Conferences: Proceedings

Talks that were later published in proceedings

Parncutt, R. (2015). Understanding major-minor tonality: Humanities meet Sciences. In J. Ginsborg et al. (Eds.), Proceedings of ESCOM (pp. 631-640). Manchester, UK: Royal Northern College of Music.

Bisesi, E., Parncutt, R., Caron, S., & Traube, C. (2015). The relationship between immanent emotion and musical structure in classical piano scores. In J. Ginsborg et al. (Eds.), Proceedings of ESCOM (pp. 215-216). Manchester, UK: Royal Northern College of Music.

Bisesi, E., Parncutt, R., Caron, S., & Traube, C. (2014). The immanent emotion of a musical score: An exploratory study. In M. K. Song (Ed.), Proceedings of ICMPC13 - APSCOM-5 (pp. 124–126). South Korea: Yonsei University.

Bodinger, M., Bisesi, E., & Parncutt, R. (2014). Listeners’ informal vocabulary for structure, expression, emotions and associations in piano music. In M. K. Song (Ed.), Proceedings of ICMPC13 – APSCOM-5 (pp. 76–79). South Korea: Yonsei University.

Eckl, F. J., Bisesi, E., Friberg, A., & Parncutt, R. (2014). A computational model of immanent accent salience in tonal music: Perceptual evaluation. In M. K. Song (Ed.), Proceedings of ICMPC13 - APSCOM-5 (pp. 248–250). South Korea: Yonsei University.

Parncutt, R. (2013). Piano touch, timbre, ecological psychology, and cross-modal interference. In A. Williamon & W. Goebl (Ed.), Proceedings of ISPS (pp. 763–768). Brussels, Belgium: European Association of Conservatoires.

Parncutt, R., & Hair, G. (2013). Intervals as distances, not ratios: Evidence from tuning and intonation. In A. Williamon & W. Goebl (Ed.), Proceedings of ISPS (p. 593). Brussels, Belgium: European Association of Conservatoires.

Bisesi, E., MacRitchie, J., & Parncutt, R. (2013). Structural communication in piano duos: Musical compatibility and individual differences in interpretation. In A. Williamon & W. Goebl (Ed.), Proceedings of ISPS (pp. 263–268). Brussels, Belgium: European Association of Conservatoires.

Kruse-Weber, S., & Parncutt, R. (2013). Error tolerance and error prevention in music performance: Risk versus error management. In A. Williamon & W. Goebl (Ed.), Proceedings of ISPS (pp. 27–32). Brussels, Belgium: European Association of Conservatoires. 

Parncutt, R., Bisesi, E., & Friberg, A. (2013). A preliminary computational model of immanent accent salience in tonal music. In R. Bresin (Ed.), Proceedings of Sound and Music Computing (pp. 335–340). Stockholm, Sweden: KTH.

Bisesi, E., Eckl, F. J., Parncutt, R. (2013). What emotions and free associations characterize different musical styles? In G. Luck & O. Brabant (Ed.), Proceedings of ICME (pp. 148–158). Jyväskyla, Finland: University of Jyväskylä.

Vogt, K., Goudarzi, V., & Parncutt, R. (2013). Empirical aesthetic evaluation of sonifications. In P. Strumiłło et al. (Eds.), Proceedings of ICAD-'13 (pp. 175–179). Łódź, Poland: Łódź University of Technology. 

Weth, K., Kickinger, M., & Parncutt, R. (2013). Ambivalent emotions in music: We like sad music when it makes us happy. In G. Luck & O. Brabant (Ed.), Proceedings of ICME (pp. 467–473). Jyväskylä, Finland: University of Jyväskylä.

Parncutt, R. (2012). Universal basic income and flat income tax: Tax justice, incentive, economic democracy. In R. Acker (Ed.), Conference of Basic Income Earth Network (BIEN). Munich, Germany: BIEN.

Bisesi, E., Parncutt, R., & Friberg, A. (2011). An accent-based approach to performance rendering: Music theory meets music psychology. In A. Williamon et al. (Eds.), Proceedings of ISPS (Toronto, Canada) (pp. 27-32). Utrecht, NL: European Association of Conservatoires.

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 et al. (Eds.), Mathematics and computation in music (Paris, France) (pp. 366-369). Berlin: Springer-Verlag.

