Publications
and
presentations
Richard Parncutt
|
Contents
of this page Selected
publications by topic |
Number of entries on this page by year
|
Parncutt, R. (1989 a). Harmony: A psychoacoustical approach. Berlin: Springer-Verlag. ISBN 3-540-51279-9; 0-387-51279-9. reviews and downloads citations
Parncutt, R., & Koegeler, M. (Eds., 2010 a). Proceedings of the Conference on Applied Interculturality Research (cAIR10). http://www.uni-graz.at/fAIR/cAIR10/ (click on "content", then "publications").
Parncutt, R., & Koegeler, M. (Eds., 2010 b). Conference on Applied Interculturality Research (cAIR10): Conference Handbook (Abstracts). Graz: Centre for Systematic Musicology, University of Graz. pdf
Parncutt, R. (Ed.) (2009 a). Part 7 Music performance. In S. Hallam, I. Cross, & M. Thaut (Eds.), Oxford handbook of music psychology (pp. 321-400). Oxford: Oxford University Press.
Cambouropoulos, E., Parncutt, R., Solomos, M., Stefanou, D., & Tsougras, C. (Eds., 2008 a). Proceedings the Fourth Conference on Interdisciplinary Musicology (CIM08, theme: musical structure). Thessaloniki, GK: Department of Music Studies, Aristotle University. (Abstracts on paper, papers on CD-ROM)
Marin, M. M., Knoche, M., & Parncutt, R. (Eds., 2008 b). First International Conference of Students of Systematic Musicology (SysMus08): Abstracts. Graz, A: Department of Musicology, University of Graz.
Maimets-Volt, K., Parncutt, R., Marin, M., & Ross, J. (Eds., 2007 a). CIM07- 3rd Conference on Interdisciplinary Musicology - Abstracts. Tallinn: Estonian Academy of Music and Theatre. pdf 0.7 MB cover
Parncutt, R. (Ed., 2006 a). Interdisciplinary musicology. Special issue of Musicae Scientiae 2005-2006. introduction abstracts
Parncutt, R., Kessler, A., & Zimmer, F. (Eds., 2004 a). Conference on Interdisciplinary Musicology: Abstracts. Graz, Austria: Department of Musicology, University of Graz. ISBN 3-200-00113-5. Includes proceedings on CD. pdf 1.7 MB conference website
Parncutt, R., & McPherson, G. E. (Eds., 2002 a). The science and psychology of music performance: Creative strategies for teaching and learning. New York: Oxford University Press. ISBN: 0-19-513810-4. oup info abstracts and reviews
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
Bisesi, E., & Parncutt, R. (2011). An accent-based approach to automatic rendering of piano performance: Preliminary auditory evaluation. Archives of Acoustics 36 (2): 1–14.
Parncutt, R. (2011). The tonic as triad: Key profiles as pitch salience profiles of tonic triads. Music Perception, 28, 333-365. pdf
Parncutt, R. (2009 b). Prenatal and infant conditioning, the mother schema, and the origins of music and religion. Musicae Scientiae, Special issue on Music and Evolution (Ed. O. Vitouch & O. Ladinig), 119-150. pdf
Parncutt, R. (2007 b). Can researchers help artists? Music performance research for music students. Music Performance Research, 1, 13-50. pdf 0.1 MB
Parncutt, R., & Ferguson, S. (2005 a). 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
Parncutt, R., & Bregman, A. S. (2000 a). Tone profiles following short chord progressions: Top-down or bottom-up? Music Perception, 18 (1), 25-57. pdf 1.6 MB
Parncutt, R., Sloboda, J. A., & Clarke, E. F. (1999 a). Interdependence of right and left hands in sight-read, written, and rehearsed fingerings of parallel melodic piano music. Australian Journal of Psychology, 51 (Special Issue on "Music as a Brain and Behavioural System"), 204-210. pdf 0.9 MB
Bigand, E., & Parncutt, R. (1999 b). Perceiving musical tension in long chord sequences. Psychological Research, 62, 237-254. pdf 0.3 MB
Parncutt, R. (1998 a). Listening to music in the real world? A critical discussion of Marc Leman’s (95) Music and Schema Theory: Cognitive Foundations of Systematic Musicology. Journal of New Music Research, 27, 380-408. pdf 1.5 MB
Gellrich, M., & Parncutt, R. (1998 b). Piano technique and fingering in the 18th and 19th centuries: Bringing a forgotten method back to life. British Journal of Music Education, 15 (1), 5-23. pdf 1.1 MB
Sloboda, J. A., Clarke, E. F., Parncutt, R., & Raekallio, M. (1998 c). Determinants of fingering choice in piano sight-reading. Journal of Experimental Psychology: Human Perception & Performance, 24 (1), 185-203.
Parncutt, R., Sloboda, J. A., Clarke, E. F., Raekallio, M., & Desain, P. (1997 a). An ergonomic model of keyboard fingering for melodic fragments. Music Perception, 14, 341-382. pdf 0.3 MB
Clarke, E. F., Parncutt, R., Raekallio, M., & Sloboda, J. A. (1997 b). Talking fingers: An interview study of pianists’ views on fingering. Musicae Scientiae, 1, 87-107. pdf 1.0 MB
Thompson, W. F., & Parncutt, R. (1997 c). 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 a). 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., & Cohen, A. J. (1995 a). Identification of microtonal melodies: Effects of scale-step size, serial order, and training. Perception & Psychophysics, 57, 835-846. pdf 1.3 MB
Parncutt, R. (1994 a). A perceptual model of pulse salience and metrical accent in musical rhythms. Music Perception, 11, 409-464. pdf 1.5 MB
Parncutt, R. (1994 b). 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 c). 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 a). Pitch properties of chords of octave-spaced tones. Contemporary Music Review, 9, 35-50. pdf 0.8 MB
Huron, D., & Parncutt, R. (1993 b). An improved model of tonality perception incorporating pitch salience and echoic memory. Psychomusicology, 12, 152-169. html pdf 1.0 MB
Parncutt, R. (1988 a). 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 a). Harmonic relationship in similarity judgments of nonsimultaneous complex tones. Acustica, 63, 111-119.
Terhardt, E., Stoll., G., Schermbach, R., & Parncutt, R. (1986 a). Tonhöhenmehrdeutigkeit, Tonverwandschaft und Identifikation von Sukzessivintervallen (Pitch ambiguity, harmonic relationship, and melodic interval identification). Acustica, 61, 57-66. pdf 1 MB
Parncutt,
R. (in press). Psychoacoustics and cognition for musicians. In A. Brown
(Ed.), Sound musicianship. Cambridge Scholars Publishing.
Parncutt,
R., & Dorfer, A. (2011). The role of music in the
integration of cultural minorities. In I.
Deliege & J. Davidson (Eds.), Music
and the mind (Essays in
Honour of John Sloboda) (pp. 379-411).
