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Conferences

Abbreviations

CIM   Conference on Interdisciplinary Musicology

DGM   Deutsche Gesellschaft für Musikpsychologie

ESCOM   European Society for the Cognitive Sciences of Music

ICME   International Conference on Music and Emotion

ICMC   International Computer Music Conference

ICMPC   International Conference on Music Perception and Cognition

ISPS   International Symposium on Performance Science

SMPC   Society for Music Perception and Cognition

SysMus   International Conference of Students of Systematic Musicology

 

Invited presentations

Parncutt, R. (2019, October). The obstetric dilemma, the mother schema, and musical-religious ritual. Keynote at Psychology and Music: Interdisciplinary Encounters, Belgrade, Serbia.

Parncutt, R. (2018, May). Promoting European music psychology research: Cultural diversity, bilingualism, English as lingua franca, peer review, academic quality. Keynote at Polish Music Psychology Conference, Katowice, Poland.

Dukic, H., & Parncutt, R. (2018, October). Music and subconscious imagery. Invited paper at the International Sound & Film Music Festival 2017, Pula.

Parncutt, R. (2017, October). The science and psychology of music performance: Retrospect and prospects. Keynote at I Congreso internacional de Psicología de la Música y la Interpretación Musical, Madrid, Spain.

Parncutt, R. (2017, October). How does the emotion get into the music? Invited paper at International Sound and Film Music Festival, Pula, Croatia.

Parncutt, R. (2016, November). The missing fundamentals of music theory: A psycho-historical theory of major-minor tonality. Keynote at Melbourne Music Analysis Summer School, Melbourne, Australia.

Parncutt, R. (2015, November). Imagination in music: A challenge for humanities, sciences, and their interaction. Keynote at CIM, Shanghai Conservatory of Music, China.

Parncutt, R. (2015, August). Understanding major-minor tonality: Humanities meet sciences. Keynote at ESCOM, Royal Northern College of Music, Manchester, UK.

Parncutt, R. (2014, June). Interdisciplinary interactions between sciences and humanities in music research. Keynote at Audio Communication Day, TU Berlin, Germany.

Parncutt, R. (2012, May). Can humanities and sciences really work together? Invited paper at SysMus, Faculty of Music, University of Montreal, Canada.

Parncutt, R. (2012, March). Interdisciplinary musicology: Bringing together humanities and sciences. Keynote at National Symposium on Music Research in Finland, University of Jyväskylä, Finland.

Parncutt, R. (2011, September-October). The transdisciplinary foundation of (European) music theory. Keynote at European Music Analysis Conference, Conservatorio di Musica “S. Cecilia”, Rome, Italy.

Parncutt, R. (2011, May). Intercultural music psychology: Better late than never. Keynote at Austrian committee of the International Council of Traditional Music, Vienna, Austria.

Parncutt, R. (2009, November). Remapping musicology: Thoughts of a disciplinary Other. Invited paper at ESF Strategic Workshop “Musicology (Re-) Mapped”, Warsaw, Poland.

Parncutt, R. (2009, January). The role of music in cultural integration. Invited paper at Musique et Cognition : Autour de l'apport de John Sloboda, Paris, France.

Parncutt, R. (2008, December). Assessment of quality and impact at the interface between humanities and sciences: The case of (systematic) musicology. Invited paper at Relevance and Impact of the Humanities, Vienna, Austria.

Parncutt, R. (2008, September). Unity in diversity: Bringing together humanities, sciences and practice within musicology and psychology. Keynote at DGM, Hannover, Germany.

Parncutt, R. (2008, September). Kindliche Entwicklung musikalischer Fähigkeiten (Forum Förderung durch Musik). Invited paper at Deutsche Gesellschaft für Kinder- und Jugendmedizin, Munich, Germany.

Parncutt, R. (2008, August). Presentation and quality control in music psychology. Invited workshop at ICMPC, Sapporo, Japan.

Parncutt, R. (2007, October). Incorporating research into post-secondary performance teaching (by video link). Keynote at Music & ideas: Practice-based research, RCM, London, UK.

Parncutt, R. & Painsi, M. (2006, November). Aktuelles aus der musikalischen Performanceforschung: Effektives Üben und außermusikalische Transfereffekte. Invited paper at 8. internationaler Bundeskongress der Arbeitsgemeinschaft der Musikerzieher Österreichs, Salzburg, Austria.

