| Year |
Citation |
Score |
| 2019 |
Schiavio A, Gesbert V, Reybrouck M, Hauw D, Parncutt R. Optimizing Performative Skills in Social Interaction: Insights From Embodied Cognition, Music Education, and Sport Psychology. Frontiers in Psychology. 10: 1542. PMID 31379644 DOI: 10.3389/Fpsyg.2019.01542 |
0.314 |
|
| 2019 |
Schiavio A, van der Schyff D, Biasutti M, Moran N, Parncutt R. Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings. Frontiers in Psychology. 10: 737. PMID 31001179 DOI: 10.3389/Fpsyg.2019.00737 |
0.316 |
|
| 2019 |
Bisesi E, Friberg A, Parncutt R. A Computational Model of Immanent Accent Salience in Tonal Music. Frontiers in Psychology. 10: 317. PMID 30984047 DOI: 10.3389/Fpsyg.2019.00317 |
0.376 |
|
| 2019 |
Parncutt R, Sattmann S, Gaich A, Seither-Preisler A. Tone Profiles of Isolated Musical Chords: Psychoacoustic Versus Cognitive Models Music Perception: An Interdisciplinary Journal. 36: 406-430. DOI: 10.1525/Mp.2019.36.4.406 |
0.373 |
|
| 2018 |
Parncutt R, Hair G. A Psychocultural Theory of Musical Interval: Bye Bye Pythagoras Music Perception: An Interdisciplinary Journal. 35: 475-501. DOI: 10.1525/Mp.2018.35.4.475 |
0.369 |
|
| 2018 |
Parncutt R. Mother–infant attachment, musical idol worship, and the origins of human behaviour: Musicae Scientiae. 22: 474-493. DOI: 10.1177/1029864918783034 |
0.303 |
|
| 2015 |
Cenkerová Z, Parncutt R. Style-Dependency of Melodic Expectation Music Perception: An Interdisciplinary Journal. 33: 110-128. DOI: 10.1525/Mp.2015.33.1.110 |
0.31 |
|
| 2013 |
Parncutt R. Major-Minor Tonality, Schenkerian Prolongation, and Emotion: A commentary on Huron and Davis (2012) Empirical Musicology Review. 7: 118-137. DOI: 10.18061/Emr.V7I3-4.3731 |
0.306 |
|
| 2011 |
Bisesi E, Parncutt R. An Accent-Based Approach to Automatic Rendering of Piano Performance: Preliminary Auditory Evaluation Archives of Acoustics. 36: 283-296. DOI: 10.2478/V10168-011-0022-Z |
0.323 |
|
| 2011 |
Parncutt R. The Tonic as Triad: Key Profiles as Pitch Salience Profiles of Tonic Triads Music Perception: An Interdisciplinary Journal. 28: 333-366. DOI: 10.1525/Mp.2011.28.4.333 |
0.308 |
|
| 2006 |
Parncutt R. Commentary on Cook & Fujisawa’s “The Psychophysics of Harmony Perception: Harmony is a Three-Tone Phenomenon” Empirical Musicology Review. 1: 204-209. DOI: 10.18061/1811/24149 |
0.36 |
|
| 2006 |
Parncutt R. Commentary on Keith Mashinter’s "Calculating Sensory Dissonance: Some Discrepancies Arising from the Models of Kameoka & Kuriyagawa, and Hutchinson & Knopoff" Empirical Musicology Review. 1: 201-203. DOI: 10.18061/1811/24148 |
0.334 |
|
| 2002 |
Parncutt R, McPherson GE. The Science and Psychology of Music Performance Creative Strategies for Teaching and Learning Research Studies in Music Education. 19: 78-78. DOI: 10.1177/1321103X020190010803 |
0.301 |
|
| 2000 |
Parncutt R, Bregman AS. Tone profiles following short chord progressions: top-down or bottom-up? Music Perception. 18: 25-57. DOI: 10.2307/40285900 |
0.343 |
|
| 1999 |
Bigand E, Parncutt R. Perceiving musical tension in long chord sequences. Psychological Research. 62: 237-54. PMID 10652864 DOI: 10.1007/S004260050053 |
0.341 |
|
| 1999 |
Parncutt R, Sloboda JA, Clarke EF. Interdependence of Right and Left Hands in Sight-Read, Written, and Rehearsed Fingerings of Parallel Melodic Piano Music Australian Journal of Psychology. 51: 204-210. DOI: 10.1080/00049539908255357 |
0.58 |
|
| 1998 |
Parncutt R. Listening to music in the real world? A critical discussion of Marc Leman's (1995) music and schema theory: Cognitive foundations of systematic musicology * Journal of New Music Research. 27: 380-408. DOI: 10.1080/09298219808570754 |
0.391 |
|
| 1998 |
Sloboda JA, Clarke EF, Parncutt R, Raekallio M. Determinants of finger choice in piano sight-reading. Journal of Experimental Psychology: Human Perception and Performance. 24: 185-203. DOI: 10.1037/0096-1523.24.1.185 |
0.555 |
|
| 1997 |
Parncutt R, Sloboda JA, Clarke EF, Raekallio M, Desain P. An Ergonomic Model of Keyboard Fingering for Melodic Fragments Music Perception. 14: 341-382. DOI: 10.2307/40285730 |
0.593 |
|
| 1997 |
Thompson WF, Parncutt R. Perceptual Judgments of Triads and Dyads: Assessment of a Psychoacoustic Model Music Perception. 14: 263-280. DOI: 10.2307/40285721 |
0.353 |
|
| 1997 |
Clarke E, Parncutt R, Raekallio M, Sloboda J. Talking Fingers: An Interview Study of Pianists' Views on Fingering Musicae Scientiae. 1: 87-107. DOI: 10.1177/102986499700100106 |
0.576 |
|
| 1997 |
Parncutt R. A Model of the Perceptual Root(s) of a Chord Accounting for Voicing and Prevailing Tonality Lecture Notes in Computer Science. 181-199. DOI: 10.1007/Bfb0034114 |
0.336 |
|
| 1996 |
Bigand E, Parncutt R, Lerdahl F. Perception of musical tension in short chord sequences: the influence of harmonic function, sensory dissonance, horizontal motion, and musical training. Perception & Psychophysics. 58: 124-41. PMID 8668513 DOI: 10.3758/Bf03205482 |
0.332 |
|
| 1994 |
Parncutt R. Template‐matching models of musical pitch and rhythm perception Journal of New Music Research. 23: 145-167. DOI: 10.1080/09298219408570653 |
0.309 |
|
| 1993 |
Parncutt R. Pitch properties of chords of octave-spaced tones Contemporary Music Review. 9: 35-50. DOI: 10.1080/07494469300640331 |
0.346 |
|
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