Oxford, GB: Oxford University Press. pdf
Klein, J. T., & Parncutt, R. (2010 c). Interdisciplinary research on art and music. In R. Frodeman (Ed.), Oxford handbook of interdisciplinarity (pp. 133-146). New York: Oxford University Press. pdf
Parncutt, R. (2010 d). Le conditionnement du foetus et du nourrisson, le schéma maternel et les origines de la musique et de la religion. In O. Vitouch, I. Deliège & O. Ladining (Eds). Musique et évolution (pp. 83-100). Wavre, Belgium: Mardaga. (translation by Laurence Richelle of Parncutt, 2009 b) 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. (2009 d). Prenatal development and the phylogeny and ontogeny of musical behaviour. In S. Hallam, I. Cross, & M. Thaut (Eds.), Oxford handbook of music psychology (pp. 219-228). Oxford: Oxford University Press. pdf
Parncutt, R. (2006 b). Prenatal development. In G. E. McPherson (Ed.), The child as musician (pp. 1-31). Oxford, England: Oxford University Press. searchable proof pdf scanned final pdf
Parncutt, R., & Troup, M. (2002 b). Piano. In R. Parncutt & G. E. McPherson (Eds.), Science and psychology of music performance: Creative strategies for teaching and learning (pp. 285-302). New York: Oxford University Press. pdf 1.0 MB
Parncutt, R. (1997 d). 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
Hair, G., Pearson, I., Morrison, A., Bailey, N., McGilvray, D., & Parncutt, R. (2007 c). The Rosegarden Codicil: Rehearsing music in nineteen-tone equal temperament. Scottish Music Review, 1 (1), 99-126. pdf html
Parncutt, R. (2007 d). Systematic musicology and the history and future of Western musical scholarship. Journal of Interdisciplinary Music Studies, 1, 1-32. pdf html
Parncutt, R. (2006 c). Commentary on Mashinter's "Calculating sensory dissonance". Empirical Musicology Review, 1 (4). pdf 0.1 MB
Parncutt, R. (2006 d). 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. (1996 b). Praxis, Lehre, Wahrnehmung. Kritische Bemerkungen zu Roland Eberlein: Die Entstehung der tonalen Klangsyntax. Musiktheorie, 11, 67-79. doc 0.2 MB
Parncutt, R. (1995 b). Survey of recent research on the perception of harmony and tonality. Jahrbuch Musikpsychologie, 12, 56-65.
Parncutt, R. (1995 c). Perceptual modeling of the finality of harmonic cadences: The effect of root progression. Systematische Musikwissenschaft, 3, 71-85. pdfMiskiewicz, A., & Parncutt, R. (1991 a). Ausbildung des Klangfarbengehörs im Rahmen der Tonmeisterausbildung an der Musikhochschule in Warschau (Timbral ear training for Tonmeister students at the Warsaw Academy of Music). Tonmeister Informationen, 5/6/7, 20-23.
Parncutt, R. (1990 a). Spontaneous tempo, apparent speed, pulse salience, and event salience in musical rhythms. STL-QPSR, 1/1990, 9-23.
Parncutt, R. (1990 b). Pitch properties of chords of octave-spaced tones. STL-QPSR, 1/1990, 25-36.
Parncutt, R. (2009 e). Prenatal “experience” and the phylogenesis and ontogenesis of music. In R. Haas & V. Brandes (Eds.), Music that works (pp. 185-194). Wien: Springer-Verlag. pdf
Parncutt, R., & Kessler, A. (2007 e). Musik als virtuelle Person (reprint). In B. Oberhoff & S. Leikert (Eds.), Die Psyche im Spiegel der Musik (pp. 203-251). Gießen: Psychosozial-Verlag.
Parncutt, R., & Kessler, A. (2006 e). Musik als virtuelle Person. In R. Flotzinger (Ed.), Musik als... Ausgewählte Betrachtungsweisen (pp. 9-52). Wien: Österreichische Akademie der Wissenschaften. pdf 0.3 MB
Parncutt, R. (2006 f). Applicazioni educative della ricerca sull'esecuzione musicale (Educational applications of scientific research on music performance). In M. Biasutti (Ed.), Psicologia e educazione musicale (pp. 87-108). Lecce: Pensa Multimedia. pdf 0.2 MB
Parncutt, R. (2005 b). Perception of musical patterns: Ambiguity, emotion, culture. In W. Auhagen, W. Ruf, U. Smilansky, & H. Weidenmüller (Eds.), Music and science - The impact of music (Nova Acta Leopoldina, Bd. 92, Nr. 341, pp. 33-47). Halle, Germany: Deutsche Akademie der Naturforscher Leopoldina. pdf
Parncutt, R. (2005 c). Pränatale Erfahrung und die Ursprünge der Musik. In B. Oberhoff (Ed.), Die seelischen Wurzeln der Musik: Psychanalytische Erkundungen (pp. 21-40). Gießen: Psychosozial-Verlag. pdf 0.1 MB
Parncutt, R. (2004 b). 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
Parncutt, R. (2003 a). Accents and expression in piano performance. In K. W. Niemöller (Ed.), Perspektiven und Methoden einer Systemischen Musikwissenschaft (Festschrift Fricke) (pp. 163-185). Frankfurt/Main, Germany: Peter Lang. pdf 0.6 MB
Parncutt, R. & Troup, M. (2003 b). El Piano. Quodlibet: Revista de especialización musical, 27, 48-69.
Parncutt, R. (1999 c). Systematic evaluation of the psychological effectiveness of non-conventional notations and keyboard tablatures. In Zannos, I. (Ed.), Music and Signs (pp. 146-174). Bratislava, Slovakia: ASCO Art & Science. pdf 1.4 MB
Parncutt, R. (1997 e). Pränatale Erfahrung und die Ursprünge der Musik. In L. Janus & S. Haibach (Eds.), Seelisches Erleben vor und während der Geburt (pp. 225-240). Neu-Isenburg, Germany: LinguaMed. pdf 0.1 MB
Parncutt, R. (1994 d). Wechselwirkungen zwischen Schallereignissen (Interactions between sound events). In H. Bruhn, R. Oerter, & H. Rosing, (Eds.), Musikpsychologie. Ein Handbuch (pp. 670-678). Reinbek, Germany: Rowolt. pdf 1.8 MB
Parncutt, R. (1993 c). Prenatal experience and the origins of music. In T. Blum (Ed.), Prenatal perception, learning, and bonding (pp. 253-277). Berlin: Leonardo. pdf 0.9 MB
Parncutt, R. (1987 b). 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.
Parncutt, R., & Drake, C. (2001 a). Psychology: Rhythm. In S. Sadie (Ed.), New Grove Dictionary of Music and Musicians, 20, 535-538, 542-53. pdf 0.1 MB
Parncutt, R., & Levitin, D. J. (2001 b). Absolute pitch. In S. Sadie (Ed.), New Grove Dictionary of Music and Musicians, 1, 37-39. London, England: MacMillan. pdf 0.1 MB
Parncutt, R., & Gedik, A. C. (2009 f). Editorial. Journal of Interdisciplinary Music Studies, 3, vii. pdf
Parncutt,
R., & Gedik, A. C.
(2008 c).
Interdisciplinarity in JIMS. Journal
of
Interdisciplinary Music
Studies, 2, ix-xi.
pdf
Parncutt, R. (2008 d). Why systematic musicology? Why a student conference? In M. M. Marin et al. (Eds.). First International Conference of Students of Systematic Musicology (SysMus08): Abstracts (p. 9). Graz, A: Department of Musicology, University of Graz. pdf
Parncutt, R. (2007 f). From the academic director. In K. Maimets-Volt, R. Parncutt, M. Marin & J. Ross (Eds.), CIM07, 3rd Conference on Interdisciplinary Musicology: Abstracts (pp. 16-19). pdf
Parncutt, R. (2006 g). Interdisciplinary musicology. Foreword to Musicae Scientiae, special issue 2005-2006 "Interdisciplinary musicology", 7-11. pdf
Parncutt, R. (2005 d). Breve storia delle musicologia multi- e inter-disciplinare. Rivista di Analisi e Teoria Musicale, 10 (2), 10-14. (Introduction to special issue "Musica e ricerca interdisciplinare" edited by Mario Baroni containing papers presented at CIM04.) doc 0.1 MB
Parncutt, R. (2004 c). Aims and ethos of CIM04. In R. Parncutt, A. Kessler, & F. Zimmer (Eds.), Conference on Interdisciplinary Musicology: Abstracts (pp. 12-23). Graz, Austria: Khil. pdf 1.3 MB
Reviews of books and conferences
Parncutt, R. (2008 e). David Temperley, Music and Probability (review). Psychology of Music, 36, 501-506. pdf
Parncutt, R. (2007 g). 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
Parncutt, R. (1997 f). Seminar on Regulation of Creative Processes in Music (Berlin, Germany, July 1996) (review). Computer Music Journal, 21 (1), 68-69.