Parncutt, R. (2006, October). Prenatal “experience” and the phylogenesis and ontogenesis of music. Invited paper at Mozart & Science, Baden bei Wien, Austria.

Parncutt, R. (2006, July). Can researchers help artists? Music performance research for music students. Keynote at Teaching, Learning and Performing Music, RNCM, Manchester, UK.

Parncutt, R. (2005, November). Western music history, pitch salience, key profiles, and the origins of tonality. Keynote at Understanding and Creating Music, Caserta, Italy.

Parncutt, R. (2005, November). Aktuelle internationale Forschung zur emotionalen Wirkung von Musik. Invited paper at Transdisziplinäre Diskussion zum Thema Musikbiologie, Berlin, Germany.

Parncutt, R. (2005, March). Interdisciplinary research on musical timbre: Bringing together sciences, humanities and musical practice. Keynote at CIM, Montréal, Canada.

Parncutt, R., & Tan, A. P. (2005, January-February). The tritone paradox and the dominance regions of spectral and virtual pitch. Invited paper at Biennial Congress of the Australian Institute of Physics, Canberra, Australia.

Parncutt, R. (2004, November). Educational applications of scientific research on music performance. Keynote at International Symposium on Psychology and Music Education, Padova, Italy.

Parncutt, R. (2004, May). Psychological relevance of mathematical music theory. Invited paper at Minicolloquium on Mathematical Music Theory, Graz, Austria.

Parncutt, R. (2004, May). Perception of musical structure. Invited paper at Science and Music - The Impact of Music, Deutsche Akademie der Naturforscher Leopoldina, Halle, Germany.

Parncutt, R. (2001, September). Interdisciplinary balance, international collaboration, and the future of (German) (historical) musicology. Invited paper at Internationaler Kongress der Gesellschaft für Musikforschung, Hannover, Germany.

Parncutt, R. (2000, April). Structured listening to recover a performer's conception of musical structure. Invited paper at Royal Musical Association, Southampton, UK.

Parncutt, R. (1998, March). Fondements psychoacoustiques du système musical occidental. Invited paper at Club de Neuro-audio-acoustique, Dijon, France.

Parncutt, R. (1997, September). Modeling piano performance: Physics and cognition of a virtual pianist. Invited paper at ICMC, Thessaloniki, Greece.

 

Proceedings contributions that were also presented as spoken papers

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.

 

Conference presentations without proceedings contribution

Parncutt, R. (2019, March). The prevalence/consonance of scale degrees in plainchant and the rising leading tone in Renaissance polyphony. Paper at Modality in Music, Łódź, Poland.

Parncutt, R. (2019, April). Prenatally audible sound and movement patterns: Repetition with variation. Paper at Musical Repetition in Aesthetics, Analysis and Experience, London, UK (virtual).

Parncutt, R. (2019, July). Arranging a cappella pop: Compositional principles, pedagogical applications. Paper at ISPS, Melbourne, Australia.

Parncutt, R., & Brabec de Mori, B. (2019, July). Can animist and perspectivist concepts of indigenous sonic cultures inspire Western music performance? Paper at ISPS, Melbourne, Australia.

Parncutt, R., & Dukić, H. (2019, July). Improvising on a written text: How much meaning can be communicated to listeners, and what kind? Paper at ISPS, Melbourne, Australia.

Parncutt, R., Meyer-Kahlen, N., & Sattmann, S. (2019, July). Live-streaming at international academic conferences: Technical guidelines and ethical considerations. Paper at ISPS, Melbourne, Australia.

Parncutt, R. (2019, November). The obstetric dilemma, transnatal memory, and the intrinsic link between music and memory. Paper at Music and Lifetime Memories, Durham, UK (virtual).

Dukic, H., Parncutt, R., & Bunt, L. (2018, July). Musically induced archetypal imagery in Guided Imagery and Music therapy. Paper at ICMPC/ESCOM, Graz.

Dukic, H., Parncutt, R., & Bunt, L. (2018, September). Narrative archetype elicitation in the imagery of clients in a GIM therapy sessions. Paper at EAMI European Conference, Dublin, Ireland.

Parncutt, R. (2018, February). Semi-quantitative ethics and the human cost of global warming. Paper at World Symposium on Climate Change Communication, Graz, Austria.

