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COLLEGE  OFT 

ADMISSIONS  BULLETIN 


TABLE  OF  CONTENTS 


The  College   1 

The  Campus    4 

Board  of  Directors    5 

Administration  and  Staff    6 

Faculty    7 

School  of  Music    10 

Curriculum 12 

Degree  Programs    12 

Music  Education   12 

Jazz/Commercial  Music  Studies    13 

Opera  Emphasis    14 

Admissions 15 

Application  Procedure   15 

Auditions    16 

Audition  Dates    16 

Audition  Repertoire    17 

School  of  Dance   20 

Curriculum 21 

Degree  Programs    22 

Dance  Education    22 

Admissions 23 

Application  Procedure   23 

Auditions    23 

Audition  Dates    24 

Facilities    25 

School  of  Theatre  28 

Curriculum 29 

Degree  Programs    30 


Admissions 30 

Application  Procedure   30 

Auditions    30 

Audition  Dates    31 

Graduate  Studies    32 

Graduate  Program  in  Music   33 

Graduate  Program  in  Opera 34 

Application  Procedure   35 

General  Information   38 

Student  Life  39 

Student  Housing  39 

Summer  Session  39 

ACT  101  39 

Pre-College  Training 39 

Early  Admissions  Program    40 

Part-Time  Students    40 

Transfer  Students  40 

Foreign  Students     40 

Financial  Aid    41 

Scholarships     42 

Tuition  and  Fees 43 

Faculty  Biographies    45 

Calendar 59 

PCPA  Student  Body    61 

Map  62 

Tips  to  the  Applicant   63 

Application  for  Admission   64 


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COLLEGE  OF  THE 
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AN  INVITATION  TO  ATTEND 


The  Philadelphia  College  of  the  Performing 
Arts  is  dedicated  to  excellence  in  the  training  of 
professional  musicians,  dancers,  actors,  music 
educators,  and  dance  educators.  The  PCPA 
curriculum  combines  the  performance  emphasis  of 
a  traditional  conservatory  approach,  stressing 
individualized  training,  practice,  and  discipline,  with 
a  liberal  arts  education. 

Founded  in  1870  as  the  Philadelphia  Musical 
Academy,  the  Philadelphia  College  of  the  Perform- 
ing Arts  has  long  been  regarded  as  one  of 
America's  foremost  contributors  of  outstanding 
musicians.  Many  of  the  College's  early  graduates 
and  faculty  became  members  and  founders  of  the 
Philadelphia  Orchestra  when  it  was  formed  in  1900. 
The  Philadelphia  Orchestra  continues  to  play  a 
significant  role  in  the  life  of  PCPA  with  many  of  its 
members  currently  serving  on  the  College  faculty. 
Located  in  Philadelphia's  historic  Shubert  Building, 
PCPA  is  adjacent  to  the  Academy  of  Music,  home 
of  the  world-famous  orchestra. 

In  1976,  still  offering  only  a  music  program,  the 


College  officially  changed  its  name  to  the  Philadel- 
phia College  of  the  Performing  Arts.  This  signified 
a  new  direction  for  the  school,  and  in  essence 
announced  the  College's  intention  to  expand  its 
curriculum  to  include  all  three  of  the  performing 
arts — Music,  Dance,  and  Theatre. 

In  1977,  the  College  incorporated  the  School 
of  Dance  into  its  curriculum;  the  School  of  Theatre 
opened  in  1983,  thus  adding  new  dimensions  to  the 
College's  program.  The  high  standards  of  training 
and  professionalism  established  by  the  School  of 
Music  are  an  integral  part  of  the  dance  and  acting 
programs. 

The  Philadelphia  College  of  the  Performing 
Arts,  long  regarded  as  a  leader  and  pioneer,  is 
Pennsylvania's  first  and  only  independent  college 
dedicated  exclusively  to  the  performing  arts.  One 
of  the  first  of  its  kind  in  the  United  States,  the 
College  is  recognized  as  a  school  which  is  serving 
present  and  future  needs.  Its  philosophy  is  founded 
on  the  principle  that  performing  artists,  whatever 
their  discipline,  have  a  common  bond,  and  that 


they  must  reach  out  to  each  other  for  inspiration 
and  growth.  Many  of  the  College's  students  follow 
interdisciplinary  careers  requiring  familiarity  with  all 
the  performing  arts. 

The  College  is  proud  of  its  distinguished 
faculty,  most  of  whom  are  widely-recognized  per- 
forming artists.  Because  of  this  faculty,  along  with 
the  College's  philosophy  that  superior  individual- 
ized instruction  is  of  the  utmost  importance,  PCPA 
has  established  a  reputation  for  excellence  in  pro- 
fessional training.  This  reputation  is  strengthened 
by  the  impressive  and  ever-growing  list  of  PCPA 
alumni  which  includes  pianists  Andre  Watts, 
Eugene  List  and  the  late  William  Kapell,  composer 
Vincent  Persichetti,  soprano  Florence  Quivar, 
dancers  Judith  Jamison  and  Rodney  Griffith,  and 
jazz  artist  Stanley  Clarke. 

The  Philadelphia  College  of  the  Performing 
Arts,  a  fully-accredited  independent  institution,  is  a 
member  of  a  unique  consortium.  The  College 
shares  membership  with  the  Juilliard  School,  San 
Francisco  Conservatory,  New  England  Conserva- 


tory, Cleveland  Institute  of  Music,  Mannes  School, 
Manhattan  School  of  Music,  and  Peabody 
C6nservatory. 

The  Philadelphia  College  of  the  Performing 
Arts  offers  the  student  the  unique  opportunity  to 
learn  and  grow  creatively  as  an  individual  and  as  a 
performing  artist.  The  coeducational  student  body 
is  composed  of  students  from  across  the  United 
States  and  many  foreign  countries.  All  students 
receive  personal  attention,  professional  individual- 
ized training,  and  are  regarded  as  unique  individ- 
uals possessing  abilities  and  talents  which  must  be 
guided,  respected,  and  allowed  to  grow  to  full 
potential.  Our  goal  is  to  assist  each  student  to 
realize  the  full  attainment  of  his  true  potential. 

Indeed,  the  Philadelphia  College  of  the 
Performing  Arts  is  a  place  where  one  can  study 
with  a  professional  to  become  a  professional,  while 
earning  a  fully-accredited  college  degree. 

