Publications

Abstract

The main goal of the present study is to trace the consequences of local and global markedness for the processing of singular and plural nouns. Decompositional models such as proposed by (Pinker (1997); Pinker (1999)) and (Levelt et al. (1999)) predict a lexeme frequency effect and no effects of the frequencies of the singular and the plural forms. Experiments 1 and 4 reveal the expected lexeme frequency effect. Furthermore, in these experiments there are no clear independent effects of the frequencies of the inflected forms. However, the effects of Entropy and Relative Entropy that emerge from these experiments show that in production knowledge of the probabilities of the individual inflected forms do play a role, albeit indirectly. These entropy effects bear witness to the importance of paradigmatic organization of inflected forms in the mental lexicon, both at the level of individual lexemes (Entropy) and at the general level of the class of nouns (Relative Entropy).

Abstract

Does the naming of clocks always require conceptual preparation? To examine this question, speakers were presented with analog and digital clocks that had to be named in Dutch using either a relative (e.g., “quarter to four”) or an absolute (e.g., “three forty-five”) clock time expression format. Naming latencies showed evidence of conceptual preparation when speakers produced relative time expressions to analog and digital clocks, but not when they used absolute time expressions. These findings indicate that conceptual mediation is not always mandatory for telling time, but instead depends on clock time expression format, supporting a multiple-route account of Dutch clock time naming.

Abstract

Disagreement exists about how speakers monitor their internal speech. Production-based accounts assume that self-monitoring mechanisms exist within the production system, whereas comprehension-based accounts assume that monitoring is achieved through the speech comprehension system. Comprehension-based accounts predict perception-specific effects, like the perceptual uniqueness-point effect, in the monitoring of internal speech. We ran an extensive experiment testing this prediction using internal phoneme monitoring and picture naming tasks. Our results show an effect of the perceptual uniqueness point of a word in internal phoneme monitoring in the absence of such an effect in picture naming. These results support comprehension-based accounts of the monitoring of internal speech.

Abstract

In 4 chronometric experiments, influences of spoken word planning on speech recognition were examined. Participants were shown pictures while hearing a tone or a spoken word presented shortly after picture onset. When a spoken word was presented, participants indicated whether it contained a prespecified phoneme. When the tone was presented, they indicated whether the picture name contained the phoneme (Experiment 1) or they named the picture (Experiment 2). Phoneme monitoring latencies for the spoken words were shorter when the picture name contained the prespecified phoneme compared with when it did not. Priming of phoneme monitoring was also obtained when the phoneme was part of spoken nonwords (Experiment 3). However, no priming of phoneme monitoring was obtained when the pictures required no response in the experiment, regardless of monitoring latency (Experiment 4). These results provide evidence that an internal phonological pathway runs from spoken word planning to speech recognition and that active phonological encoding is a precondition for engaging the pathway. (PsycINFO Database Record (c) 2007 APA, all rights reserved)

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.