Publications and presentations
Richard Parncutt
Centre for Systematic Musicology, Uni Graz, Austria

Google Scholar Citation Profile
For comparison: Frequently cited music psychologists - Frequently cited publications of Graz musicologists


Contents of this page
Books: monograph, edited collections
Peer-reviewed: articles, chapters
Other: articles, chapters
Short: dictionary entries, introductions, reviews, other
Conferences: proceedings, invitationstalks
Universities: invited lectures
Other: letters, interviewsdissertations, reports, unpublished,
music notationtranslations
Media coverage
Copyright notice

Selected publications by topic
music perception and cognition 
music performance
origins of music 
music and emotion
 interculturality
 interdisciplinarity

Number of entries on this page by year



1990 5 2000 6 2010 14


1991 3 2001 6 2011 20
1982 1 1992 7 2002 5 2012 16
1983 1 1993 11 2003 5 2013 13
1984 2 1994 18 2004 12
1985 2 1995 13 2005 15
1986 2 1996 11 2006 17
1987 7 1997 13 2007 20
1988 5 1998 9 2008 20
1989 1 1999 6 2009 12

Monograph

Parncutt, R. (1989 a). Harmony: A psychoacoustical approach. Berlin: Springer-Verlag. ISBN 3-540-51279-9; 0-387-51279-9. reviews and downloads citations


Edited collections

Parncutt, R. (Ed.) (in preparation). Part 7 Music performance. In S. Hallam, I. Cross, & M. Thaut (Eds.), Oxford handbook of music psychology (2nd ed.). Oxford: Oxford University Press.

Koegeler-Abdi, M., & Parncutt, R. (Eds., 2013 a). Interculturality: Practice meets research. Newcastle upon Tyne, UK: Cambridge Scholars Publishing. html BerichtUniGraz

Dahlig-Turek, E., Klotz, S., Parncutt, R., & Wiering, F. (Eds.) (2012 a). Musicology (Re-) Mapped. Strasbourg: European Science Foundation. ISBN 978-2-918428-84-8 html pdf

Parncutt, R., & McPherson, G. E. (2011). Ensou o sasaeru kokoro to kagaku [The science and psychology of music performance] (M. Adachi, & Y. Ogawa, Transl. & Ed.). Tokyo, Japan: Seishin-shobou. (Original work published 2002). html

Parncutt, R., & Koegeler, M. (Eds., 2010 a). Proceedings of the Conference on Applied Interculturality Research (cAIR10). 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 cover

Parncutt, R. (Ed., 2006 a). Interdisciplinary musicology. Special issue of Musicae Scientiae '05-'06. 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 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


Peer-reviewed articles

Overview of journals

Parncutt, R. (under review). Schenkerien prolongation and the emotional connotations of major-minor tonality. Musicae Scientiae.

Bisesi, E., Friberg, A., & Parncutt, R. (under review). A computational model of accent salience in tonal music. Frontiers in Psychology, section Cognitive Science.

Kruse-Weber, S., & Parncutt, R. (under review). Error management for musicians: 1 an interdisciplinary conceptual framework. Frontiers in Psychology, section Cognitive Science.

Seither-Preisler, A., Parncutt, R., & Schneider, P. (under review). Size and synchronization of primary auditory cortex promotes musical, literacy and attentional skills in children. Journal of Neuroscience.

Cenkerova, S., & Parncutt, R. (under review). Style-dependency of melodic expectation: Changing the rules in real time. Music Perception.

Parncutt, R. (2011 a). The tonic as triad: Key profiles as pitch salience profiles of tonic triads. Music Perception, 28, 333-365. pdf

Parncutt, R., & Hair, G. (2011 b). 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 c). An accent-based approach to automatic rendering of piano performance: Preliminary auditory evaluation. Archives of Acoustics 36 (2): 1–14.

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

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 english

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

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

Bigand, E., & Parncutt, R. (1999 b). Perceiving musical tension in long chord sequences. Psychological Research, 62, 237-254. pdf

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

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

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

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

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

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

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

Parncutt, R. (1994 a). A perceptual model of pulse salience and metrical accent in musical rhythms. Music Perception, 11, 409-464. pdf

Parncutt, R. (1994 b). Template-matching models of musical pitch and rhythm perception. Journal of New Music Research, 23, 145-168. pdf

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

Parncutt, R. (1993 a). Pitch properties of chords of octave-spaced tones. Contemporary Music Review, 9, 35-50. pdf

Huron, D., & Parncutt, R. (1993 b). An improved model of tonality perception incorporating pitch salience and echoic memory. Psychomusicology, 12, 152-169. html pdf

Parncutt, R. (1988 a). Revision of Terhardt's psychoacoustical model of the root(s) of a musical chord. Music Perception, 6, 65-94. pdf

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

 

Peer-reviewed chapters

Parncutt, R. (in preparation). Prenatal development. In G. E. McPherson (Ed.), The child as musician (2nd ed.). Oxford, England: Oxford University Press. 

