Computational Structure of GPSG Models: Revised Generalized Phrase Structure Grammar

The primary goal of this report is to demonstrate how considerations from computational complexity theory can inform grammatical theorizing. To this end, generalized phrase structure grammar (GPSG) linguistic theory is revised so that its power more closely matches the limited ability of an ideal speaker--hearer: GPSG Recognition is EXP-POLY time hard, while Revised GPSG Recognition is NP-complete. A second goal is to provide a theoretical framework within which to better understand the wide range of existing GPSG models, embodied in formal definitions as well as in implemented computer programs. A grammar for English and an informal explanation of the GPSG/RGPSG syntactic features are included in appendices.

Random generation of sentences from context free and context sensitive phrase structure grammars.

Bibliography: p. 67.

Formal function and phrase structure in contemporary music : Pierre Boulez’s late solo works and Sean Clarke’s "Lucretia Overture" and "4 Impromptus"

Cette thèse présente une théorie de la fonction formelle et de la structure des phrases dans la musique contemporaine, théorie qui peut être utilisée aussi bien comme outil analytique que pour créer de nouvelles œuvres. Deux concepts théoriques actuels aident à clarifier la structure des phrases : les projections temporelles de Christopher Hasty et la théorie des fonctions formelles de William Caplin, qui inclut le concept de l’organisation formelle soudée versus lâche (tight-knit vs. loose). Les projections temporelles sont perceptibles grâce à l’accent mis sur les paramètres secondaires, comme le style du jeu, l’articulation et le timbre. Des sections avec une organisation formelle soudée ont des projections temporelles claires, qui sont créées par la juxtaposition des motifs distincts, généralement sous la forme d'une idée de base en deux parties. Ces projections organisent la musique en phrases de présentation, en phrases de continuité et finalement, à des moments formels charnières, en phrases cadentielles. Les sections pourvues d’une organisation plus lâche tendent à présenter des projections et mouvements harmoniques moins clairs et moins d’uniformité motivique. La structure des phrases de trois pièces tardives pour instrument soliste de Pierre Boulez est analysée : Anthèmes I pour violon (1991-1992) et deux pièces pour piano, Incises (2001) et une page d’éphéméride (2005). Les idées proposées dans le présent document font suite à une analyse de ces œuvres et ont eu une forte influence sur mes propres compositions, en particulier Lucretia Overture pour orchestre et 4 Impromptus pour flûte, saxophone soprano et piano, qui sont également analysés en détail. Plusieurs techniques de composition supplémentaires peuvent être discernés dans ces deux œuvres, y compris l'utilisation de séquence mélodiques pour contrôler le rythme harmonique; des passages composés de plusieurs couches musicales chacun avec un structure de phrase distinct; et le relâchement de l'organisation formelle de matériels récurrents. Enfin, la composition de plusieurs autres travaux antérieurs a donné lieu à des techniques utilisées dans ces deux œuvres et ils sont brièvement abordés dans la section finale.

Formal function and phrase structure in contemporary music : Pierre Boulez’s late solo works and Sean Clarke’s "Lucretia Overture" and "4 Impromptus"

Cette thèse présente une théorie de la fonction formelle et de la structure des phrases dans la musique contemporaine, théorie qui peut être utilisée aussi bien comme outil analytique que pour créer de nouvelles œuvres. Deux concepts théoriques actuels aident à clarifier la structure des phrases : les projections temporelles de Christopher Hasty et la théorie des fonctions formelles de William Caplin, qui inclut le concept de l’organisation formelle soudée versus lâche (tight-knit vs. loose). Les projections temporelles sont perceptibles grâce à l’accent mis sur les paramètres secondaires, comme le style du jeu, l’articulation et le timbre. Des sections avec une organisation formelle soudée ont des projections temporelles claires, qui sont créées par la juxtaposition des motifs distincts, généralement sous la forme d'une idée de base en deux parties. Ces projections organisent la musique en phrases de présentation, en phrases de continuité et finalement, à des moments formels charnières, en phrases cadentielles. Les sections pourvues d’une organisation plus lâche tendent à présenter des projections et mouvements harmoniques moins clairs et moins d’uniformité motivique. La structure des phrases de trois pièces tardives pour instrument soliste de Pierre Boulez est analysée : Anthèmes I pour violon (1991-1992) et deux pièces pour piano, Incises (2001) et une page d’éphéméride (2005). Les idées proposées dans le présent document font suite à une analyse de ces œuvres et ont eu une forte influence sur mes propres compositions, en particulier Lucretia Overture pour orchestre et 4 Impromptus pour flûte, saxophone soprano et piano, qui sont également analysés en détail. Plusieurs techniques de composition supplémentaires peuvent être discernés dans ces deux œuvres, y compris l'utilisation de séquence mélodiques pour contrôler le rythme harmonique; des passages composés de plusieurs couches musicales chacun avec un structure de phrase distinct; et le relâchement de l'organisation formelle de matériels récurrents. Enfin, la composition de plusieurs autres travaux antérieurs a donné lieu à des techniques utilisées dans ces deux œuvres et ils sont brièvement abordés dans la section finale.

