Articles

Parncutt, R. (2024). The origin of the dominant: Schoenberg's ‘strong progression’ and the realisation of implied virtual pitches. Music Analysis, online.

Pearce, J. M., & Parncutt, R. (2023). Quantifying greenhouse gas emissions in human deaths to guide energy policy. Energies, 16(16), 6074. This article was the topic of >180 news reports in >32 countries and >18 languages. Text - Media echo - Altmetric (top 5%) - Editor's choice MDPI articles - Most viewed article in Energies in 2013

Parncutt, R., & Radovanovic, L. (2023). The missing fundamentals of harmonic theory: Chord roots and their ambiguity in arrangements of jazz standards. Musicae Scientiae, 27(2), 366–389. Text

Parncutt, R., Engel, I., & Radovanovic, L. (2023) Consonance and dissonance of simultaneous trichords in Western music: A listening experiment to test models of harmonicity and roughness. Psychological Topics, 32(1), 13-34. Text

Schiavio, A.., Moran, N., van der Schyff, D., Biasutti, M., & Parncutt, R. (2022). Processes and experiences of creative cognition in seven Western classical composers. Musicae Scientiae, 26(2), 303–325.

Parncutt, R. (2021). Uni Graz and the university rankings: Reform proposals and long-term strategies. Zeitschrift für Hochschul-, Berufs- und Bildungsrecht (HRZ), 10(2), 8-54. Text

Parncutt, R., & Reisinger, D. (2021). Octave-generalized analysis of chord progressions: Diatonic/fifth relations, missing fundamentals, completion tones. Journal of New Music Research, 50(1), 52-73. Text

Parncutt, R., Lindborg, P., Meyer-Kahlen, N., & Timmers, R. (2021). The multi-hub academic conference: Global, inclusive, culturally diverse, creative, sustainable. Frontiers in Research Metrics and Analytics, 53. Text

Schiavio, A., Stupacher, J., Xypolitaki, E., Parncutt, R. & Timmers, R. (2021). Musical novices perform with equal accuracy when learning to drum alone or with a peer. Scientific Reports, 11(1), 1-12.

Schiavio, A., Biasutti, M., van der Schyff, D., & Parncutt, R. (2020). A matter of presence: A qualitative study on teaching individual and collective music classes. Musicae Scientiae, 24(3), 356–376.

Schiavio, A., Stupacher, J., Parncutt, R., & Timmers, R. (2020). Learning music from each other. Synchronization, turn-taking, or imitation? Music Perception, 37(5), 403–422.

Parncutt, R. (2019). The human cost of anthropogenic global warming: Semi-quantitative prediction and the 1000-tonne rule. Frontiers in Psychology (section Environmental Psychology), 10, 2323. text. More views than 99% of all Frontiers articles.

Parncutt, R., Sattmann, S., Gaich, A., & Seither-Preisler, A. (2019). Tone profiles of isolated musical chords: Psychoacoustic versus cognitive models. Music Perception, 36 (4), 406–430. text text

Parncutt, R., Reisinger, D., Fuchs, A., & Kaiser, F. (2019). Consonance and prevalence of sonorities in Western polyphony:  Roughness, harmonicity, familiarity, evenness, diatonicity. Journal of New Music Research, 48(1), 1-20. text

Parncutt, R. (2019). Pitch-class prevalence in plainchant, scale-degree consonance, and the origin of the rising leading tone. Journal of New Music Research, 48(5), 434-448. text

Parncutt, R. (2019). Mother schema, obstetric dilemma, and the origin of behavioral modernity. Behavioral Sciences, 9(12), 142. text

Parncutt, R., Meyer-Kahlen, N., & Sattmann, S. (2019). Live-streaming at international academic conferences: Technical and organizational options for single- and multiple-location formats. Elementa: Science of the Anthropocene, 7, 51. text

Parncutt, R., & Seither-Preisler, A. (2019). Live streaming at international academic conferences: Ethical considerations. Elementa: Science of the Anthropocene, 7, 55. text

Dukic, H., Parncutt, R., & Bunt, L. (2019). Narrative archetypes in the imagery of clients in Guided Imagery and music therapy sessions. Psychology of Music, online. text

Schiavio, A., van der Schyff, D., Biasutti, M., Moran, N., & Parncutt, R. (2019). Instrumental technique, expressivity, and communication. A qualitative study on learning music in individual and collective settings. Frontiers in Psychology, 10, 737. text

Schiavio, A., Gesbert, V., Reybrouck, M., Hauw, D., & Parncutt, R. (2019). Optimizing performative skills in social interaction. Insights from embodied cognition, music education, and sport psychology. Frontiers in Psychology, 10, 1542. text

Bisesi, E., Friberg, A., & Parncutt, R. (2019). A computational model of immanent accent salience in tonal music. Frontiers in Psychology, 10, 317. text

Parncutt, R. (2018). Mother–infant attachment, musical idol worship, and the origins of human behavior. Musicae Scientiae, 22(4), 474–493. text

Parncutt, R., & Hair, G. (2018). A psychocultural theory of musical interval: Bye bye Pythagoras. Music Perception, 35(4), 475-501. text text

Parncutt, R. (2018). The reliability/validity of cognitive/emotional approaches to the evaluation of musical performance: Implications for competition juries. Chopin Review, 1, 38-51. text

Parncutt, R., & Chuckrow, R. (2017). Chuckrow’s theory of the prenatal origin of music. Musicae Scientiae, 23(4), 403–425. text text

