Navid Bargrizan
Nearly all of Navid Bargrizan’s compositions explore intonational and tuning concepts, both in acoustic and electroacoustic contexts. Since 2014, his experiments with microtonality have resulted in 15 premieres and more than 50 performances of his works in the North America and Europe, for instance at New York City Electroacoustic Music Festival, Toronto International Electroacoustic Symposium, Eastern Music Festival, Florida Contemporary Music Festival, Midwest Music Consortium, Conferences of the Society of Composers, Inc., Mikrotöne Symposia at Mozarteum Salzburg, and Modern Mondays Concert Series in Copenhagen, as well as at Art NOW and Pro Musica concert series in North Carolina. Virtuoso musicians and ensembles such as Laurent Estoppey, Steve Stusek, Susan Fancher, Tolgahan Çoğulu, Jonas Frølund, Amy Lidell, Boston String Quartet, and Bold City Contemporary Ensemble have performed and recorded his works, and he was a 2018 Composer-In-Residence of the Harn Museum of Art (Gainesville, Florida). For his woodwind quintet Tuning Exercise No. 1 and his piece for microtonal adjustable guitar Se-Chahar-Gah, American Prize for Composition chose him as a finalist in its 2017 and 2020 editions, and his music is published under Navona and Ravello labels by Parma Recordings.
Dr. Bargrizan’s research projects examine the music-philosophical and music-theoretical ideas of composers Manfred Stahnke, Harry Partch, Mozart, and Roger Waters, as well as the singer and author Carla Henius. They have led to publications in the USA, Canada, Germany, Austria, and Turkey, such as in the Journal of the Society for American Music, eContact! Online Journal for Electroacoustic Practices, Systematische Musikwissenschaft: Popular Music Studies Today, and Müzik Bilim Dergisi: Journal of Musicology. His forthcoming publications include a Grove Music dictionary entry on Stahnke (Oxford University Press) and a chapter on Partch’s influence on European microtonalists in Just Writings: Perspectives on Harry Partch (ed. S. Andrew Granade, University of Rochester Press). He has presented aspects of his research at several conferences, including the national meetings of the Society for Music Theory, American Musicological Society, German Studies Association, Society for American Music, and International Association of the Study of Popular Music, as well as in Berlin, Kassel, Vienna, Salzburg, Lucca, Toronto, Ottawa, and Istanbul. Soon he will be presenting research papers at the upcoming conferences of the German Studies Association in Indianapolis (September 2021) and the Society for Music Theory in Jacksonville (November 2021). He has received awards such as a one-year DAAD Postdoctoral Fellowship, DAAD Short-Term and DAAD German Studies Scholarships, Tedder Fellowship of the Center for Humanities and Public Sphere of the University of Florida, UF Faculty Research Incentive Award, UF Graduate School Doctoral Research Award, and UF Best of College of the Arts Creative Research Award, as well as grants from Institut für neue Musik und Musikerziehung Darmstadt, International Ekmelik Music Society Salzburg, and International Office of the Universität Hamburg.
Dr. Bargrizan worked as a Visiting Assistant Professor of Music Composition and Theory, as well as Adjunct Lecturer of General Humanities and German Language, at the University of Florida. At this institution and Universität Hamburg, he earned degrees in Music History and Literature; Music Composition, Theory and Technology; Systematic Musicology; and Art History. He also served as an Adjunct Professor of Music (Theory and History) at Texas A&M University-Commerce and Instructor of German Language at Dallas Goethe Center (official website: www.navidbargrizan.com). Navid was a Visiting Assistant Professor of Music (Composition, Musicianship, History) and the Coordinator of the Composition Area at Valparaiso University (Indiana, USA). At the same time, he directed VUNUMU (Valparaiso University New Music Ensemble) and worked as a composer-performer at ValpLork (Valparaiso University Laptop Orchestra). Currently, Navid serves as an Assistant Professor of Musicology at East Carolina University.
Dr. Bargrizan’s research projects examine the music-philosophical and music-theoretical ideas of composers Manfred Stahnke, Harry Partch, Mozart, and Roger Waters, as well as the singer and author Carla Henius. They have led to publications in the USA, Canada, Germany, Austria, and Turkey, such as in the Journal of the Society for American Music, eContact! Online Journal for Electroacoustic Practices, Systematische Musikwissenschaft: Popular Music Studies Today, and Müzik Bilim Dergisi: Journal of Musicology. His forthcoming publications include a Grove Music dictionary entry on Stahnke (Oxford University Press) and a chapter on Partch’s influence on European microtonalists in Just Writings: Perspectives on Harry Partch (ed. S. Andrew Granade, University of Rochester Press). He has presented aspects of his research at several conferences, including the national meetings of the Society for Music Theory, American Musicological Society, German Studies Association, Society for American Music, and International Association of the Study of Popular Music, as well as in Berlin, Kassel, Vienna, Salzburg, Lucca, Toronto, Ottawa, and Istanbul. Soon he will be presenting research papers at the upcoming conferences of the German Studies Association in Indianapolis (September 2021) and the Society for Music Theory in Jacksonville (November 2021). He has received awards such as a one-year DAAD Postdoctoral Fellowship, DAAD Short-Term and DAAD German Studies Scholarships, Tedder Fellowship of the Center for Humanities and Public Sphere of the University of Florida, UF Faculty Research Incentive Award, UF Graduate School Doctoral Research Award, and UF Best of College of the Arts Creative Research Award, as well as grants from Institut für neue Musik und Musikerziehung Darmstadt, International Ekmelik Music Society Salzburg, and International Office of the Universität Hamburg.