Parncutt, R. (2018, February). Halving the emissions of academic conferences: A multi-location, semi-virtual approach. Paper at Eninnov2018: 15. Symposium Energieinnovation: Neue Energie für unser bewegtes Europa. Graz, Austria.

Parncutt, R. (2018, May). Prenatal psychology and the origin of musical meaning. Paper at International Congress on Musical Signification, Cluj, Romania.

Parncutt, R. (2018, October). An ecological-evolutionary approach to musical pitch perception, attention, and consciousness. Paper at CIM, Poznań, Poland.

Parncutt, R. (2018, October). Cave acoustics, prenatal conditioning, and the origin of music. Paper at CIM, Poznań, Poland.

Sattmann, S., & Parncutt, R. (2018, July). The role of empathy in musical chills. Paper at ICMPC/ESCOM, Graz, Austria.

Dukic, H., & Parncutt, R., (2018, May). Narrative archetypes in Guided Imagery and Music. Poster at KOSMOS Workshop “Mind Wandering and Visual Mental Imagery in Music”, Berlin, Germany.

Timmers, R., & Parncutt, R. (2018, June). How can music societies effect individual or social change? First steps towards change in ESCOM. Poster at Musics, Selves and Societies: The Roles of Music in Effecting Change, Cambridge, UK.

Turker, S., Peltzer-Karpf, A., Reiterer, S., Schneider, P., & Seither-Preisler, A. (2018, June). The role of auditory cortex morphology for language learning ability & musicality. Poster at Annual Meeting of the Organization for Human Brain Mapping, Singapore.

Turker, S., Seither-Preisler, A., Reiterer, S., Peltzer-Karpf, A., Parncutt, R., & Schneider, P. (2018, August). Pinpointing the neuroanatomical correlates of foreign language learning ability and musicality. Poster at Society for the Neurobiology of Language, Quebec City, Canada.

Dukić, H., & Parncutt, R. (2017, April). The effect of perceived interval size on imagery during Guided Imagery and Music therapy. Paper at Global Arts and Psychology Student Conference, Boston, Graz, La Plata, Sheffield, Sydney.

Dukić, H., & Parncutt, R. (2017, June). Influence of perceived movement quality of music on imagery during Guided Imagery and Music therapy. Paper at KOSMOS Dialogue International Conference; Music, Emotion and Visual Imagery, Berlin.

Jović, A., Haspl, B., & Parncutt, R. (2017, October). The relative importance of sound and image for emotion in movies. Paper at International Sound and Film Music Festival, Pula, Croatia.

Parncutt, R. (2017, April). The missing fundamentals of music theory: A psychohistorical theory of major-minor tonality. Paper at Global Arts and Psychology Student Conference, Boston, Graz, La Plata, Sheffield, Sydney.

Parncutt, R. (2017, July). The psychohistory of consonance and dissonance: Statistical analysis of a music database. Paper at 45th Medieval and Renaissance Music Conference, Prague, Czech Republic.

Parncutt, R. (2017, August). Music psychology’s first multiple-location conference: Aims and methods. Paper at 25th anniversary conference of ESCOM, Ghent, Belgium.

Parncutt, R. (2017, October). Psychological principles of musical intonation: Implications and applications. Paper at I Congreso internacional de Psicología de la Música y la Interpretación Musical, Madrid, Spain.

Parncutt, R., & Sattmann, S. (2017, August). Musical chills as experiential correlates of adaptive vigilance: An ecological-evolutionary stimulus-response theory. Paper at 25th anniversary conference of ESCOM, Ghent, Belgium.

Prem, E., Parncutt, R., Giesriegl, A., & Stigler, H. J. (2017, April). The ideal jazz voice sound: A qualitative interview study. Paper at Global Arts and Psychology Student Conference, Boston, Graz, La Plata, Sheffield, Sydney.

Schallmoser, T., Moazzami Vahid, S. & Parncutt, R. (2017, April). Estimation of time in music: Effects of tempo and familiarity on the subjective duration of music. Paper at Global Arts and Psychology Student Conference, Boston, Graz, La Plata, Sheffield, Sydney.

Dukic, H., Parncutt, R., & Bunt, L. (2016, September). Exploring the narrative nature of music using Guided Imagery and Music therapy. Paper at International Association of Empirical Aesthetics, Vienna, Austria.

