreover, no relationship was observed between the pattern of monitoring latencies and the timing of the targets in subjects′ overt speech. Subjects are not, therefore, monitoring an internal phonetic representation of the carrier word. Experiment 2 used the production monitoring task to replicate the syllable monitoring effect observed in speech perception experiments: responses to targets were faster when they corresponded to the initial syllable of the carrier word than when they did not. We conclude that subjects are monitoring their internal generation of a syllabified phonological representation. Experiment 3 provides more detailed evidence concerning the time course of the generation of this representation by comparing monitoring latencies to targets within, as well as between, syllables. Some amendments to current models of phonological encoding are suggested in light of these results.

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.