Dr. Bargrizan worked as a Visiting Assistant Professor of Music Composition and Theory, as well as Adjunct Lecturer of General Humanities and German Language, at the University of Florida. At this institution and Universität Hamburg, he earned degrees in Music History and Literature; Music Composition, Theory and Technology; Systematic Musicology; and Art History. He also served as an Adjunct Professor of Music (Theory and History) at Texas A&M University-Commerce and Instructor of German Language at Dallas Goethe Center (official website: www.navidbargrizan.com). Navid was a Visiting Assistant Professor of Music (Composition, Musicianship, History) and the Coordinator of the Composition Area at Valparaiso University (Indiana, USA). At the same time, he directed VUNUMU (Valparaiso University New Music Ensemble) and worked as a composer-performer at ValpLork (Valparaiso University Laptop Orchestra). Currently, Navid serves as an Assistant Professor of Musicology at East Carolina University.
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Papers by Navid Bargrizan
As Partch did, Stahnke has rejected the dominance of twelve-tone equal temperament, grappling with just intonation, as well as non-Western and ancient tuning systems. The analysis of the aesthetic decisions, compositional procedures, and microtonal structures in Partch’s and Stahnke’s works articulates the strong link between both composers. In their works, microtonality goes beyond functioning as a mere formative element; it becomes a means to mediate their cultural discourse on the limited scope of the commercialized Western art music. I demonstrate that Partch’s theory of microtonality—especially his concepts of tonality diamond, otonality, and utonality have influenced Stahnke’s opera Der Untergang des Hauses Usher (1981) based on a short novel by Edgar Allen Poe, as well as his instrumental pieces Diamantenpracht (2005) and Partch Zither (2007).
The analysis of the interrelationships between aesthetic decisions, microtonal structures, technological aspects, and theatrical innovations in Partch’s and Stahnke’s stage works articulates the link between both composers. These interrelationships go beyond functioning as mere formative elements; they become means to mediate the philosophical, mythical, ritual, and psychological connotations of Partch’s and Stahnke’s music-theatrical works, as well their cultural discourse. Examining Partch’s Oedipus (1950), The Bewitched (1955), and Delusion of the Fury (1966), as well as Stahnke’s Der Untergang des Hauses Usher (1981), Wahnsinn das ist die Seele der Handlung (1982), Heinrich IV (1986), and Orpheus Kristall (2001), demonstrate the scope of their cultural criticism and the link between them.
Dark Side of the Moon, or The Wall. Disputing the opinions of the pundits and the fans, in this paper I argue that the foremost reason for the negative reception of Amused to Death was Waters’ unprecedented socio-political criticism of the mass media and warfare, where he articulates that the broadcasting of war has become a form of entertainment in the television news. Following his path in writing Pink Floyd’s seminal concept albums, in Amused to Death Waters declares his harshest and gloomiest pacifistic and socialistic messages, which have evoked the adverse reactions to it. He not only denounces the superficial entertainment industry, but also tears apart the idea of war. Exploring Waters’ conceptual, lyrical, and compositional genius, as well as album’s Grammy-winning mix and sound-effects, I assert that Amused to Death stands out as Waters’ highest achievement both in the musical content and its extra-musical manifesto.
I argue that the Internet, as a technological artifact, embodies the role of mediation in Orpheus Kristall, clarifying the allegorical relationship between Orpheus and his extended world. I explore the allegorical representation of key contemporary existential issues within Orpheus Kristall, represented by Stahnke’s innovative use of digital media, microtonality, and mythology.
Don Freund is the featured composer for the 2015 SCI National
Conference at the University of Florida. Since 1992,
Don has been a professor of composition at Indiana University,
and from 1972 to 1992 he was the chair of the composition
department at the Memphis State University. While
Freund’s numerous compositions cover a wide range of styles
and genres, his scores are published by Lauren Keiser Music,
Boosey and Hawkes, E.C. Schirmer, Seesaw and Vivace Press.