Dukic, H., Parncutt, R., & Bunt, L. (2016, October). Exploring the role of music as a unifying element in Guided Imagery and Music therapy. Paper at European Association for Psychotherapy Congress, Zagreb, Croatia.

Parncutt, R. (2016, August). Mother-infant attachment and the evolutionary origins of musical and religious emotion. Paper at International Association of Empirical Aesthetics, Vienna, Austria.

Parncutt, R. (2016, April). The psychohistory of consonance, pitch salience, and major-minor tonality in Western music: Listening experiments and analyses of a music database. Paper at Musica E Psicologia: Giornata Internazionale Di Studio, Conservatorio di Como, Italy.

Parncutt, R. (2016, March). Explaining musical idol worship: Music as a cultural transformation of the mother schema. Paper at Virtuosity - An Interdisciplinary Symposium, Liszt Academy of Music, Budapest, Hungary.

Matlschweiger, E., Sattmann, S., & Parncutt, R. (2016, July). Music rehearsals and well-being. What role plays personality? Poster at International Conference on Music Perception and Cognition, San Francisco, USA.

Matlschweiger, E., Sattmann, S., & Parncutt, R. (2016, September). Music rehearsals, well-being, and personality. Poster at 32. Jahrestagung der Deutschen Gesellschaft für Musikpsychologie “Akustik und musikalische Hörwahrnehmung“, Vienna, Austria.

Sattmann, S. & Parncutt, R. (2016, July). Emotions and chills at the interface between contrasting musical passages. Poster at International Conference on Music Perception and Cognition, San Francisco, USA.

Sattmann, S. & Parncutt, R. (2016, September). Felt emotions and musical structure of chill-inducing music. Poster at DGM, Vienna, Austria.

Meave, A., & Parncutt, R. (2015, October). Entrenamiento auditivo sin referencia a las teorias tonales (Auditory training without reference to tonal theories). Paper at III Coloquio "La educación auditiva y la teoría de la música en la actualidad" (Colloquium "Ear training and music theory today"), Coyoacán, Mexico.

Parncutt, R. (2015, October). Implications for competition juries of music-psychological research on the evaluation of piano performance. Paper at The competition, or music put to the test: Piano competitions from a psychological, sociological, historical and aesthetic perspective, Warsaw, Poland. 

Parncutt, R. (2015, October). Does sad music just press our empathy button? Paper at ICME, Geneva, Switzerland.

Parncutt, R. (2015, October). Die Psychohistorie von Konsonanz und Dissonanz: Rauigkeit, Harmonizität und Häufigkeitsverteilungen von Intervallkombinationen in einer Musiknotendatenbank (The psychohistory of consonance and dissonance: Roughness, harmonicity, and prevalence distributions of interval combinations in a database of musical scores). Paper at 5. Jahrestagung der Carl Stumpf Gesellschaft, Vienna, Austria. 

Piber, B., Parncutt, R., Schneider, P., & Seither-Preisler, A. (2015, June). Pitch perception as pattern recognition: Evidence from individual differences in brain oscillations. Poster at Annual Meeting of the Organization for Human Brain Mapping, Hawaii.

Vogt, K., Rutz, H. H., Goudarzi, V., Höldrich, R., Steiner, A. K., Jury, M., Walter, R., & Parncutt, R. (2015, April). Poster at SysSon - A Framework for Systematic Sonification Design. European Geosciences Union General Assembly, Vienna, Austria.

Parncutt, R. (2015, April). Urgeborgenheit and the origin of religious and musical emotion. Paper at International Conference on Music and Consciousness, Oxford, UK.

Parncutt, R. (2015, January). Influential climate denial: A massive human rights violation? Paper at Denialism and Human Rights, Maastricht, NL.

Eckl, F., & Parncutt, R. (2014, September). Effects of music and alpha-wave frequencies on meditation. Poster at SysMus, London, UK.

Tscherne, D., & Parncutt, R. (2014, September). Motivational qualities of music in exercise Poster at SysMus, London, UK.

Juwan, A, Eckel, G., & Parncutt, R. (2014, September). Loudness war and hypercompression: Quantifying the perception of compression effects. Poster at SysMus, London, UK.