Structure Sharing and Parallelization in a GB Parser

By utilizing structure sharing among its parse trees, a GB parser can increase its efficiency dramatically. Using a GB parser which has as its phrase structure recovery component an implementation of Tomita's algorithm (as described in [Tom86]), we investigate how a GB parser can preserve the structure sharing output by Tomita's algorithm. In this report, we discuss the implications of using Tomita's algorithm in GB parsing, and we give some details of the structuresharing parser currently under construction. We also discuss a method of parallelizing a GB parser, and relate it to the existing literature on parallel GB parsing. Our approach to preserving sharing within a shared-packed forest is applicable not only to GB parsing, but anytime we want to preserve structure sharing in a parse forest in the presence of features.

La coordination et les phrases juxtaposées en français

Coordination and juxtaposed sentences The object of this study is the examination of the relations between juxtaposed clauses in contemporary French. The matter in question is sentences which are composed of several clauses adjoined without a conjunction or other connector, as in: Je détournai les yeux, mon c ur se mit à battre. The aim of the study is to determine, which quality is the relation in these sentences and, on the other hand, what is the part of the coordination there. Furthermore, what is this relation of coordination, which, according to some grammars, manifests through a conjunction of coordination, but which, according to some others is marked in juxtaposed sentences through different features. The study is based on a corpus of written French from literary and journalistic text sources. Syntactic, semantic and textual properties in the clauses are discussed. The analysis points to differences so, it has been noted, in each case, if one of the clauses is affirmative and the other negative and if in the second clause, the subject has not been repeated. Also, an analysis has been made on the ground of the tense, mode, phrase structure type, and thematic structure, taking into account, in each case, if the clauses are identical or different. Punctuation has been one of the properties considered. The final aim has been to eliminate gradually, based on the partition of properties, subordinate sentences, so that only the hard core of coordinate sentences remains. In this way, the coordination could be defined similarly as the phoneme is defined as a group of distinctive features. The quantitative analyses have led to the conclusion that the sentences which, from a semantic point of view, are interpreted as coordinating, contain the least of these differences, while the sentences which can be considered as subordinating present the most of these differences. The conditions of coordination are, in that sense, hierarchical, so that the syntactic constraints have to make room for semantic, textual and cognitive factors. It is interesting to notice that everyone has the ability to produce correct coordinating structures and recognize incorrect coordinating structures. This can be explained by the human ability to categorize which has been widely researched in the semantic of prototype. The study suggests that coordination and subordination could be considered as prototypical cognitive categories based on different linguistic and pragmatic features.

A Circuit Grammar For Operational Amplifier Design

Electrical circuit designers seldom create really new topologies or use old ones in a novel way. Most designs are known combinations of common configurations tailored for the particular problem at hand. In this thesis I show that much of the behavior of a designer engaged in such ordinary design can be modelled by a clearly defined computational mechanism executing a set of stylized rules. Each of my rules embodies a particular piece of the designer's knowledge. A circuit is represented as a hierarchy of abstract objects, each of which is composed of other objects. The leaves of this tree represent the physical devices from which physical circuits are fabricated. By analogy with context-free languages, a class of circuits is generated by a phrase-structure grammar of which each rule describes how one type of abstract object can be expanded into a combination of more concrete parts. Circuits are designed by first postulating an abstract object which meets the particular design requirements. This object is then expanded into a concrete circuit by successive refinement using rules of my grammar. There are in general many rules which can be used to expand a given abstract component. Analysis must be done at each level of the expansion to constrain the search to a reasonable set. Thus the rule of my circuit grammar provide constraints which allow the approximate qualitative analysis of partially instantiated circuits. Later, more careful analysis in terms of more concrete components may lead to the rejection of a line of expansion which at first looked promising. I provide special failure rules to direct the repair in this case.

