W. J. M. Levelt's scientific contributions

Publications (9)

Article
An analysis is made of the perception of musical intervals. Two kinds of stimuli were used; intervals consisting of two simultaneous simple tones (sinusoids) and intervals consisting of two simultaneous complex tones (fundamental plus harmonics). Subjects judged the stimuli by the method of triadic comparisons in an incomplete balanced design. Mult...
Article
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...
Article
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 g...
Article
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 thes...

Citations

... We call this time-independent psychoacoustic quality for an ordered pair of chords the resolve. This time-independent quantity has been studied under different names in [100,[134][135][136], but we would like to emphasize its dependence on its contextual reference by giving it this new name. ...
... The curvemapping models (e.g. [2,3,4,5]) perform a mapping of the frequency component pairs of a sound onto a psychoacoustical curve which expresses the dissonance value of the presented pair. The auditory models rely on auditory processing and provide an explanatory model for sensory dissonance. ...
... Известно также, что восприятие консонанса и диссонанса происходит на промежуточном уровне нервной системы человека, на этапе предварительной обработки отдельных сигналов от каждого уха. Если при помощи головных телефонов разделить два звука по разным ушам, то эффекты их "взаимодействия" (пики консонанса, виртуальная высота) исчезают [27,28,29]. ...
... Guttman also produced a series of papers that deepened the mathematical foundations of factor analysis, and contributed to the mathematical theory behind matrix approximation in general (Hubert, Meulman and Heiser, 2000). His interest in codability as a factor in perception-the idea that the perceiver has a limited capacity for processing the incoming information-led to cooperation with Nico Frijda on the recognition of facial expressions (Frijda and Van de Geer, 1961) and with Willem Levelt on the detection of stochastically specified events (Van de Geer and Levelt, 1963). He was one of the early adopters of Joe Kruskal's non-metric multidimensional scaling technique (Kruskal, 1964), in a tone perception study that tried to explain how and why the sensorial experience of consonance in tone intervals is related to simple frequency ratios (Levelt, Van de Geer, and Plomp, 1966). ...
... In 1957, John van de Geer received his Ph.D. degree under Chorus' supervision. He was a cognitive psychologist who published one of the first sophisticated applications of nonmetric MDS (Levelt, Van de Geer, & Plomp, 1966) and wrote an influential textbook Another student of Hull in this genealogy was Carl I. Hovland. Hovland, who wrote his dissertation in 1936, always showed a wide interest in many topics, and applied the experimental method to all sorts of problems. ...
... The dissonance function D(Δp) can be quantified based on empirical psycho-acoustical measurements, and the spectrum of the waveform of the tones [1,[28][29][30]. The spectrum of a tone can be approximated by a set of "partials": sinusoidal components at the fundamental frequency f, and at some set of other frequencies related to the fundamental. ...
... Ratio simplicity can therefore provide a proxy for periodicity/harmonicity. Previous research has formalized ratio simplicity in various ways, with the resulting measures predicting the consonance of just-tuned chords fairly well (e.g., Euler, 1739;Geer, Levelt, & Plomp, 1962;Levelt, Geer, & Plomp, 1966;Schellenberg & Trehub, 1994). 12 Unfortunately, these measures generally fail to predict consonance for chords that are not just-tuned. ...