The  College  looks  forward  to  the  future  and 
invites  young  artists  to  consider  becoming  a  part  of 
this  exciting  experience. 


THE  PHILADELPHIA  COLLEGE  OF  THE  PERFORMING  ARTS 
250  S.  Broad  St.,  Philadelphia,  PA  19102  •  (215)  893-3174 

Location:  Philadelphia,  Pennsylvania 

Founded:  Philadelphia  Musical  Academy,  1870 

Chartered  by:  The  Commonwealth  of  Pennsylvania,  1915 

Amalgamated  with:        The  Philadelphia  Conservatory  of  Music,  1962 

The  Philadelphia  Dance  Academy,  1977 
Approved  by:  Pennsylvania  Department  of  Education 

Accredited  by:  Middle  States  Association  of  Colleges  and  Secondary  Schools 

National  Association  of  Schools  of  Music 


THE  CAMPUS 


The  Philadelphia  College  of  the  Performing 
Arts  is  located  in  Center  City  Philadelphia,  a 
location  highly  advantageous  for  the  young 
performing  artist.  Its  buildings  are  in  the  center  of 
an  area  which  serves  as  the  focal  point  of  the  city's 
major  performing  arts  activities.  Within  one  block 
of  the  College,  one  will  find  the  permanent  homes 
of  the  Philadelphia  Orchestra,  the  Pennsylvania 
Ballet,  the  Philadelphia  Civic  Ballet,  the  Phila- 
delphia College  of  Art,  Philadelphia's  High  School 
for  the  Creative  and  Performing  Arts,  and  Phila- 
delphia International  Records.  Indeed,  concen- 
trated within  this  small  area,  one  finds  more 
professional  music,  dance,  and  theatre  represented 
than  in  any  other  part  of  the  city. 

The  home  of  PCPA  is  the  modern  seven-story 
Shubert  Building  at  250  South  Broad  Street.  Phila- 
delphia's historic  Shubert  Theatre,  owned  and 
operated  by  the  College,  is  housed  on  the  ground 
floor  of  the  building,  and  is  today  the  major 
performance  hall  for  PCPA  students  and  faculty. 
At  the  same  time,  it  is  the  permanent  home  of  the 
Pennsylvania  Ballet,  and  it  is  frequently  a  major 
stop  for  pre-Broadway  shows  and  national  touring 
companies.  The  opera/concert  theatre  has  a 
seating  capacity  of  1800  persons  and  is  considered 
to  be  one  of  Philadelphia's  finest. 

On  the  third  floor  of  the  building  is  the  Clara 
and  William  S.  Fishman  Memorial  Library. 
This  library  houses  more  than  14,500  volumes  and 
scores  and  over  10,000  records  and  tapes.  In  addi- 
tion, the  collection  includes  the  Lattimore- 
Nahumck  Library  of  Dance  which  is  an  exten 
sive  reference  collection  related  to  the  art  of  dance. 
The  remainder  of  the  building  houses  a  full  comple- 
ment of  modern  classrooms,  chamber  music 
studios,  student  lounges,  and  administrative  offices. 
In  addition,  there  is  an  electronic  music  studio, 
class  piano  laboratory,  and  audio-visual  equipment. 
Practice  rooms  are  carpeted,  have  full-length 
mirrors,  and  individual  heat  controls.  Many  are 
equipped  with  grand  pianos.  Also  available  is  a  two- 


manual  Challis  Harpsichord,  an  8-track  Moog 
Synthesizer,  a  complete  computer  laboratory  for 
student  use  and  research,  two  harps,  complete  sets 
of  percussion  instruments,  and  more  than  100 
orchestral  instruments  which  may  be  used  on  a  loan 
basis  for  rehearsals  and  class  instruction. 

The  Annex  Building,  located  at  313  South 
Broad  Street,  houses  the  jazz,  and  opera  programs 
of  PCPA.  This  building  has  spacious  dance  studios 
and  several  smaller  practice  rooms.  Studios  are 
equipped  with  sturdy  barres,  mirrors,  and  resilient 
wood  floors.  Dressing  rooms  are  available  with 
individual  lockers  and  showers.  Several  rooms  are 
available  as  rehearsal  space  for  large  ensembles 
and  other  functions.  The  building  also  houses  the 
Performing  Arts  School,  PCPA's  own  private 
school  for  grades  5-12. 

Theatre  313  is  located  in  the  Annex  and 
serves  students  and  faculty  as  a  recital  hall  for 
student  and  faculty  concerts  and  productions.  With 
a  seating  capacity  of  approximately  200,  this 
theatre  provides  an  intimate  setting  for  small 
productions. 

The  School  of  Dance  at  309  South  Broad 
Street,  is  one  of  the  College's  two  new  facilities. 
The  building  houses  three  spacious  studios  with 
high  ceilings,  barres,  mirrors,  and  resilient  floors. 
There  are  also  dressing  rooms,  showers,  office  and 
lounge  areas. 

The  Residence  Hall  (Furness  Hall)  is 
located  at  15th  &  Pine  Streets,  about  two  blocks 
from  the  Shubert  Building.  Students  from  both 
PCPA  and  the  Philadelphia  College  of  Art  reside  in 
Furness  Hall  and  another  building  which  is  also 
about  two  blocks  from  the  campus.  The  residences 
feature  two,  three  and  four  person  apartments  with 
separate  kitchen  and  bathroom  facilities.  All 
campus  residences  are  co-educational.  College 
housing  is  supervised  by  Resident  Advisors  and  a 
live-in  director. 


BOARD  OF  DIRECTORS 


Ira  Brind,  Chairman 


Ira  Brind,  Chairman 

John  W.  Merriam,  Chm.  Exec.  Comm. 

Jack  F.  Adler,  Treasurer 

Charles  W.  Raison,  Executive  Director 


Jack  R.  Bershad,  Esq. 

C.  Graham  Berwind,  Jr. 

Lennox  K.  Black 

Joseph  Castaldo,  President  Emeritus 

Herbert  Cook 

Vincent  C.  Desiderio,  M.D. 

Richard  L.  Freundlich 

Russell  A.  Glicksman 

Mrs.  Helen  P.  Neuman  Kaplan 

Phyllis  C.  Kaufman,  Esq. 

Stephen  J.  Korn,  Esq. 

Robert  S.  Lee,  Sr. 

Harold  T.  MacCracken 

Mrs.  Matthew  T.  Moore 

Mrs.  Suzanne  Morgan 

Ronald  Naples 

Ms.  Robyn  F.  Perlman 

Edwin  P.  Rome,  Esq. 

