Research
profile
Richard Parncutt
see also overview, publications, colleagues, current projects
Contents of this page
|
Citation |
Citation of research contributions
Membership
of editorial boards of academic journals
| Journal of the Royal Musical Association | Member of international advisory panel 2012-2015 |
| ESCOM translation project | Academic advisor/consultant 2012- |
| Musicology Australia | Member of editorial board 2012-2015 |
| Royal Musical Association Research Chronicle | Member of international advisory board 2012-2015 |
| Journal of Interdisciplinary Music Studies | Academic editor since 2007 |
| Musicae
Scientiae |
Consulting editor 2001-2003, associate editor since 2003 |
| Journal
of New Music Research |
Associate editor 1997-2000, advisory editor since 2000 |
| Music Performance Research | Associate editor from 2007 |
| Psychology
of Music |
Member of editorial board 1997-2012 |
| Jahrbuch
Musikpsychologie |
Member of advisory board (Beiratsmitglied) since 1997 |
| Music
Perception |
Consulting editor 1998-2003 |
| Music Theory Online | Member of editorial board 2004-2007 |
| Research
Studies in Music Education |
Member of editorial board since 2000 |
| Systematische Musikwissenschaft | Member of editorial board (Mitglied des Redaktionskreises) 1995-1999 |
| Musica Humana | Member of advisory board since 2008 |
Requests
to review journal and grant submissions
The
editors of the following additional journals have asked me to review article
submissions:
Acta
Acustica; Behavioral and Brain Sciences; Attention,
Perception, & Psychophysics; Contemporary Music Review;
Cognitive Science; Connection Science; Cortex; Emotion; Empirical
Musicology
Review; International Journal of Psychophysiology; Interdisciplinary Science Reviews; JARO (Journal of the
Association for Research in Otolaryngology); Journal of the Acoustical
Society of America; Journal of Experimental Psychology: Human
Perception and Performance; Logopedics Phoniatrics Vocology; Perception
& Psychophysics; PNAS (Proceedings of the National Academy of
Sciences); Psychomusicology; Quarterly Journal of Experimental Psychology.
The
following granting agencies have asked
me to review grant applications:
European Science Foundation
(ESF: member of pool of peer reviewers
2010-2012); Arts and
Humanities Research Council (AHRC, UK); Bundesministerium für
Bildung und Forschung (Germany); Deutsche Forschungsgemeinschaft (DFG,
Germany); HERA
(Humanities in the European Research Area) Joint Research Programme
(JRP) “Cultural Encounters”;
Österreichische Nationalbank; Royal Society of Edinburgh;
Schweizerischer Nationalfonds; Zukunftsfonds des Landes Steiermark
(Austria)
The Inamori foundation asked me to nominate possible recipients for the Kyoto prize.
Oxford University Press asked me to review book proposals.
I
reviewed contributions to the following books:
McPherson, G., & Welch, G. (Eds.). Oxford handbook of music
education. Oxford University Press.
Sadie, S. (Ed., 2001). The new Grove
dictionary of music and musicians (2nd ed.). London:
MacMillan.
Deliège, I., & Sloboda, J. (Eds., 1996). Musical
beginnings: Origins and development of musical competence. Oxford
University Press.
Leman,
M. (Ed., 1997). Music,
gestalt, and computing: Studies in cognitive and systematic musicology. Berlin: Springer-Verlag.