Parncutt, R. (in preparation).. Prenatal development and the phylogeny and ontogeny of musical behaviour. In S. Hallam, I. Cross, & M. Thaut (Eds.), Oxford handbook of music psychology (2nd Ed.). Oxford: Oxford University Press. 

Parncutt, R. (2012 b). Psychoacoustics and cognition for musicians. In A. Brown (Ed.), Sound musicianship: Understanding the crafts of music (pp. 76-87). Cambridge: Cambridge Scholars Publishing. pdf

Parncutt, R., & Dorfer, A. (2011 d).  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, '09 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

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

 

Other articles

Parncutt, R. (2012 c). Major-minor tonality, Schenkerian prolongation, and emotion: A commentary on Huron and Davis ('12). Empirical Musicology Review, 7, 118-137. pdf

Parncutt, R. (2012 d). Musicologia Sistemática: A história e o futuro do ensino acadêmico musical no ocidente.Em Pauta, 20, 145-185. html pdf

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

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

Parncutt, R. (1996 b). Praxis, Lehre, Wahrnehmung. Kritische Bemerkungen zu Roland Eberlein: Die Entstehung der tonalen Klangsyntax. Musiktheorie, 11, 67-79. doc

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. pdf

Miskiewicz, 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/'90, 9-23.

Parncutt, R. (1990 b). Pitch properties of chords of octave-spaced tones. STL-QPSR, 1/'90, 25-36.

 

Other chapters

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

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

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

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

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

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

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

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

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

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.

 

Dictionary entries

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

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

 

Introductions

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 '05-'06 "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

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

 

Reviews of books and conferences

Weth, K. & Parncutt, R. (2013 b). Patrik Juslin and John Sloboda (Eds., '10), Handbook of music and emotion: Theory, research, application (review). Psychology of Music, 41 (4), 522-527. pdf

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 '96) (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 '92 (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.


Other

Parncutt, R. & Mühlbacher, H. (2013 c). Öffi-Tickets für Autos (Public transport tickets for cars). In: PEPMAC Awards '12 (PEPMAC = Post Emission Particulate Matter Abatement Competition). Wien: Verlag der Österreichischen Akademie der Wissenschaften. pdf


CONFERENCES

Invited conference presentations

Date
Event (location) Title or theme of presentation
2013 November 7-9 3rd International Conference on Music and Technologies (Kaunas, Lithuania; Darius Kučinskas) Keynote (declined)
2012 e
May 26
International Conference of Students of Systematic Musicology (SysMus12, Montreal; Florence Leyssieux) Can humanities and sciences really work together? (as "Guest of honor") ppt
2012 f
Mar 21-23
National Symposium on Music Research in Finland (Jyväskylä; Tuomas Eerola) Keynote: Interdisciplinary musicology: Bringing together humanities and sciences ppt
2011 e
Sep 29 - Oct 2
EuroMac VII: European Music Analysis Conference (Rome; Giorgio Sanguinetti) Keynote: The transdisciplinary foundation of (European) music theory ppt
'11
Mai 27-29
Der Tenor - Mythos, Geschichte, Gegenwart (Katholische Akademie Schwert, Germany)  (declined)
2011 f
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
'10
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)
'10
May 26-29
Multidisciplinary Research in Music Pedagogy (Ottawa, Canada; Gilles Comeau) (declined)
'09 Dec 4-5 Musik und Religion: Psychologische Zugänge (Bonn, Germany; J. A. Belzen, U. Amsterdam) (declined)
2009 g
November 19-22
ESF Strategic Workshop: Musicology (Warsaw, Poland; Eva Dahlig-Turek) Invited: Remapping musicology: Thoughts of a disciplinary Other ppt
'09
Apr 24-25
Workshop on Modeling of Cultures (Harvard, USA; Leonid  Perlovsky)
Music and integration (declined)
'09
Apr 20-21
Grenzüberschreitungen: Transkulturelle Perspektiven in Filmen von Regisseurinnen (Mainz, Germany; Rada Bieberstein)
Interkulturelle Filmmusik (declined)
2009 h
Jan 23
Musique et Cognition. Autour de l'apport de John Sloboda (ESCOM, IRCAM; Moreno Andreatta) Invited: The role of music in cultural integration ppt
2008 h
Dec 15-16
Relevance and Impact of the Humanities (FWF, ESF, AHRC, Uni Vienna) Invited: Assessment of quality and impact at the interface between humanities and sciences: The case of (systematic) musicology ppt
2008 i
Sep 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
2008 j
Sep 11-14
Jahrestagung der Deutschen Gesellschaft für Kinder- und Jugendmedizin (Munich, Germany)

