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Conferences

Invited conference presentations

Parncutt, R. (2016, November). Psychohistory of major-minor tonality. Melbourne Music Analysis Summer School, Australia.

Parncutt, R. (2015, November). Imagination in music: A challenge for humanities, sciences, and their interaction. Keynote presented at the Conference on Interdisciplinary Musicology, Shanghai Conservatory of Music, China.

Parncutt, R. (2015, August). Understanding major-minor tonality: Humanities meet sciences. Keynote presented at the 9th Triennial Conferences of the European Society for the Cognitive Sciences of Music, Royal Northern College of Music, Manchester, England.

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

Parncutt, R. (2012, May). Can humanities and sciences really work together? Paper presented at the 5th International Conference of Students of Systematic Musicology (SysMus12), Faculty of Music, University of Montreal, Canada.

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

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

Parncutt, R. (2011, May). Intercultural music psychology: Better late than never. Keynote presented at the Austrian committee of the International Council of Traditional Music (ICTM). Joint meeting with theme "Inter- and transculturality", Institut für Musikwissenschaft, Universität Wien, Austria. ppt

Parncutt, R. (2009, November). Remapping musicology: Thoughts of a disciplinary Other. Paper presented at the ESF Strategic Workshop “Musicology (Re-) Mapped”, Polish Academy of Sciences, Institute of Arts, Warsaw, Poland. ppt

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

Parncutt, R. (2008, December). Assessment of quality and impact at the interface between humanities and sciences: The case of (systematic) musicology. Paper presented at Relevance and Impact of the Humanities, Universität Wien, Austria. ppt

Parncutt, R. (2008, September). Unity in diversity: Bringing together humanities, sciences and practice within musicology and psychology. Keynote presented at the 25. Jahrestagung der Deutschen Gesellschaft für Musikpsychologie, Hochschule für Musik, Theater und Medien Hannover, Germany. ppt

Parncutt, R. (2008, September). Kindliche Entwicklung musikalischer Fähigkeiten (Forum Förderung durch Musik). Paper presented at the Jahrestagung der Deutschen Gesellschaft für Kinder- und Jugendmedizin, Deutsche Gesellschaft für Kinder- und Jugendmedizin, Munich, Germany. ppt

Parncutt, R. (2008, August). Presentation and quality control in music psychology. Workshop for students presented at the International Conference on Music Perception and Cognition (ICMPC10), Hokkaido University, Sapporo, Japan. ppt

Parncutt, R. (2007, November). Empirische Untersuchungen zur Wahrnehmung des Eigenen und des Fremden in der Musik (with 2nd author Manuela M. Marin). Paper presented at Ästhetische Erfahrung und Kunstrezeption, Institut für Philosophie, Universität Graz, Austria.

Parncutt, R. (2007, October). Incorporating research into post-secondary performance teaching (by video link). Keynote presented at Music & ideas: Practice-based research, Royal College of Music, London, England. ppt

Parncutt, R. (2006, November). Aktuelles aus der musikalischen Performanceforschung: Effektives Üben und außermusikalische Transfereffekte (2nd author and presentation: Margit Painsi). Paper presented at 8. internationaler Bundeskongress der Arbeitsgemeinschaft der Musikerzieher Österreichs (AGMÖ), Arbeitsgemeinschaft Musikerziehung Österreich, Salzburg, Austria. ppt

Parncutt, R. (2006, October). Prenatal “experience” and the phylogenesis and ontogenesis of music. Paper presented at Mozart & Science, International Music & Art Research Association Austria, Baden bei Wien, Austria. ppt

Parncutt, R. (2006, July). Can researchers help artists? Music performance research for music students. Keynote presented at Teaching, Learning and Performing Music, Royal Northern College of Music, Manchester, England. ppt

Parncutt, R. (2005, November). Western music history, pitch salience, key profiles, and the origins of tonality. Keynote presented at Understanding and Creating Music (UCM 2005), Seconda Università degli Studi di Napoli, Caserta, Italy. pdf

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

Parncutt, R. (2005, March). Interdisciplinary research on musical timbre: Bringing together sciences, humanities and musical practice. Keynote presented at the Conference on Interdisciplinary Musicology (CIM05), Université de Montréal, Québec, Canada. ppt

Parncutt, R. (2005, January-February). The tritone paradox and the dominance regions of spectral and virtual pitch (2nd author: A. P. Tan). Paper presented at the 16th Biennial Congress of the Australian Institute of Physics, The Australian National University, Canberra, Australia. pdf

Parncutt, R. (2004, November). Educational applications of scientific research on music performance. Keynote presented at the International Symposium on Psychology and Music Education (PME04), Università di Padova, Italy. ppt

Parncutt, R. (2004, May). Psychological relevance of mathematical music theory. Paper presented at the Minicolloquium on Mathematical Music Theory, Universität Graz, Austria.