Michael  J.  Rotko,  Esq. 

Adolph  E.  Sinkow 

The  Hon.  Faith  Ryan  Whittlesey 

Harold  L.  Yoh,  Jr. 


ADMINISTRATION  AND  STAFF 


Charles  W.  Raison 

Executive  Director 

Fredrick  Kaufman 

Dean  of  the  College/Director,  School  of  Music 

Edward  T.  Brake 

Dean  of  Admissions/Student  Services  Liaison 

Susan  Glazer 

Director,  School  of  Dance 

Walter  Dallas 

Acting  Director,  School  of  Theatre 

Carlton  Jones  Lake 

Director,  Performing  Arts  School 

Elaine  Evans 

Director,  New  Studies  Center 

Dovie'  R.  Prather 

Director  of  Development 

Douglas  Fitzgerald 

Director,  ACT  101 

Rita  DiRenzo 

Registrar 

Arthur  M.  Hoist 

Director  of  Financial  Aid 

Nadine  Senyk 

Director,  Student  Residence 


Phoebe  Law 

Librarian 

William  P.  Parrish,  Jr. 

Admissions  Counselor 

Nancy  Wright-Hamilton 

Assistant  Director  of  ACT  101/ 
Counselor 

Edna  Cohen 

Assistant  to  the  Director, 
School  of  Dance 

Betty  Reiser 

Director,  Audience  Development 

Barbara  J.  Silzle 

Administrative  Assistant  to  the  Executive 
Director 

Chris  Blinebury 

Administrative  Assistant  to  the 
Dean  of  Admissions 

Marilyn  Roberts 

Secretary,  Dean  of  the  College 

Joseph  Castaldo 

President  Emeritus 

Maria  Ezerman  Drake 

Assistant  Dean  Emeritus 

Nadia  Nahumck 

Dean  Emeritus,  School  of  Dance 


FACULTY 

SCHOOL  OF  MUSIC 

Fredrick  Kaufman,  Director 
Coordinator,  Division  of  Applied  Studies 
WOODWINDS 

*Adelchi  Louis  Angelucci  (Bassoon) 
**Robert  Bloom  (Oboe) 

Shirley  Curtiss  (Bassoon) 

Harold  Karabell  (Clarinet,  Saxophone) 

Pat  Kendel  (Flute) 
*Loren  Lind  (Flute) 

Lawrence  McKenna  (Saxophone) 

Guido  Mecoli  (Clarinet) 
*Ronald  Reuben  (Clarinet) 

David  Schneider  (Oboe) 
**John  Shamlian  (Bassoon) 

Joseph  Smith  (Saxophone,  Clarinet) 

Marshall  Taylor  (Saxophone) 

Adeline  Tomasone  (Flute) 

William  P.  Zaccagni  (Saxophone) 

BRASS 

*Tyrone  Breuninger  (Trombone) 

Joseph  DeAngelis  (French  Horn) 

Richard  Genovese  (Trombone) 

James  Hala  (Trumpet) 
*Frank  Kaderabek  (Trumpet) 

Jay  Paul  Krush  (Tuba) 
*Paul  Krzywicki  (Tuba) 

Anthony  Marchione  (Trumpet) 

Michael  Natale  (Trumpet) 

Calvin  Price  (Trumpet) 
*Seymour  Rosenfeld  (Trumpet) 
*Charles  G.  Vernon  (Trombone) 
*David  Wetherill  (French  Horn) 

PERCUSSION 
*Michael  Bookspan 

Nicholas  D'Amico 

Joe  Nero 


KEYBOARD 

George  Akerley  (Piano) 
Richard  Alexander  (Organ) 
James  Amadie  (Piano) 
Jeanne  Behrend  (Piano) 
Andrea  Clearfield  (College  Accompanist) 
Robert  Elmore  (Organ) 
Frances  Fanelli  (Piano) 
Yoheved  Kaplinsky  (Piano) 
Robin  Kissinger  (Accompanist) 
Florenza  D.  Levengood  (Piano) 
Ronald  Marlowe  (Piano) 
Michael  Stairs  (Organ) 
Susan  Starr  (Piano) 
Benjamin  Whitten  (Piano) 
HARP 

*Margarita  Csonka  Montanaro 
Karin  Fuller 

STRINGS 

Robert  Cerulli  (Double  Bass) 

*Frank  Costanzo  (Violin) 

*Neil  Courtney  (Double  Bass) 

*Joseph  dePasquale  (Viola) 

*Julia  dePasquale  (Violin) 

*Robert  dePasquale  (Violin) 

*William  dePasquale  (Violin) 
Domenick  Fiore  (Double  Bass) 

*George  Harpham  (Cello) 

*Gloria  Johns  (Cello) 

*Joseph  Lanza  (Violin) 
"Dr.  Leonard  Mogill  (Viola) 
"Deborah  Reeder  (Cello) 

*Henry  G.  Scott  (Double  Bass) 
Carlos  Villa  (Violin) 
"Mihalay  Virizlay  (Cello) 

GUITAR 

Robert  DiNardo 
Ed  Flanagan 
John  Leonard 
Patrick  Mercuri 
Peter  Segal 


VOICE 

Paula  Brown 

Marianne  Casiello 

Deborah  Cook 

Franco  Iglesias 

Harold  Parker 

Alan  Wagner 

Vivian  Wagner 

OPERA 

Kay  Walker,  Coordinator 

Lelia  Calder  (Vocal  Pedagogy) 

Larry  Cannon  (Make-Up) 

Allison  Green-Kelley  (Acting) 

Gabriela  Roepke  (Opera,  Theatre  History) 

Danielle  Smith-Orlando  (Coach) 

Leon  Unger  (Coach) 

THEORY/COMPOSITION 

Dr.  Donald  Chittum,  Coordinator 

Joseph  Castaldo 

Annette  DiMedio 

Lilburn  Dunlap 

Fredrick  Kaufman 

Jan  Krzywicki 

Yinam  Leef 

Andrew  Rudin 

Dr.  Carl  B.  Schmidt 

MUSICIANSHIP 

Jan  Krzywicki,  Coordinator 

Sean  Deibler 

Lilburn  Dunlap 

Janice  Kestler 

Nadine  Senyk 

Michael  Stairs 

MUSIC  EDUCATION 

Dr.  Douglas  S.  Medlin,  Coordinator 
Nicholas  D'Amico 
Douglas  Fitzgerald 
Regina  Gordon 
Dr.  Carlton  J.  Lake 
S.  Archye  Leacock 
Sandra  Levinson 
*Joseph  Primavera 