Parncutt, R., Fuchs, A., Gaich, A., & Kaiser, F. (2014, July). The perceptual history of consonance and dissonance: Counting vertical pitch-class sets in vocal polyphony. Paper at Medieval and Renaissance Music Conference, Birmingham, UK.

Parncutt, R. (2014, March). A comparative evaluation of current theories of the origin of music. Paper at International Summer School on Systematic Musicology and Sound and Music Computing (ISSSM), Genova, Italy.

Parncutt, R., Kaiser, F., & Sapp, C. (2014, June). Historical development of tonal syntax: Counting pitch-class sets in 13th-16th century polyphonic vocal music. Poster at Auditive Wissenskulturen, Graz, Austria.

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

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

Serrallach, B., Gross, C., Zoellner, S., Guendert, N., Brunner, M., Parncutt, R., Seither-Preisler, A., & Schneider, P. (2014, June). Benefits of musical ability and practice on the auditory profile of children with attention deficit (hyperactivity) disorder (AD(H)D) or dyslexia – a combined MEG- and MRI-study. Poster at Neurosciences and Music, Dijon, France.

Parncutt, R. (2013, June). Schenkerien prolongation and the emotional connotations of major-minor tonality. Paper at ICME, Jyväskylä, Finland.

Bisesi, E., Bodinger, M., & Parncutt, R. (2013, June). Listeners' informal vocabulary for emotions and free associations in piano music. Paper at ICME, Jyväskylä, Finland.

Cenkerova, Z., & Parncutt, R. (2013, June). Style-dependency of melodic expectation: Changing the rules in real time. Paper at ICME, Jyväskylä, Finland.

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

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

Winter, M., & Parncutt, R. (2012, September). Migrants’ musical practices and the construction of cultural identities and symbolic boundaries. Paper at Research Network in Sociology of the Arts, Vienna, Austria.

Prem. D., Parncutt, R., Giesriegl, A., & Stigler, H. J. (2012, July). The ideal jazz voice sound: A qualitative interview study. Paper at ICMPC, Thessaloniki, Greece.

Bisesi, E., MacRitchie, J., & Parncutt, R. (2012, July). Recorded interpretations of Chopin Preludes: Performer's choice of score events for emphasis and emotional communication. Poster at ICMPC, Thessaloniki, Greece.

Parncutt, R., Kaiser, F., & Sapp, C. (2012, July). Estimating historical changes in consonance by counting prepared and unprepared dissonances in musical scores. Paper at ICMPC, Thessaloniki, Greece.

Parncutt, R. (2012, July). The financial crisis for dummies. Paper during special session "Global crises and their implications for research" following ICMPC, Thessaloniki, Greece.

Parncutt, R. (2011, November). What do errors in performance tell us about music cognition? Paper at Exzellenz durch Umgang mit Fehlern (Excellence through error management), University of Music and Dramatic Arts Graz, Austria.

Bisesi, E., & Parncutt, R. (2011, October). How do musical accents induce emotions? Paper at European Music Analysis Conference, Rome, Italy.

Bisesi, E., Friberg, A., & Parncutt, R. (2011). Director Musices (accent-based formulation). Paper at Rencon (Music Performance Rendering Contest for Computer Systems), Padova, Italy.

Parncutt, R., & Hair, G. (2011, September). Consonance and dissonance in theory, practice and science (with respondents J. Devaney, V. Ross, E. Schubert, & R. Ambrazevičius). Paper at CIM11, Glasgow, UK.

Prem, D., Parncutt, R., Giesriegl, A., & Stiegler, H. J. (2011, September). Jazz vocal sound: A timbre knowledgebase for research and practice. Paper at CIM11, Glasgow, UK.

Parncutt, R. (2011, August). Defining music as a step toward explaining its origin. Paper at SMPC, Rochester, NY.

Parncutt, R., & Sapp, C. (2011, August). Pitch salience in tonal contexts and asymmetry of perceived key movement. Paper at SMPC, Rochester, NY.

Bisesi, E., & Parncutt, R. (2011, August). Expression in piano music: Criteria for choice of score events for emphasis. Paper at SMPC, Rochester, NY.

Bisesi, E., & Parncutt, R. (2011, August). An accent-based approach to performance rendering: Music theory meets music psychology. Paper at ISPS, Toronto, Canada.

Winter, M., & Parncutt, R. (2011, May). Musical practice and the construction of cultural identity. Paper at Music – Conflict – Transformation, University of Exeter, UK.