Parncutt, R. (2004, May). Perception of musical structure. Paper presented 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. Paper presented at Internationaler Kongress der Gesellschaft für Musikforschung, Gesellschaft für Musikforschung, Hannover, Germany. pdf

Parncutt, R. (2000, April). Structured listening to recover a performer's conception of musical structure. Paper presented at the Annual Conference of the Royal Musical Association (Performance '00), Royal Musical Association, Southampton, England.

Parncutt, R. (1998, March). Fondements psychoacoustiques du système musical occidental. Paper presented at the Annual Congress of Club de Neuro-audio-acoustique (CNA2), Dijon, France.

Parncutt, R. (1997, September). Modeling piano performance: Physics and cognition of a virtual pianist. Paper presented at the International Computer Music Conference, Aristotle University, Thessaloniki, Greece. pdf

Proceedings contributions
• All abstract submissions were peer reviewed except those marked with asterisks.*
• All proceedings contributions were presented as spoken papers unless otherwise marked.
• Double asterisks** denote contributions associated with invited presentations.

**Parncutt, R. (2015). Understanding major-minor tonality: Humanities meet Sciences. In J. Ginsborg, A. Lamont & S. Bramley (Eds.), Proceedings of 9th Triennial Conferences of the European Society for the Cognitive Sciences of Music (pp. 631-640). Manchester, England: Royal Northern College of Music. pdf

Bisesi, E., Parncutt, R., Caron, S., & Traube, C. (2015). The relationship between immanent emotion and musical structure in classical piano scores. In J. Ginsborg, A. Lamont & S. Bramley (Eds.), Proceedings of 9th triennial conference of the European Society for the Cognitive Sciences of Music (pp. 215-216). Manchester, England: Royal Northern College of Music.

Bisesi, E., Parncutt, R., Caron, S., & Traube, C. (2014). The immanent emotion of a musical score: An exploratory study. Paper presented at the 13th International Conference of Music Perception and Cognition and the 5th Conference of the Asia-Pacific Society for the Cognitive Sciences of Music Psychology, Seoul, South Korea, 4-8 August. In Moo Kyoung Song (Ed.), Proceedings of ICMPC13 - APSCOM-5 (pp. 124–126). South Korea: College of Music, Yonsei University.

Bodinger, M., Bisesi, E., & Parncutt, R. (2014). Listeners’ informal vocabulary for structure, expression, emotions and associations in piano music. Paper presented the 13th International Conference of Music Perception and Cognition and the 5th Conference of the Asia-Pacific Society for the Cognitive Sciences of Music Psychology, Seoul, South Korea, 4-8 August. In Moo Kyoung Song (Ed.), Proceedings of ICMPC13 – APSCOM-5 (pp. 76–79). South Korea: College of Music, Yonsei University.

Parncutt, R. (2013). Piano touch, timbre, ecological psychology, and cross-modal interference. Paper presented at International Symposium on Performance Science, Vienna, Austria, 28-31 August. In A. Williamon & W. Goebl (Ed.), Proceedings of the ISPS (pp. 763–768). Brussels, Belgium: European Association of Conservatoires. ppt pdf html

Parncutt, R., Bisesi, E., & Friberg, A. (2013). A preliminary computational model of immanent accent salience in tonal music. Presented at Stockholm Music Acoustics Conference and Sound and Music Computing Conference, Stockholm, Sweden, 30 July – 3 August. In R. Bresin (Ed.), Proceedings of SMC (pp. 335–340). Stockholm: KTH. ppt pdf

Parncutt, R., & Hair, G. (2013). Intervals as distances, not ratios: Evidence from tuning and intonation. Paper presented at International Symposium on Performance Science, Vienna, Austria, 28-31 August. In A. Williamon & W. Goebl (Ed.), Proceedings of ISPS (p. 593). Brussels, Belgium: European Association of Conservatoires. ppt pdf html
 
Bisesi, E., MacRitchie, J., & Parncutt, R. (2013). Structural communication in piano duos: Musical compatibility and individual differences in interpretation. Paper presented at International Symposium on Performance Science,Vienna, Austria, 28-31 August. In A. Williamon & W. Goebl (Ed.), Proceedings of ISPS (pp. 263–268). Brussels, Belgium: European Association of Conservatoires.

Bisesi, E., Eckl, F. J., Parncutt, R. (2013). What emotions and free associations characterize different musical styles? Paper presented at 3rd International Conference on Music and Emotion, Jyväskylä, Finland, 11-15 June. In G. Luck & O. Brabant (Ed.), Proceedings of ICME3 (pp. 148–158). Jyväskyla: Department of Music, University of Jyväskylä. http

Kruse-Weber, S., & Parncutt, R. (2013 i). Error tolerance and error prevention in music performance: Risk versus error management. Paper presented at International Symposium on Performance Science, Vienna, Austria, 28-31 August. In A. Williamon & W. Goebl  (Ed.), Proceedings of ISPS (pp. 27–32). Brussels, Belgium: European Association of Conservatoires. 

