Richard Parncutt is a  music psychologist. Since 1998, he has been Professor of Systematic Musicology at the University of Graz, Austria. His publications address musical structure (pitch, consonance, harmony, tonality, tension, rhythm, meter, accent), music performance (psychology, piano, applications), the origins of tonality and of music, and musicological interdisciplinarity. His research has appeared in Music Perception, Musicae Scientiae, Perception & Psychophysics, Journal of New Music Research, Journal of Interdisciplinary Music Studies, Music Performance Research, Australian Journal of Psychology, Contemporary Music Review, Perspectives of New Music, and Rivista di Analisi e Teoria Musicale. He holds qualifications in music and physics from the University of Melbourne and an interdisciplinary PhD in psychology, music and physics from the University of New England, Australia. He was guest researcher with Ernst Terhardt (Munich), Johan Sundberg (Stockholm), Annabel Cohen (Halifax, Canada), Al Bregman (Montreal), and John Sloboda (Keele, England). He is or was a board member of all leading music psychology journals, founding academic editor of the Journal of Interdisciplinary Music Studies (JIMS), and (co-) founder of three conference series: Conference on Interdisciplinary Musicology (CIM), Conference on Applied Interculturality Research (cAIR), and International Conference of Students of Systematic Musicology (SysMus).

Recent publications (downloads)

• Parncutt, R. (to appear 2013). Major-minor tonality, Schenkerian prolongation, and emotion: A commentary on Huron and Davis. Empirical Musicology Review. 
• Koegeler, M., & Parncutt, R. (Eds., in press 2013). Interculturality: Practice meets research. Newcastle upon Tyne, UK: Cambridge Scholars Publishing.
• Parncutt, R. (2012). Psychoacoustics and cognition for musicians. In A. Brown (Ed.), Sound musicianship: Understanding the crafts of music (pp. 76-87). Cambridge: Cambridge Scholars Publishing. 
• Dahlig-Turek, E., Klotz, S., Parncutt, R., & Wiering, F. (Eds.) (2012). Musicology (Re-) Mapped. Strasbourg: European Science Foundation. 
• Parncutt, R., & Hair, G. (2011). Consonance and dissonance in theory and psychology: Disentangling dissonant dichotomies. Journal of Interdisciplinary Music Studies, 5 (2), 119-166.
• Parncutt, R. (2011). The tonic as triad: Key profiles as pitch salience profiles of tonic triads. Music Perception, 28, 333-365.

Best older publications (downloads)

• Parncutt, R., & McPherson, G. E. (Eds., 2002). The science and psychology of music performance: Creative strategies for teaching and learning. New York: Oxford University Press. 
• Parncutt, R., Sloboda, J. A., Clarke, E. F., Raekallio, M., & Desain, P. (1997). An ergonomic model of keyboard fingering for melodic fragments. Music Perception, 14, 341-382. 
• 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. (1989). Harmony: A psychoacoustical approach. Berlin: Springer-Verlag.
• Parncutt, R. (1988). Revision of Terhardt's psychoacoustical model of the root(s) of a musical chord. Music Perception, 6, 65-94. 

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Photography: Sissi Furgler