As a composer-in-residence and guest-lecturer Freund has
appeared around the world at national and international festivals
in the USA, Australia, Belgium, Austria, U.K. Czech Republic,
Netherlands, South Korea, Japan, Hong Kong and
Thailand. As the coordinator of several festivals, Freund has
programmed over 1,000 new American works throughout his
career. He has received numerous awards, grants and commissions,
e.g., twice form the National endowment for the
Arts, a Guggenheim, as well as a Macgeorge Fellowship,
Hanson Prize, the McCurdy Prize, The Aspen Prize and 25
ASCAP Awards.
The following is a truncated version of a longer phone interview
conducted on September 19, 2015 where Don
Freund and I discussed his career, compositions and his advice
to young composers.
Through analysis of its intricate musical structures and technological dimensions, I demonstrate that Orpheus Kristall is a successful example of a multimedia art piece that draws upon mythology in order to address complex questions related to cultural and personal identity, while shedding light on the subtle amalgamation of the technology and microtonality.
Conference Presentations by Navid Bargrizan
As Partch did, Stahnke has rejected the dominance of twelve-tone equal temperament, grappling with just intonation, as well as non-Western and ancient tuning systems. The analysis of the aesthetic decisions, compositional procedures, and microtonal structures in Partch’s and Stahnke’s works articulates the strong link between both composers. In their works, microtonality goes beyond functioning as a mere formative element; it becomes a means to mediate their cultural discourse on the limited scope of the commercialized Western art music. I demonstrate that Partch’s theory of microtonality—especially his concepts of tonality diamond, otonality, and utonality have influenced Stahnke’s opera Der Untergang des Hauses Usher (1981) based on a short novel by Edgar Allen Poe, as well as his instrumental pieces Diamantenpracht (2005) and Partch Zither (2007).
The analysis of the interrelationships between aesthetic decisions, microtonal structures, technological aspects, and theatrical innovations in Partch’s and Stahnke’s stage works articulates the link between both composers. These interrelationships go beyond functioning as mere formative elements; they become means to mediate the philosophical, mythical, ritual, and psychological connotations of Partch’s and Stahnke’s music-theatrical works, as well their cultural discourse. Examining Partch’s Oedipus (1950), The Bewitched (1955), and Delusion of the Fury (1966), as well as Stahnke’s Der Untergang des Hauses Usher (1981), Wahnsinn das ist die Seele der Handlung (1982), Heinrich IV (1986), and Orpheus Kristall (2001), demonstrate the scope of their cultural criticism and the link between them.
Dark Side of the Moon, or The Wall. Disputing the opinions of the pundits and the fans, in this paper I argue that the foremost reason for the negative reception of Amused to Death was Waters’ unprecedented socio-political criticism of the mass media and warfare, where he articulates that the broadcasting of war has become a form of entertainment in the television news. Following his path in writing Pink Floyd’s seminal concept albums, in Amused to Death Waters declares his harshest and gloomiest pacifistic and socialistic messages, which have evoked the adverse reactions to it. He not only denounces the superficial entertainment industry, but also tears apart the idea of war. Exploring Waters’ conceptual, lyrical, and compositional genius, as well as album’s Grammy-winning mix and sound-effects, I assert that Amused to Death stands out as Waters’ highest achievement both in the musical content and its extra-musical manifesto.
I argue that the Internet, as a technological artifact, embodies the role of mediation in Orpheus Kristall, clarifying the allegorical relationship between Orpheus and his extended world. I explore the allegorical representation of key contemporary existential issues within Orpheus Kristall, represented by Stahnke’s innovative use of digital media, microtonality, and mythology.
Don Freund is the featured composer for the 2015 SCI National
Conference at the University of Florida. Since 1992,
Don has been a professor of composition at Indiana University,
and from 1972 to 1992 he was the chair of the composition
department at the Memphis State University. While
Freund’s numerous compositions cover a wide range of styles
and genres, his scores are published by Lauren Keiser Music,
Boosey and Hawkes, E.C. Schirmer, Seesaw and Vivace Press.
As a composer-in-residence and guest-lecturer Freund has
appeared around the world at national and international festivals
in the USA, Australia, Belgium, Austria, U.K. Czech Republic,
Netherlands, South Korea, Japan, Hong Kong and
Thailand. As the coordinator of several festivals, Freund has
programmed over 1,000 new American works throughout his
career. He has received numerous awards, grants and commissions,
e.g., twice form the National endowment for the
Arts, a Guggenheim, as well as a Macgeorge Fellowship,
Hanson Prize, the McCurdy Prize, The Aspen Prize and 25
ASCAP Awards.
The following is a truncated version of a longer phone interview
conducted on September 19, 2015 where Don
Freund and I discussed his career, compositions and his advice
to young composers.
Through analysis of its intricate musical structures and technological dimensions, I demonstrate that Orpheus Kristall is a successful example of a multimedia art piece that draws upon mythology in order to address complex questions related to cultural and personal identity, while shedding light on the subtle amalgamation of the technology and microtonality.