JAZZ/COMMERCIAL  MUSIC 

Evan  Solot,  Coordinator 
George  Akerley 
James  Amadie 
Robert  DiNardo 
Frances  Fanelli 
Domenick  Fiore 
Ed  Flanagan 
Richard  Genovese 
Gene  Leone 
Lawrence  McKenna 
Patrick  Mercuri 
Michael  Natale 
Joe  Nero 
David  Schneider 
Fred  Scott 
Adeline  Tomasone 
William  P.  Zaccagni 

+CONDUCTING 

Sean  Deibler 
*Joseph  Primavera 

ENSEMBLES 

Fredrick  Kaufman,  Coordinator 
Symphony  Orchestra 
Joseph  Primavera,  Conductor 
Symphonic  Wind  Ensemble 

Douglas  Fitzgerald 

Chorus 

Sean  Deibler,  Conductor 

Jazz  Ensembles 

Evan  Solot,  Director 
William  P.  Zaccagni,  Director 

Chamber  Ensembles 

Fredrick  Kaufman,  Coordinator 
Robert  Bloom  (Mixed  Chamber) 
Sean  Deibler  (Vocal  Chamber  Ensemble) 
Joseph  dePasquale  (String  Chamber) 
Robert  dePasquale  (String  Chamber) 
William  dePasquale  (String  Chamber) 
Nicholas  DAmico  (Percussion  Ensemble) 
Robert  DiNardo  (Jazz  Guitar  Ensemble) 
George  Harpham  (String  Chamber) 


Jay  Krush  (Brass  Ensemble) 

Jan  Krzywicki  (Renaissance  Ensemble  and 

New  Music  Ensemble) 
John  Leonard  (Classical  Guitar) 
Joseph  Primavera  (Mixed  Chamber) 
Michael  Stairs  (Piano  Accompanying) 
David  Wetherill  (Brass) 

SECTIONALS 

DePasquale  String  Quartet  (Strings) 
Joseph  Primavera  (Brass,  Woodwinds  and 
Percussion) 

SCHOOL  OF  DANCE 

Susan  B.  Glazer,  Director 
BALLET 

Susan  Gottlieb 

Andrew  Pap 

Barbara  Sandonato 

Carol  Luppescu  Sklaroff 

Alexei  Yudenich 

JAZZ/THEATRE  DANCE 

Peter  Bertini 

Gary  Flannery 

Nancey  Berman  Kantra 

Donald  Lunsford 

Jose  Meier 

MODERN  DANCE 

Jeffrey  Duncan 

Manfred  Fischbeck 

JoAnn  Fregalette-Jansen 

Susan  Glazer 

Diane  Grumet 

Naomi  Mindlin 

Faye  Snow 

Pat  Thomas 

Joanne  Tulli 


TAP  DANCE 

Lavaughn  Robinson 
Karen  Vorkapich 

DANCE  STUDIES 

Peter  Bertini  (Dance  Notation) 

Barbara  Bourbon  (Anatomy,  Kinesiology) 

Annette  DiMedio  (Functional  Music/Intro  to 

Music) 
Manfred  Fischbeck  (Eurythmics) 
Allison  Green-Kelley  (Acting) 
Linda  Haviland  (Dance  History) 
Gloria  Lihotz  (Voice) 
Dr.  Carol  Oatis  (Anatomy,  Kinesiology) 
Gabriela  Roepke  (Dance  in  Literature) 
Pearl  Schaeffer  (Dance  Pedagogy) 
John  Tacconelli  (Mime) 
Joanne  Tulli  (Effort,  Shape) 

SCHOOL  OF  THEATRE 

Charles  Conwell  (Fencing) 

Walter  Dallas  (Acting  Director) 

Manfred  Fischbeck  (Movement) 

Gary  Flannery  (Musical  Theatre) 

Allison  Green-Kelley  (Speech,  Acting  Studio) 

Nancey  Kantra  (Movement) 

Paul  Kelley  (Make-Up) 

Gabriela  Roepke  (Intro  to  Theatre) 

John  Tacconelli  (Mime) 

Paul  Wagar  (Speech) 

HUMANITIES 

Dr.  John  F.  DeWitt,  Coordinator 

Janice  Bryson 

Kent  Christensen 

Clint  Gould 

Phoebe  Law 

Dr.  Camille  Paglia 

Dianne  Perkins 

Gabriela  Roepke 


*Member,  The  Philadelphia  Orchestra 
**Former  Member.  The  Philadelphia  Orchestr, 
***Member,  Baltimore  Symphony 

♦  Graduate  Composition  Students  Only 


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The  School  of  Music  of  the  Philadelphia 
College  of  the  Performing  Arts  is  concerned  with 
the  preparation  and  training  of  young  artists  for 
careers  as  professional  musicians  and  music 
educators.  Moreover,  PCPA  is  dedicated  to  the 
total  education  of  its  students.  The  College's  goal  is 
to  produce  individuals  who  possess  the  means  to 
function  as  musicians  and  as  productive  citizens. 

The  traditional  conservatory  approach,  that 
which  stresses  the  importance  of  individualized 
training,  is  a  strong  influence  in  the  curriculum  of 
the  School  of  Music.  The  College  also  places  great 
emphasis  on  performance. 

All  music  majors  at  PCPA  receive  intensive 
training  in  theory  and  musicianship  as  well  as  back- 
ground in  the  humanities.  The  PCPA  theory 
program  utilizes  a  unique  approach  to  theoretical 
studies,  ensuring  each  student  a  solid  foundation  in 
basic  skills,  analysis,  literature  and  music  history. 
Musicianship  (ear-training)  studies  foster  an  aural 
awareness  of  pitch  and  rhythmic  materials.  Funda- 
mentals of  music  theory  are  correlated  with  aural 
materials  so  that  both  intellectual  and  aural  skills 
develop  simultaneously  and  reinforce  each  other. 

The  importance  of  individualized  training  is 
reinforced  by  the  College's  on-going  Master  Class 
Series.  Recent  artists  who  have  conducted  Master 
Classes  include  pianists  Andre  Watts,  Claude 
Frank,  Philippe  Entremont,  and  composers  George 
Crumb  and  Robert  Suderberg. 

