Publications

Abstract

It has been fifty years since Levelt’s monograph On Binocular Rivalry (1965) was published, but its four propositions that describe the relation between stimulus strength and the phenomenology of binocular rivalry remain a benchmark for theorists and experimentalists even today. In this review, we will revisit the original conception of the four propositions and the scientific landscape in which this happened. We will also provide a brief update concerning distributions of dominance durations, another aspect of Levelt’s monograph that has maintained a prominent presence in the field. In a critical evaluation of Levelt’s propositions against current knowledge of binocular rivalry we will then demonstrate that the original propositions are not completely compatible with what is known today, but that they can, in a straightforward way, be modified to encapsulate the progress that has been made over the past fifty years. The resulting modified, propositions are shown to apply to a broad range of bistable perceptual phenomena, not just binocular rivalry, and they allow important inferences about the underlying neural systems. We argue that these inferences reflect canonical neural properties that play a role in visual perception in general, and we discuss ways in which future research can build on the work reviewed here to attain a better understanding of these properties

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

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.