Bisesi, E., & Parncutt, R. (2010). An accent-based approach to automatic rendering of piano performance. In W. Goebl (Ed.), Proceedings of Second Vienna Talk on Music Acoustics (pp. 26–30). Vienna, Austria: University of Music and Performing Arts.

Prem, D., & Parncutt, R. (2008). Corporality in the timbre vocabulary of professional female jazz vocalists. In M. Marin et al. (Eds.), Proceedings of SysMus. Graz, Austria: University of Graz. 

Grillitsch, D., & Parncutt, R. (2008). The effect of music listening on spatial skills: The role of processing time. In M. Adachi et al. (Eds.), Proceedings of ICMPC. Sapporo, Japan: Hokkaido University.

Prem. D., & Parncutt, R. (2007). The timbre vocabulary of professional female jazz vocalists. In A. Williamon (Ed.), Proceedings of ISPS (Porto, Portugal). Utrecht, NL: European Association of Conservatoires.

Parncutt, R. & Marin, M. (2006). Emotions and associations evoked by unfamiliar music. In H. Gottesdiener & J. C. Vilatte (Eds.), Culture and communication: Proceedings of International Association of Empirical Aesthetics.  Avignon, France.

Painsi, M., & Parncutt, R. (2006). Gender effects in young musicians' mastery-oriented achievement behavior and their interactions with teachers. In M. Baroni et al. (Eds.), Proceedings of ICMPC. Bologna, Italy: University of Bologna.

Gasenzer, E. R., & Parncutt, R. (2006). How do musicians deal with their medical problems? In M. Baroni et al. (Eds.), Proceedings of ICMPC. Bologna, Italy: University of Bologna.

Parncutt, R., & Painsi, M. (2006, August). Structuring the argument of a theoretical paper: A guideline and its reception by advanced undergraduate musicologists. In M. Baroni et al. (Eds.), Proceedings of ICMPC. Bologna, Italy: University of Bologna.

Ferguson, S., & Parncutt, R. (2004). Composing 'In the Flesh': Perceptually-informed harmonic syntax. In C. Agon, G. Assayag, & M. Chemillier (Eds.), Proceedings of Sound and Music Computing Conference. Paris, France.

Painsi, M., & Parncutt, R. (2004). Children's, teachers' and parents' attributions of children's musical success and failure. In D. Lipscomb et al. (Eds.), Proceedings of ICMPC (Evanston, Illinois) (pp. 344-348). Adelaide, Australia: Causal Productions.

Goebl, W., & Parncutt, R. (2003). Asynchrony versus intensity as cues for melody perception in chords and real music. In R. Kopiez et al. (Eds.), Proceedings of ESCOM (pp. 376-380). Hannover, Germany: Institute for Research in Music Education.

Kessler, A., & Parncutt, R. (2003). Musical structure, listener orientation, and time perception. In R. Kopiez et al. (Eds.), Proceedings of ESCOM (pp. 344-348). Hannover, Germany: Institute for Research in Music Education.

Parncutt, R. (2003). Immanent durational accent in musical rhythm. In R. Kopiez et al. (Eds.), Proceedings of ESCOM (pp.339-343). Hannover, Germany: Institute for Research in Music Education.

Parncutt, R. (2002). 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) (pp. 42-51). Augsburg: Wissner.

Goebl, W., & Parncutt, R. (2002). The influence of relative intensity on the perception of onset asynchronies. In C. Stevens et al. (Eds.), Proceedings of ICMPC (Sydney, Australia) (pp. 613–616). Adelaide, Australia: Causal Productions.

Parncutt, R., & Pascall, R. (2002). Middle-out analysis and its psychological basis. In C. Stevens et al. (Eds.), Proceedings of ICMPC (Sydney, Australia). Adelaide, Australia: Causal Productions.

Parncutt, R. (2001). Critical comparison of acoustical and perceptual theories of the origin of musical scales. In D. Bonsi et al. (Eds.), Proceedings of International Symposium of Musical Acoustics (Perugia, Italy). Venice: Fondazione Scuola di San Giorgio.

Parncutt, R. (2000). Implications for mainstream musicology of recent research in music cognition. In D. Greer (Ed.), Musicology and sister disciplines: Proceedings of 16th International Congress of the International Musicological Society (London, UK) (pp. 538-541). New York, NY: Oxford University Press.

