Comprehension of nonlexical categories in agrammatism

The focus of the paper is a proposal advanced by Grodzinsky (1984, 1986, 1990) concerning a possible syntactic deficit in agrammatism with respect to nonlexical categories. Eight native speakers of Serbo-Croatian, who presented a clinical picture of Broca's aphasia with agrammatism, were tested. Subject's sensitivity to traces and their knowledge of the inflectional and determiner system was investigated using a grammaticality judgment paradigm. The processing load was further minimized by use of short sentences that unequivocally exemplified different syntactic violations. These steps led to significant improvement in the performance of agrammatic aphasics, a result that is incompatible with the claim that the content of nonlexical elements is lost in agrammatism.A partial account of the findings was presented at the 31 st Meeting of the Academy of Aphasia, October 24–26, 1993. Tucson, Arizona. The authors gratefully acknowledge help in data collection from Mile Vukovi, Faculty of Defectology, University of Belgrade, and from Jovanka Jezdimirovi and Veronika Ispanovi-Radojkovi, the Institute for Mental Health in Belgrade. This research was supported in part by a grant (HD-01994) to Haskins Laboratories from the National Institute of Child Health and Human Development.     

Sensorimotor synchronization: Motor responses to pseudoregular auditory patterns

Musically trained and untrained subjects (N=30) were asked to synchronize their finger tapping with stimuli in auditory patterns. Each pattern comprised six successive tonal stimuli of the same duration, the first of which was accented by a different frequency. The duration of interstimulus onset intervals (ISIs) gradually increased or decreased in constant steps toward the end of the patterns. Four values of such steps were used in different trials: 20, 30, 45, and 60 msec. Various time-control mechanisms are hypothesized as being simultaneously responsible for subjects’ incorrect reproduction of the internal temporal ratios of the stimulus patterns. The mechanism of assimilation (of a central tendency) led subjects to enforce a regular (isochronous) structure on the patterns. The influence of other time-control mechanisms (distinction, subjective expression of an accent, sequential transfer) was expressed mainly in differences between intertap onset intervals (ITIs) and the corresponding ISIs at the beginning of the patterns. The duration of the first two ITIs was in the majority of the trials in an inverse ratio to the ratio of the respective ISIs. The distortions resulting from the timing mechanisms concerned were more pronounced in the performance of nonmusicians than in that of musicians.     

What are numbers?

A number is the number of a class which is an objective, nonactual, mathematical object. The concept of class is analyzed and it is concluded that a number is the number of a pure founded class. A tempting strategy of explaining numbers away is rejected. Some well‐known definitions of numbers are analyzed and it is concluded that this analysis purports the thesis that the unique notion of number does not exist. Numbers are conventional. Nevertheless, an argument is offered purporting the thesis that von Neumann's ordinal numbers are the ordinal numbers. Accordingly, the corresponding von Neumann's cardinal numbers are the numbers.     

Sensorimotor synchronization: Motor responses to regular auditory patterns

Subjects (N = 32) were asked to synchronize a motor response with tones in auditory patterns. These patterns were created from six tones and six intertone intervals of equal duration. The pitch of the first tone differed from the others. It was found that subjects used three types of timing in their motor response: (1) the first intertone interval was prolonged and the second interval was shortened, (2) the second intertone interval was prolonged and the first interval was shortened, and/or (3) the first interval and the second interval were of approximately the same length. The prolongation of the fifth interval was observed during all three types of timing. The results are explained using the concept of suprasegmental control of timing, which explains a prolongation of intervals at critical control point of the patterns. The occurrence of three different strategies of timing is discussed in connection with similar principles in musical performance.