Digital fabrication for musical applications, interface and instrument design, musical acoustics, sound synthesis, performance systems, music perception

University of Michigan

PAT 454: Digital Fabrication for Acoustics, Winter 2017-20

PAT 461: Performance Systems, Winter 2016-20

PAT 462: Digital Sound Synthesis, Winter, 2016, Fall, 2016-20

PAT 101: Freshman Seminar in Media Arts, Fall 2015-20

PAT 451: Interactive Media Design I, Fall 2015

class="subDetails">Stanford University

Embedded DSP with Faust, Summer Workshop, 2019

Mobile Synthesizers I and II, Summer Workshop, 2017

The Composed Instrument, Summer Workshop, 2016

3D-Printing for Acoustics, Summer Workshops, 2013 and 2014

2012-2015, PhD in Computer-Based Music Theory and Acoustics, Stanford University

2012 Masters of Arts: Computer Based Music Theory and Acoustics, Stanford University

2007-2010 Masters of Science: Psychoacoustics University of Lethbridge

2002 Luthier course with George Riszany, Nova Scotia

2001-2002 French, Intensive Study, l’Université de Laval, Québec, PQ

1994-1999 Bachelor of Arts, English, University of Lethbridge

2023 Arts Initiative, Arts & Curriculum Grant with Deb Mexicotte

2021-23 Visualizing Telematic Music Performance Faculty Engineering/Arts Student Teams project stipend

2020 President's Arts Initiative Exploration Pilot Grant, Visualizing Telematic Performance with Michael Gurevich and Matt Albert.

2019 MCubed grant, Materializing and Making Ethics, Society, and Computing, with John Cheney-Lippold and William Calvo-Quiros

2018 Humanities Collaboratory Grant, Sensing Algorithms with Christian Sandvig, Sophia Brueckner, Catie Newell and William Calvo-Quiros

2018 Humanities Collaboratory Proposal Preparation Grant with above team

2018 High Wire Grant with Joo Won Park (Wayne State) and Lyn Goeringer (Michigan State University).

2017 Bicentennial Activity Grant: A Carillon Lab for the 21st Century with Dr. Tiffany Ng (Organ department).

2017 Taubman School of Architecture, Research Through Making Grant with Catie Newell (Architecture) and Kim Harty (College of Creative Studies, Detroit).

2017 Co-Author of Best paper at New Instruments for Musical Expression, Copenhagen.

2013 Best student paper in Musical Acoustics, Acoustical Society of America, San Francisco.

2012 Canada Council for the arts ACDI grant for installation in Lyon France


2010 Humanity and Science Fellowship, Centre for Computer Research in Music and Acoustics,Department of Music, Stanford University

2008–2009 Ferguson Hope Scholarship, University of Lethbridge

2008 - Graduate Citizenship Award, University of Lethbridge

2007 Alberta Graduate Scholarship, University of Lethbridge

2007 SGS MSc Entrance Award, University of Lethbridge

Algargoosh, A., Navvab, M., Granzow, J. (2022) A Method for Analyzing Room Modes Using Auralization, Journal of Applied Acoustics.

Çamcı, A., Granzow, J. (2022) Augmented Touch: A Mounting Adapter for Oculus Touch Controllers that enables New Hyperreal Instruments, Journal of New Interfaces for Musical Expression.

Granzow, J., Vilaplana, M., Çamcı, A. (2020) Capturing Kinetic Wave Demonstrations for Sound Control. Proceedings of Audio Mostly, Linz, Austria

Granzow, J., Camçı, A. “Recreating a Rare Instrument Using VR and Fabrication: A Hyperreal Instrument Case Study” Proceedings of Forum Acousticum, Lyon, France, 2020 (postponed due to Covid-19).

Çamcı, A., Granzow, J. (equal co-authors). “Hyperreal Instruments: Bridging VR and Fabrication to Facilitate New Forms of Musical Expression” Leonardo Music Journal, Volume 29 - December 2019 p.14-18.

Algargoosh, A., Granzow, J. (2019) “Developing a new method for analyzing room acoustics based on auralization”, The Journal of the Acoustical Society of America 146.

Granzow, J., Ng, T, Chafe, C., Michon, R. “Mending Bells and Closing Belfries” 1st International Faust Conference, Johannes Gutenburg University, Mainz, July 2018.

Michon, R., Smith, J., Wright, M., Chafe, C., Granzow, J., Wang, G. “Mobile Music, Sensors, Physical Modeling, and Digital Fabrication: Towards Mobile-Device-Based Hybrid Musical Instruments” Applied Sciences Journal, 2017.

Granzow, J., Newell, C., Harty, K. “String Section.” Proceedings of the 37th Annual Conference of the Association for Computer Aided Design in Architecture. Massachusetts Institute of Technology, 2017.