Invited: Kindliche Entwicklung musikalischer Fähigkeiten (Forum Förderung durch Musik) ppt - html

2008 k
Aug 25-29
International Conference on Music Perception and Cognition (ICMPC10) (Sapporo, Japan) Workshop for students: Presentation and quality control in music psychology ppt
2007 i
Nov 9
Ästhetische Erfahrung und Kunstrezeption (Institut für Philosophie, Uni Graz, Austria) program and abstracts Invited: Empirische Untersuchungen zur Wahrnehmung des Eigenen und des Fremden in der Musik (with 2nd author Manuela M. Marin)
2007 j
Oct 24
Music & ideas: Practice-based research (Royal College of Music, London) Keynote: Incorporating research into post-secondary performance teaching (by video link) ppt
'07
Jan 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 l
Nov 2-5
8. internationaler Bundeskongress der Arbeitsgemeinschaft der Musikerzieher Österreichs (AGMÖ) (Salzburg, Austria)
Invited: Aktuelles aus der musikalischen Performanceforschung: Effektives Üben und außermusikalische Transfereffekte (Zweitautorin und Präsentation: Margit Painsi) ppt
2006 m
Oct 1-4
Mozart & Science (Baden bei Wien, Austria) Invited: Prenatal “experience” and the phylogenesis and ontogenesis of music ppt
'06
Jul 26-30
28th International Conference of the European Piano Teachers Association (EPTA) (Funchal, Madeira) Pedogical applications of psychological research on piano fingering (declined)
2006 n
Jul 1-2
Teaching, Learning and Performing Music, Royal Northern College of Music (Manchester, England) Keynote: Can researchers help artists? Music performance research for music students ppt
'06
Mar 27
AllThatSounds - Forschung zur assoziativ, semantischen Erfassung von Audiodaten (Vienna, Austria) (declined)
2005 e
Nov 27-30
Understanding and Creating Music (UCM '05), Seconda Università degli Studi di Napoli (Caserta, Italy) Keynote: Western music history, pitch salience, key profiles, and the origins of tonality" pdf
2005 f
Nov 3-4
Transdisziplinäre Diskussion zum Thema Musikbiologie (Österreichische Botschaft, Berlin, Germany) Invited: Aktuelle internationale Forschung zur emotionalen Wirkung von Musik
2005 g
Mar 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
2005 h
Jan 31 - Feb 4
16th Biennial Congress of the Australian Institute of Physics (Canberra, Australia) Invited: The tritone paradox and the dominance regions of spectral and virtual pitch (2nd author: A. P. Tan) pdf
2004 f
Nov 29-30
International Symposium on Psychology and Music Education (PME04), Università di Padova (Italy) Keynote: Educational applications of scientific research on music performance (English italiano)
2004 g
May 6-9
Minicolloquium on Mathematical Music Theory, Universität Graz (Austria) Invited: Psychological relevance of mathematical music theory
2004 h
May 13-15
Science and Music - The Impact of Music, Deutsche Akademie der Naturforscher Leopoldina (Halle, Germany)
Invited: Perception of musical structure
2001 d
Sep
Internationaler Kongess der Gesellschaft für Musikforschung (Hannover, Germany)

Invited: Interdisciplinary balance, international collaboration, and the future of (German) (historical) musicology pdf

2000 c
Apr
Annual Conference of the Royal Musical Association (Performance '00) (Southampton, England)
Invited: Structured listening to recover a performer's conception of musical structure
1998 e
Mar
Annual Congress of Club de Neuro-audio-acoustique (CNA2) (Dijon, France)
Invited: Fondements psychoacoustiques du système musical occidental
1997 k
Sep
International Computer Music Conference (Thessaloniki, Greece)
Invited: Modeling piano performance: Physics and cognition of a virtual pianist pdf



Contributions to conference proceedings
• All abstract submissions were peer reviewed except those marked with asterisks.*
• Double asterisks** denote contributions associated with invited presentations.

Parncutt, R. (2013 d). Piano touch, timbre, ecological psychology, and cross-modal interference. In A. Williamon & W. Goebl (Eds.), International Symposium on Performance Science (Vienna, Austria, 28-31 August '13, pp. 763-768). Brussels: Association Européenne des Conservatoires. ppt pdf

Parncutt, R., Bisesi, E., & Friberg, A. (2013 e). A preliminary computational model of immanent accent salience in tonal music. In R. Bresin (Ed.), Sound and Music Computing Conference (SMC, Stockholm, Sweden, 30 July - 3 Aug). ppt pdf

Parncutt, R., & Hair, G. (2013 f). Intervals as distances, not ratios: Evidence from tuning and intonation. In A. Williamon & W. Goebl (Eds.), International Symposium on Performance Science (Vienna, Austria, 28-31 August '13, p. 593). Brussels: Association Européenne des Conservatoires. ppt pdf

Bisesi, E., MacRitchie, J., & Parncutt, R. (2013 g). Structural commmunication in piano duos: Musical compatibility and individual differences in interpretation. In A. Williamon & W. Goebl (Eds.), International Symposium on Performance Science (Vienna, Austria, 28-31 August '13, pp. 263-268). Brussels: Association Européenne des Conservatoires.