Membership of research groups
Audio- und Neuroplastizität
der musikalischen
Lernens (AMseL,
Graz &
Heidelberg)
Network for Interdisciplinary Studies
in Science, Technology, and Music (n-ISM,
Glasgow)
Centre for Applied and Interdisciplinary Research (Sheffield)
Investigating listening and performance strategies for microtonal
composition (Wollongong)
Membership
of academic societies
European Society for the Cognitive Sciences of Music (ESCOM)
Society for Education, Music and Performance Research (SEMPRE)
Deutsche Gesellschaft für Musikpsychologie (DGM)
Gesellschaft für Soziologie an der Universität Graz (link)
Österreichische Gesellschaft für Musikwissenschaft (ÖGMw)
Steirische Gesellschaft für Psychologie (StGP)
Australian Music and Psychology Society (AMPS)
|
Study period
|
Award date
|
Institution
|
Place
|
Qualification
|
Abbrev. |
Disciplines |
|
1982-1986
|
1987
|
University
of New England
|
Armidale
NSW Australia
|
Doctor
of Philosophy
|
PhD
|
music,
physics, psychology
|
|
1981
|
1982
|
University
of New England
|
Armidale
NSW Australia
|
Bachelor
of Science with
Honours
|
BSc
(Hons)
|
physics,
music acoustics
|
|
1976-1980
|
1981
|
University
of Melbourne
|
Melbourne
Australia
|
Bachelor
of Music
|
BMus |
history and theory of Western music, piano performance |
|
1976-1980
|
1981
|
University
of Melbourne
|
Melbourne
Australia
|
Bachelor
of Science
|
BSc
|
physics
|
| (1998) |
Humboldt fellowship (for research at Humboldt University, Berlin; declined) |
| (1994) |
Postdoc. Fellowship, Ministère de l'Education Nationale, France (for research at IRCAM Paris; declined) |
| 1991-93 |
International Fellowship, Natural Science and Engineering Research Council of Canada (for research at Dalhousie University, Halifax, and McGill University, Montreal) |
| 1989-90 |
Postdoctoral Research Fellowship, Swedish Institute (for research at KTH Stockholm) |
| 1981-85 |
Commonwealth
Postgraduate Research Award Australia (for PhD at
University of New
England, Armidale NSW) |
| 1976–80 | Senior Government Scholarship (awarded to top 40 students at Higher School Certificate examination, Victoria) |
| 1970-75 | Full scholarship, Melbourne Grammar School |
| Year | Applicant(s) | Title | Agency | Requested | Granted |
| 2012 | Richard Parncutt | Pitch perception and missing fundamentals in musical sounds | FWF -
Fonds zur Förderung der wissenschaftlichen Forschung, Austria |
€349K | under review |
| 2011 | Richard Parncutt | Cognition
of early polyphony: Bringing together humanities and sciences |
ESF - European Science Foundation (Exploratory Workshops) | €14K | €16K |
| 2011 | Erica Bisesi (with Richard Parncutt) | Expression, emotion and imagery in music performance* | FWF -
Fonds zur Förderung der wissenschaftlichen Forschung, Austria |
€260K | €257K |
| 2010 | Richard Parncutt | Conference on Applied Interculturality Research: Evaluierung, Veröffentlichung, Umsetzung | Future
Fund of the Republic of Austria (Zukunftsfonds) |
€10K | €4K |
| 2010 | Robert Höldrich (with three senior advisors including Richard Parncutt) | A systematic procedure to develop sonifications | FWF - Fonds für Wissenschaftliche Forschung, Austria | €210K | successful |
| 2009 | Erica Bisesi (with Richard Parncutt) | Measuring and modelling expressive piano performance | Lise Meitner Fellowship, FWF - Fonds für Wissenschaftliche Forschung, Austria | personal 127 + extra 16 = €143 K | |
| 2008 | Richard Parncutt | Perception of pitch-time patterns in music: Origins, history, psychoacoustics | ARC - Australian Research
Council: APF - Australian Professorial Fellowship |
not funded | |
| 2008 | Richard Parncutt (with Manuela Marin) | First International Conference of Students of Systematic Musicology | Land Steiermark, University of Graz, Federal Ministry of Research (Austria) |
€10K | €5K |
| 2006-08 | Richard Parncutt | Conference on Applied Interculturality Research | Zukunftsfonds der Republik Österreich, Stadt Graz, Bundesministerium für Wissenschaft, Land Steiermark Wissenschaft, KF-Uni Graz |
|
15 + 7 + 5 + 4 + 1 = €32K |
| 2006 | Richard Parncutt | Conferences on Interdisciplinary Musicology (for four successive conferences) | European Commission (Marie Curie conferences and training courses) | €472K | not funded |
| 2006 | Greg Schiemer, Emery Schubert, Graham Hair, Richard Parncutt | Investigating new listening and performance strategies for microtonal composition | Australian Research Council (ARC) | AUD290K | |