Parncutt, R. (2010, October). Physical, experiential and notational representations of musical works. Paper at DGM and Gesellschaft für Musiktheorie, Würzburg, Germany.

Bisesi, E., & Parncutt, R. (2010, October). An accent-based approach to music analysis: Preliminary results (poster). Paper at DGM and Gesellschaft für Musiktheorie, Würzburg, Germany.

Parncutt, R. (2010, August). The origins of music: Comparative evaluation of competing theories. Paper at ICMPC, Seattle, USA.

Parncutt, R., & Koegeler, M. (2010, April). Welcome address at Conference on Applied Interculturality Research, Graz, Austria.

Parncutt, R. (2010, April). cAIR: What next? Closing address at Conference on Applied Interculturality Research, Graz, Austria.

Bisesi, E. & Parncutt, R. (2010, August). The informal vocabulary of professional musicians for describing expression and interpretation. Paper at ICMPC, Seattle, USA.

Kettner, S. & Parncutt, R. (2010, August). Narcissism in music performance: Singers versus instrumentalists. Paper at ICMPC, Seattle, USA.

Parncutt, R. (2010, July). Historical origins of major-minor tonality: A psychological approach. Paper at Medieval and Renaissance Music Conference, Egham, Surrey, UK.

Parncutt, R., & Seither-Preisler, A. (2009, September). Multiple levels of implication-realisation at the authentic cadence. Paper at Music & Emotion, Durham, UK.

Parncutt, R. (2009, August). The tonic as home: Music theory, social psychology, ecology, culture. Paper at ESCOM, Jyväskylä, Finland.

Prem, D., & Parncutt, R. (2009, August). Corporality in the timbre vocabulary of professional female jazz vocalists. Paper at ESCOM, Jyväskylä, Finland.

Reichweger, G., & Parncutt, R. (2009, August). Pitch salience in chords of harmonic complex tones. Paper at ESCOM, Jyväskylä, Finland.

Dorfer, A., & Parncutt, R. (2008, November). The role of music in cultural integration. Paper at SysMus, Graz, Austria.

Parncutt, R. (2008, October). Key profiles, pitch salience, and the origins of tonality. Paper at Gesellschaft für Musiktheorie, Graz, Austria.

Parncutt, R., Dibben, N., Painsi, M., & Marin, M. (2008, August). The professional relevance of music psychology: An internet survey. Paper at ICMPC, Sapporo, Japan.

Parncutt, R. (2008, August). Towards an ecological evolutionary psychoacoustics of music (poster). Paper at ICMPC, Sapporo, Japan.

Parncutt, R. & Prem, D. (2008, August). The relative prevalence of Medieval modes and the origin of the leading tone. Poster at ICMPC, Sapporo, Japan.

Taschler, A., & Parncutt, R. (2008, August). An intercultural study of ecstasy and trance in music. Paper at ICMPC, Sapporo, Japan.

Parncutt, R. (2008, May). CIM: Promoting unity in diversity. Paper at Approaches to Music Research: between Practice and Epistemology, Ljubljana, Slovenia.

Parncutt, R., & Hair, G. (2008, July). Intonation in a new composition in 19-tone equal temperament. Paper at CIM08, Thessaloniki, Greece.

Guetl, C., & Parncutt, R. (2008, July). An interactive tool for training and testing musical auditory skills. Paper at World Conference on Educational Multimedia, Hypermedia & Telecommunications, Vienna, Austria.

Parncutt, R. (2007, December). Music as an evolutionary byproduct of prenatal audition and proprioception. Paper at International Conference on Music Communication Science, Sydney, Australia.

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

Parncutt, R. (2007, September). Prenatal behavioural and biochemical emotional communication and the origins of music. Paper at Evolution of Emotional Communication, Hannover, Germany.

Marin, M. M., & Parncutt, R. (2007, September). Sensitivity to musical emotion: Effects of gender and familiarity. Poster at Evolution of Emotional Communication, Hannover, Germany.

Parncutt, R., & Dorfer, A. (2007, September). The role of music in cultural integration (talk, abstract). Paper at DGM (DGM), Gießen, Germany.

Taschler, A., & Parncutt, R. (2007, September). Ekstase und Trance in der Musik: Ein interkultureller Vergleich. Paper at DGM, Gießen, Germany.