Parncutt, R. (2017). The two cultures in German translation: Humanities, science, and Wissenschaft. Scottish Music Review, 4, online. text

Hair, G., & Parncutt, R. (2017). On the ontology and epistemology of musical intervals … or bye bye Pythagoras. Scottish Music Review, 4. text

Serrallach, B., Gross, C., Bernhofs, V., Engelmann, D., Benner, J., Gündert, N., Blatow, M., Wengenroth, M., Seitz, A., Brunner, M., Seither, S., Parncutt, R., Schneider, P., & Seither-Preisler, A. (2016). Neural biomarkers for dyslexia, ADHD and ADD in the auditory cortex of children. Frontiers in Neuroscience, 10, 324. text

Cenkerová, Z., & Parncutt, R. (2015). Style-dependency of melodic expectation: Changing the rules in real time. Music Perception, 33(1), 110-128. text

Kruse-Weber, S., & Parncutt, R. (2014). Error management for musicians: An interdisciplinary conceptual framework. Frontiers in Psychology, 5, 777. text

Parncutt, R. (2014). The emotional connotations of major versus minor tonality: One or more origins? Musicae Scientiae, 18, 324-353. text text

Seither-Preisler, A., Parncutt, R., & Schneider, P. (2014). Size and synchronization of primary auditory cortex promotes musical, literacy and attentional skills in children. Journal of Neuroscience, 34 (33), 10937-49. text

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

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

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

Parncutt, R., & Hair, G. (2011). Consonance and dissonance in theory and psychology: Disentangling dissonant dichotomies. Journal of Interdisciplinary Music Studies, 5 (2), 119-166. text text

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. text

Parncutt, R. (2009). Prenatal and infant conditioning, the mother schema, and the origins of music and religion. Musicae Scientiae (Special issue), 119-150. text text

Parncutt, R. (2007). Can researchers help artists? Music performance research for music students. Music Performance Research, 1, 13-50. text

Parncutt, R. (2007). Systematic musicology and the history and future of Western musical scholarship. Journal of Interdisciplinary Music Studies, 1, 1-32. text

Hair, G., Pearson, I., Morrison, A., Bailey, N., McGilvray, D., & Parncutt, R. (2007). The Rosegarden Codicil: Rehearsing music in nineteen-tone equal temperament. Scottish Music Review, 1(1), 99-126. text

Parncutt, R., & Ferguson, S. (2005). Comporre con l'apporto di un algoritmo di teoria della percezione (Computer-assisted composition with algorithmic implementations of pitch-perceptual theory). Rivista di Analisi e Teoria Musicale, 10(2), 103-118. text

Parncutt, R. & Troup, M. (2003). El Piano. Quodlibet: Revista de especialización musical, 27, 48-69. text

Parncutt, R., & Bregman, A. S. (2000). Tone profiles following short chord progressions: Top-down or bottom-up? Music Perception, 18(1), 25-57. text

Parncutt, R., Sloboda, J. A., & Clarke, E. F. (1999). Interdependence of right and left hands in sight-read, written, and rehearsed fingerings of parallel melodic piano music. Australian Journal of Psychology, 51, 204-210. text

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

Gellrich, M., & Parncutt, R. (1998). 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. text

Sloboda, J. A., Clarke, E. F., Parncutt, R., & Raekallio, M. (1998). Determinants of fingering choice in piano sight-reading. Journal of Experimental Psychology: Human Perception & Performance, 24(1), 185-203. text

Parncutt, R., Sloboda, J. A., Clarke, E. F., Raekallio, M., & Desain, P. (1997). An ergonomic model of keyboard fingering for melodic fragments. Music Perception, 14, 341-382. text

Clarke, E. F., Parncutt, R., Raekallio, M., & Sloboda, J. A. (1997). Talking fingers: An interview study of pianists’ views on fingering. Musicae Scientiae, 1, 87-107. text

Thompson, W. F., & Parncutt, R. (1997). Perceptual judgments of triads and dyads: Assessment of a psychoacoustic model. Music Perception, 14(3), 263-280. text

Bigand, E., Parncutt, R., & Lerdahl, F. (1996). Perception of musical tension in short chord sequences: Influence of harmonic function, sensory dissonance, horizontal motion, and musical training. Perception & Psychophysics, 58, 125-141. text

Parncutt, R., & Cohen, A. J. (1995). Identification of microtonal melodies: Effects of scale-step size, serial order, and training. Perception & Psychophysics, 57, 835-846. text

Parncutt, R. (1995). Survey of recent research on the perception of harmony and tonality. Jahrbuch Musikpsychologie, 12, 56-65.

Parncutt, R. (1995). Perceptual modeling of the finality of harmonic cadences: The effect of root progression. Systematische Musikwissenschaft, 3, 71-85. text

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

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

Parncutt, R., & Strasburger, H. (1994). Applying psychoacoustics in composition: "Harmonic" progressions of "non-harmonic" sonorities. Perspectives of New Music, 32(2), 1-42. text

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

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

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

Stoll, G., & Parncutt, R. (1987). Harmonic relationship in similarity judgments of nonsimultaneous complex tones. Acustica, 63, 111-119. text

Terhardt, E., Stoll., G., Schermbach, R., & Parncutt, R. (1986). Tonhöhenmehrdeutigkeit, Tonverwandschaft und Identifikation von Sukzessivintervallen (Pitch ambiguity, harmonic relationship, and melodic interval identification). Acustica, 61, 57-66. text