Ph.D., Yale University
B.A., Yale University
Courses Regularly Taught
MUSI 1313 — Harmony I (Fall Semester)
MUSI 1314 — Harmony II (Spring Semester)
MUSI 3361 — Counterpoint I (Modal/16th Century) (2-year rotation, Fall Semester)
MUSI 5379 — Advanced Atonal Analysis (2-year rotation, Fall or Spring Semester)
Courses Regularly Coordinated and Supervised
MUSI 1311 — Ear Training & Musicianship I (Fall Semester)
MUSI 1312 — Ear Training & Musicianship II (Spring Semester)
MUSI 1311 and 1312 are taken concurrently with MUSI 1313 and 1314. Students with high scores on the Department of Music’s Aural Preparedness Test may be eligible to begin the Ear Training & Musicianship sequence with MUSI 1312.
Teaching Philosophy: Whether at the beginning or advanced levels of the study of harmony, counterpoint, and analysis, the student should be involved in the making of music by any and all means available: singing, playing, listening, reading, writing, thinking, and discussing. Each one of these activities reinforces the learning potential of the others. Working hard is necessary, but so is having fun (especially at 8 and 9 in the morning, which is when MUSI 1313 and 1314 meet!).
Biography: Ronald Squibbs is a native of Connecticut. He studied piano with Elizabeth Mason Ginnel in Stratford, Richard Gregor at the Westport School of Music, and Donald Currier at Yale. He earned a bachelor of arts degree in music from Yale in 1984 and a doctor of philosophy degree in music theory, also from Yale, in 1996. His research interests are focused on 20th-century music from Europe, Asia, and the United States. He is also active in live and recorded performance.
An Analytical Approach to the Music of Iannis Xenakis: Studies of Recent Works. Yale University, 1996. Ann Arbor: UMI.UMI 97131109.
The Composer’s Flair: Achorripsis as Music. Proceedings of the International Symposium Iannis Xenakis. Athens: University of Athens (2005): 258-64.
Xenakis in Miniature: Style and Structure in à r. (Hommage à Ravel) for piano (1987). Perspectives of New Music 41/1 (2003): 120-53.
Some Observations on Pitch, Texture and Form in Xenakis’s Mists. Contemporary Music Review 21/2-3 (2002): 91-108.
A Methodological Problem and a Provisional Solution: Structure and Form in Xenakis’s Evryali. In Presences of Iannis Xenakis, ed. Makis Solomos. Paris: Centre de documentation de la musique contemporaine, 2001:153-8.
Musical Composition as Applied Mathematics: Set Theory and Probability in Iannis Xenakis’s Herma. In Bridges: Mathematical Connections in Art, Music, and Science, Conference Proceedings 2000: 141-52.
Images of Sound in Xenakis’s Mycenae Alpha. Troisièmes journées d’informatique musicale (JIM 96) Conference Proceedings. Les cahiers du GREYC 4 (1996): 208-18.
Selected Conference Presentations
“Syntony” and Harmonic Transformation in the Music of Dane Rudhyar. Society for Music Theory Annual Meeting in Los Angeles, California (November 2006).
Time-Span and Pitch-Space Analysis as a Model of Perception in Two Works by Xenakis. The Creative and Scientific Legacies of Iannis Xenakis (International Symposium), University of Ontario, Guelph, Ontario, Canada (June 2006).
Who Was Rudhyar? An Introduction to the Music of an American Ultramodern Composer.Music Department Colloquium, University of Connecticut, Storrs, Connecticut (September 2005).
The Composer’s Flair: Achorripsis as Music. International Symposium Iannis Xenakis, Athens, Greece (May 2005).
Comparative Analysis as a Tool for Assessing Influences on the Development of Ruth Crawford Seeger’s Early Musical Style.Society for Music Theory Annual Meeting, University of Washington, Seattle, Washington (November 2004).
Western Harmonic Resources in a Japanese Context: Joji Yuasa’s Two-Octave Twelve-Tone Sets. Music Department Colloquium, University of Connecticut, Storrs (February 2004) and New England Conference of Music Theorists Annual Meeting, Boston University, Boston, Massachusetts (April 2004).
In the Studio of Djane Lavoie-Herz: The Influences of Scriabin and Dane Rudhyar on Ruth Crawford Seeger’s Early Musical Development. College Music Society Northeast Chapter Annual Meeting, Lafayette College, Easton, Pennsylvania (March 2004).
Iannis Xenakis: Composer, Architect, Visionary. Lecture-recital presented to Hartford Music Club, Hartford, Connecticut (October 2002).
Take a Sad Song and Make It Better: Parody and Competing Harmonic Agendas in Joji Yuasa’s Subliminal Hey J. (1990).Music Theory Southeast Annual Meeting, Florida State University, Tallahassee, Florida (February 2002).
Musical Composition as Applied Mathematics: Set Theory and Probability in Iannis Xenakis’s Herma. Bridges: Mathematical Connections in Art, Music, and Science. Southwestern College, Winfield, Kansas (July 2000).
Cosmic Analogies: Structure and Symbolism in Tavener’s Ikon of Light. Annual Meeting of the Texas Society for Music Theory, Baylor University, Waco, Texas (February 2000) and Regional Spring Conference of American Musicological Society, College Music Society, Music Theory Southeast, and Southeastern Historical Keyboard Society, University of North Carolina, Greensboro, North Carolina (March 2000).
Structure of Time, Structure of Space: Eastern and Western Influences in Joji Yuasa’s Cosmos Haptic. Ithaca College, Ithaca, New York (April 1999).
A Methodological Problem and a Provisional Solution: Structure and Form in Xenakis’s Evryali. Présences Xenakis, symposium sponsored by Centre de documentation de la musique contemporaine and Radio France, Paris, France (January 1998).
Images of Sound in Xenakis’s Mycenae Alpha. Annual Meeting of the Music Theory Society of New York State, State University of New York, Stony Brook, New York (April 1996) and Journées d’informatique musicale 1996 (JIM 96), L’Ile de Tatihou, Normandy, France (May 1996).
Selected Performances and Recordings
Piano Music of Dane Rudhyar: Pentagrams 1-4 (1924-6). Aucourant Records. Forthcoming.
Piano Music of Dane Rudhyar. Solo recital, University of Connecticut, Storrs, Connecticut (September 2005).
On the Keyboard: Piano Works of Joji Yuasa. Aucourant Records AUREC-0501-1 (Released July 2005).
Webern, Four Pieces, Op. 7 for violin and piano, with Peter Sacco, violin. Chamber music recital, University of Connecticut, Storrs, Connecticut (October 2004).
Piano Music of Joji Yuasa. Solo recital, University of Connecticut, Storrs, Connecticut (September 2004).