Parncutt, R. (2007, August). CIM: A progress report. Paper at CIM, Tallinn, Estonia.

Marin, M., Parncutt, R., & Kaernbach, C. (2007, August). Emotion and unfamiliar music: Electrophysiological and psychological responses to Persian and Western music by Persian and Western listeners. Paper at SMPC, Montreal, Quebec.

Parncutt, R. (2007, July). Statistical learning and the history of music perception. Talk at IMS Study Group on Musical Data and Computer Applications, Zürich, Switzerland.

Parncutt, R. (2007, May). Tonal implications of harmonic and melodic Tn-sets. Paper at Mathematics and Computation in Music, Berlin, Germany.

Parncutt, R., & Marin, M. M. (2007). Empirische Untersuchungen zur Wahrnehmung des Eigenen und des Fremden in der Musik. Paper at Ästhetische Erfahrung und Kunstrezeption, Institut für Philosophie, Universität Graz, Austria.

Parncutt, R. (2006, October). Aural analysis for performing musicians: The relationship between accents and expression. Paper at Gesellschaft für Musiktheorie, Weimar, Germany.

Parncutt, R., McPherson, G., Painsi, M., & and Zimmer, F. (2006, August). Early acquisition of musical aural skills. Paper at ICMPC, Bologna, Italy.

Schubert, E., & Parncutt, R. (2006, May). A psychoacoustic approach to tuning. Paper at Sonic Connections, Wollongong, Australia.

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

Parncutt, R. (2005, September). Towards a statistical-perceptual history of western tonal-harmonic syntax. Paper at Digital Resources for the Humanities, Lancaster, UK.

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

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

Parncutt, R. & Painsi, M. (2005, September). Children’s spontaneous aural recognition of tonal structures. Paper at DGM, Würzburg, Germany.

Jost, K., & Parncutt, R. (2005, September). Wie lernen die Kinder am besten Notenlesen? Eine qualitative Studie der Strategien und Begrenzungen moderner Musiklehrer. Poster at DGM, Würzburg, Germany.

Marin, M. M., & Parncutt, R. (2005, May). The role of rhythm, syntax, and musical training in similarity judgements of series of words and letters. Poster at Neurosciences and Music, Leipzig, Germany.

Parncutt, R., & Traube, C. (2004, August). Music-psychological interdisciplinarity at CIM. Paper at ICMPC, Evanston, Illinois.

Parncutt, R. (2004, August). Prenatal biological correlates of emotion and the origins of music. Paper at ICMPC, Evanston, Illinois.

Lassnig-Walder, J., & Parncutt, R. (2004, September). Theorie und Praxis der Kreativität als Grundlage einer Didaktik der Improvisation im Instrumentalunterricht. Paper at DGM, Paderborn, Germany.

Parncutt, R., & Ferguson, S. (2004, April). Computer-assisted composition with algorithmic implementations of pitch-perceptual theory. Paper at CIM, Graz, Austria.

Parncutt, R. (2001, August). Key profiles as pitch salience profiles of final triads in Renaissance music. Paper at SMPC, Kingston, Ontario.

Goebl, W., & Parncutt, R. (2001, August). Perception of onset asynchronies: Acoustic piano versus synthesized complex versus pure tones. Paper at SMPC, Kingston, Ontario.

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

Parncutt, R., & Holming, P. G. S. (2000, July). Is scientific research on piano performance useful for pianists? Poster at ICMPC, Keele, UK.

Parncutt, R., & Hutsteiner, T. (2000, July). Effect of temporal context on pitch salience in musical chords. Paper at ICMPC, Keele, UK.

Parncutt, R. (1999). Towards a perceptual theory of bebop harmony. Paper at Jyväskylä Summer Jazz, Jyväskylä, Finland.

Evans, W. S., & Parncutt, R. (1998). Ontogenesis of auditory perception and memory at 20 weeks' gestation. Paper at British Psychological Society, Brighton, UK.

Parncutt, R., Sloboda, J.A., Clarke, E.F., & Raekallio, M. (1997). An ergonomic model of piano fingering for melodic fragments. Paper at Experimental Psychology Society, London, UK.

Parncutt, R. (1997). Systematic evaluation of the psychological effectiveness of non-conventional music notations. Paper at International Symposium on Systematic and Comparative Musicology, Berlin, Germany.