Bisesi, E., Eckl, F. & Parncutt, R. (2013 h). What emotions and free associations characterize different musical styles? In G. Luck & O. Brabant (Eds.), 3rd International Conference on Music & Emotion (ICME3, Jyväskylä, Finland, 11-15th June). University of Jyväskylä, Department of Music. http

Kruse-Weber, S., & Parncutt, R. (2013 i). Error tolerance and errror prevention in music performance: Risk versus error management. In A. Williamon & W. Goebl (Eds.), International Symposium on Performance Science (Vienna, Austria, 28-31 August '13, pp. 27-32). Brussels: Association Européenne des Conservatoires.

Vogt, K., Goudarzi, V., & Parncutt, R. (2013 j). Empirical aesthetic evaluation of sonifications. 19th International Conference on Auditory Display (ICAD-'13), Lodz, Poland, 6-10 July. pdf

Parncutt, R. (2012 g). Universal basic income and flat income tax: Tax justice, incentive, economic democracy. In R. Acker (Ed.), 14th Conference of Basic Income Earth Network (BIEN), Munich, Germany, 14-16 September. html - pdf - ppt

Bisesi, E., Parncutt, R., & Friberg, A. (2011 g). 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 h). 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 i). 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 e). 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

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 '06). pdf ppt

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 ppt

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 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 ppt

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

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

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

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

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

**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, '01) (pp. 42-51). Augsburg: Wissner. pdf

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

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

**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

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, '97) (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

**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

*Parncutt, R. (1998 d). Recording piano fingering in live performance. In B. Enders & N. Knolle (Eds.), KlangArt-Kongress (Osnabrück, Germany, '95) (pp. 263-268). Osnabrück: Universitätsverlag Rasch. pdf

**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

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.

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. pdf

Stammen, 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 e). 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.


Other conference talks, posters and abstracts
where no contribution was made to proceedings
• including abstract submissions to future conferences
All abstract submissions were talks unless marked as posters. All were peer reviewed except those marked with asterisks.*

Bisesi, E., Parncutt, R., Caron, S., & Traube, C. (accepted as talk, 2014). The immanent emotion of a musical score: An exploratory study. International Conference on Music Perception and Cognition (ICMPC, Seoul, 4-8 August).

Eckl, F., Bisesi, E., MacRitchie, J., Friberg, A., and Parncutt, R. (accepted as talk, 2014). A computational model of immanent accent salience in tonal music: Perceptual evaluation. International Conference on Music Perception and Cognition (ICMPC, Seoul, 4-8 August).

Bodinger, M.,Bisesi, E., Parncutt, R. (accepted as talk, 2014). Listeners’ informal vocabulary for structure, expression, emotions and associations in piano music. International Conference on Music Perception and Cognition (ICMPC, Seoul, 4-8 August).

Parncutt, R. (accepted, 2014). The perceptual history of consonance and dissonance: Counting vertical pitch-class sets in vocal polyphony. Medieval and Renaissance Music Conference (Med-Ren, Birmingham, GB, 3-6 July).

Parncutt, R., & Sedlmayr, P. (accepted 2014). Biological foundations of prenatal emotion: Hormonal permeability and latency of the placenta and blood-brain barrier (poster). Neurosciences and Music (Dijon, France, 29 May - 1 June).

Parncutt, R. (2013 k). Schenkerien prolongation and the emotional connotations of major-minor tonality. International Conference on Music and Emotion (ICME3, Jyväskylä, Finland, 11-15 June). ppt pdf

Bisesi, E., Bodinger, M., & Parncutt, R. (2013 l). Listeners' informal vocabulary for emotions and free associations in piano music. International Conference on Music and Emotion (ICME3, Jyväskylä, Finland, 11-15 June). 

Cenkerova, Z., & Parncutt, R. (2013 m). Style-dependency of melodic expectation: Changing the rules in real time. International Conference on Music and Emotion (ICME3, Jyväskylä, Finland, 11-15 June). 

Bisesi, E., Friberg, A., & Parncutt, R. (2012 h). Analisi e modellizzazione computazionale dell'esecuzione musicale espressiva. Gruppo Analisi e Teoria Musicale (GATM, 22 April, Bologna).