From  time  to  time,  guest  conductors  rehearse 
the  PCPA  orchestra.  Maestros  Riccardo  Muti,  Ra- 
phael Fruhbeck  de  Burgos,  Stanislaw  Skrowaczew- 
ski,  and  Klaus  Tennestedt  have  been  recent  guests. 

Coupled  with  the  importance  of  individualized 
instruction,  the  College  is  strongly  performance- 
oriented.  Performance  and  involvement  in  perform- 


ing groups  is  an  important  part  of  the  curriculum  of 
the  School  of  Music.  The  College  makes  available  a 
variety  of  ensembles  and  performance  opportun- 
ities. They  include: 

Symphony  Orchestra 

PCPA  Chorus 

Symphonic  Wind  Ensemble 

Jazz  Ensemble  I 

Jazz  Ensemble  II 

Guitar  Ensemble 

Piano  Accompanying 

String  Chamber  Ensembles 

Mixed  Chamber  Ensembles 

Percussion  Ensemble 

New  Music  Group 

Opera  Productions 

Studio  Concerts 

Student  Composition  Concerts 

The  Troubadour  Program 

Occasionally,  students  have  the  privilege  of 
participating  in  very  special  performances.  For 
example,  the  PCPA  Chorus  performs  periodically 
with  the  Philadelphia  Orchestra.  The  Troubadour 
Program  affords  students  the  opportunity  to  repre- 
sent the  College  and  to  perform  throughout  the 
Philadelphia  area.  Each  spring,  the  College 
sponsors  a  celebration  of  the  performing  arts  in  its 
"IN  CONCERT"  performance  series.  This  culmina- 
tion of  each  year's  performance  efforts  is  a  series 
of  concerts,  recitals  and  special  programs  stressing 
all  aspects  of  music  and  dance. 

Since  1870,  the  School  of  Music  has  been  pre- 
paring and  training  young  artists  for  professional 
careers  as  musicians  and  music  educators.  PCPA's 
comprehensive  music  training  program  is  geared  to 
assist  in  the  fullest  development  of  each  student's 
potential. 


11 


CURRICULUM 

The  PCPA  curriculum  stresses  individualized 
training  with  a  performance  emphasis  and  includes 
required  courses  in  the  Humanities.  Each  semester, 
students  in  the  BM  and  the  BM/BME  programs 
take  one  Humanities  course,  with  the  remainder 
being  in  music.  The  Humanities  courses,  whenever 
possible,  are  taught  with  regard  to  how  they  relate 
to  the  performing  arts.  The  College  curriculum 
does  not  include  any  courses  in  mathematics  or 
science.  Students  in  the  Certificate  in  Performance 
program  do  not  have  a  Humanities  requirement. 

Major  Fields  of  Study — Undergraduate 


Bassoon 

Piano 

Cello 

Percussion 

Clarinet 

Saxophone 

Classical  Guitar 

Theory 

Composition 

Trombone 

Double  Bass 

Trumpet 

Flute 

Tuba 

French  Horn 

Viola 

Harp 

Violin 

Oboe 

Voice 

Organ 

Voice/Opera  Emphasis 

DEGREE  AND  CERTIFICATE  PROGRAMS 
Bachelor  of  Music 

The  four-year  Bachelor  of  Music  program  is 
designed  for  those  students  who  wish  to  prepare 
for  professional  careers  in  performance,  composi- 
tion, or  who  desire  a  thorough  background  in 
anticipation  of  graduate  study,  studio  teaching,  or 
further  work  in  specialized  fields. 

Double  Degree:  Bachelor  of  Music/ 
Bachelor  of  Music  Education 

The  five-year  Double  Degree  Program  prepares 
students  for  careers  in  school  music  teaching.  The 
College  takes  the  position  that  teachers  of  music 
must  be  of  the  same  general  level  of  musical 
accomplishment  as  students  graduating  with  a  BM 
degree.  Students  are  granted  two  degrees: 
the  Bachelor  of  Music  degree  in  either  perform- 
ance or  composition  and  the  Bachelor  of  Music 
Education  degree.  One-third  of  the  College's  music 
majors  are  enrolled  in  this  double  degree  program. 

In  addition  to  the  requirements  for  the 
Bachelor  of  Music  degree,  double  degree 
candidates  complete  courses  in  instrumental  and 
vocal  methods,  functional  piano,  psychology,  social 
foundations  of  education,  conducting,  lab  teaching, 
professional  methods,  and  student  teaching. 
Methods  classes  begin  in  the  sophomore  year, 
following  the  traditional  freshman  year  of  core 
requirements. 

The  degree  program  in  Music  Education  is 
fully  approved  by  the  Pennsylvania  Department  of 
Education,  and  persons  receiving  certification  in 
Pennsylvania  can,  because  of  reciprocal  arrange- 
ments, easily  obtain  certification  in  other  states. 
Further,  courses  taken  during  the  additional  two 
semesters  required  for  the  double  degree  at  PCPA 
are  fully  applicable  to  permanent  teacher  certifica- 
tion in  Pennsylvania  without  the  need  for  additional 


12 


post-baccalaureate  instruction.  In  this  sense,  PCPA 
offers  a  most  effective  program  for  those  who 
recognize  the  desirability  of  teaching  and  the 
attractiveness  of  an  applied  career. 

For  its  Music  Education  majors,  the  College 
offers  excellent  physical  facilities,  up-to-date 
curriculum  laboratory,  closely-supervised  lab  school 
and  student-teaching  experiences,  a  curriculum 
emphasizing  practical  as  well  as  theoretical 
approaches  to  the  basics  of  accepted  educational 
techniques,  a  faculty  widely-experienced  in  public 
school  and  private  teaching,  and  a  policy  of  close 
individual  career  and  college  counseling. 

Certificate  in  Performance 

The  Certificate  in  Performance  program  is  a 
two-year  program  designed  for  the  student  who 
wishes  to  concentrate  exclusively  on  musical 
studies  without  requirements  in  the  Humanities. 

Jazz  Commercial  Music  Studies 

This  four  year  program  resulting  in  the 
Bachelor  of  Music  Degree  is  intended  to  provide  a 
direct  and  pragmatic  educational  approach  for 
those  students  who  wish  to  pursue  careers  as 
performers,  arrangers,  and  composers  in  the  jazz 
and  commercial  music  areas.  The  program  carries 
a  total  graduation  requirement  of  128  credits  as 
well  as  a  Senior  Recital  of  which  half  must  be 
traditional  repertoire. 