Parncutt, R. (1996). Perceptual underpinnings of analytic techniques: From Rameau to Terhardt, Riemann to Krumhansl, Schenker to Bregman (presented by S. Larson). Paper at Society for Music Theory, Baton Rouge, Louisiana.

Parncutt, R. (1996). Tonal implications of atonal music. Paper at DGM, Freiburg, Germany.

Parncutt, R. (1996). Perception and notation of jazz harmony. Paper at Leeds International Jazz Educator’s Conference, Leeds, UK.

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

Parncutt, R. (1995). Wahrnehmungstheorie und wahrnehmungsgerechte Notation von Akkorden im Jazz. Paper at Gegenwärtige Ansätze der Systematischen Musiktheorie, Berlin, Germany.

Parncutt, R. (1995). Asymmetrien bei Ähnlichkeitsbeurteilungen von aufeinanderfolgenden Tönen und Akkorden (Asymmetries in similarity ratings of successive tones and chords). Paper at International Symposium on Systematic Musicology, Schloss Zeillern, Austria.

Parncutt, R. (1995). Expressive timing near harmonic, contour, structural, and metrical accents in piano music. Paper at ESCOM/DGM, Bremen, Germany.

Sloboda, J. A., & Parncutt, R. (1995). Fingering strategies in pianists: Some preliminary findings. Paper at ESCOM/DGM, Bremen, Germany.

Sloboda, J., Clarke, E., Parncutt, R., & Raekallio, M. (1994). Fingering strategies of pianists: some preliminary findings. Paper at ESCOM/DGM, Bremen, Germany.

Parncutt, R., & Sloboda, J. A. (1995). Model of keyboard fingering for melodic fragments. Paper at SMPC, Berkeley, CA.

Parncutt, R. (1994). A real-time model of pulse salience. Paper at Rhythm Perception and Performance, Sheffield, UK.

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

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

Terriah, S., Vantomme, J., Stammen, D., Fujinaga, I., & Parncutt, R. (1994). Applying music composition software (Max) in the design and implementation of experiments in music perception and cognition. Paper at ICMPC, Liège, Belgium.

Parncutt, R. (1993). Similarity judgments of fifth-spaced tones and dyads thereof. Paper at Acoustical Society of America, Ottawa, Ontario.

Parncutt, R. (1993). Notated pitches, perceived pitches, and harmonic theory. Poster at American Musicological Society / Society for Music Theory, Montréal, Québec.

Parncutt, R. (1993). Prenatal audition and the origins of music. Paper at SMPC, Philadelphia, PA.

Parncutt, R., & Bigand, E. (1993). The role of pitch salience and tonal hierarchies in the perception of tension in short chord sequences. Paper at SMPC, Philadelphia, PA.

Parncutt, R. (1992). Pulse salience in musical rhythms. Paper at ICMPC, Los Angeles, CA.

Parncutt, R. (1992). Skizze einer psychoakustisch begründeten Harmonielehre (Sketch of a psychoacoustically based theory of harmony). Paper at DGM, Karlsruhe, Germany.

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

Parncutt, R. & Huron, D. (1992). An improved method for key tracking. Paper at International Conference on Music Perception and Cognition, Los Angeles, CA. 

Parncutt, R. (1990). Pitch properties of chords of complex tones. Paper at International Conference on Music and the Cognitive Sciences, Cambridge, UK. 

Parncutt, R. (1988). Pulswahrnehmung als Gestalterkennung (Pulse perception as pattern recognition). Paper at DGM, Hannover, Germany.

Parncutt, R. (1988). Accidentals, musical meaning, and context. Paper at Music Notation Modernization Association, Norwich, UK.

Thompson, W. F., & Parncutt, R. (1988). Using a memory-fade model to track the movement of musical keys. Paper at International Congress of Psychology, Sydney, Australia.

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

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

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

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

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

Parncutt, R, & Stoll, G. (1983). Harmonic relationship in similarity judgments of successive pure and complex tones. Paper at Workshop on Physical and Neuropsychological Foundations of Music, Ossiach, Austria.

Univ.-Prof. Dr.phil.

Richard Parncutt

Univ.-Prof. Dr.phil. Richard Parncutt Centre for Systematic Musicology

Merangasse 70
8010 Graz, Austria

Telefon:+43 316 380 - 8161


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