Bisesi, E., Friberg, A., & Parncutt, R. (2012 i). Computational models of music performance in relation to musical style and performing technique (poster). SEMPRE 40th Anniversary Celebration Event (15 September, London).

Winter, M., & Parncutt, R. (2012 j). Migrants’ musical practices and the construction of cultural identities and symbolic boundaries. 7th Conference of the Research Network in Sociology of the Arts (5-8 September, Vienna).

Prem. D., Parncutt, R., Giesriegl, A., & Stigler, H. J. (2012 k). The ideal jazz voice sound: A qualitative interview study. International Conference on Music Perception and Cognition (ICMPC, Thessaloniki, 23-28 July).

Bisesi, E., MacRitchie, J., & Parncutt, R. (2012 l). Recorded interpretations of Chopin Preludes: Performer's choice of score events for emphasis and emotional commnication (poster). International Conference on Music Perception and Cognition (ICMPC, Thessaloniki, 23-28 July).

Parncutt, R., Kaiser, F., & Sapp, C. (2012 m). Estimating historical changes in consonance by counting prepared and unprepared dissonances in musical scores. International Conference on Music Perception and Cognition (ICMPC, Thessaloniki, 23-28 July) ppt

*Parncutt, R. (2012 n). The financial crisis for dummies. Special session entitled "Global crises and their implications for research" following the International Conference on Music Perception and Cognition (ICMPC, Thessaloniki, 23-28 July). ppt (see also the Global Wealth Tax petition)

*Parncutt, R. (2011 j). 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 k). How do musical accents induce emotions? European Music Analysis Conference (EuroMac VII, Rome, 29 Sep - 2 Oct).

Parncutt, R., & Hair, G. (2011 l). 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 m). Jazz vocal sound: A timbre knowledgebase for research and practice. Conference on Interdisciplinary Musicology (CIM11, Glasgow, 30 Aug - 3 Sep).

Parncutt, R. (2011 n). Defining music as a step toward explaining its origin. Society for Music Perception and Cognition (SMPC, Rochester, NY, 11-14 August). ppt

Parncutt, R., & Sapp, C. (2011 o). Pitch salience in tonal contexts and asymmetry of perceived key movement. Society for Music Perception and Cognition (SMPC, Rochester, NY, 11-14 August). ppt

Bisesi, E., & Parncutt, R. (2011 p). Expression in piano music: Criteria for choice of score events for emphasis. Society for Music Perception and Cognition (SMPC, Rochester, NY, 11-14 August).

Bisesi, E., & Parncutt, R. (2011 q). 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 r). Musical practice and the construction of cultural identity. Music – Conflict – Transformation (SocArts, University of Exeter, UK,  9-10 May).

Parncutt, R. (2010 f). 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 g). 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 h). The origins of music: Comparative evaluation of competing theories. International Conference on Music Perception and Cognition (ICMPC11, Seattle, USA, 23-27 August). ppt

*Parncutt, R., & Koegeler, M. (2010 i). Welcome. Conference on Applied Interculturality Research (cAIR10, Graz, Austria, 7-10 April) ppt

*Parncutt, R. (2010 j). cAIR: What next? Conference on Applied Interculturality Research (cAIR10, Graz, Austria, 7-10 April) ppt

Bisesi, E. & Parncutt, R. (2010 k). The informal vocabulary of professional musicians for describing expression and interpretation. International Conference on Music Perception and Cognition (ICMPC11, Seattle, USA, 23-27 August).

Kettner, S. & Parncutt, R. (2010 l). Narcissism in music performance: Singers versus instrumentalists. International Conference on Music Perception and Cognition (ICMPC11, Seattle, USA, 23-27 August). ppt

Parncutt, R. (2010 m). Historical origins of major-minor tonality: A psychological approach. Medieval and Renaissance Music Conference (Med-Ren, Egham, Surrey, GB, 5-8 July). ppt

Parncutt, R., & Seither-Preisler, A. (2009 i). Multiple levels of implication-realisation at the authentic cadence. Music & emotion (Durham, England, 31 August - 4 September). ppt

Parncutt, R. (2009 j). The tonic as home: Music theory, social psychology, ecology, culture. European Society for the Cognitive Sciences of Music (Jyväskylä, Finland, 12-16 August). ppt

Prem, D., & Parncutt, R. (2009 k). Corporality in the timbre vocabulary of professional female jazz vocalists. European Society for the Cognitive Sciences of Music (Jyväskylä, Finland, 12-16 August). 

