Navid Bargrizan

Visiting Assistant Professor of Music

VUCA 2507


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 dictionaryentry 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: