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Navid Bargrizan, Ph.D.

  • Faculty

Adjunct Instructor of Music Theory

Music
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Related Majors
Related Department
Music
College Major
Music History and Literature
Year Graduated
2018

As a musicologist, Navid Bargrizan conducts research on intersections of technology, philosophy, theater, and music; the sociopolitical implications of the popular music; and the 19th-century, German, Romantic tragedy. He joined the music-theory and music-history faculty of Texas A&M University-Commerce, in August 2019. He also teaches German language at Dallas Goethe Center.

As a composer, Navid experiments with microtones, tunings, intonations, and electronics. Since 2014, he has Experienced 13 premieres and more than 40 performances of his compositions in the North America and Europe, by virtuoso artists and ensembles.

He has presented papers on the music and aesthetics of Manfred Stahnke, Harry Partch, Mozart, and Roger Waters in Berlin, Kassel, Vienna, Salzburg, Istanbul, Toronto, Ottawa, Washington D.C., New York, Los Angeles, Boston, Sacramento, Pittsburgh, Dallas, Fort Worth, San Antonio, Kansas City, Memphis, Jacksonville, West Palm Beach, Baton Rouge, Hattiesburg, and Gainesville.

Educational Background

Academic Positions

  • Adjunct Professor, Music, Texas A&M University-Commerce, 2019-Present
  • Visiting Assistant Professor, Music Composition and Music Theory, University of Florida, 2018-2019
  • Teaching Fellow, Music Composition and Music Theory, University of Florida, 2013-2018

Awards and Honors

  • Short-Term Research Grant, DAAD (German Academic Exchange Service), 2020
  • American Prize for Composition, Instrumental Chamber Music Division (finalist), 2020
  • Faculty Research Incentive Award, University of Florida, 2019
  • Travel Grant, “Mikrotöne: Small is Beautiful” Symposium, Salzburg, Austria, 2019
  • Faculty Research Incentive Award, University of Florida, 2018
  • Composer-in-Residence, Harn Museum of Art, Gainesville, Florida, 2018
  • One-year Postdoctoral Research Fellowship, DAAD (declined), 2018
  • Doctoral Dissertation Award, University of Florida, Graduate School, 2018
  • Doctoral Supplemental Retention Award, University of Florida, Graduate School, 2018
  • Tedder Doctoral Fellowship, University of Florida, Center for the Humanities,2018
  • Travel Grant, “Mikrotöne: Small is Beautiful” Symposium, Salzburg, Austria, 2017
  • American Prize for Composition, Instrumental Chamber Music Division (finalist), 2017
  • Summer Doctoral Research Travel Award, University of Florida, Graduate School, 2016
  • Honorable Mention for Structure I, University of Florida, Arts Juried Art Exhibition, 2016
  • Three-month German Studies Pre-Dissertation Research Scholarship, DAAD, 2015
  • Best of College Creative Research Award, University of Florida, College of the Arts, 2015
  • Travel Grant, SAM Annual Conference, Sacramento, Society for American Music, 2015
  • Travel Grant, “Mikrotöne: Small is Beautiful” Symposium, Salzburg, Austria, 2015
  • Robert and Beverly Singer School of Music Fellowship, University of Florida, 2013
  • Four-year Graduate School Doctoral Fellowship, University of Florida, 2013
  • Certificate for Intercultural Competence, University of Hamburg, International Office, 2012
  • Travel Grant, Institut für neue Musik und Musikerziehung, Darmstadt, Germany, 2012
  • Scholarship, University of Hamburg, International Office, 2010
  • Scholarship, University of Hamburg, International Office, 2010

Professional Organizations

Featured Courses

MUS 1117 Ear Training II
MUS 1312 Theory II
MUS 2117 Ear Training IV
MUS 318 Counterpoint

Selected Publications

  • Articles, Book Chapters, Dictionary Entries, Proceeding Papers, and Interviews “Manfred Stahnke,” in Grove Music Dictionary (Oxford: Oxford University Press, forthcoming).
  • “The Lineage from Harry Partch To Manfred Stahnke: How American Just Intonation Influenced European Microtonalists,” in Just Writings: Perspectives on Harry Partch, ed. S. Andrew Granade (Rochester: University of Rochester Press, forthcoming).
  • “Hybrid Meloharmonic Structures in Manfred Stahnke’s Dramatic Works,” in Mikrotöne: Small Is Beautiful I, ed. Agustín Castilla-Ávila (Salzburg: Mackinger-Verlag, 2019), 51–59.
  • “Parallel Trajectories in Manfred Stahnke’s Operas,” eContact! Online Journal for Electroacoustic Practices 18, no. 4 (2017), http://econtact.ca/18_4/bargrizan_stahnke.html.
  • “The Monkey is Amused to Death: Roger Waters’s Masterpiece and its Commercial Failure,” in Systematische Musikwissenschaft: Popular Music Studies Today, ed. Julia Merrill (Heidelberg: Springer, 2017), 25–33.
  • “Technology, Microtones, and Mediation in Manfred Stahnke’s Orpheus Kristall,” Müzik-Bilim Dergisi: The Journal of Musicology 1, no. 6 (2015), 11–28.
  • “Interview with Don Freund, composer-in-residence of the 50th Anniversary National Conference of the Society of Composers, Inc.,” Newsletter of Society of Composers, Inc., XLV, no. 4 (2015), 1–6.
  • “Digital Media and Intermediality in Manfred Stahnke’s Orpheus Kristall,” in Proceedings of MUSICULT’ 15 Music and Cultural Studies Conference (Istanbul: Istanbul Technical University, 2015), 367–375.
  • “A New Opera Concept: An Identity Quest Mediated by Digital Media and Microtones in Manfred Stahnke’s Orpheus Kristall,” in Proceedings of the 9th Conference for Interdisciplinary Musicology (Berlin: Staatliches Institut für Musikforschung, 2014), 43–47.
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