Parncutt, R. (1997 g). 4th International Symposium on Systematic Musicology (Brugge, Belgium); and 12. Jahrestagung der Deutschen Gesellschaft für Musikpsychologie (Freiburg, Germany) (review). ESCOM Notebook
Parncutt, R. (1995 d). Roland Eberlein, Die Entstehung der tonalen Klangsyntax (The emergence of tonal-harmonic syntax) (review). Jahrbuch Musikpsychologie, 12, 176-178.
Parncutt, R. (1995 e). David Butler, The Musician's Guide to Perception and Cognition (review). Music Perception, 13 (2), 253-260.
Parncutt, R. (1995 f). Stephen McAdams & Emmanuel Bigand (Eds.), Thinking in sound: The cognitive psychology of human audition (review). ESCOM Newsletter, 7, 2-5.
Parncutt, R. (1994 e). Diana Raffman, Language, Music, and Mind (Cambridge, Massachusetts: MIT Press) (review). Computer Music Journal, 18 (4), 101-104.
Parncutt, R. (1994 f). Annual meeting of the Society for Music Perception and Cognition (Philadelphia, Pennsylvania) (review). ESCOM Newsletter, 6, 16-19; Music Theory Online, 0 (6).
Parncutt, R. (1993 d). Lelio Camilleri (Guest Ed.), Minds and Machines 2 (4), November 1992 (Special issue on Music and Cognition) (review). Computer Music Journal, 17 (4), 79—82.
Parncutt, R. (1988 b). First international meeting of Music Notation Modernization Association (Norwich, England) (review). Musical Times, cxxi/1749, 619.
Parncutt, R. (1987 c). Gardner Read, Sourcebook of proposed music notation reforms (review). Music Notation News, 1(6), 1–4.
Contributions
to conference proceedings
• All abstract
submissions were peer reviewed except those
marked with asterisks.*
•
Double asterisks** denote
contributions
associated with invited
presentations.
Bisesi,
E., Parncutt, R., & Friberg, A. (2011). An accent-based
approach to performance rendering: Music theory
meets music
psychology. In A. Williamon, D. Edwards, & L. Bartel (Eds.), International Symposium on
Performance Science (Toronto, Canada, 24–27
August, pp. 27-32). Utrecht, NL: European
Association of Conservatoires.
Bisesi,
E., Friberg, A., & Parncutt, R. (2011). Director Musices
(accent-based formulation). In Rencon
(Music Performance Rendering Contest for Computer Systems, Padova,
Italy, 6 July; 2 pages; awarded 3rd place in Rencon
Competition).
Parncutt, R., Kaiser, F., & Sapp, C. (2011). Historical development of tonal syntax: Counting pitch-class sets in 13th-16th century polyphonic vocal music. In C. Agon, E. Amiot, M. Andreatta, G. Assayag, J. Bresson, & J. Mandereau (Eds.), Mathematics and computation in music (Paris, France, 15-17 June; pp. 366-369). Berlin: Springer-Verlag. procs poster
Bisesi, E., & Parncutt, R. (2010). An accent-based approach to automatic rendering of piano performance. In W. Goebl (Ed.), Proceedings of the Second Vienna Talk on Music Acoustics (Vienna, Austria, 19–21 September; pp. 26–30).
Prem, D., & Parncutt, R. (2008 f). Corporality in the timbre vocabulary of professional female jazz vocalists. In M. Marin et al. (Eds.), Proceedings of the First International Conference of Students of Systematic Musicology (SysMus08) (Graz, Austria, 14-15 November). pdf
Grillitsch, D., & Parncutt, R. (2008 g). The effect of music listening on spatial skills: The role of processing time. In M. Adachi et al. (Eds.), Proceedings of the International Conference on Music Perception and Cognition (ICMPC10) (Sapporo, Japan, 25-29 August). pdf ppt
Prem. D., & Parncutt, R. (2007 h). The timbre vocabulary of professional female jazz vocalists. In A. Williamon (Ed.), Proceedings of the International Symposium on Performance Science (Porto, Portugal, 22-23 November). ppt 0.1 MB
Parncutt, R. & Marin, M. (2006 h). Emotions and associations evoked by unfamiliar music. In H. Gottesdiener & J. C. Vilatte (Eds.), Culture and communication: Proceedings of the International Association of Empirical Aesthetics (Avignon, France, 29 August - 1 September 2006). pdf 0.1 MB ppt 0.8 MB
Painsi, M., & Parncutt, R. (2006 i). Gender effects in young musicians' mastery-oriented achievement behavior and their interactions with teachers. In M. Baroni, A. R. Addessi, R. Caterina, & M. Costa (Eds.), Proceedings of the 9th International Conference on Music Perception and Cognition (Bologna, Italy, 21-26 August). pdf 0.1 MB ppt 0.4 MB
Gasenzer, E. R., & Parncutt, R. (2006 j). How do musicians deal with their medical problems? In M. Baroni, A. R. Addessi, R. Caterina, & M. Costa (Eds.), Proceedings of the 9th International Conference on Music Perception and Cognition (Bologna, Italy, 21-26 August). pdf 0.1 MB ppt 7 MB
Parncutt, R., & Painsi, M. (2006 k). Structuring the argument of a theoretical paper: A guideline and its reception by advanced undergraduate musicologists. In M. Baroni, A. R. Addessi, R. Caterina, & M. Costa (Eds.), Proceedings of the 9th International Conference on Music Perception and Cognition (Bologna, Italy, 21-26 August). pdf 0.1 MB ppt 0.1 MB
Ferguson, S., & Parncutt, R. (2004 d). 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). pdf 0.3 MB
Painsi, M., & Parncutt, R. (2004 e). Children's, teachers' and parents' attributions of children's musical success and failure. In D. Lipscomb, R. Ashley, R. O. Gjerdingen & P. Webster (Eds.), Proceedings of the 8th International Conference on Music Perception and Cognition (Evanston, Illinois, 3-7 August) (pp. 344-348). Adelaide: Causal Productions. pdf 0.3 MB
Goebl, W., & Parncutt, R. (2003 c). Asynchrony versus intensity as cues for melody perception in chords and real music. 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) (pp. 376-380). Hannover: Institute for Research in Music Education. pdf 0.2 MB
Kessler, A., & Parncutt, R. (2003 d). 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) (pp. 344-348). Hannover: Institute for Research in Music Education. pdf 0.4 MB
Parncutt, R. (2003 e). 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) (pp.339-343). Hannover: Institute for Research in Music Education. pdf 0.3 MB
**Parncutt, R. (2002 c). Interdisciplinary balance, international collaboration, and the future of (German) (historical) musicology. In A. Edler und S. Meine (Eds.), Musik, Wissenschaft und Ihre Vermittlung: Bericht zur Jahrestagung der Gesellschaft für Musikforschung (Hannover, Germany, 2001) (pp. 42-51). Augsburg: Wissner. pdf 0.3 MB
Goebl, W., & Parncutt, R. (2002 d). The influence of relative intensity on the perception of onset asynchronies. In C. Stevens, D. Burnham, G. McPherson, E. Schubert, & J. Renwick (Eds.), Proceedings of the 7th International Conference on Music Perception and Cognition (Sydney, Australia) (pp. 613–616). Adelaide: Causal Productions. pdf 0.1 MB
Parncutt, R., & Pascall, R. (2002 e). 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) (4 pages). Adelaide: Causal Productions. pdf 0.1 MB
**Parncutt, R. (2001 c). 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) (7 pages). Venice: Fondazione Scuola di San Giorgio. pdf 0.1 MB
Parncutt, R. (2000 b). 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. (1999 d). Applying music psychology to music education: Can perceptual theory inform undergraduate harmony? In M. S. Barrett, G. E. McPherson, & R. Smith (Eds.), Proceedings of the International Music Education Research Symposium (Launceston, Australia) (pp. 254-258). Launceston: Uniprint, University of Tasmania. pdf 0.1 MB
**Parncutt, R. (1999 e). Tonality as implication-realization. In P. Vos and M. Leman (Eds.), Proceedings of the Expert Meeting on Tonality Induction (Nijmegen, Netherlands) (pp. 121-141). Nijmegen: Nijmegen Institute for Cognition and Information (NICI). pdf 0.1 MB
*Parncutt, R. (1998 e). Recording piano fingering in live performance. In B. Enders & N. Knolle (Eds.), KlangArt-Kongress (Osnabrück, Germany, 1995) (pp. 263-268). Osnabrück: Universitätsverlag Rasch. pdf 0.3 MB
**Parncutt, R. (1997 h). Modeling piano performance: Physics and cognition of a virtual pianist. In T. Rikakis (Ed.), Proceedings of the International Computer Music Conference (Thessaloníki, Greece) (pp. 15-18). San Francisco, CA: International Computer Music Association. pdf 0.1 MB
Parncutt, R., Sloboda, J. A., & Clarke, E. F. (1997 i). Interdependence of right and left hands in sight-read, written, and rehearsed fingerings of piano music in parallel octaves. In A. Gabrielsson (Ed.), Proceedings of the European Society of Cognitive Sciences of Music (Uppsala, Sweden) (pp. 702-705). Department of Psychology, Uppsala University.