| 2004, 2005 | Richard Parncutt | Educational applications of music performance research | Translational Research Program (TRP), FWF - Fonds für Wiss. Forschung Austria | €169K | not funded |
| 2004 | Richard Parncutt | first
Conference on
Interdisciplinary
Musicology, Graz (CIM04) |
Bundesministerium
(1000),
Land Steiermark
(1500), Stadt Graz (1000) |
€5K | €3K |
| 2004 | Richard Parncutt | Weltoffene Steiermark: A research-based public awareness campaign against xenophobia | Transdisziplinäres Forschen (TRAFO), Federal Ministry for Education, Research and Culture (bm:bwk), Austria | €125K | not funded |
| 2002 |
Richard Parncutt, Robert Höldrich | Ein integrierte Softwareumgebung zur Erforschung musiktheoretischer Wahrnehmungstheorien | Österreichische Nationalbank (ÖNB Jubiläumsfonds) | €109K | not funded |
| 1997 |
John Sloboda, Richard Parncutt, Susan O'Neill | 3 sabbatical years for music psychology research | Keele Research Investment Scheme | £63K (surrendered on moving to Graz) | |
| 1997 |
Richard Parncutt, John Sloboda, Susan O'Neill | Manipulating music-notational parameters | Economic and Social Research Council (ESRC, GB) | £143K | graded alpha = fundable |
| 1994 |
Albert Bregman, Robert Zatorre, Richard Parncutt | Perception of auditory patterns | Fonds pour la Formation de Chercheurs et l'Aide à la Recherche (FCAR Québec) | CND100K (surrendered by Parncutt on moving to Keele) |
Development
of new research infrastructures
2010: Director of first Conference on Applied Interculturality Research (cAIR), Graz, Austria
2008: Co-Director of the first International Conference of Students of Systematic Musicology (SysMus08), Graz, Austria (with Manuela M. Marin)
2007: Co-founder of Journal of Interdisciplinary Music Studies (with Ali Cenk Gedik)
2004: Director of first Conference on Interdisciplinary Musicology (CIM) in Graz, Austria; long-term planning and direction of CIM council
Co-organization
of other conferences
2008 Co-direction of the fourth Conference on Interdisciplinary Musicology (CIM08), Thessaloniki, Greece
2007 Co-direction of the third Conference on Interdisciplinary Musicology (CIM07), Tallinn, Estonia
2006 Co-organisation of Symposium on Austrian Music Psychology, Graz, Austria.
Membership
of conference advisory committees
(peer review of abstract
submissions to conferences)
Organisation
of sessions at conferences
Organisation and presentation
| 2006 | 9th International Conference on Music Perception and Cognition (ICMPC), Bologna, Italy | Music Psychology Pedagogy |
| 2004 | 8th International Conference on Music Perception and Cognition (ICMPC), Chicago,Illinois | Social responsibility and the political context of research |
| 2004 | 8th International Conference on Music Perception and Cognition (ICMPC), Chicago,Illinois | Art
Meets Science: Best of CIM04 |
| 2003 |
Pan-European
Voice Conference (PEVoC), Graz,
Austria |
Voice production in different cultural and performance contexts |
| 2002 |
7th
International Conference on Music Perception and Cognition
(ICMPC), Sydney, Australia |
Art meets science: collaboration between musicologists and music psychologists |
| 2000 |
Musical
Intersections (Society for Music
Theory plus 14 other societies engaged in music research and teaching),
Toronto, Canada. |
Art meets science: collaboration between music theorists and music psychologists |
| 1997 |
16th
International
Congress of the International
Musicological Society (IMS),
London, England |
Implications
for mainstream musicology of
recent research in music cognition New computer applications in musicology (poster session) |
Passive
conference participation
Österreichischer Wissenschaftstag
Invited lectures at universities and music academies
| Year | Institution | Place | Topic | Contact |
| 2012 May 31 | BRAMS, Université de Montréal | Montreal, Canada | Pitch, tonality, and the missing fundamentals of music cognition | Isabelle Peretz |
| 2012 May 28 | Sequence Production Lab, Department of Psychology, McGill University | Montreal, Canada | Structuring the argument of a theoretical paper in the social sciences | Caroline Palmer |
| 2012 May 17 | CIRMMT, Schulich School of Music, McGill University | Montreal, Canada | The demise of number ratios in music theory | Marcelo Wanderley |
| 2012 May 15 | Faculté de musique, Université de Montréal | Montreal, Canada | The origins of music: Grooming, flirting, playing or babbling? | Caroline Traube |