Parncutt, R. (1999). Applying music psychology to music education: Can perceptual theory inform undergraduate harmony? In M. S. Barrett, et al., (Eds.), Proceedings of International Music Education Research Symposium (pp. 254-258). Launceston, Australia: University of Tasmania.

Parncutt, R. (1999). Tonality as implication-realization. In P. Vos & M. Leman (Eds.), Proceedings of Expert Meeting on Tonality Induction (pp. 121-141). Nijmegen, NL: Nijmegen Institute for Cognition and Information.

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

Parncutt, R. (1997). Modeling piano performance: Physics and cognition of a virtual pianist. In T. Rikakis (Ed.), Proceedings of ICMC (Thessaloníki, Greece) (pp. 15-18). San Francisco, CA: International Computer Music Association.

Parncutt, R., Sloboda, J. A., & Clarke, E. F. (1997). 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 ESCOM (pp. 702-705). Uppsala, Sweden: Uppsala University.

Sloboda, J. A., Lehmann, A. C., & Parncutt, R. (1997). Perceiving intended emotion in concert-standard performances of Chopin's Prelude No. 4 in E minor. In A. Gabrielsson (Ed.), Proceedings of ESCOM (pp. 629-634). Uppsala, Sweden: Uppsala University.

Parncutt, R. (1996). From chord profiles to key profiles: Top-down or bottom-up? In M. Roczniak (Ed.), Proceedings of Open Seminar on Acoustics (pp. 559-564). Ustron, Poland.

Parncutt, R. (1996). 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 Joint International Conference on Systematic Cognition and Musicology (pp. 67-73). Brugge, Belgium.

Parncutt, R., & Bregman, A.S. (1996). Tone profiles following chort chord progressions: Cumulative pitch salience or best-fitting key profile? In B. Pennycook & E. Costa-Giomi (Eds.), Proceedings of ICMPC (pp. 383-386). Montréal, Québec.

Sloboda, J. A., Parncutt, R., Clarke, E. F., & Raekallio, M. (1996). Fingering consistency and rule-conformance among expert and novice pianists. In B. Pennycook & E. Costa-Giomi (Eds.), Proceedings of ICMPC (pp. 13-17). Montréal, Québec.

Parncutt, R. (1994). A model of beat induction accounting for perceptual ambiguity by continuously variable parameters. In W. Siegel (Ed.), Proceedings of ICMC (Århus, Denmark) (pp. 83-84). San Francisco, CA: International Computer Music Association.

Parncutt, R. (1994). A perceptual-historical model of chord prevalence and key profiles in tonal-harmonic music. In I. Deliège (Ed.), Proceedings of ICMPC (pp. 231-232). Liège, Belgium: Centre de Recherches et de Formation Musicales de Wallonie.

Parncutt, R. (1994). A scenario for the genesis of music. In I. Deliège (Ed.), Proceedings of ICMPC (pp. 93-94). Liège, Belgium: Centre de Recherches et de Formation Musicales de Wallonie.

Stammen, D. R., Pennycook, B., & Parncutt, R. (1994). A revision of Parncutt’s psychoacoustical model of the root of a musical chord. In I. Deliège (Ed.), Proceedings of ICMPC (pp. 357-358). Liège, Belgium: Centre de Recherches et de Formation Musicales de Wallonie.

Parncutt, R. (1994). 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 (pp. 102-108). San Antonio, TX: University of Texas at San Antonio.

Parncutt, R. (1994). Categorical perception of short rhythmic events. In A. Friberg et al. (Eds.), Proceedings of Stockholm Music Acoustics Conference (pp. 47-52). Stockholm, Sweden: KTH.

Parncutt, R. (1993). Template-matching models of musical pitch and rhythm perception. In J. Laaksamo & J. Louhivuori (Eds.), Proceedings of International Conference on Cognitive Musicology (pp.1-19). Jyväskylä, FInland: University of Jyväskylä.

Parncutt, R. (1991). A psychoacoustical model of tonal composition. In B. Pennycook (Ed.), Proceedings of ICMC (Montréal, Québec) (pp. 210-213). San Francisco, CA: International Computer Music Association.