Ng, T., Granzow, J. “Hack The Bells: Using the Carillon to Drive Teaching Innovation.” Proceedings of the World Carillon Congress. Barcelona, 2017.

Michon, R., Smith, J., Wright, M., Chafe, C., Granzow, J., Wang, G. "Passively Augmenting Mobile Devices Towards Hybrid Musical Instrument Design” In Proceedings of the International Conference on New Interfaces for Musical Expression. Copenhagen, 2017. (Winner of Best paper award)

Granzow, J. "Encounterpoint: The ungainly instrument as co-performer", in Live-Electronic Music: Composition, Performance, Study, editor Friedemann Sallis, Routledge (In Press).

Granzow, J., Rossing, T., Egbert, P. Bionic pitch benders for free reed instruments. In Prceedings of Vienna Talk 2015.

Granzow, J., O'Brien, T., Ford, D., Yeh, Y., Hur, Y., Mostowfi, D., and Abel, J. An open-source spherical microphone array design. In proceedings of the Acoustical Society of America. Pittsburgh, April, 2015.

hang, M. Granzow, J, Ren, G, and Bocko, M. Timbre imitation and adaptation for experimental music instruments: An interactive approach using real-time digital signal processing framework. In proceedings of the audio engineering society. Los Angeles, Oct, 2014.

Granzow, J. and Choi, H. “Drawn to Sound: An audio visual musical instrument using custom electronics and magnetometer” In Proceedings of the The Acoustical Society of America. San Francisco, Dec, 2013.

Granzow, J., Egbert, P., Barrett, D., and Rossing, T. “Digital fabrication of vocal tract models from magnetic resonance imaging during expert pitch bending on the harmonica” In Proceedings of the The Acoustical Society of America. San Francisco, Dec, 2013. Winner of Best paper for Musical Acoustics

Chafe, C. and Granzow, J. LAIR: Local Area Internet Rooms, Proceedings of Meetings on Acoustics, Acoustical Society of America. Montreal, June 2013

Choi, H., Granzow, J., Sadler, J. “The Deckle Project : A Sketch of Three Sensors” In Proceedings of the International Conference on New Interfaces for Musical Expression. Ann Arbor, 2012

Granzow, J. (2011). [Review of the book Absolute Music, mechanical Reproduction, by Arved Ashby]. Make Literary Magazine,http://makemag.com/5091-2/.

Granzow, J., Vokey, J.R. (2010) (accepted with revisions). Embodied Cognition of Pitch Direction, Journal of Experimental Psychology: Human Perception and Performance

Granzow, J., Fredrickson, D. Instruments of Removal: A Circuitous walk through the laboratory of psychopataphysics and ventriloquy at the Banff Centre, 2010. http://www.boulderpavement.ca/issue001/ instruments-of-removal/

Rutherford, T., Nugent, C., Barrett, L., Vokey, J.R., Henzi, P., Granzow, J. ``The Didabats are Tidying up! Emergent Social Behaviour in Simple Robots.'' Banff Annual Seminar in Cognitive Science (BASICS), May 1, 2010.

Reimchen, M., Granzow, J. E, Vokey, J.R. ``Pitch Contour Detection and Embodied Cognition''. Annual meeting of the Canadian Society for Brain, Behavior and Cognitive Science (CSBBCS), Halifax, Nova Scotia, June, 2010.

Granzow, J., Vokey, J.R.. “ Music Therapy for Troubled Stimuli: Embodied Strategies for Perceiving the Pitch of Ambiguous Tones. GSA conference, University of Lethbridge, April, 2009.

Granzow, J., Vokey, J.R.. “Area or aria of auditory perception: neural and embodied models of perception” Analogous Fields Visual Arts Residency, Banff Centre for the Arts, May 2009.

Granzow, J., Vokey, J.R.. “Musical Expertise and Other Influences on the Fundamental Frequency Illusion.” Poster presentation at Banff Annual Seminar in Cognitive Science, May, 2008.

Granzow, J., Vokey, J.R.. “Musical Expertise and Other Influences on the Fundamental Frequency Illusion.” Poster presentation at Annual Conference of the Canadian Society of Brain, Behavior and Cognitive Science, June, 2008.

Granzow, J., Vokey, J.R.. “Making the Pitch: The Fundamental Frequency Illusion and Musical Expertise.” Poster presentation at the annual GSA conference, University of Lethbridge, November, 2007

Prototyping New Instruments for Musical Expression in Virtual Reality, NIME, Mexico City, 2023

Visualizing Telematic Music Performance, Lecture at Sound and Music Computing conference, St Etienne, France, 2022

Making and Modeling Electronic and Virtual Instruments, Invited lecture for the Virginia Martin Howard Lecture Series, Stearns Collection of Musical Instruments, Ann Arbor, 2020.