A Minimal GB Parser

We describe a GB parser implemented along the lines of those written by Fong [4] and Dorr [2]. The phrase structure recovery component is an implementation of Tomita's generalized LR parsing algorithm (described in [10]), with recursive control flow (similar to Fong's implementation). The major principles implemented are government, binding, bounding, trace theory, case theory, θ-theory, and barriers. The particular version of GB theory we use is that described by Haegeman [5]. The parser is minimal in the sense that it implements the major principles needed in a GB parser, and has fairly good coverage of linguistically interesting portions of the English language.

On Alternating Non-Context-Free Grammars

We study several extensions of the notion of alternation from context-free grammars to context-sensitive and arbitrary phrase-structure grammars. Thereby new grammatical characterizations are obtained for the class of languages that are accepted by alternating pushdown automata.

Modernitat i canvi de llengua. El pas del castellà al català a l'obra de Pere Gimferrer (aspectes crítics, teòrics i lexicomètrics)

L’objecte d’aquesta tesi es l’estudi del canvi de llengua que es produeix en l’obra poètica de Pere Gimferrer. Per arribar-hi haurem d’activar un itinerari complex – crític, teòric i metodològic -. La problemàtica que presentem intenta resoldre una qüestió central: tractar d’elucidar si aquest canvi de llengua – del castellà al català, i més tard, del català al castellà – implica necessàriament un canvi d’estil, o si, en canvi, l’estil de poeta resta estable tot i haver canviat la llengua d’escriptura. Si la recerca està orientada a trobar una possible resposta a aquesta qüestió, nosaltres ens proposem com a punt de partida l’anàlisi de les conseqüències que comporta l’escriure en diferents llengües a la modernitat. Per aquesta raó, en la tesi es desenvolupen teòricament les nocions de “frontera”, “extraterritorialitat”, o “llengua estrangera” que ens seran útils per a portar a terme la nostra anàlisi. A la darrera part, a través de la lexicometria, presentem un apropament exhaustiu a les particularitats lèxiques i sintagmàtiques de l’obra de Pere Gimferrer. Finalment, proposem una resposta a la problemàtica proposada.

Automatic induction of lexical features

This thesis concerns artificially intelligent natural language processing systems that are capable of learning the properties of lexical items (properties like verbal valency or inflectional class membership) autonomously while they are fulfilling their tasks for which they have been deployed in the first place. Many of these tasks require a deep analysis of language input, which can be characterized as a mapping of utterances in a given input C to a set S of linguistically motivated structures with the help of linguistic information encoded in a grammar G and a lexicon L: G + L + C → S (1) The idea that underlies intelligent lexical acquisition systems is to modify this schematic formula in such a way that the system is able to exploit the information encoded in S to create a new, improved version of the lexicon: G + L + S → L' (2) Moreover, the thesis claims that a system can only be considered intelligent if it does not just make maximum usage of the learning opportunities in C, but if it is also able to revise falsely acquired lexical knowledge. So, one of the central elements in this work is the formulation of a couple of criteria for intelligent lexical acquisition systems subsumed under one paradigm: the Learn-Alpha design rule. The thesis describes the design and quality of a prototype for such a system, whose acquisition components have been developed from scratch and built on top of one of the state-of-the-art Head-driven Phrase Structure Grammar (HPSG) processing systems. The quality of this prototype is investigated in a series of experiments, in which the system is fed with extracts of a large English corpus. While the idea of using machine-readable language input to automatically acquire lexical knowledge is not new, we are not aware of a system that fulfills Learn-Alpha and is able to deal with large corpora. To instance four major challenges of constructing such a system, it should be mentioned that a) the high number of possible structural descriptions caused by highly underspeci ed lexical entries demands for a parser with a very effective ambiguity management system, b) the automatic construction of concise lexical entries out of a bulk of observed lexical facts requires a special technique of data alignment, c) the reliability of these entries depends on the system's decision on whether it has seen 'enough' input and d) general properties of language might render some lexical features indeterminable if the system tries to acquire them with a too high precision. The cornerstone of this dissertation is the motivation and development of a general theory of automatic lexical acquisition that is applicable to every language and independent of any particular theory of grammar or lexicon. This work is divided into five chapters. The introductory chapter first contrasts three different and mutually incompatible approaches to (artificial) lexical acquisition: cue-based queries, head-lexicalized probabilistic context free grammars and learning by unification. Then the postulation of the Learn-Alpha design rule is presented. The second chapter outlines the theory that underlies Learn-Alpha and exposes all the related notions and concepts required for a proper understanding of artificial lexical acquisition. Chapter 3 develops the prototyped acquisition method, called ANALYZE-LEARN-REDUCE, a framework which implements Learn-Alpha. The fourth chapter presents the design and results of a bootstrapping experiment conducted on this prototype: lexeme detection, learning of verbal valency, categorization into nominal count/mass classes, selection of prepositions and sentential complements, among others. The thesis concludes with a review of the conclusions and motivation for further improvements as well as proposals for future research on the automatic induction of lexical features.

