He was a guest researcher under Ernst Terhardt (Munich), Johan Sundberg (Stockholm), Annabel Cohen (Halifax, Canada), Al Bregman (Montreal), Helga de la Motte-Haber (Berlin) and John Sloboda (Keele, England).

The psychoacoustic model of harmony proposed by Parncutt in 1989[1] was adapted from the more general pitch algorithm of Ernst Terhardt, published in 1982.

[2] The model assumes that the auditory system treats all acoustic input similarly, whether it is a single tone or a musical chord.

The psychoacoustic effects of auditory masking are then taken into account before a "template" of the harmonic series is compared with the input spectrum.

In Parncutt's approach this comparison yields a number of properties of the sound, including tonalness, multiplicity, and salience.

Intriguingly, for most chords multiplicity values are less than the actual number of constituent tones—a prediction that has been validated empirically.

[4] He argues that the tonic (or main psychological pitch reference) in major–minor music is generally a chord rather than a tone or a scale; the theory is consistent with Heinrich Schenker's idea that a passage of a music is a prolongation of its tonic triad[5] as well as Carol Krumhansl's key profiles.

Convicts should also have the chance to reprieve to life imprisonment, if they withdraw, publicly repent and commit themselves to "participate significantly and positively over a long period in programs to reduce the effects of global warming (from jail) – using much the same means that were previously used to spread the message of denial".

I am simply presenting a logical argument", but then finished: "At the end of that process, some global warming deniers would never admit their mistake and as a result they would be executed.

He then doubted his argument, saying "People will be saying that Parncutt has finally lost it"—but in the year 2050 "perhaps the Pope would even turn me into a saint".