Publications

Abstract

Making a self-repair in speech typically proceeds in three phases. The first phase involves the monitoring of one’s own speech and the interruption of the flow of speech when trouble is detected. From an analysis of 959 spontaneous self-repairs it appears that interrupting follows detection promptly, with the exception that correct words tend to be completed. Another finding is that detection of trouble improves towards the end of constituents. The second phase is characterized by hesitation, pausing, but especially the use of so-called editing terms. Which editing term is used depends on the nature of the speech trouble in a rather regular fashion: Speech errors induce other editing terms than words that are merely inappropriate, and trouble which is detected quickly by the speaker is preferably signalled by the use of ‘uh’. The third phase consists of making the repair proper The linguistic well-formedness of a repair is not dependent on the speaker’s respecting the integriv of constituents, but on the structural relation between original utterance and repair. A bi-conditional well-formedness rule links this relation to a corresponding relation between the conjuncts of a coordination. It is suggested that a similar relation holds also between question and answer. In all three cases the speaker respects certain Istructural commitments derived from an original utterance. It was finally shown that the editing term plus the first word of the repair proper almost always contain sufficient information for the listener to decide how the repair should be related to the original utterance. Speakers almost never produce misleading information in this respect. It is argued that speakers have little or no access to their speech production process; self-monitoring is probably based on parsing one’s own inner or overt speech.

Abstract

Spontaneous self-corrections in speech pose a communication problem; the speaker must make clear to the listener not only that the original Utterance was faulty, but where it was faulty and how the fault is to be corrected. Prosodic marking of corrections - making the prosody of the repair noticeably different from that of the original utterance - offers a resource which the speaker can exploit to provide the listener with such information. A corpus of more than 400 spontaneous speech repairs was analysed, and the prosodic characteristics compared with the syntactic and semantic characteristics of each repair. Prosodic marking showed no relationship at all with the syntactic characteristics of repairs. Instead, marking was associated with certain semantic factors: repairs were marked when the original utterance had been actually erroneous, rather than simply less appropriate than the repair; and repairs tended to be marked more often when the set of items encompassing the error and the repair was small rather than when it was large. These findings lend further weight to the characterization of accent as essentially semantic in function.

Abstract

Speakers tend to repeat materials from previous talk. This tendency is experimentally established and manipulated in various question-answering situations. It is shown that a question's surface form can affect the format of the answer given, even if this form has little semantic or conversational consequence, as in the pair Q: (At) what time do you close. A: “(At)five o'clock.” Answerers tend to match the utterance to the prepositional (nonprepositional) form of the question. This “correspondence effect” may diminish or disappear when, following the question, additional verbal material is presented to the answerer. The experiments show that neither the articulatory buffer nor long-term memory is normally involved in this retention of recent speech. Retaining recent speech in working memory may fulfill a variety of functions for speaker and listener, among them the correct production and interpretation of surface anaphora. Reusing recent materials may, moreover, be more economical than regenerating speech anew from a semantic base, and thus contribute to fluency. But the realization of this strategy requires a production system in which linguistic formulation can take place relatively independent of, and parallel to, conceptual planning.

Abstract

The process of speaking is traditionally regarded as a mapping of thoughts (intentions, feelings, etc.) onto language. One requirement that this mapping has to meet is that the units of information to be expressed be strictly ordered. The channel of speech largely prohibits the simultaneous expression of multiple propositions: the speaker has a linearization problem - that is, a linear order has to be determined over any knowledge structure to be formulated. This may be relatively simple if the informational structure has itself an intrinsic linear arrangement, as often occurs with event structures, but it requires special procedures if the structure is more complex, as is often the case in two- or three-dimensional spatial patterns. How, for instance, does a speaker proceed in describing his home, or the layout of his town? Two powerful constraints on linearization derive, on the one hand, from 'mutual knowledge' and, on the other, from working memory limitations. Mutual knowledge may play a role in that the listener can be expected to derive different implicatures from different orderings (compare 'she married and became pregnant' with 'she became pregnant and married'). Mutual knowledge determinants of linearization are essentially pragmatic and cultural, and dependent on the content of discourse. Working memory limitations affect linearization in that a speaker's linearization strategy will minimize memory load during the process of formulating. A multidimensional structure is broken up in such a way that the number of 'return addresses' to be kept in memory will be minimized. This is attained by maximizing the connectivity of the discourse, and by backtracking to stored addresses in a first-in-last-out fashion. These memory determinants of linearization are presumably biological, and independent of the domain of discourse. An important question is whether the linearization requirement is enforced by the oral modality of speech or whether it is a deeper modality-independent property of language use.