Into the Bends of Time and Musical Forces in Jazz: Group Interaction and Double-time in “My Foolish Heart” as performed by the Bill Evans Trio with Scott LaFaro and Paul Motian.

Into the Bends of Time is a 40-minute work in seven movements for a large chamber orchestra with electronics, utilizing real-time computer-assisted processing of music performed by live musicians. The piece explores various combinations of interactive relationships between players and electronics, ranging from relatively basic processing effects to musical gestures achieved through stages of computer analysis, in which resulting sounds are crafted according to parameters of the incoming musical material. Additionally, some elements of interaction are multi-dimensional, in that they rely on the participation of two or more performers fulfilling distinct roles in the interactive process with the computer in order to generate musical material. Through processes of controlled randomness, several electronic effects induce elements of chance into their realization so that no two performances of this work are exactly alike. The piece gets its name from the notion that real-time computer-assisted processing, in which sound pressure waves are transduced into electrical energy, converted to digital data, artfully modified, converted back into electrical energy and transduced into sound waves, represents a “bending” of time.

The Bill Evans Trio featuring bassist Scott LaFaro and drummer Paul Motian is widely regarded as one of the most important and influential piano trios in the history of jazz, lauded for its unparalleled level of group interaction. Most analyses of Bill Evans’ recordings, however, focus on his playing alone and fail to take group interaction into account. This paper examines one performance in particular, of Victor Young’s “My Foolish Heart” as recorded in a live performance by the Bill Evans Trio in 1961. In Part One, I discuss Steve Larson’s theory of musical forces (expanded by Robert S. Hatten) and its applicability to jazz performance. I examine other recordings of ballads by this same trio in order to draw observations about normative ballad performance practice. I discuss meter and phrase structure and show how the relationship between the two is fixed in a formal structure of repeated choruses. I then develop a model of perpetual motion based on the musical forces inherent in this structure. In Part Two, I offer a full transcription and close analysis of “My Foolish Heart,” showing how elements of group interaction work with and against the musical forces inherent in the model of perpetual motion to achieve an unconventional, dynamic use of double-time. I explore the concept of a unified agential persona and discuss its role in imparting the song’s inherent rhetorical tension to the instrumental musical discourse.

Parsing, Generation and Grammar

Humans use their grammatical knowledge in more than one way. On one hand, they use it to understand what others say. On the other hand, they use it to say what they want to convey to others (or to themselves). In either case, they need to assemble the structure of sentences in a systematic fashion, in accordance with the grammar of their language. Despite the fact that the structures that comprehenders and speakers assemble are systematic in an identical fashion (i.e., obey the same grammatical constraints), the two ‘modes’ of assembling sentence structures might or might not be performed by the same cognitive mechanisms. Currently, the field of psycholinguistics implicitly adopts the position that they are supported by different cognitive mechanisms, as evident from the fact that most psycholinguistic models seek to explain either comprehension or production phenomena. The potential existence of two independent cognitive systems underlying linguistic performance doubles the problem of linking the theory of linguistic knowledge and the theory of linguistic performance, making the integration of linguistics and psycholinguistic harder. This thesis thus aims to unify the structure building system in comprehension, i.e., parser, and the structure building system in production, i.e., generator, into one, so that the linking theory between knowledge and performance can also be unified into one. I will discuss and unify both existing and new data pertaining to how structures are assembled in understanding and speaking, and attempt to show that the unification between parsing and generation is at least a plausible research enterprise. In Chapter 1, I will discuss the previous and current views on how parsing and generation are related to each other. I will outline the challenges for the current view that the parser and the generator are the same cognitive mechanism. This single system view is discussed and evaluated in the rest of the chapters. In Chapter 2, I will present new experimental evidence suggesting that the grain size of the pre-compiled structural units (henceforth simply structural units) is rather small, contrary to some models of sentence production. In particular, I will show that the internal structure of the verb phrase in a ditransitive sentence (e.g., The chef is donating the book to the monk) is not specified at the onset of speech, but is specified before the first internal argument (the book) needs to be uttered. I will also show that this timing of structural processes with respect to the verb phrase structure is earlier than the lexical processes of verb internal arguments. These two results in concert show that the size of structure building units in sentence production is rather small, contrary to some models of sentence production, yet structural processes still precede lexical processes. I argue that this view of generation resembles the widely accepted model of parsing that utilizes both top-down and bottom-up structure building procedures. In Chapter 3, I will present new experimental evidence suggesting that the structural representation strongly constrains the subsequent lexical processes. In particular, I will show that conceptually similar lexical items interfere with each other only when they share the same syntactic category in sentence production. The mechanism that I call syntactic gating, will be proposed, and this mechanism characterizes how the structural and lexical processes interact in generation. I will present two Event Related Potential (ERP) experiments that show that the lexical retrieval in (predictive) comprehension is also constrained by syntactic categories. I will argue that the syntactic gating mechanism is operative both in parsing and generation, and that the interaction between structural and lexical processes in both parsing and generation can be characterized in the same fashion. In Chapter 4, I will present a series of experiments examining the timing at which verbs’ lexical representations are planned in sentence production. It will be shown that verbs are planned before the articulation of their internal arguments, regardless of the target language (Japanese or English) and regardless of the sentence type (active object-initial sentence in Japanese, passive sentences in English, and unaccusative sentences in English). I will discuss how this result sheds light on the notion of incrementality in generation. In Chapter 5, I will synthesize the experimental findings presented in this thesis and in previous research to address the challenges to the single system view I outlined in Chapter 1. I will then conclude by presenting a preliminary single system model that can potentially capture both the key sentence comprehension and sentence production data without assuming distinct mechanisms for each.