The  curriculum  includes  courses  in  jazz  piano, 
jazz  improvisation,  jazz  theory  and  ear  training, 
jazz  arranging  and  film  scoring,  history  of  jazz, 
business  of  music,  jazz  lab,  and  recording,  using 
the  48-track  facilities  of  Sigma  Sound  Studios,  as 
well  as  a  firm  foundation  in  classical  studies. 


Students  receive  performance  opportunities 
through  the  College's  award-winning  performing 
jazz  ensembles,  including  three  big  bands  and 
numerous  small  ensembles. 

Jazz  scholarship  auditions  are  scheduled  for 
April  1,  1985.  Jazz  auditions  after  that  date  are 
considered  non-scholarship  and  may  be  scheduled 
according  to  the  audition  calendar  on  page  16. 


Opera  Emphasis 

The  Opera  emphasis  program  exposes  the 
undergraduate  student  to  the  rigors  and  literature 
of  the  operatic  world  before  they  continue  with 
advanced  work  in  this  field.  Voice  majors  may  elect 
this  program  during  the  final  two-years  of  a  four- 
'year  degree  program  at  the  College.  Courses 
include  acting,  staging,  acting  Improvisation,  opera 
literature  and  special  musical  coachings  with  the 
opera  department  faculty. 


14 


ADMISSIONS 

Admission  to  the  College's  degree  and 
certificate  programs  is  determined  by  a  competitive 
entrance  audition  and  a  review  of  the  applicant's 
secondary  school  record  and  SAT  or  ACT  scores. 
The  admissions  program  seeks  to  determine  the 
applicant's  technical  and  intuitive  grasp  of  his  major 
performance  medium  and  of  music  fundamentals  as 
a  whole,  his  ability  to  function  in  a  college  environ- 
ment, and  his  overall  commitment  to  music  as  a 
career  and  as  an  art. 
Secondary  School  Requirements 

Applicants  must  complete  requirements  for  the 
high  school  diploma,  GED,  or  the  foreign  equival- 
ent prior  to  actual  enrollment  in  the  College,  with 
the  exception  of  those  accepted  under  the  Early 
Admissions  Program.  Proof  of  completion  of  the 
secondary  school  requirements  must  be  submitted 
to  the  Office  of  Admissions  before  enrollment. 
Application  Procedure 

All  applicants  must  submit: 

1.  A  completed  Application  for  Admission  and 
a  check  or  money  order  to  cover  the  non- 
refundable $30  application  fee. 

2.  Official  transcripts  from  all  secondary 
schools  or  colleges  attended. 

3.  SAT  or  ACT  test  results.  (Requests  for 
waiver  will  be  given  consideration.) 

4.  A  brief  biographical  narrative  of 
your  musical  experience  and 
activities. 

In  special  cases,  the  SAT  or  ACT  require- 
ment may  be  waived  by  the  Dean  of  Admissions. 
The  college  has  no  minimum  cutoff  score  for  SAT 
or  ACT. 

A  tear-out  Application  for  Admission  is  in  the 
back  of  this  Bulletin. 


Submission  of  letters  of  recommendation  is 
desirable  but  not  mandatory  unless  specifically 
requested. 

When  feasible,  personal  interviews  are 
encouraged.  This  provides  the  opportunity  for  the 
applicant  and  College  staff  members  to  become 
personally  acquainted  and  to  discuss  the 
curriculum  and  facilities.  However,  because  of 
distance  and  other  factors,  the  interview  is  only 
recommended.  It  is  not  mandatory. 

Because  College  enrollment  quotas  may  be 
filled  early,  applications  should  be  filed  as  soon  as 
possible,  in  order  to  avoid  the  possibility  of  being 
placed  on  a  waiting  list. 

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Oboist  Robert  Bloom,  faculty 


15 


UNDERGRADUATE  MUSIC  AUDITIONS 

Music  Scholarship  Auditions 

All  audition  dates  on  or  before  April  3rd  are  considered  scholarship  auditions.  Those  auditioning  after  that 
date  may  be  considered  for  awards  depending  on  the  availability  of  funds. 
Regional  Auditions 

Regional  Auditions  will  be  conducted  in  the  following  cities  in  Spring  1985. 


Chicago 
Cincinnati 
Dallas 
Houston 
Los  Angeles 


New  York  City 
Pittsburgh 
San  Francisco 
St.  Louis 
Washington,  D.C. 


The  College  reserves  the  right  to  limit  the  number  of  auditions  in  any  city  because  of  scheduling  problems,  or  a  lack 
of  a  sufficient  number  of  applicants. 


Philadelphia  Undergraduate  Music  Audition  Dates 

Listed  below  are  the  Philadelphia  Undergraduate  Audition  Dates  for  admission  to  the  1985-86  and  1986-87 
Academic  Years.  The  applicant  should  indicate  the  desired  audition  date  in  the  appropriate  space  on  the 
Application  for  Admission.  Graduate  audition  dates  are  listed  on  page  35. 

1985-86  ACADEMIC  YEAR 


(Piano,  Percussion  *February  6,  1985 
(Strings,  Guitar,  Harp,  Composition,  Theory) 

♦February  20,  1985 
(Voice,  Opera,  Organ)  *March  6,  1985 
(Brass,  Woodwinds)  *March  27,  1985 


(Jazz  Auditions)  *April  1,  1985 
(All  Majors)  *April  3,  1985 

(All  Majors)    April  17,  1985 
(All  Majors)    May  1,  1985 
(All  Majors)    May  22,  1985 


November  6,  1985 
December  4,  1985 
'February  5,  1986 
'February  19,  1986 


1986-87  ACADEMIC  YEAR 

*March  5,  1986  April  23,  1986 

*March  19,  1986  May  7,  1986 

*March  31,  1986  May  28,  1986 
*April  2,  1986 


♦SCHOLARSHIP  AUDITIONS 


16 


AUDITION  REPERTOIRE 

The  repertoire  listed  below  is  recommended 
for  the  audition,  although  equivalent  literature  may 
be  substituted  where  necessary.  Performance  of 
segments  from  any  or  all  of  the  selections  may  be 
requested.  The  candidate  may  also  be  asked  to 
sight-read,  if  time  permits.  An  accompanist  will  be 
provided,  although  applicants  may  bring  their  own 
if  desired.  If  there  are  any  questions  or  you  desire 
more  specific  information,  please  contact  the 
Admissions  Office. 