Abstract

Recently, the Max Planck Society founded a new Project group for Psycholinguistics. This article reviews some of the kernel issues of the group's research program. The central concern is with the context dependency of the speaker's linguistic behavior. The process of linguistically formulating depends not only on what the speaker wants to express, but also on what has been said previously (linguistic context), and on the physical and social situation (nonlinguistic context). Special attention is paid to two context-dependent phenomena.

Abstract

Dichoptic mixtures of equiluminous components of different wavelengths were matched with a binocularly presented "monocular" mixture of appropriate chosen amounts of the same colour components. Stimuli were chosen from the region of 490-630 nm. Although satisfactory colour matches could be obtained, dichoptic mixtures differed from normal mixtures to a considerable extent. Midspectral stimuli tended to be more dominant in the dichoptic mixtures than either short or long wavelength stimuli. An attempt was made to describe the relation between monocular and dichoptic mixtures with one function containing a wavelength variable and an eye dominance parameter.

Abstract

Recent work on sentence recognition suggests that listeners use their knowledge of the language to directly infer deep structure syntactic relations from surface structure markers. Suffixes may be such clues, especially in agglutinative languages. A cross-language (Dutch-Finnish) experiment is reported, designed to investigate whether the suffix structure of Finnish words (as opposed to suffixless Dutch words) can facilitate prompted recall of sentences in case these suffixes differentiate between possible deep structures. The experiment, in which 80 subjects recall sentences at the occasion of prompt words, gives only slight confirmatory evidence. Meanwhile, another prompted recall effect (Blumenthal's) could not be replicated.

Abstract

Review of S. Fillenbaum and A. Rapoport, Structures in the subjective lexicon

Abstract

In modern approaches to phonology a lack of clarity exists on the issue of whether phonetic facts are psychological or physical realities. The results from an experiment suggest that phonetic facts can be considered as psychological realities, but with the restriction that they can (but not necessarily always do) take acoustical shape. More specifically, the syntactic material consisted of ambiguous French sentences of the following sort: On a tourné ce film intéressant pour les étudiants. They were spoken (a) in disambiguating contexts, without the (four) readers noticing the ambiguities, and (b) without context, but with the instruction to make a conscious effort to disambiguate. By tape splicing, the contexts were removed from the context-embedded sentences. Twenty-eight native speakers of French listened to the sentences and judged whether one or the other meaning had been intended by the speaker. Subjects performed significantly above chance: 60% correct identifications for context-embedded sentences, 75% for context-free sentences. Pitch-amplitude analyses were made to determine the acoustical differences involved.

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.

Abstract

An introductory study of the perception of stochastically specified events is reported. The initial problem was to determine whether the perceiver can split visual input data of this kind into random and determined components. The inability of subjects to do so with the stimulus material used (a filmlike sequence of dot patterns), led to the more general question of how subjects code this kind of visual material. To meet the difficulty of defining the subjects' responses, two experiments were designed. In both, patterns were presented as a rapid sequence of dots on a screen. The patterns were more or less disturbed by “noise,” i.e. the dots did not appear exactly at their proper places. In the first experiment the response was a rating on a semantic scale, in the second an identification from among a set of alternative patterns. The results of these experiments give some insight in the coding systems adopted by the subjects. First, noise appears to be detrimental to pattern recognition, especially to patterns with little spread. Second, this shows connections with the factors obtained from analysis of the semantic ratings, e.g. easily disturbed patterns show a large drop in the semantic regularity factor, when only a little noise is added.

Abstract

As a preliminary to further research on musical consonance an explanatory investigation was made on the different modes of judgment of musical intervals. This was done by way of a semantic differential. Subjects rated 23 intervals against 10 scales. In a factor analysis three factors appeared: pitch, evaluation and fusion. The relation between these factors and some physical characteristics has been investigated. The scale consonant-dissonant showed to be purely evaluative (in opposition to Stumpf's theory). This evaluative connotation is not in accordance with the musicological meaning of consonance. Suggestions to account for this difference have been given.