Navid Bargrizan is a Ph.D. candidate and a fellow in historical musicology at University of Florida, pursing a cognate in composition. Previously, he studied systematic musicology, historical musicology, art history, and composition, in Hamburg and Tehran. Throughout his education, his most important mentors have been Hamidreza Dibazar, Mehran Rouhani, Mostafa-Kamal Pourtorab, Sharif Lotfi, Albrecht Schneider, Manfred Stahnke, Silvio dos Santos, and Jennifer Thomas. As a musicologist, Navid conducts research on intersections of science, philosophy, and music. He has presented papers on the music and aesthetics of Manfred Stahnke, Harry Partch, and Mozart in Berlin, Salzburg, Istanbul, Toronto, Ottawa, Washington DC, New York, Sacramento, Boston, Dallas, West Palm Beach, and Gainesville in such venues as the Society for American Music, German Studies Association, Conference for Interdisciplinary Musicology, Conference of the Canadian University Music Society, Microtones: Small is Beautiful Symposium at the Mozarteum, Conference of the Southeastern American Society for Eighteenth-Century Studies, Musicult 15' Music and Cultural Studies Conference at the Istanbul Technical University, and the regional American Musicological Society meetings of the New England and the Southern chapters. Navid’s papers are published in the proceedings of the 9th Conference of Interdisciplinary Musicology at the National Institute of Music Research Berlin, and the MUSICULT ‘15 Music and Cultural Studies Conference hosted by Istanbul Technical University and Turkish State Music Conservatory. His article "Microtones, Technology, and Mediation in Manfred Stahnke's Orpheus Kristall" is published in Müzik-Bilim Dergisi, The Journal of Musicology, in their spring 2015 issue. Navid's interview with Don Freund, the composer-in-residence of the 2015 national conference of Society of Composers Inc, is published in the July/August 2015 issue of SCI's Newsletter. His review of S. Andrew Granade's Harry Partch, The Hobo Composer is forthcoming in the Journal of Society for American Music. The same journal will also publish Navid's review of the new Keppler Quartet's recording of Ben Johnston's string quartets. As a composer, Navid experiments with microtones, tunings, tone systems, intonations, and electronics. His music is performed in USA, Canada, Germany, Italy, and Iran, in venues such as New York City Electroacoustic Music Festival 2016, Toronto International Electroacoustic Symposium, Stacks/Collapss concerts in Greensboro North Carolina, Midwest Graduate Music Consortium at Northwestern University, 3rd Florida Contemporary Music Festival, Unbalanced Connection 57 Electroacoustic semi-annual concerts and the 2015 student chapter concert of the Society for Composers Inc. at University of Florida. While at University of Florida, Bargrizan has studied composition with Paul Richards, Paul Koonce, and James Paul Sain. Navid's appearances as conductor include, among others, the winter 2016 concert of the UF New Music Ensemble in the performance of the Gérard Grisey's Périodes and Luke Dahn's Penumbrae, and the 2015 performance of his own woodwind quintet Tuning Exercise Nr.1 by the Great Southern Woodwind Quintet, both at University of Florida. He has worked as instructor for music appreciation courses at University of Florida, since 2013. Prior to that, he had been working as teaching assistant and tutor for various music history and music theory courses at University of Florida and University of Hamburg. The courses that he has taught or assisted in include "Introduction to the Music Literature," "Music as a Social Experience," "Graduate Music History Review," "Music History Survey III: 19th and 20th-Century Music," "Renaissance Counterpoint," "Functional Harmony," and "Figured Bass." In summer 2015, DAAD (German Academic Exchange Service) awarded Navid a generous German Studies scholarship which enabled him to conduct his pre-dissertation research in Germany. He has received a 2016 Doctoral Research Travel Award by University of Florida's Graduate School to conduct parts of his dissertation research at the archives containing Harry Partch's and Ben Johnston's materials at the University of Illinois, University of California in San Diego, and at Northwestern University. He was awarded University of Florida’s College of Arts 2015 Best of College Creative Research Award for his composition 10 Aphorisms for Saxophone Duo, and the 2013 Robert T. and Beverly N. Singer Music School Fellowship. He was given an honorable mention for his piece Structure I for 10 instruments, in 2015 Fine Arts College Council Juried Art Exhibition, at University of Florida. He has received several travel grants and other scholarships by University of Florida, University of Hamburg, Government of Salzburg Austria, Society for American Music, and Institut fuer neue Musik und Musikerziehung Darmstadt.


10 Aphorisms for Saxophone Duo

PDF score

10 Aphorisms is a collection of short pieces for soprano and tenor saxophone, which applies minimum pitch materials by means of using a peculiar harmony system, called “difference-tone harmony.” This piece intends to break through the boundaries of equal temperament and the common practice of the Western music up to the thirteenth partial in the overtone series. Hence, each of these short ten aphorisms contains a specific just-tuned interval in the soprano saxophone and the quadratic- as well as the cubic difference tones of this interval in the tenor saxophone.