Reichweger, G., & Parncutt, R. (2009 l). Pitch salience in chords of harmonic complex tones. European Society for the Cognitive Sciences of Music (Jyväskylä, Finland, 12-16 August). ppt

Dorfer, A., & Parncutt, R. (2008 l). The role of music in cultural integration. First International Conference of Students of Systematic Musicology (SysMus08), Graz, Austria, 14-15 November. media echo

Parncutt, R. (2008 m). Key profiles, pitch salience, and the origins of tonality. Gesellschaft für Musiktheorie (GMTh), Graz, Austria, 9-12 October.

Parncutt, R., Dibben, N., Painsi, M., & Marin, M. (2008 n). 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 o). 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 p). 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 q). 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 r). 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 s). 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 t). An interactive tool for training and testing musical auditory skills. World Conference on Educational Multimedia, Hypermedia & Telecommunications (ED-MEDIA), Vienna, Austria, June 30-July 4. pdf ppt

Parncutt, R. (2007 k). Music as an evolutionary byproduct of prenatal audition and proprioception (abstract). International Conference on Music Communication Science, Sydney, Australia, 5-7 December.

Marin, M. M., & Parncutt, R. (2007 l). Pre-schoolers' abstract knowledge of Western harmonic tonality (abstract). International Conference on Music Communication Science, Sydney, Australia, 5-7 December.

Parncutt, R. (2007 m). 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 n). 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 o). 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 p). Ekstase und Trance in der Musik: Ein interkultureller Vergleich (talk). Deutsche Gesellschaft für Musikpsychologie (DGM), Gießen, Germany, 14-16 September.

Parncutt, R. (2007 q). 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 r). 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 s). 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 t). 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 o). Aural analysis for performing musicians: The relationship between accents and expression (talk). VI. Kongress der Gesellschaft für Musiktheorie (GMTH), Weimar, Germany, 6-8 Oktober.

Parncutt, R., McPherson, G., Painsi, M., & and Zimmer, F. (2006 p). 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 q). A psychoacoustic approach to tuning (talk 11 MB). Sonic Connections, Wollongong, Australia, 10 May.

Kessler, A., & Parncutt, R. (2005 i). Die Rolle interpretativer Methoden bei der Erforschung musikalischer Bedeutung (talk). Fachgruppe Systematische Musikwissenschaft, Gesellschaft für Musikforschung, München, Germany, 5-8 October.

Parncutt, R. (2005 j). Towards a statistical-perceptual history of western tonal-harmonic syntax (talk). Digital Resources for the Humanities, Lancaster, England, 4-8 September.

Parncutt, R. & Williamon, A. (2005 k). Incorporating performance research into post-secondary music curricula: Political and pedagogical strategies. Performance Matters, Porto, Portugal, 14-17 September. ppt

Painsi, M., & Parncutt, R. (2005 l). Motivation and anti-stress training for children and teachers in music schools. Performance Matters, Porto, Portugal, 14-17 September. ppt

Parncutt, R. & Painsi, M. (2005 m). Children’s spontaneous aural recognition of tonal structures. Deutsche Gesellschaft für Musikpsychologie, Würzburg, Germany, 9-11 September. ppt

Jost, K., & Parncutt, R. (2005 n). Wie lernen die Kinder am besten Notenlesen? Eine qualitative Studie der Strategien und Begrenzungen moderner Musiklehrer (poster). Deutsche Gesellschaft für Musikpsychologie (DGM), Würzburg, Germany, 9-11 September. pdf

Marin, M. M., & Parncutt, R. (2005 o). 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

Parncutt, R., & Traube, C. (2004 i). Music-psychological interdisciplinarity at the conference on interdisciplinary musicology. 8th International Conference on Music Perception and Cognition (ICMPC), Evanston, Illinois, 3-7 August (p. 11). pdf

Parncutt, R. (2004 j). Prenatal biological correlates of emotion and the origins of music. 8th International Conference on Music Perception and Cognition (Evanston, Illinois, 3-7 August) (p. 41). pdf

Lassnig-Walder, J., & Parncutt, R. (2004 k). Theorie und Praxis der Kreativität als Grundlage einer Didaktik der Improvisation im Instrumentalunterricht. Deutsche Gesellschaft für Musikpsychologie (Paderborn, Germany, 3-5 September). doc

Parncutt, R., & Ferguson, S. (2004 l). Computer-assisted composition with algorithmic implementations of pitch-perceptual theory. Conference on Interdisciplinary Musicology (Graz, Austria, April) (pp. 136-137). doc

Parncutt, R. (2001 e). Key profiles as pitch salience profiles of final triads in Renaissance music. Society for Music Perception and Cognition (Kingston, Ontario, August) (p. 57). pdf

Goebl, W., & Parncutt, R. (2001 f). Perception of onset asynchronies: Acoustic piano versus synthesized complex versus pure tones. Society for Music Perception and Cognition (Kingston, Ontario, August 9–11) (pp. 21–22). pdf

Parncutt, R., & Eberlein, R. (2000 d). Perceptual versus historical origins of musical materials. Musical Intersections (Toronto, Ontario) (p. 183).