Sloboda, J. A., Lehmann, A. C., & Parncutt, R. (1997 j). Perceiving intended emotion in concert-standard performances of Chopin's Prelude No. 4 in E minor. In A. Gabrielsson (Ed.), Proceedings of the European Society of Cognitive Sciences of Music (Uppsala, Sweden) (pp. 629-634). Department of Psychology, Uppsala University.
**Parncutt, R. (1996 c). From chord profiles to key profiles: Top-down or bottom-up? In M. Roczniak (Ed.), Proceedings of the Open Seminar on Acoustics (Ustron, Poland) (pp. 559-564).
Parncutt, R. (1996 d). A perceptual model of the root(s) of a chord that accounts for voicing, prevailing tonality, and local voice leading. In M. Leman (Ed.), Proceedings of the Joint International Conference on Systematic Cognition and Musicology (Brugge, Belgium) (pp. 67-73).
Parncutt, R., & Bregman, A.S. (1996 e). Tone profiles following chort chord progressions: Cumulative pitch salience or best-fitting key profile? In B. Pennycook & E. Costa-Giomi (Eds.), Proceedings of the International Conference on Music Perception & Cognition, Montréal, Québec (pp. 383-386).
Sloboda, J. A., Parncutt, R., Clarke, E. F., & Raekallio, M. (1996 f). Fingering consistency and rule-conformance among expert and novice pianists. In B. Pennycook & E. Costa-Giomi (Eds.), Proceedings of the International Conference on Music Perception and Cognition (Montréal, Québec) (pp. 13-17).
Parncutt, R. (1994 g). A model of beat induction accounting for perceptual ambiguity by continuously variable parameters. In W. Siegel (Ed.), Proceedings of the International Computer Music Conference (Århus, Denmark) (pp. 83-84). San Francisco, CA: International Computer Music Association.
Parncutt, R. (1994 h). A perceptual-historical model of chord prevalence and key profiles in tonal-harmonic music. In I. Deliège (Ed.), Proceedings of the International Conference on Music Perception and Cognition (Liège, Belgium) (pp. 231-232). Liège: Centre de Recherches et de Formation Musicales de Wallonie.
Parncutt, R. (1994 i). A scenario for the genesis of music. In I. Deliège (Ed.), Proceedings of the International Conference on Music Perception and Cognition (Liège, Belgium) (pp. 93-94). Liège: Centre de Recherches et de Formation Musicales de Wallonie.
Parncutt, R. (1994 j). CAI (computer-assisted instruction) for harmony and ear training using octave-complex (Shepard) tones, pitch-class sets, and perceptual theory. In D. C. Sebald (Ed.), Technological Directions in Music Education (San Antonio, Texas) (pp. 102-108). San Antonio: Institute of Music Research, University of Texas at San Antonio. http://music.utsa.edu/tdml/conf-I/I-Parncutt.html.
Parncutt, R. (1994 k). Categorical perception of short rhythmic events. In A. Friberg et al. (Eds.), Proceedings of the Stockholm Music Acoustics Conference (Stockholm, Sweden) (pp. 47-52). Stockholm, Sweden: Dept of Speech Communication and Music Acoustics, KTH. pdfStammen, D. R., Pennycook, B., & Parncutt, R. (1994 l). A revision of Parncutt’s psychoacoustical model of the root of a musical chord. In I. Deliège (Ed.), Proceedings of the International Conference on Music Perception and Cognition (Liège, Belgium) (pp. 357-358). Liège: Centre de Recherches et de Formation Musicales de Wallonie.
Parncutt, R. (1993 f). Template-matching models of musical pitch and rhythm perception. In J. Laaksamo & J. Louhivuori (Eds.), Proceedings of the International Conference on Cognitive Musicology, (Jyväskylä, Finland) (pp.1-19). Jyväskylä: Department of Music, University of Jyväskylä.
Parncutt, R. (1991 b). A psychoacoustical model of tonal composition. In B. Pennycook (Ed.), Proceedings of the International Computer Music Conference (Montréal, Québec) (pp. 210-213). San Francisco, California: International Computer Music Association.
Invited conference presentations
|
Date
|
Event (location) | Title
or theme of presentation |
| 2012 Mar 21-23 | National Symposium on Music Research in Finland (Jyväskylä; Tuomas Eerola) | Keynote "Interdisciplinary musicology: Bringing together humanities and sciences" ppt |
| 2011 Sep 29 - Oct 2 | EuroMac VII: European Music Analysis Conference (Rome; Giorgio Sanguinetti) | Keynote "The transdisciplinary foundation of (European) music theory" ppt |
|
2011 Mai
27-29
|
Der Tenor - Mythos, Geschichte, Gegenwart (Katholische Akademie Schwert, Germany) | (declined) |
|
2011 Mai
27-29
|
Austrian
committee of the International
Council of Traditional Music (ICTM).