Vogt, K., Goudarzi, V., & Parncutt, R. (2013 j). Empirical aesthetic evaluation of sonifications. Paper presented at 19th International Conference on Auditory Display, Łódź, Poland, 6-10 July. In P. Strumiłło, M. Bujacz, & M. Popielata (Eds.), Proceedings of  ICAD-'13 (pp. 175 - 179). Łódź: Łódź University of Technology Press.  pdf

Weth, K., Kickinger, M., & Parncutt, R. (2013). Ambivalent emotions in music: We like sad music when it makes us happy. Paper presented at 3rd International Conference on Music and Emotion, Jyväskylä, Finland, 11-15 June. In G. Luck & O. Brabant (Ed.), Proceedings of the 3rd ICME (pp. 467–473). Finland: Department of Music, University of Jyväskylä.

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 presentations

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.*

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. 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. Virtuosity - An Interdisciplinary Symposium, Liszt Academy of Music, Budapest, Hungary.

Meave, A., & Parncutt, R. (2015). Entrenamiento auditivo sin referencia a las teorias tonales (Auditory training without reference to tonal theories). III Coloquio "La educación auditiva y la teoría de la música en la actualidad" (Colloquium "Ear training and music theory today", Coyoacán, Mexico, 26-28 October)

Parncutt, R. (2015). Implications for competition juries of music-psychological research on the evaluation of piano performance. The  competition, or music put to the test: Piano competitions from a psychological, sociological, historical and aesthetic perspective (Warsaw, 22-23 October) 

Parncutt, R. (2015). Does sad music just press our empathy button? International Conference on Music and Emotion (ICME4, Geneva, 12-16 October) pptx

Parncutt, R. (2015). 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). 5. Jahrestagung der Carl Stumpf Gesellschaft (Vienna, 2-4 October). 

Piber, B.,  Parncutt, R., Schneider, P., & Seither-Preisler, A. (2015). Pitch perception as pattern recognition: Evidence from individual differences in brain oscillations (poster). 21st Annual Meeting of the Organization for Human Brain Mapping (Hawaii, 14-18 June). pdf

Vogt, K., Rutz, H. H., Goudarzi, V., Höldrich, R., Steiner, A. K., Jury, M., Walter, R., & Parncutt, R. (2015). SysSon - A Framework for Systematic Sonification Design (poster). European Geosciences Union General Assembly (Vienna, Austria, 12-17 April.).

Parncutt, R. (2015). Urgeborgenheit and the origin of religious and musical emotion. 2nd International Conference on Music and Consciousness (Oxford, GB, 14-17 April) pptx

Parncutt, R. (2015). Influential climate denial: A massive human rights violation? Denialism and Human Rights (Maastricht, NL, 22-23 January) pdf ppt

Eckl, F., & Parncutt, R. (2014 o). Effects of music and alpha-wave frequencies on meditation (poster). International Conference of Students of Systematic Musicology (SysMus14, London, 18-20 September.

Tscherne, D., & Parncutt, R. (2014 p). Motivational qualities of music in exercise (poster). International Conference of Students of Systematic Musicology (SysMus14, London, 18-20 September)

Juwan, A, Eckel, G., & Parncutt, R. (2014 q). Loudness war and hypercompression: Quantifying the perception of compression effects (poster). International Conference of Students of Systematic Musicology (SysMus14, London, 18-20 September)

Parncutt, R., Fuchs, A., Gaich, A., & Kaiser, F. (2014 r). The perceptual history of consonance and dissonance: Counting vertical pitch-class sets in vocal polyphony. Medieval and Renaissance Music Conference (MedRen, Birmingham, England, 3-6 July) ppt 

*Parncutt, R. (2014 s). A comparative evaluation of current theories of the origin of music. International Summer School on Systematic Musicology and Sound and Music Computing (ISSSM, Genova, Italy, 15 March) ppt

*Parncutt, R., Kaiser, F., & Sapp, C. (2014 t). Historical development of tonal syntax: Counting pitch-class sets in 13th-16th century polyphonic vocal music (poster). Auditive Wissenskulturen (Graz, 18-21 June) 

Eckl, F. J., Bisesi, E., Friberg, A., & Parncutt, R. (2014). A computational model of immanent accent salience in tonal music: Perceptual evaluation. Paper presented at 13th International Conference of Music Perception and Cognition and the 5th Conference of the Asia-Pacific Society for the Cognitive Sciences of Music Psychology, Seoul, South Korea, 4-8 August. In Moo Kyoung Song (Ed.), Proceedings of ICMPC13 - APSCOM-5 (pp. 248–250). South Korea: College of Music, Yonsei University.

Parncutt, R. (2014 x). 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. (2014 y). 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). pdf

Serrallach, B., Gross, C., Zoellner, S., Guendert, N., Brunner, M., Parncutt, R., Seither-Preisler, A., & Schneider, P. (2014 z). 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). Neurosciences and Music (Dijon, France, 29 May - 1 June). 

Parncutt, R. (2013 l). 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 m). 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 n). 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 (poster). 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). Pulswahrnehmung als Gestalterkennung (Pulse perception as pattern recognition). Deutsche Gesellschaft für Musikpsychologie (Hannover, Germany, 23-25 September).

*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). 

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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