Acoustics Education Through Digital Fabrication, invited lecture at the Acoustical Society of America meeting, at a special session on 3D printing and Acoustics, San Diego, 2019

Embedded DSP with Faust, Sumer workshop at the Center for Computer Research in Music and Acoustics, 2019

Visiting Researcher, Centre Nationale de Création Musicale, Lyon, France, April 1 - May 31st, 2019.

Instructor, Sound and Signal Cluster, workshop for the Smartgeometry conference at the Daniels Faculty of Architecture, University of Toronto, 2018.

Mobile Synth, workshop in La Crypt, Cultural Centre, Lagorce, with support from the municipality of Vallon Pont D’Arc, France, 2017.

Mobile Synth I and II, workshops at the Center for Computer Research in Music and Acoustics, Stanford University, 2017.

Smartphone Passive acoustic Augmentation, workshop at the Linux Audio Conference, St. Etienne, France, 2017.

Resonance and Remembrance, an international campanology symposium, Co-organized with Tiffany Ng with keynote speaker Steven Feld.: University of Michigan, Ann Arbor, Bicentennial Grant, 2017.

Music Maker Workshop, New Instruments for Musical Expression, Griffith University, Brisbane Australia, 2016.

3D Printing for MusicMaker, workshop for Sound Symposium, St John’s Newfoundland, 2016.

Drawn into sound. Talk for Leonardo Art and Science Evening Rendezvous,University of San Francisco, 2014

Colloquium talk, Institute of Technical Acoustics, Aachen University, Germany, 2014

Talk on Digital Lutherie / 3d printing, Rochester University, New York, 2014

The Inductive voxel: insights from rapid prototyping - a presentation at the visual computing lab, Institute of the National Research Council of Italy, Pisa, 2012

“If You Build It, They Will Come: Taiko-Building Philosophies and Techniques in Pursuit of the Ideal Sound”. For this workshop I performed spectral analyses of Taiko sounds for a panel discussion at the North American Taiko conference, Stanford University, 2012

“Production tuned Perception in the hearing test” Presented at Malcolm Slaney’s Hearing Seminar at CCRMA, Stanford, 2010

“Ventriloquial dummy-tones in the science of auditory perception” Lecture for residents of the Analogous Fields Visual Arts Residency, Banff Centre for the Arts, 2009.

Telematic musical duet with motion capture and mechatronic avatar. Ann Arbor, Michigan 2021/22 .

Sarah Weaver’s TeleCello Concerto, as part of the Quarantine Sessions with Constantin Basica (Palo Alto, CA), Chris Chafe (Woodside, CA), Henrik von Coler (Berlin, DE), Fernando Lopez-Lezcano (San Carlos, CA), 2020

Quarantine Sessions, Telematic performance with remote performers: Constantin Basica (Palo Alto, CA), Chris Chafe (Woodside, CA), Henrik von Coler (Berlin, DE), Fernando Lopez-Lezcano (San Carlos, CA), Juan Parra (Ghent, BE), Klaus Scheuermann (Berlin), 2020

Axes, Composition and performance sonified intersection of manual and automated processes of making sonification of robotic form-finding, performed at Society for Music Computing, Sala María Cristina, Malaga Spain, 2019

VoxVoxel, composition and performance system using 3D printing, realtime processing, ambisonics. Performances:

    Concert of Machines, Taiwan National Theater, 2018

    Lagorce, France in collaboration with Silex Collective, July, 2018

    Sound Symposium, St John’s Newfoundland, July, 2016

    EMW, Shanghai Conservatory of Music, Oct., 2015

    Noisebridge, San Francisco. June, 2015

    Joint Conference ICMC and SMC, Athens, Sept., 2014

String Section, Installation at Liberty Lofts Gallery, Taubman College of Architecture with Catie Newell and Kim Harty, March, 2017. Performances:

    ‘Unrecordables’ Concert at Wayne State University, May

     Taubman College, Grand opening for new building, 2017

Euler’s Bell, Composition for Carillon and Electronics for Carillonist Tiffany Ng. Performances:

    University of Michigan, Hail Storm, Oct 17,2017

    University of Michigan, Organ conference, Oct 2, 2017

    University of Chicago, May, 2017

     Sint-Quintinuskathedraal, Hasselt, Belgium July. 2017

     Sint-Niklaaskerk, Neerpelt, Belgium, July. 2017

     St. Catherine’s Church, Gdansk, Poland, August, 2017

Sohosonus, Daxophone Improvisation with Chris Chafe (Celetto) and Greg Niemeyer (video) at the Berkeley Art Museum, June, 2017.

Calling Dirk, Composition for Harbour Symphony, as well as source material for ambisonics concert for Sound Symposium, July 2016, St John’s Newfoundland, 2016.