Bassoon — Major  and  minor  scales;  one  study 
from  Wiessenborn  Studies  (1-50),  Op.  8;  one  move- 
ment of  the  Mozart  Concerto;  and  the  first  or  third 
movement  of  a  Vivaldi  Bassoon  Concerto. 
Cello — Major  and  minor  scales  and  arpeggios;  a 
Popper  etude;  any  movement  from  the  first  three 
Bach  Suites;  any  sonata  comparable  to  Sam- 
martini's  Sonata  in  G  Major;  any  standard  concerto. 

Clarinet — Major  and  minor  scales;  first  and 
second  movements  from  of  the  following 
concertos:  Weber,  First  or  Second  Concerto; 
Mozart,  Concerto  in  A  Major,  Op.  107,  K.  622; 
Weber  Concertino,  Op.  26;  any  advanced  study 
from  H.  Klose,  Cavellini,  or  C.  Rose. 
Composition — Applicants  will  submit  a  portfolio 
of  original  scores  and  will  be  interviewed  by 
members  of  the  composition  faculty. 
Double  Bass — Major  and  minor  scales;  Simandl 
Exercises,  Book  No.  1,  pp.  74-75,  104-105;  solo 
selected  by  the  candidate. 

Flute — Major  and  minor  scales;  J.  S.  Bach,  slow 
movement  from  one  of  the  Six  Sonatas,  and  a 
piece  demonstrating  technical  proficiency. 


French  Horn — Major  and  minor  scales; 
Kopprasch,  Vol.  1,  No.  15;  composition  compar- 
able to  Mozart  Third  Horn  Concerto. 

Classical  Guitar — Diatonic  major  and  minor 
scales  (Segovia  Fingering);  one  of  the  following 
studies  of  Sor  (Segovia  Edition):  Studies  No.  1,  6, 
9,  10  or  Carcassi  Op  60,  Studies  No.  20  and  23,  or 
any  of  the  Villa  Lobos  Etudes;  Pieces  representing 
the  16th  and  17th  Centuries  and  the  20th  Century. 

Jazz  Guitar — Diatonic  major  and  minor  scales, 
arpeggios,  and  chord  inversions.  A  jazz  solo 
selected  by  the  applicant. 

Harp — Demonstrate  general  musicianship  and 
ability  to  sight  reading;  two  etudes  or  sonatinas 
comparable  to  Bochsa  or  Nademan;  a  solo  selected 
by  the  candidate. 

Oboe — Major  and  minor  scales;  a  movement  from 
any  concerto  or  sonata  for  the  oboe. 

Organ — J.  S.  Bach  Major  Prelude  and  Fugue,' 
Toccata  and  Fugue,  or  Fantasy  and  Fugue;  Bach 
Trio  Sonata  movement;  a  movement  from  a 
French  organ  symphony  or  suite.  On  piano:  any 
Bach  Prelude  and  Fugue  from  the  Well-Tempered 
Clavier;  Chopin  Prelude. 

Piano — Major  and  minor  scales  and  arpeggios;  a 
work  of  J.  S.  Bach  (three-part  inventions,  Preludes 
and  Fugues,  W.  T.  C);  any  sonata  by  Haydn 
(except  C  major,  H  XVI:35),  Mozart  (except  C 
Major,  K.  545)  or  Beethoven  (except  Op.  49);  a 
composition  from  the  Romantic  period  (Chopin, 
Schumann,  etc.);  an  Impressionist  or 
Contemporary  composition  chosen  by  the 


17 


candidate  (preferably  a  work  by  an  American 
composer  other  than  the  Gershwin  Preludes)  to  be 
performed  from  memory. 

Saxophone — Major  and  minor  scales  and 
arpeggios;  one  study  from  Labanchi  Concert 
Etudes,  Book  1;  a  solo  selected  by  the  candidate. 

Theory — Applicants  will  be  interviewed  by 
members  of  the  theory  faculty  and  are  encouraged 
to  bring  any  supporting  materials  such  as  original 
analytic  essays. 

Trombone — Major  and  minor  scales;  Kopprasch, 
Book  I;  Rochut,  Melodious  Etudes;  and  a  solo 
selected  by  the  candidate. 

Trumpet — Major  and  minor  scales;  any  one  of 
the  Arban  Characteristic  Studies;  a  solo  selected 
by  the  candidate. 

Tuba — Major  and  minor  scales;  Cimera,  Tuba 
Studies,  exercises  7  through  11;  Wagner,  Overture 
to  "Die  Meistersinger"  and  a  solo  to  be  selected  by 
the  candidate. 

Percussion — Snare  Drum:  Loud  roll,  soft  roll; 
prepared  solo  and  sight-reading.  Mallets:  Marimba, 
Xylophone  or  Vibraphone  prepared  solo;  major 
and  minor  scales  and  arpeggios.  Timpani:  tuning  of 
timpani  at  several  intervals;  prepared  solo  or  etude. 

Viola — Major  and  minor  scales  and  arpeggios;  one 
of  the  Kreutzer  Etudes  or  Mazas  Special  and 
Brilliant  Etudes;  one  of  the  following:  Handel, 
Concerto  in  B  Minor;  Telemann,  G  Major;  or 
Stamitz,  A  Major;  or  Hoffmeister  Concerto. 


Violin — Major  and  minor  scales  (preferably  in 
three  octaves);  selection  from  the  Kreutzer  Etudes; 
a  sonata  by  Handel  or  Mozart,  or  a  concerto  by 
Mozart  or  Haydn. 

Voice — Three  classical  songs;  one  early  Italian 
song,  and  two  in  English. 


A  NOTE  ABOUT  THE  JAZZ/ 
COMMERCIAL  MUSIC  AUDITION 

The  Jazz/Commercial  Music  Audition  requires 
the  applicant  to  demonstrate  proficiency  in  both 
the  classics  and  in  jazz/commercial  music. 

The  Jazz/Commercial  Music  Audition  is  in  two 
parts: 

1.  Perform  the  regular  entrance  audition  de- 
scribed (by  instrument)  on  pages  17  and/or  18. 

2.  After  performing  the  above  audition  appli- 
cants are  required  to  demonstrate  proficiency 
in  the  jazz/commercial  area  of  music.  This 
part  of  the  audition  includes:  A  jazz  solo  or 
improvisation  on  a  12-bar  blues  progression. 
Demonstration  of  improvisation  ability  is 
recommended,  but  not  mandatory. 