Joint meeting with theme
"Inter- and transculturality" (Institut für Musikwissenschaft,
Uni
Wien; Regina Allgayer-Kaufmann)
|
Keynote "Intercultural music psychology: Better late than never" ppt |
| 2010 June | Podiumsdiskussion "Weltsprache Musik? Die kulturelle Konstruktion der WahrnehmungsWelten und das Universelle der Wahrnehmung" (Haus der Kulturen der Welt, Berlin; agentur für kunst und wissenschaft) | (canceled) |
| 2010 May 26-29 | Multidisciplinary Research in Music Pedagogy (Ottawa, Canada; Gilles Comeau) | (declined) |
| 2009 Dezember 4-5 | Musik und Religion: Psychologische Zugänge (Bonn, Germany; J. A. Belzen, U. Amsterdam) | (declined) |
| 2009 November 19-22 | ESF Strategic Workshop: Musicology (Warsaw, Poland; Eva Dahlig-Turek) | Remapping musicology: Thoughts of a disciplinary Other ppt |
|
2009
April 24-25
|
Workshop
on Modeling of
Cultures (Harvard,
USA; Leonid
Perlovsky)
|
Music and integration (declined) |
|
2009
April 20-21
|
Grenzüberschreitungen:
Transkulturelle Perspektiven in Filmen von Regisseurinnen (Mainz,
Germany; Rada
Bieberstein)
|
Interkulturelle Filmmusik (declined) |
|
2009
January 23
|
Musique et Cognition. Autour de l'apport de John Sloboda (ESCOM, IRCAM; Moreno Andreatta) | The role of music in cultural integration ppt |
|
2008
December 15-16
|
Relevance and Impact of the Humanities (FWF, ESF, AHRC, Uni Vienna) | Assessment of quality and impact at the interface between humanities and sciences: The case of (systematic) musicology ppt |
|
2008
September 12-14
|
Jubiläumstagung (25 Jahre) der Deutschen Gesellschaft für Musikpsychologie (Musikhochschule Hannover, Germany) | Keynote "Unity in diversity: Bringing together humanities, sciences and practice within musicology and psychology" ppt 0.2 MB |
|
2008
September 11-14
|
Jahrestagung der Deutschen Gesellschaft für Kinder- und Jugendmedizin (Munich, Germany) | Kindliche Entwicklung musikalischer Fähigkeiten (invited by Forum Förderung durch Musik) ppt 0.2 MB |
|
2008
August 25-29
|
International Conference on Music Perception and Cognition (ICMPC10) (Sapporo, Japan) | Presentation and quality control in music psychology (pre-conference workshop for students) ppt |
|
2007
November 9
|
Ästhetische Erfahrung und Kunstrezeption (Institut für Philosophie, Uni Graz, Austria) program and abstracts | Empirische
Untersuchungen zur Wahrnehmung
des Eigenen und des Fremden in der Musik (with 2nd author Manuela M.
Marin) |
|
2007
October 24
|
Music & ideas: Practice-based research (Royal College of Music, London) | Incorporating
research into post-secondary
performance teaching (by video link) ppt
0.2 MB |
|
2007
January 18-20
|
The concept of "New" in music, technology and musicology (University of Trento, Italy) | The
concept and practice of New in
musicology (declined) |
|
2006
November 2-5
|
8.
internationaler Bundeskongress der
Arbeitsgemeinschaft der Musikerzieher Österreichs (AGMÖ)
(Salzburg, Austria) |
Aktuelles aus der musikalischen Performanceforschung: Effektives Üben und außermusikalische Transfereffekte (Zweitautorin und Präsentation: Margit Painsi) ppt 0,5 MB |
|
2006
October 1-4
|
Mozart & Science (Baden bei Wien, Austria) | Prenatal “experience” and the phylogenesis and ontogenesis of music ppt 0.5 MB |
|
2006
July 26-30
|
28th International Conference of the European Piano Teachers Association (EPTA) (Funchal, Madeira) | Pedogical applications of psychological research on piano fingering (declined) |
|
2006
July 1-2
|
Teaching, Learning and Performing Music, Royal Northern College of Music (Manchester, England) | Can researchers help artists? Music performance research for music students ppt 0.3 MB |
|
2006
March 27
|
AllThatSounds - Forschung zur assoziativ, semantischen Erfassung von Audiodaten (Vienna, Austria) | (declined) |
|
2005
November 27-30
|
Understanding and Creating Music (UCM 2005), Seconda Università degli Studi di Napoli (Caserta, Italy) | Keynote "Western music history, pitch salience, key profiles, and the origins of tonality" pdf 0.1 MB |
|
2005
November 3-4
|
Transdisziplinäre Diskussion zum Thema Musikbiologie (Österreichische Botschaft, Berlin, Germany) | Aktuelle internationale Forschung zur emotionalen Wirkung von Musik |
|
2005
March 10-12
|
Conference on Interdisciplinary Musicology (CIM05), Université de Montréal (Québec, Canada) | Keynote "Interdisciplinary research on musical timbre: Bringing together sciences, humanities and musical practice" ppt 0.2 MB |
|
2005
January 31 -
February 4
|
16th Biennial Congress of the Australian Institute of Physics (Canberra, Australia) | The tritone paradox and the dominance regions of spectral and virtual pitch (2nd author: A. P. Tan) pdf 0.1 MB |
|
2004
November 29-30
|
International Symposium on Psychology and Music Education (PME04), Università di Padova (Italy) | Keynote "Educational applications of scientific research on music performance" (ppt English 0.2 MB italiano 0.2 MB) |
|
2004 May
6-9
|
Minicolloquium on Mathematical Music Theory, Universität Graz (Austria) | Psychological relevance of mathematical music theory |
|
2004 May
13-15
|
Science
and Music - The Impact of Music,
Deutsche Akademie der Naturforscher Leopoldina (Halle, Germany) |
Perception of musical structure |
|
2001
September |
Internationaler
Kongess
der Gesellschaft
für Musikforschung
(Hannover, Germany) |
Interdisciplinary balance, international collaboration, and the future of (German) (historical) musicology pdf 0.2 MB |
|
2000
April
|
Annual
Conference of the Royal
Musical Association
(Performance 2000) (Southampton, England) |
Structured listening to recover a performer's conception of musical structure |
|
1998
March
|
Annual
Congress of Club
de Neuro-audio-acoustique (CNA2)
(Dijon, France) |
Fondements psychoacoustiques du système musical occidental |
|
1997
September
|
International
Computer Music Conference
(Thessaloniki, Greece) |
Modeling piano performance: Physics and cognition of a virtual pianist |
Other
conference presentations and abstracts
• where no contribution
was made to proceedings
• including abstract submissions to future conferences
All abstract submissions were peer reviewed except those marked with
asterisks.*
Parncutt, R. (2011). What do errors in performance tell us about music cognition? Exzellenz durch Umgang mit Fehlern (Excellence through error management), University of Music and Dramatic Arts Graz, 11-12 Nov) ppt
Bisesi, E., & Parncutt, R. (2011). How do musical accents induce emotions? European Music Analysis Conference (EuroMac VII, Rome, 29 Sep - 2 Oct).
Parncutt, R., & Hair, G. (2011). Consonance and dissonance in theory, practice and science (with respondents J. Devaney, V. Ross, E. Schubert, & R. Ambrazevičius). Conference on Interdisciplinary Musicology (CIM11, Glasgow, 30 Aug - 3 Sep). pdf ppt
Prem, D., Parncutt, R., Giesriegl, A., & Stiegler, H. J. (2011). Jazz vocal sound: A timbre knowledgebase for research and practice. Conference on Interdisciplinary Musicology (CIM11, Glasgow, 30 Aug - 3 Sep).
Parncutt, R. (2011). Defining music as a step toward explaining its origin. Society for Music Perception and Cognition (SMPC, Rochester, NY, 11-14 August 2011). ppt
Parncutt, R., & Sapp, C. (2011). Pitch salience in tonal contexts and asymmetry of perceived key movement. Society for Music Perception and Cognition (SMPC, Rochester, NY, 11-14 August 2011). ppt
Bisesi, E., & Parncutt, R. (2011). Expression in piano music: Criteria for choice of score events for emphasis. Society for Music Perception and Cognition (SMPC, Rochester, NY, 11-14 August 2011).
Bisesi, E., & Parncutt, R. (2011). An accent-based approach to performance rendering: Music theory meets music psychology. International Symposium on Performance Science (ISPS, Toronto, Canada, 24 - 27 August).
Winter,
M., &
Parncutt, R. (2011). Musical practice and the
construction
of cultural identity. Music – Conflict –
Transformation (SocArts, University of Exeter, UK, 9-10 May).