Revisiting the Tsar Bell, Model, FEA analyses and re-synthesis of Tsar bell for concert at Sather tower, UC Berkeley, April, 2016.

Non-deterministic materials no.1, Concert and presentation at University of Guanajuato, Mexico with Roberto Morales, Chris Chafe and Ivan Manzanilla, August, 2014.

Electronic Music Week in Shanghai, Voxvoxel, 3D printing, real-time processing, ambisonics, Oct 2015. Shanghai Conservatory of Music

Noisebridge, Voxvoxel performed in the godwaffle noise pancakes series, June 13, 2015, Noisebridge, San Francisco.

Voxvoxel with Fernando Lopez-Lezcano, 3D printing, real-time processing, ambisonics, Presented at the Joint Conference ICMC and SMC, Athens, 2014. performance

Concert and presentation at University of Guanajuato, Mexico with Roberto Morales, Chris Chafe and Ivan Manzanilla. August, 2014. performance

探索生命 (search for life), Work composed and performed with Zhengshan Shi and the Stanford Laptop Orchestra, Peking University, Beijing. July, 2014. performance

Lasudax: electroacoustic work for daxophones, vocal tract models and live processing in Supercollider. Presented for the Bone Flute to Autotune conference, at the Center for New Music and Audio Technologies at University of California Berkeley as well as at at Weselyan University for SEAMUS, 2014.

Project Anton with Jarek Kapuscinski, Young-Doo Jung, Steve Schick and the San Francisco Contemporary Music Players. March 2014. link

unamimprovis@cion ensemble, 12th Outsound New Music Summit, San Francisco July, 2013.link Ear trumpet experiments for the Beethoven project with composer Dohi Moon, Greg Niemeyer, Chris Chafe and the Stanford Symphony Orchestra. June 2013 link

Resonances form modular vocal tract project used as musical material by composer Turgut Ercetin for the Ensemble Adapter, Stanford, April 2013

Friction Idiohat, installation at Artists in Resonance, Broadway Studios, San Francisco, April, 2013

Zombie Taxa, kinetic sound sculpture with Denton Fredrickson and Chris Chafe, Zero1, San Jose Biennial, September, 2012link

Deckle Group installation at La condition des Soies in Lyon France. A large scale installation of sounding drawings, supported by the Canada Council for the Arts. June 13-30th, 2012 link

Transitions, performance of Taleagraph, outdoor computer music concert at the knoll, CCRMA, Stanford University, September, 2011 link

Tower Ring concert -Designed constructed and performed on long wire instrument for Pauline Oliveros concert at the Ann Hamilton Tower on the Oliver Ranch, June 2011link

Maker Faire presentation, San Mateo - Monochord figure 1.2, sonified drawing instrument. link

Tomato Quintet (design team, and musical performer) 01SJ September 16–19, 2010

Performed “Off a Craggy Cliff, by Miya Masaoka with the Soundwire ensemble and the Tintinnatulate ensemble, Stanford, November 2010

Collages presented with group show, sciencefictionsciencefair at the Tom Thomson Art Gallery. Owen Sound, ON, Kitchener-Waterloo Art Gallery. Kitchener, ON and Robert McLaughlin Gallery, Oshawa, ON. 2009-2010.

Spectral Daxophones in performances at (2009):


    Subtle Technologies conference, University of Toronto

    Concert at the Walter Phillips Gallery, Banff Centre for the Arts

    Sound and Music computing conference, Porto Portugal,


    eNTERFACE multi-modal workshop, Genova, Italy


     Mountain computer music festival, Missoula Montana

Digital fabrication for extended piano techniques, non-marring utensils, collaboration with Aleksandra Vojčić for performance Ancient Voices of Children, George Crumb (DMA ’59, 2019

Double reed saxophone mouthpiece: A new 3D printed variant on Vencel József Schunda’s experiments with the double reeded Tárogató, 2015

Javalele, Experiments in musical prosthetics for found objects: stringed instrument from espresso portafilter, Spring 2015. Instructible:link

Lazy Susan for laptop orchestra, live sampling and OSC sonification of angular position, Peking University, Beijing, 2014.

Hybrid gramophone, for Jarek Kapuscinski’s ‘pointing twice’, commissioned by the San Francisco New Music Players, 2014 San Francisco.

Whistling vessels from Motorcycle gas tanks, 2013, San Jose Zero 1 Biennial

Friction Idiohat, feedback circuit for closing hi-hat

Stroh Daxophone, Dax with membrane and horn

Modular silicone vocal tract: vowel lego for learning about vocal tract resonances

Long Wire instrument for Pauline Oliveros’ work Tower Ring, Oliver Ranch, CA

Spectral Daxophone, Banff Centre

Flamenco Guitar, constructed at Canadian School of Lutherie in Nova Scotia