Research and Teaching on Music Perception and Cognition in Graz
The Centre for Systematic Musicology at the University of Graz
offers courses and research supervision in the area of
perception and cognition of musical structure
in the Musikologie program, e.g. the lecture series
Psychoacoustics and Music Cognition.
Relevant publications
Parncutt, R., & Hair, G. (2011). Consonance and dissonance in theory and psychology: Disentangling dissonant dichotomies. Journal of Interdisciplinary Music Studies, 5 (2), 119-166. pdf
Parncutt, R. (2009 c). Tonal implications of harmonic and melodic Tn-types. In T. Klouche & T. Noll (Eds.), Mathematics and computing in music (pp. 124-139). Berlin: Springer-Verlag. pdf
Parncutt, R. (2008). David Temperley, Music and Probability (review). Psychology of Music, 36, 501-506. pdf
Parncutt, R. (2007). Interval makes the show. Review of Ross W. Duffin, How equal temperament ruined harmony (and why you should care). Times Higher Education Supplement, 2 March. pdf
Hair, G., Pearson, I., Morrison, A., Bailey, N., McGilvray, D., & Parncutt, R. (2007). The Rosegarden Codicil: Rehearsing music in nineteen-tone equal temperament. Scottish Music Review, 1 (1). pdf html
Parncutt, R. (2006). Commentary on Mashinter's "Calculating sensory dissonance". Empirical Musicology Review, 1 (4). pdf 0.1 MB
Parncutt, R. (2006). Peer commentary on N.D. Cook & T. X. Fujisawa, "The psychophysics of harmony perception: Harmony is a three-tone phenomenon". Empirical Musicology Review, 1 (4). pdf 0.1 MB
Parncutt, R., & Ferguson, S. (2005). Comporre con l'apporto di un algoritmo di teoria della percezione (Computer-assisted composition with algorithmic implementations of pitch-perceptual theory). Rivista di Analisi e Teoria Musicale, 10(2) (special issue "Musica e ricerca interdisciplinare" edited by Mario Baroni), 103-118. italiano pdf 0.2 MB english pdf 0.2 MB
Ferguson, S., & Parncutt, R. (2004). Composing 'In the Flesh': Perceptually-informed harmonic syntax. In C. Agon, G. Assayag & M. Chemillier (Eds), Proceedings of the Sound and Music Computing Conference (Paris/France, 20-22 October 2004). pdf 0.3 MB
Parncutt, R. (2004). Enrichment of music theory pedagogy by computer-based repertoire analysis and perceptual-cognitive theory. In J. W. Davidson & H. Eiholzer (Eds.), The music practitioner: Research for the music performer, teacher and listener (pp. 101-116). London, England: Ashgate. pdf 0.9 MB
Kessler, A., & Parncutt, R. (2003). Musical structure, listener orientation, and time perception. In R. Kopiez, A. C. Lehmann, I. Wolther & C. Wolf (Eds.), Proceedings of the 5th Triennial Conference of the European Society for the Cognitive Sciences of Music (Hannover, Germany, 8-13 September 2003) (pp. 344-348). Hannover: Institute for Research in Music Education. pdf 0.4 MB
Parncutt, R. (2003). Immanent durational accent in musical rhythm. In R. Kopiez, A. C. Lehmann, I. Wolther & C. Wolf (Eds.), Proceedings of the 5th Triennial Conference of the European Society for the Cognitive Sciences of Music (Hannover, Germany, 8-13 September 2003) (pp.339-343). Hannover: Institute for Research in Music Education. pdf 0.3 MB
Parncutt, R., & Pascall, R. (2002). Middle-out analysis and its psychological basis. In C. Stevens et al. (Eds.), Proceedings of the 7th International Conference on Music Perception & Cognition (Sydney, Australia, 2002) (4 pages). Adelaide: Causal Productions. pdf 0.1 MB
Parncutt, R., & Drake, C. (2001). Psychology: Rhythm. In S. Sadie (Ed.), New Grove Dictionary of Music and Musicians, 20, 535-538, 542-53. pdf 0.1 MB
Parncutt, R. (2001). Critical comparison of acoustical and perceptual theories of the origin of musical scales. In Bonsi, D., Gonzalez, D., & Stanzial, D. (Eds.), Proceedings of the International Symposium of Musical Acoustics (Perugia, Italy, 2001) (7 pages). Venice: Fondazione Scuola di San Giorgio. pdf 0.1 MB
Parncutt, R. (2000). Implications for mainstream musicology of recent research in music cognition. In D. Greer (Ed.), Musicology and sister disciplines: Proceedings of the 16th International Congress of the International Musicological Society (London, England, 1997) (pp. 538-541). New York: Oxford University Press.