Parncutt, R. (2010 e). Physical, experiential and notational representations of musical works. Deutsche Gesellschaft für Musikpsychologie and Gesellschaft für Musiktheorie (DGM-GMTH, Würzburg, Germany, 8-10 October). ppt
Bisesi,
E., & Parncutt, R. (2010 f). An accent-based approach to music
analysis: Preliminary results. Deutsche
Gesellschaft
für Musikpsychologie and Gesellschaft für
Musiktheorie (DGM-GMTH,
Würzburg, Germany,
8-10 October)
Parncutt, R. (2010 g). The origins of music: Comparative evaluation of competing theories (talk). International Conference on Music Perception and Cognition (ICMPC11, Seattle, USA, 23-27 August). ppt
*Parncutt, R., & Koegeler, M. (2010 h). Welcome. Conference on Applied Interculturality Research (cAIR10, Graz, Austria, 7-10 April) ppt
*Parncutt, R. (2010 i). cAIR: What next? Conference on Applied Interculturality Research (cAIR10, Graz, Austria, 7-10 April) ppt
Bisesi, E. & Parncutt, R. (2010 j). The informal vocabulary of professional musicians for describing expression and interpretation (talk). International Conference on Music Perception and Cognition (ICMPC11, Seattle, USA, 23-27 August).
Kettner, S. & Parncutt, R. (2010 k). Narcissism in music performance: Singers versus instrumentalists (talk). International Conference on Music Perception and Cognition (ICMPC11, Seattle, USA, 23-27 August). ppt
Parncutt, R. (2010 l). Historical origins of major-minor tonality: A psychological approach (talk). Medieval and Renaissance Music Conference (Med-Ren, Egham, Surrey, GB, 5-8 July). ppt
Parncutt, R., & Seither-Preisler, A. (2009 h). Multiple levels of implication-realisation at the authentic cadence (talk). Music & emotion (Durham, England, 31 August - 4 September). ppt
Parncutt, R. (2009 i). The tonic as home: Music theory, social psychology, ecology, culture (talk). European Society for the Cognitive Sciences of Music (Jyväskylä, Finland, 12-16 August). ppt
Prem, D., & Parncutt, R. (2009 j). Corporality in the timbre vocabulary of professional female jazz vocalists (talk). European Society for the Cognitive Sciences of Music (Jyväskylä, Finland, 12-16 August).
Reichweger, G., & Parncutt, R. (2009 k). Pitch salience in chords of harmonic complex tones (talk). European Society for the Cognitive Sciences of Music (Jyväskylä, Finland, 12-16 August). ppt
Dorfer, A., & Parncutt, R. (2008 h). The role of music in cultural integration (talk). First International Conference of Students of Systematic Musicology (SysMus08), Graz, Austria, 14-15 November. media echo
Parncutt, R. (2008 i). Key profiles, pitch salience, and the origins of tonality (talk). Gesellschaft für Musiktheorie (GMTh), Graz, Austria, 9-12 October.
Parncutt, R., Dibben, N., Painsi, M., & Marin, M. (2008 j). The professional relevance of music psychology: An internet survey (talk). International Conference on Music Perception and Cognition (ICMPC10), Sapporo, Japan, 25-29 August.
Parncutt, R. (2008 k). Towards an ecological evolutionary psychoacoustics of music (poster). International Conference on Music Perception and Cognition (ICMPC10), Sapporo, Japan, 25-29 August.
Parncutt, R. & Prem, D. (2008 l). The relative prevalence of Medieval modes and the origin of the leading tone (poster). International Conference on Music Perception and Cognition (ICMPC10), Sapporo, Japan, 25-29 August.
Taschler, A., & Parncutt, R. (2008 m). An intercultural study of ecstasy and trance in music (talk). International Conference on Music Perception and Cognition (ICMPC10), Sapporo, Japan, 25-29 August.
Parncutt, R. (2008 n). The Conference on Interdisciplinary Musicology: Promoting unity in diversity (talk). Approaches to Music Research: between Practice and Epistemology, Ljubljana, Slovenia, 8-9 May.
Parncutt, R., & Hair, G. (2008 o). Intonation in a new composition in 19-tone equal temperament (talk). Conference on Interdisciplinary Musicology (CIM08), Thessaloniki, Greece, 2-6 July.
Guetl, C., & Parncutt, R. (2008 p). An interactive tool for training and testing musical auditory skills (talk). World Conference on Educational Multimedia, Hypermedia & Telecommunications (ED-MEDIA), Vienna, Austria, June 30-July 4. pdf ppt
Parncutt, R. (2007 i). Music as an evolutionary byproduct of prenatal audition and proprioception (talk, abstract). International Conference on Music Communication Science, Sydney, Australia, 5-7 December.
Marin, M. M., & Parncutt, R. (2007 j). Pre-schoolers' abstract knowledge of Western harmonic tonality (talk, abstract). International Conference on Music Communication Science, Sydney, Australia, 5-7 December.
Parncutt, R. (2007 k). Prenatal behavioural and biochemical emotional communication and the origins of music (talk, abstract). Evolution of Emotional Communication (EEC), Hannover, Germany, 27-29 September.
Marin, M. M., & Parncutt, R. (2007 l). Sensitivity to musical emotion: Effects of gender and familiarity (poster, abstract). Evolution of Emotional Communication (EEC), Hannover, Germany, 27-29 September.
Parncutt, R., & Dorfer, A. (2007 m). The role of music in cultural integration (talk, abstract). Deutsche Gesellschaft für Musikpsychologie (DGM), Gießen, Germany, 14-16 September. media echo
Taschler, A., & Parncutt, R. (2007 n). Ekstase und Trance in der Musik: Ein interkultureller Vergleich (talk, abstract). Deutsche Gesellschaft für Musikpsychologie (DGM), Gießen, Germany, 14-16 September.
Parncutt, R. (2007 o). The Conference on Interdisciplinary Musicology: A progress report (talk). 3rd Conference on Interdisciplinary Musicology (CIM07), Tallinn, Estonia, 15-19 August.
Marin, M., Parncutt, R., & Kaernbach, C. (2007 p). Emotion and unfamiliar music: Electrophysiological and psychological responses to Persian and Western music by Persian and Western listeners (talk 3 MB, abstract). Society for Music Perception and Cognition (SMPC), Montreal, Quebec, July 30 - August 3.
Parncutt, R. (2007 q). Statistical learning and the history of music perception. IMS Study Group on Musical Data and Computer Applications, Zürich, Switzerland, 9-10 July. html
Parncutt, R. (2007 r). Tonal implications of harmonic and melodic Tn-sets (talk, extended abstract). Mathematics and Computation in Music (MCM07), Berlin, Germany, 18-20 May.
Parncutt, R. (2006 l). Aural analysis for performing musicians: The relationship between accents and expression (talk 1 MB, abstract). VI. Kongress der Gesellschaft für Musiktheorie (GMTH), Weimar, Germany, 6-8 Oktober.
Parncutt, R., McPherson, G., Painsi, M., & and Zimmer, F. (2006 m). Early acquisition of musical aural skills (talk, abstract). 9th International Conference on Music Perception and Cognition (ICMPC), Bologna, Italy, 21-26 August.
*Schubert, E., & Parncutt, R. (2006 n). A psychoacoustic approach to tuning (talk 11 MB, abstract). Sonic Connections, Wollongong, Australia, 10 May.
Kessler, A., & Parncutt, R. (2005 e). Die Rolle interpretativer Methoden bei der Erforschung musikalischer Bedeutung (talk, abstract). Fachgruppe Systematische Musikwissenschaft, Gesellschaft für Musikforschung, München, Germany, 5-8 October.