Parncutt, R., & Holming, P. G. S. (2000 e). Is scientific research on piano performance useful for pianists? (poster) International Conference on Music Perception & Cognition (Keele, England, July). pdf

Parncutt, R., & Hutsteiner, T. (2000 f). Effect of temporal context on pitch salience in musical chords. 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 l). An ergonomic model of piano fingering for melodic fragments. Experimental Psychology Society (London, England).

Parncutt, R. (1997 m). Systematic evaluation of the psychological effectiveness of non-conventional music notations. 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; this talk was given in my absence by Steve Larson).

*Parncutt, R. (1996 h). Tonal implications of atonal music. Deutsche Gesellschaft für Musikpsychologie (Freiburg, Germany).

*Parncutt, R. (1996 i). Perception and notation of jazz harmony.. Leeds International Jazz Educator’s Conference (Leeds, England).

Clarke, E. F., Sloboda, J. A., & Parncutt, R. (1996 j). Pianists on fingering: An interview study. Society for Research in Psychology of Music and Music Education (Cambridge, England).

Parncutt, R. (1995 g). Wahrnehmungstheorie und wahrnehmungsgerechte Notation von Akkorden im Jazz. Gegenwärtige Ansätze der Systematischen Musiktheorie (Staatliches Institut für Musikforschung, Berlin, Germany).

Parncutt, R. (1995 h). Asymmetrien bei Ähnlichkeitsbeurteilungen von aufeinanderfolgenden Tönen und Akkorden (Asymmetries in similarity ratings of successive tones and chords). 3rd International Symposium on Systematic Musicology (Schloss Zeillern, Austria) (pp. 22-23).

Parncutt, R. (1995 i). Expressive timing near harmonic, contour, structural, and metrical accents in piano music. European Society for the Cognitive Sciences of Music / Deutsche Gesellschaft für Musikpsychologie (p. 36-37).

Parncutt, R., & Sloboda, J. A. (1995 j). Model of keyboard fingering for melodic fragments. Society for Music Perception and Cognition (Berkeley, California) (p. 3).

Sloboda, J. A., & Parncutt, R. (1995 k). Fingering strategies in pianists: Some preliminary findings. 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. Rhythm Perception and Performance (Sheffield, England).

Parncutt, R. (1994 n). Perceptual modeling of finality of harmonic cadences. International Symposium on Systematic Musicology (Hamburg, Germany).

*Parncutt, R. (1994 o). What motivates music notation research? Music Notation Modernization Association (Rotterdam, Netherlands).

Sloboda, J., Clarke, E., Parncutt, R., & Raekallio, M. (1994 p). Fingering strategies of pianists: some preliminary findings. 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. 3rd International Conference on Music Perception and Cognition (Liège, Belgium) (p. 207).

Parncutt, R. (1993 f). Similarity judgments of fifth-spaced tones and dyads thereof. 125th meetings of the Acoustical Society of America (Ottawa, Ontario). Journal of the Acoustical Society of America, 93, 2402.

Parncutt, R. (1993 g). Notated pitches, perceived pitches, and harmonic theory (poster). Joint meeting of the American Musicological Society and the Society for Music Theory (Montréal, Québec) (p. 32).

Parncutt, R. (1993 h). Prenatal audition and the origins of music. Annual conference of the Society for Music Perception and Cognition (Philadelphia, Pennsylvania) (p. 30).

Parncutt, R., & Bigand, E. (1993 i). The role of pitch salience and tonal hierarchies in the perception of tension in short chord sequences. Society for Music Perception and Cognition (Philadelphia, Pennsylvania) (p. 25-26).

Parncutt, R. (1992 a). Pulse salience in musical rhythms. 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). Deutsche Gesellschaft für Musikpsychologie (Karlsruhe, Germany)

Parncutt, R., & Cohen, A.J. (1992 c). Recognition of serial patterns in microtonal scales. Canadian Society of Brain, Behavior, and Cognitive Science, Québec City, Québec.

Parncutt, R. & Huron, D. (1992 d). An improved method for key tracking. 2nd International Conference on Music Perception and Cognition (Los Angeles, California) (p. 63).

Parncutt, R. (1990 c). Pitch properties of chords of complex tones. 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). Deutsche Gesellschaft für Musikpsychologie (Hannover, Germany).

*Parncutt, R. (1988 d). Accidentals, musical meaning, and context. 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. International Congress of Psychology (Sydney, Australia).

Parncutt, R. (1987 d). A psychoacoustical model of the root(s) of a musical chord. Australian Musicological Society (Canberra, Australia).