Parncutt, R., & Bregman, A. S. (2000). Tone profiles following short chord progressions: Top-down or bottom-up? Music Perception, 18 (1), 25-57. pdf 1.6 MB
Parncutt, R. (1999). Tonality as implication-realization. In P. Vos and M. Leman (Eds.), Proceedings of the Expert Meeting on Tonality Induction (Nijmegen, Netherlands, 1999) (pp. 121-141). Nijmegen: Nijmegen Institute for Cognition and Information (NICI). pdf 0.1 MB
Bigand, E., & Parncutt, R. (1999). Perceiving musical tension in long chord sequences. Psychological Research, 62, 237-254. pdf 0.3 MB
Parncutt, R. (1997). A model of the perceptual root(s) of a chord accounting for voicing and prevailing tonality. In M. Leman (Ed.). Music, gestalt, and computing - Studies in cognitive and systematic musicology (pp. 181-199). Berlin, Germany: Springer-Verlag. pdf 0.9 MB
Thompson, W. F., & Parncutt, R. (1997). Perceptual judgments of triads and dyads: Assessment of a psychoacoustic model. Music Perception, 14 (3), 263-280. pdf 0.1 MB
Bigand, E., Parncutt, R., & Lerdahl, F. (1996). Perception of musical tension in short chord sequences: Influence of harmonic function, sensory dissonance, horizontal motion, and musical training. Perception & Psychophysics, 58, 125-141. pdf 1.4 MB
Parncutt, R. (1996). Praxis, Lehre, Wahrnehmung. Kritische Bemerkungen zu Roland Eberlein: Die Entstehung der tonalen Klangsyntax. Musiktheorie, 11, 67-79. doc 0.2 MB
Parncutt, R. (1995). Survey of recent research on the perception of harmony and tonality. Jahrbuch Musikpsychologie, 12, 56-65.
Parncutt, R. (1995). Perceptual modeling of the finality of harmonic cadences: The effect of root progression. Systematische Musikwissenschaft, 3, 71-85.
Parncutt, R., & Cohen, A. J. (1995). Identification of microtonal melodies: Effects of scale-step size, serial order, and training. Perception & Psychophysics, 57, 835-846. pdf 1.3 MB
Parncutt, R. (1995). Roland Eberlein, Die Entstehung der tonalen Klangsyntax (The emergence of tonal-harmonic syntax) (review). Jahrbuch Musikpsychologie, 12, 176-178.
Parncutt, R. (1995). David Butler, The Musician's Guide to Perception and Cognition (review). Music Perception, 13 (2), 253-260.
Parncutt, R. (1995). Stephen McAdams & Emmanuel Bigand (Eds.), Thinking in sound: The cognitive psychology of human audition (review). ESCOM Newsletter, 7, 2-5.
Parncutt, R. (1994). A perceptual model of pulse salience and metrical accent in musical rhythms. Music Perception, 11, 409-464. pdf 1.5 MB
Parncutt, R. (1994). Template-matching models of musical pitch and rhythm perception. Journal of New Music Research, 23, 145-168. pdf 1.1 MB
Parncutt, R., & Strasburger, H. (1994). Applying psychoacoustics in composition: "Harmonic" progressions of "non-harmonic" sonorities. Perspectives of New Music, 32 (2), 1-42. pdf 1.6 MB
Parncutt, R. (1993). Pitch properties of chords of octave-spaced tones. Contemporary Music Review, 9, 35-50. pdf 0.8 MB
Huron, D., & Parncutt, R. (1993). An improved model of tonality perception incorporating pitch salience and echoic memory. Psychomusicology, 12, 152-169. html pdf 1.0 MB
Parncutt, R. (1989). Harmony: A psychoacoustical approach. Berlin: Springer-Verlag. ISBN 3-540-51279-9; 0-387-51279-9. reviews and downloads citations
Parncutt, R. (1988). Revision of Terhardt's psychoacoustical model of the root(s) of a musical chord. Music Perception, 6, 65-94. pdf 1.3 MB
Stoll, G., & Parncutt, R. (1987). Harmonic relationship in similarity judgments of nonsimultaneous complex tones. Acustica, 63, 111-119.
Parncutt, R. (1987). The perception of pulse in musical rhythm. In A. Gabrielsson (ed.), Action and perception in rhythm and music (pp. 127-138). Stockholm, Sweden: Royal Swedish Academy of Music.
Terhardt, E., Stoll., G., Schermbach, R., & Parncutt, R. (1986). Tonhöhenmehrdeutigkeit, Tonverwandschaft und Identifikation von Sukzessivintervallen (Pitch ambiguity, harmonic relationship, and melodic interval identification). Acustica, 61, 57-66. pdf 1 MB