Parncutt, R. (2005 f). Towards a statistical-perceptual history of western tonal-harmonic syntax (talk, abstract). Digital Resources for the Humanities, Lancaster, England, 4-8 September. ppt 0.2 MB
Parncutt, R. & Williamon, A. (2005 g). Incorporating performance research into post-secondary music curricula: Political and pedagogical strategies (talk, abstract). Performance Matters, Porto, Portugal, 14-17 September. ppt 0.2 MB
Painsi, M., & Parncutt, R. (2005 h). Motivation and anti-stress training for children and teachers in music schools (talk, abstract). Performance Matters, Porto, Portugal, 14-17 September. ppt 0.4 MB
Parncutt, R. & Painsi, M. (2005 i). Children’s spontaneous aural recognition of tonal structures (talk, abstract). Deutsche Gesellschaft für Musikpsychologie, Würzburg, Germany, 9-11 September. ppt 0.2 MB
Jost, K., & Parncutt, R. (2005 j). Wie lernen die Kinder am besten Notenlesen? Eine qualitative Studie der Strategien und Begrenzungen moderner Musiklehrer (poster, abstract). Deutsche Gesellschaft für Musikpsychologie (DGM), Würzburg, Germany, 9-11 September. pdf 0.1 MB
Marin, M. M., & Parncutt, R. (2005 k). The role of rhythm, syntax, and musical training in similarity judgements of series of words and letters (poster). The Neurosciences and Music II. From perception to performance, Leipzig, Germany, 5-8 May. pdf 0.4 MB
Parncutt, R., & Traube, C. (2004 f). Music-psychological interdisciplinarity at the conference on interdisciplinary musicology (talk, abstract). 8th International Conference on Music Perception and Cognition (ICMPC), Evanston, Illinois, 3-7 August (p. 11). pdf 0.2 MB
Parncutt, R. (2004 g). Prenatal biological correlates of emotion and the origins of music (talk, abstract). 8th International Conference on Music Perception and Cognition (Evanston, Illinois, 3-7 August) (p. 41). pdf 0.1 MB
Lassnig-Walder, J., & Parncutt, R. (2004 h). Theorie und Praxis der Kreativität als Grundlage einer Didaktik der Improvisation im Instrumentalunterricht (talk, abstract). Deutsche Gesellschaft für Musikpsychologie (Paderborn, Germany, 3-5 September). doc 0.1 MB
Parncutt, R., & Ferguson, S. (2004 i). Computer-assisted composition with algorithmic implementations of pitch-perceptual theory (talk, extended abstract). Conference on Interdisciplinary Musicology (Graz, Austria, April) (pp. 136-137). doc 0.1 MB
Parncutt, R. (2001 d). Key profiles as pitch salience profiles of final triads in Renaissance music (talk, abstract). Society for Music Perception and Cognition (Kingston, Ontario, August) (p. 57). pdf 0.1 MB
Goebl, W., & Parncutt, R. (2001 e). Perception of onset asynchronies: Acoustic piano versus synthesized complex versus pure tones (talk, extended abstract). Society for Music Perception and Cognition (Kingston, Ontario, August 9–11) (pp. 21–22). pdf 0.1 MB
Parncutt, R., & Eberlein, R. (2000 c). Perceptual versus historical origins of musical materials (talk, abstract). Musical Intersections (Toronto, Ontario) (p. 183).
Parncutt, R., & Holming, P. G. S. (2000 d). Is scientific research on piano performance useful for pianists? (poster, abstract) International Conference on Music Perception & Cognition (Keele, England, July). pdf 0.1 MB
Parncutt, R., & Hutsteiner, T. (2000 e). Effect of temporal context on pitch salience in musical chords (talk, abstract). International Conference on Music Perception & Cognition (Keele, England, July).
Parncutt, R. (1999 f). Towards a perceptual theory of bebop harmony. Jyväskylä Summer Jazz (Jyväskylä, Finland) (p. 29-30).
Evans, W. S., & Parncutt, R. (1998 f). Ontogenesis of auditory perception and memory at 20 weeks' gestation. British Psychological Society (Brighton) (p.8).
Parncutt, R., Sloboda, J.A., Clarke, E.F., & Raekallio, M. (1997 k). An ergonomic model of piano fingering for melodic fragments (talk, abstract). Experimental Psychology Society (London, England).
Parncutt, R. (1997 l). Systematic evaluation of the psychological effectiveness of non-conventional music notations (talk, extended abstract). 5th International Symposium on Systematic and Comparative Musicology (Berlin, Germany) (pp. 28-29).
Parncutt, R. (1996 g). Perceptual underpinnings of analytic techniques: From Rameau to Terhardt, Riemann to Krumhansl, Schenker to Bregman. Society for Music Theory (Baton Rouge, Louisiana) (abstract, talk by Steve Larson).
*Parncutt, R. (1996 h). Tonal implications of atonal music (talk, abstract). Deutsche Gesellschaft für Musikpsychologie (Freiburg, Germany).
*Parncutt, R. (1996 i). Perception and notation of jazz harmony (talk, abstract). Leeds International Jazz Educator’s Conference (Leeds, England).
Clarke, E. F., Sloboda, J. A., & Parncutt, R. (1996 j). Pianists on fingering: An interview study (talk, abstract). Society for Research in Psychology of Music and Music Education (Cambridge, England).
Parncutt, R. (1995 h). Wahrnehmungstheorie und wahrnehmungsgerechte Notation von Akkorden im Jazz (talk, abstract). Gegenwärtige Ansätze der Systematischen Musiktheorie (Staatliches Institut für Musikforschung, Berlin, Germany).
Parncutt, R. (1995 i). Asymmetrien bei Ähnlichkeitsbeurteilungen von aufeinanderfolgenden Tönen und Akkorden (Asymmetries in similarity ratings of successive tones and chords) (talk, abstract). 3rd International Symposium on Systematic Musicology (Schloss Zeillern, Austria) (pp. 22-23).
Parncutt, R. (1995 j). Expressive timing near harmonic, contour, structural, and metrical accents in piano music (talk, abstract). European Society for the Cognitive Sciences of Music / Deutsche Gesellschaft für Musikpsychologie (p. 36-37).
Parncutt, R., & Sloboda, J. A. (1995 k). Model of keyboard fingering for melodic fragments (talk, abstract). Society for Music Perception and Cognition (Berkeley, California) (p. 3).
Sloboda, J. A., & Parncutt, R. (1995 l). Fingering strategies in pianists: Some preliminary findings (talk, abstract). Joint conference of the European Society for the Cognitive Sciences of Music and the Deutsche Gesellschaft für Musikpsychologie (Bremen, Germany).
Parncutt, R. (1994 m). A real-time model of pulse salience (talk, abstract). Rhythm Perception and Performance (Sheffield, England).
Parncutt, R. (1994 n). Perceptual modeling of finality of harmonic cadences (talk, abstract). International Symposium on Systematic Musicology (Hamburg, Germany).
*Parncutt, R. (1994 o). What motivates music notation research? (talk, abstract). Music Notation Modernization Association (Rotterdam, Netherlands).
Sloboda, J., Clarke, E., Parncutt, R., & Raekallio, M. (1994 p). Fingering strategies of pianists: some preliminary findings (talk, abstract). Joint conference of the European Society for the Cognitive Sciences of Music and the Deutsche Gesellschaft für Musikpsychologie (p. 39).
Terriah, S., Vantomme, J., Stammen, D., Fujinaga, I., & Parncutt, R. (1994 q). Applying music composition software (Max) in the design and implementation of experiments in music perception and cognition (talk, abstract). 3rd International Conference on Music Perception and Cognition (Liège, Belgium) (p. 207).
Parncutt, R. (1993 g). Similarity judgments of fifth-spaced tones and dyads thereof. (talk, abstract). 125th meetings of the Acoustical Society of America (Ottawa, Ontario). Journal of the Acoustical Society of America, 93, 2402.
Parncutt, R. (1993 h). Notated pitches, perceived pitches, and harmonic theory (poster, abstract). Joint meeting of the American Musicological Society and the Society for Music Theory (Montréal, Québec) (p. 32).
Parncutt, R. (1993 i). Prenatal audition and the origins of music (talk, abstract). Annual conference of the Society for Music Perception and Cognition (Philadelphia, Pennsylvania) (p. 30).