| 2012 April 4 | Faculty of Arts, University of Maribor | Maribor, Slovenia | Current trends in music psychology | Katarina Habe |
| 2011 February 9 | Department of Psychology, University of New England | Armidale NSW Australia | The origins of music: Grooming, flirting, playing or babbling? | William G. Noble |
| 2011 February 8 | School of English, Media and Performing Arts, University of New South Wales | Sydney Australia | The origins of tonality | Emery Schubert |
| 2011 February 2 | Public lecture series, University of Melbourne | Melbourne Australia | The origins of music: Grooming, flirting, playing or babbling? | Gary McPherson, Sarah Wilson |
| 2008 November 20 | Vortragsreihe Spektrum Musikwissenschaft der Österreichischen Gesellschaft für Musikwissenschaft | Vienna, Austria | Die Tonika als Dreiklang. Die Entstehung der Dur-Moll-Tonalität aus musiktheoretischer, historischer und psychologischer Sicht abstract talk pdf talk ppt 3 MB | Madlene Feyrer |
| 2008 May 12 | University of Music and Dramatic Arts | Bratislava, Slovakia | Emotional communication via musical pitch-time patterns | Eva Ferkova |
| 2007 Dec 19 |
MARCS, University of Western Sydney
|
Sydney, Australia | Music, familiarity, interculturality (with Manuela Marin) | Kate Stevens |
| 2007 Dec 14 | Department of
Psychology, University of Melbourne
|
Melbourne, Australia | Music, familiarity, interculturality (with Manuela Marin) | Sarah Wilson |
| 2007 Feb 7 | Centre for Music Technology, University of Glasgow | Glasgow, Scotland | The structure and performance of music: Insights from recent research in music psychology and computing php | Nicholas Bailey |
| 2006 Feb 23 | Music and Ideas (former Grove Forum), Centre for the Study of Music Performance, Royal College of Music | London, England | Informing performance through research: An overview of possible academic courses for music students | Aaron Williamon |
| 2006 Feb 22 | Network for Interdisciplinary Studies
in Science, Technology and Music (n-ISM), Department of Music, University of Glasgow |
Glasgow, Scotland | The
changing structure of
multi- und
interdisciplinary musicology |
Graham Hair |
| 2005 Nov 11 | Kunstuniversität Graz | Graz, Austria | Can research help artists? Current research on music performance ppt pdf | Josef Ferstl-Pilaj |
| 2004 Dec 1 | Estonian Academy of Music | Tallinn, Estonia | Psychology of musical skill acquisition; Perception of harmony and tonality | Jaan Ross |
| 2004 Mar 22, 23 | Department of Music, University of Ljubljana; Slovenian Academy of Music | Ljubljana, Slovenia | Perceptual theory of tonal harmony; Psychology of piano interpretation | Leon Stefanija |
| 2003 | Department of Music, University of Ljubljana | Ljubljana, Slovenia | Psychoacoustics and music perception | Leon Stefanija |
| Faculty of Music, McGill University | Montréal, Québec | Key
profiles, chord
profiles and the
emergence of tonality |
William Caplin | |
| Department of Psychology, Carleton University | Ottawa, Ontario | Prenatal psychology and the origins of music | Dan Mauro | |
| Institut für Musikpädagogik, Kunstuniversität Graz | Seggauberg, Austria | Atonality
and pitch-salience profiles of
pitch class sets |
Gerhard Wanker | |
| 2002 |
Faculté de Musique, Université de Montréal | Montréal, Québec | Isabelle Panneton | |
| Department of Psychology, McGill University | Montréal, Québec | Daniel Levitin | ||
| Institut für Musikpädagogik, Kunstuniversität Graz | Graz, Austria | Gerhard Wanker | ||
| Department of Music, Kingston University | Kingston, England | Graham Hair | ||
| 2001 |
Musikhochschule Luzern, | Luzern, Switzerland | Hubert Eiholzer | |
| Hochschule für Musik Freiburg | Freiburg, Germany | Wilfried Gruhn | ||
| Hochschule für Musik Würzburg | Würzburg, Germany | Andreas C. Lehmann | ||
| Institut für Wiener Klangstil, Musikuniversität Wien | Vienna, Austria | Matthias Bartsch | ||
| 1999 |
Karl-Franzens-Universität Graz (inaugural lecture) | Graz, Austria | Walter Höflechner | |
| Institut für Musikwissenschaft, Universität Innsbruck | Innsbruck, Austria | Tilman Seebass | ||
| Institut für Musikpädagogik, Kunstuniversität Graz | Graz, Austria | Gerhard Wanker | ||
| Steirische Gesellschaft für Psychologie | Graz, Austria | Roswith Roth | ||
| Institut für Jazzforschung, Kunstuniversität Graz | Graz, Austria | Franz Kerschbaumer | ||
| 1998 |