Parncutt, R. (1987 e). Harmony and pattern recognition. Experimental Psychology Conference (Newcastle NSW, Australia).

Parncutt, R. (1986 b). Pitch commonality and harmonic relationship. International Congress on Acoustics (Toronto, Ontario).

Parncutt, R. (1985 a). A model of pulse and event salience in musical rhythm (poster).Third International Conference on Event Perception and Action (Uppsala, Sweden).

Parncutt, R. (1985 b). Pitch analysis of complex sounds. 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. 4th Workshop on Physical and Neuropsychological Foundations of Music (Ossiach, Austria).


OTHER TEXTS

 

Letters

Parncutt, R. (1998 g). Reply to Balsach (letter). Journal of New Music Research, 27, 416-417. pdf

Parncutt, R., (1995 l). Response to Demske: Relating sets. Music Theory Online, 1 (3). ascii

Parncutt, R. (1993 j). Commentary on Justin London. Music Theory Online, 0.3. ascii


Dissertations

Parncutt, 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.


Research reports

Parncutt, R. (2012 o). ESF Exploratory Workshop “Cognition of Early Polyphony”: Scientific report. pdf

Parncutt, R., Prem, E. & Brabec de Mori, B. (2012 p). Centre for Systematic Musicology: Annual Report 2011/12. Graz. pdf

Ortner, M., & Parncutt, R. (2011 s). Kooperation zwischen Wissenschaft und Praxis im Bereich der Interkulturalität - Eine Bedarfserhebung unter Grazer Nichtregierungsorganisationen. pdf

Parncutt, R., & Brabec de Mori, B. (2011 t). Centre for Systematic Musicology: Annual Report 2010/11. Graz. pdf

Parncutt, R., & Brabec de Mori, B. (2010 n). Centre for Systematic Musicology: Annual Report 2009/10. Graz. pdf 

Parncutt, R. mit 23 VertreterInnen Grazer NGOs und Institute der Uni Graz (2004). Strategien gegen Rassismus in Medien: Vorläufige Richtlinien. pdf


Unpublished manuscripts

Evans, W. S., & Parncutt, R. (1998 h). Ontogenesis of auditory perception and memory at 20 weeks' gestation.

Hofmann-Engl, L., & Parncutt, R. (1998 i). 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.


Articles about music notation 

4 lines per octave3 lines per octave - 7-5 line pattern

Parncutt, R. (1996 k) All-White Tetragram: A half-step down from Ailler-Brennink Notation. Music Notation News, 6 (3), 42-46. (The notation system described in this paper was rated equal first in a long-term, comprehensive evaluation of over 500 published alternative notation proposals in '00 by Douglas Keislar, editor of Computer Music Journal, for the Music Notation Modernization Association.)

Parncutt, R., & Stuckey, R. (1995 m). Research in progress: Chromatic solfa (brief report). British Journal of Music Education, 12 (1), 72-75. pdf

Parncutt, R., & Stuckey, R. (1992 f). Towards a standard alternative music notation and terminology based on the chromatic scale. Musikometrika, 4, 117-143.

Parncutt. R. (1990 d). Chromatic chord symbols (letter). Computer Music Journal, 14 (2), 13-14.

Parncutt, R. (1990 e). Keyboard trigram notation. Music Notation News, 1/6, NF5-NF8. pdf (The notation system described in this paper was rated highly in an evaluation of over 500 systems by the Music Notation Modernization Association in '00.)

Stuckey, R. & Parncutt, R. (1987 g). Let's call the black notes V through Z. Music Notation News, 1/5, 2-3.

Parncutt, R. (1984 a). "0-5-7": A chromatic notation with harmonic implications. Musical Six-Six Newsletter, 13 (2), 13-17. (The notation system described in this paper was rated highly in an evaluation of over 500 systems by the Music Notation Modernization Association in '00.)


German–English translations

Kopiez, R. (1994 r). Report on the '93 meeting of the Deutsche Gesellschaft für Musikpsychologie (Münster, Germany). ESCOM Newsletter, 5, 32-36; also published in Music Theory Online, 0 (7), '94.

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).


MEDIA COVERAGE

2013

November: Interview mit Wolfgang Däuble at ORF Landesstudio Steiermark for Wissenschaftssendung "Dimensionen" (Ö1), Sendung "Ursprung der Musik".

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 '06)

Newspaper reports on the origin of music
Die Presse
Kurier
Kleine Zeitung
Salzburger Nachrichten
Pressetext

musik heute
Uni Graz
Informationsdienst Wissenschaft
physorg.com
University of Melbourne Voice
Cosmos Magazine

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)

2009
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

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.


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Richard Parncutt, Centre for Systematic Musicology, Faculty of Humanities, University of Graz