Parncutt, R., & Bigand, E. (1993 j). The role of pitch salience and tonal hierarchies in the perception of tension in short chord sequences (talk, abstract). Society for Music Perception and Cognition (Philadelphia, Pennsylvania) (p. 25-26).
Parncutt, R. (1992 a). Pulse salience in musical rhythms (talk, abstract). 2nd International Conference on Music Perception and Cognition (Los Angeles, California) (p. 47).
*Parncutt, R. (1992 b). Skizze einer psychoakustisch begründeten Harmonielehre (Sketch of a psychoacoustically based theory of harmony) (talk, abstract). Deutsche Gesellschaft für Musikpsychologie (Karlsruhe, Germany)
Parncutt, R., & Cohen, A.J. (1992 c). Recognition of serial patterns in microtonal scales (talk, abstract). Canadian Society of Brain, Behavior, and Cognitive Science, Québec City, Québec.
Parncutt, R. & Huron, D. (1992 d). An improved method for key tracking (talk, abstract). 2nd International Conference on Music Perception and Cognition (Los Angeles, California) (p. 63).
Parncutt, R. (1990 c). Pitch properties of chords of complex tones (talk, abstract). 2nd International Conference on Music and the Cognitive Sciences (Cambrige, England) (p. 31).
*Parncutt, R. (1988 c). Gestalterkennung und Rhythmuswahrnehmung (Pattern recognition and rhythm perception) (talk, abstract). Deutsche Gesellschaft für Musikpsychologie (Hannover, Germany).
*Parncutt, R. (1988 d). Accidentals, musical meaning, and context (talk, abstract). Music Notation Modernization Association (Norwich, England).
Thompson, W. F., & Parncutt, R. (1988 e) Using a memory-fade model to track the movement of musical keys (talk, abstract). International Congress of Psychology (Sydney, Australia).
Parncutt, R. (1987 d). A psychoacoustical model of the root(s) of a musical chord (talk, abstract). Australian Musicological Society (Canberra, Australia).
Parncutt, R. (1987 e). Harmony and pattern recognition (talk, abstract). Experimental Psychology Conference (Newcastle NSW, Australia).
Parncutt, R. (1986 b). Pitch commonality and harmonic relationship (talk). International Congress on Acoustics (Toronto, Ontario).
Parncutt, R. (1985 a). A model of pulse and event salience in musical rhythm (poster, abstract).Third International Conference on Event Perception and Action (Uppsala, Sweden).
Parncutt, R. (1985 b). Pitch analysis of complex sounds (talk, abstract). 5th Workshop on Physical and Neuropsychological Foundations of Music (Ossiach, Austria).
Parncutt, R, & Stoll, G. (1983 a). Harmonic relationship in similarity judgments of successive pure and complex tones (talk, abstract). 4th Workshop on Physical and Neuropsychological Foundations of Music (Ossiach, Austria).
Parncutt, R. (1998 d). Reply to Balsach (letter). Journal of New Music Research, 27, 416-417. pdf 0.1 MB
Parncutt, R., (1995 g). Response to Demske: Relating sets. Music Theory Online, 1 (3). ascii
Parncutt, R. (1993 e). Commentary on Justin London. Music Theory Online, 0.3. asciiParncutt, R. (1987 f). Sensory bases of harmony in western music. Doctoral dissertation, University of New England, Armidale NSW Australia. Supervised by physicist Neville H. Fletcher, musicologist Catherine J. Ellis, and psychologist William G. Noble; examined by psychologist Alan Costall (Southampton), physicist Howard Pollard (New South Wales), and musicologist Jeff Pressing (Latrobe).
Parncutt, R. (1982 a). Non-linear coupling between oscillatory modes of springs and strings. Physics honours thesis, University of New England, Armidale NSW Australia. Supervised and examined by Neville Fletcher.
Ortner,
M., & Parncutt, R. (2011). Kooperation zwischen Wissenschaft und
Praxis im Bereich der Interkulturalität - Eine Bedarfserhebung
unter Grazer Nichtregierungsorganisationen (NGOs). pdf
Evans, W. S.,
& Parncutt,
R. (1998 g). Ontogenesis of auditory perception and memory at 20 weeks'
gestation.
Hofmann-Engl, L., & Parncutt, R. (1998 h). Computational modeling of melodic similarity judgments: Two experiments on isochronous melodic fragments. html
Huron, D., & Parncutt, R. (1992 e). How "middle" is middle C? Terhardt's virtual pitch weight and the distribution of pitches in music.
4 lines per octave - 3 lines per octave - 7-5 line pattern
German–English
translations
Kopiez, R. (1994 r). Report on the 1993 meeting of the Deutsche
Gesellschaft für Musikpsychologie (Münster, Germany).
ESCOM
Newsletter, 5, 32-36; also published in Music Theory Online, 0 (7), 1994.
Gellrich, M. (1993 k). Development of musicality before birth and in
early childhood. In T. Blum (Ed.), Prenatal
perception, learning,
and bonding. Berlin: Leonardo.
Gellrich, M. (1991 c). Concentration and tension. British
Journal
of Music Education, 8, 167-179.
Lühl, J. (1992 g). Teaching of social and philosophical
background
to atomic theory. Science and
Education, 1, 193–204.
Terhardt, E. (1972). Perception of pitch of complex tones (manuscript).
Terhardt, E., & Seewann, M. (1984 b) Auditory and objective
determination of the strike note of historic church bells (manuscript).
2011 October 9, Prechtlsaal der TU Wien: Performance of ParnCuts: electroacoustic music by Christian Curd Tschinkel with recorded excerpts from Parncutt's lecture on "Prenatal 'experience' and the phylogenesis and ontogenesis of music" ("Mozart & Science", Baden bei Wien, Austria, October 2006)
2011: Newspaper reports on the origin of music
Die
Presse
Kurier
Kleine
Zeitung
Salzburger
Nachrichten
Pressetext
musik
heute
Uni
Graz
Informationsdienst
Wissenschaft
Origins
of mother music. University
Melbourne
Voice, supplement to The Age,
4 April
The
origins of music (by M. Gough). COSMOS Magazine,
3 March
2011:
Newspaper report on the origin of major-minor tonality
Der
Standard, Vienna
2010:
Von
der Geburt der
Töne (by G. Pichler). Unizeit
(Uni Graz),
p. 20, March
Focus Systematic Musicology: Interview with Professor Richard Parncutt. Newsletter of the Australian Embassy in Vienna, October-November (pp. 6-8)
Klangmagie und Gänsehaut – warum bewegt Musik?, Bayern2, 14 April
Die Macht der Musik. Gut Leben, Servus TV, 16 September
Music has puzzled evolutionary psychologists because it is strongly emotional although it has no clear survival value. In J. St. Vincent (Ed.), The spiritual significance of music
2007
Klanglich
Liebe
machen,
Die
Furche - Dossier, 29 November
2006 Interval
makes the show.
Times
Higher Education Supplement, 2
March (see publications: 2007
g)
1999 Wie Musik im Kopf entsteht, Deutschlandfunk,
17 October at
4:30
p.m.
1997 The Sound of Musicke, BBC3, 5 October at 5:45 p.m
This page includes links to research papers that have been published elsewhere. The aim of these links is to promote the timely dissemination of research findings. Copyright is retained by the author(s), publisher(s) or other copyright holders. By downloading a paper, you are agreeing to respect their copyright. You should only download papers that have not previously been available to you. Do not print more than one hard copy of a paper. Make no photocopies. Do not link a download from this website to another website.Use the information only for research or private study - not for commercial purposes. When referring to a paper in a research report, cite the original source (author, journal, publisher) - not this page.
back
to
professional profile
Richard Parncutt, Centre for Systematic Musicology, Faculty of Humanities, University of Graz