Fases de Aquisição de Uma Língua de Sinais

Neste ensaio, baseado sobretudo nos estudos de Baker, Bogaerde e Jansma (2016) e de Pfau, Steinbach e Herrmann (2016), apresentamos as fases por que passam os bebês surdos, desde seu nascimento, para adquirirem uma língua de sinais como L1. Transitamos teoricamente, então, entre os períodos pré-linguístico, de uma palavra, das primeiras combinações, das combinações múltiplas até o estágio mais avançado. Tecemos, ainda, alguns comentários sobre a aquisição de segunda língua por crianças surdas. É importante dizer que aqui não consideramos, embora seja preciso, não só o contexto linguístico para o desenvolvimento das LS, como também o contexto extralinguístico. Por exemplo, crianças surdas filhas de pais surdos tendem a ter um processo de aquisição de uma LS de forma mais satisfatória do que crianças surdas filhas de pais ouvintes que dominam apenas uma LO. Além disso, há discussões importantes sobre surdos que usam implantes cocleares: alguns consideram que podem aprender apenas uma LO; outros que devem ser bilíngues bimodais (ou seja, dominar uma língua oral e uma língua de sinais). Esses assuntos precisam, ainda, ser mais bem desenvolvidos.

Structure informationnelle et constructions du kabyle : Etude de trois types de phrase dans le cadre de la grammaire constructionnelle

Information structure and Kabyle constructions Three sentence types in the Construction Grammar framework The study examines three Kabyle sentence types and their variants. These sentence types have been chosen because they code the same state of affairs but have different syntactic structures. The sentence types are Dislocated sentence, Cleft sentence, and Canonical sentence. I argue first that a proper description of these sentence types should include information structure and, second, that a description which takes into account information structure is possible in the Construction Grammar framework. The study thus constitutes a testing ground for Construction Grammar for its applicability to a less known language. It constitutes a testing ground notably because the differentiation between the three types of sentences cannot be done without information structure categories and, consequently, these categories must be integrated also in the grammatical description. The information structure analysis is based on the model outlined by Knud Lambrecht. In that model, information structure is considered as a component of sentence grammar that assures the pragmatically correct sentence forms. The work starts by an examination of the three sentence types and the analyses that have been done in André Martinet s functional grammar framework. This introduces the sentence types chosen as the object of study and discusses the difficulties related to their analysis. After a presentation of the state of the art, including earlier and more recent models, the principles and notions of Construction Grammar and of Lambrecht s model are introduced and explicated. The information structure analysis is presented in three chapters, each treating one of the three sentence types. The analyses are based on spoken language data and elicitation. Prosody is included in the study when a syntactic structure seems to code two different focus structures. In such cases, it is pertinent to investigate whether these are coded by prosody. The final chapter presents the constructions that have been established and the problems encountered in analysing them. It also discusses the impact of the study on the theories used and on the theory of syntax in general.