Österreichische Gesellschaft für Musikwissenschaft | Vienna, Austria | August Schmidhofer | |
| 1996 |
Department of Music, University of Keele | Keele, England | David Nicholls | |
| Chopin Academy of Music | Warsaw, Poland | Andrzej Rakowski | ||
| Department of Music, University of Edinburgh | Edinburgh, Scotland | Emilios Cambouropoulos | ||
| Department of Music, Birmingham Conservatoire | Birmingham, England | Peter Johnson | ||
| Department of Music, University of Manchester | Manchester, England | David Fanning | ||
| Department of Music, University of New England | Armidale NSW Australia | Claudio Pompili | ||
| Department of Psychology, University of New England | Armidale NSW Australia | William G. Noble | ||
| Department of Music, University of Queensland | Brisbane, Australia | Malcolm Gillies | ||
| Department of Music, University of Sydney | Sydney, Australia | Tony Souter | ||
| Department of Music, Latrobe University | Melbourne, Australia | John Stinson | ||
| 1995 |
Department of Music, University of Manchester | Manchester, England | David Fanning | |
| Department of Psychology, University of Manchester | Manchester, England | Andrew Gregory | ||
| Department of Music, Birmingham Conservatoire, England | Birmingham, England | Peter Johnson | ||
| NICI, University of Nijmegen | Nijmegen, Netherlands | Piet Vos & Dirk Povel | ||
| Musikhögskolan | Stockholm, Sweden | Per-Gunnar Alldahl | ||
| Department of Music Acoustics, KTH | Stockholm, Sweden | Johan Sundberg | ||
| Department of Psychology, University of Keele | Keele, England | John Sloboda | ||
| Department of Music, University of Sheffield, England | Sheffield, England | Eric Clarke | ||
| Department of Music, University of Keele | Keele, England | George Nicholson | ||
| Institut für Musikwissenschaft, Universität Köln | Cologne, Germany | Jobst Fricke | ||
| Institut für Musikwissenschaft, Humboldt Universität zu Berlin | Berlin, Germany | Wolfgang Auhagen | ||
| 1994 | Département de psychologie, Université de Montréal | Montréal, Québec | Franco Lepore | |
| Faculté de musique, Université de Montréal | Montréal, Québec | Jean Piché | ||
| Cercle de musicologie, Université de Montréal | Montréal, Québec | Sophie Galaise | ||
| 1993 | Sound recording studio, McGill University | Montréal, Québec | Wieslaw Woszczyk | |
| Media Laboratory, MIT | Boston, Massachusetts | Barry Vercoe | ||
| Department of Psychology, Dartmouth College | Hanover, New Hampshire | Jamshed Bharucha | ||
| 1992 | CNMAT, University of Berkeley | Berkeley, California | David Wessel | |
| CCRMA, Stanford University | Palo Alto, California | Malcolm Slaney | ||
| Faculty of Music, McGill University | Montréal, Québec | Bo Alphonce | ||
| Hochschule der Künste | Berlin, Germany | Hartmut Fladt | ||
| Department of Music, Columbia University | New York | Fred Lerdahl | ||
| Department of Music, Dalhousie University | Halifax, Nova Scotia | Walter Kemp | ||
| 1991 | Department of Psychology, Dalhousie University | Halifax, Nova Scotia | Annabel J. Cohen | |
| IRCAM | Paris, France | Jean-Baptiste Barrière | ||
| Pedagogical University | Zielona Góra, Poland | Janina Fyk | ||
| Institut für Kommunikationswissenschaften, TU Berlin | Berlin, Germany | Manfred Krause | ||
| 1990 | Institut für Musikwissenschaft, Humboldt-Universität zu Berlin | Berlin, Germany | Reiner Kluge | |
| Department of Music Acoustics, KTH | Stockholm, Sweden | Johan Sundberg | ||
| 1989 | Institut für Medizinische Psychologie, Universität München | Munich, Germany | Hans Strasburger | |
| Hochschule für Musik und darstellende Kunst Graz | Graz, Austria | Andrzej Dobrowolski | ||
| 1988 | Hochschule für Musik und darstellende Kunst Wien | Vienna, Austria | Kurt Hueber | |
| Musikhochschule Freiburg | Freiburg, Germany | Dieter Mack | ||
| Department of Music, University of Sydney | Sydney, Australia | Peter Platt | ||
| 1986 | Chopin Academy of Music | Warsaw, Poland | Andrzej Rakowski | |
| Department of Psychology, Queen's University | Kingston, Ontario | Lola L. Cuddy |
I
declined an invitation to speak on 21-22 February 2013 at
a continuing education seminar at the Katholische Paedagogische
Hochschule in the centre of Vienna. The proposed topic was "Xenophobia
in Austria and Austria: A comparison", based on my internet text on
"Racism in Austria".
back to
professional profile
Richard Parncutt, Centre for Systematic Musicology, Faculty of Humanities, University of Graz