There  is  only  one  exception  to  the  information 
listed  above.  Those  applicants  applying  as  a  "Jazz 
Guitar  Major"  are  not  required  to  follow  the  above 
procedure.  Instead,  Jazz  Guitars  majors  are  to 
follow  only  the  audition  instruction  listed  for  Jazz 
Guitar  on  page  17. 


18 


PLACEMENT  TESTING  PROGRAM 

Following  admission  to  the  college,  a  series  of 
placement  tests  is  administered.  These  tests  are 
given  to  allow  a  realistic  assessment  of  the 
applicant's  strengths  and  weaknesses  and  are  not 
factors  affecting  admission  to  the  college. 

The  following  tests  are  part  of  the  Placement 
Testing  Program: 

1.  The  Ear  Training  Placement  Exam 
deals  with  the  ability  to  match  pitches, 
identify  intervals  and  triads,  and  to  sight- 
sing  melodies  and  tap  rhythms. 

2.  The  Theory  Placement  Exam 
reviews  the  applicant's  conversance  with 
major  and  minor  (natural,  harmonic, 
melodic)  scales,  intervals,  chords,  and  basic 
music  terminology. 

3.  The  Basic  Piano  Placement  Exam 
(for  non-keyboard  majors  only)  reviews  the 
applicant's  ability  (if  any)  to  play  the  piano. 

Placement  Exam  results  are  used  as  a  general 
index  of  musical  accomplishment,  and  as  a  specific 
mechanism  for  class  assignments.  The  tests  allow 
us  to  place  students  in  class  sections  with  students 
of  similar  ability. 


The  DePasquale  String  Quartet,  in  residence,  faculty  (Robert 
dePasquale,  William  dePasquale,  George  Harpham,  and  Joseph 
dePasquale) 


19 


Maestro  Riccardo  Muti,  Music  Director  and  Conductor  of  the 
Philadelphia  Orchestra,  conducts  the  PCPA  Orchestra  during 
rehearsal. 


feu 

Pianist  Susan  Starr,  faculty,  coaches  student 


~-"*fc 


*, 


^f 


20 


21 


The  School  of  Dance  of  the  Philadelphia 
College  of  the  Performing  Arts  is  dedicated  to  the 
training  of  young  artists  for  careers  as  professional 
dancers,  dance  educators  and  choreographers.  The 
School  is  founded  on  the  belief  that  today's  profes- 
sional dancers  must  have  extensive  knowledge  and 
experience  in  their  chosen  field  as  well  as  skills  in 
related  disciplines.  With  this  in  mind,  the  College 
offers  a  broad-based  curriculum  which  prepares 
students  to  enter  the  professional  world  of  dance 
with  confidence. 

Daily  technique  classes  in  ballet,  modern 
dance,  and  jazz  dance  are  basic  to  all  courses  of 
study.  Additional  course  offerings  include  tap, 
improvisation,  repertory,  and  partnering,  as  well  as 
electives  such  as  Spanish  dance,  character,  and 
mime.  In  courses  such  as  dance  history  and  score 
reconstruction,  students  gain  a  historical 
perspective  of  different  dance  traditions.  Music, 
voice,  and  drama  classes  provide  dancers  with  the 
necessary  links  to  the  allied  performing  arts. 
Practical  experience  in  aspects  of  production  is  an 
essential  part  of  the  program.  Various  courses  in 
the  humanities  and  social  science  are  offered,  with 
special  emphasis  given  to  their  relation  to  the  arts. 

Performance  is  an  essential  and  enjoyable  part 
of  the  curriculum  and  serves  to  integrate  class- 
room work  with  stage  experience.  Students  are 
encouraged  to  organize  their  own  studio  work- 
shops and  concerts  in  addition  to  participating  in 
the  regularly-scheduled  performances.  Each  spring, 
the  year-long  efforts  culminate  in  a  celebration  of 
the  arts — the  "IN  CONCERT"  performance  series. 
Students  perform  a  wide  range  of  classical  and 
modern  repertory  in  addition  to  original  works 
choreographed  for  them  by  the  faculty.  The 
College  also  has  its  own  modern  dance/jazz 
company,  CONSORT,  which  performs  throughout 
the  year.  Auditions  for  the  Company  are  held  each 


September.  All  dance  students  are  eligible  to  audition. 

Other  performance  opportunities  include  the 
Troubadour  Program,  a  community  outreach 
program,  which  enables  students  to  perform  in 
schools  and  institutions  throughout  the  Delaware 
Valley.  The  School's  affiliation  with  cultural 
institutions  throughout  the  city  provides  students 
with  the  opportunity  to  participate  in  professional 
productions. 

Performance  opportunities  involve  students  in  all 
facets  of  production,  including  lighting,  costuming, 
make-up,  and  set  design.  Through  this  process, 
students  gain  an  understanding  of  dance  as  a 
performing  art. 

The  large  faculty  of  professional  artists  brings 
with  it  a  wide  range  of  experience  and  tradition. 
Small  classes  and  individualized  instruction  provide 
a  creative  and  exciting  atmosphere  where  students 
are  challenged  and  guided. 

Former  students  have  achieved  success  in 
many  different  companies  throughout  the  world. 
They  have  been  performers  with  such  renowned 
companies  as  Alvin  Ailey,  Bejart,  Joffrey,  Jose 
Limon,  and  Pearl  Lang,  and  teachers  in  such 
institutions  as  the  North  Carolina  School  of  the 
Arts.  For  these  students,  the  high  level  of  technical 
and  artistic  training  acquired  in  the  PCPA  School 
of  Dance  contributed  to  their  subsequent  success. 

CURRICULUM 

The  demands  of  today's  professional  dance 
world  require  that  dancers  be  familiar  with  more 
than  one  style  of  dance.  For  this  reason,  the  College 
has  created  a  core  program  including  all  basic  dance 
styles  for  all  students. 

The  intensive  training  in  dance  is  comple- 
mented by  performance  opportunities  and  required 
elective  courses  in  the  humanities. 


Core  Curriculum 

Freshman  Year 
Ballet 

Modern  Dance 
Jazz  and  Tap 
Eurythmics/ 

Improvisation 
Dance  Elective* 
Introduction  to  Music 
Piano 

Humanities  Courses 
Ensemble/Dance  Lab 


Sophomore  Year 
Ballet 

Modern  Dance 
Jazz  and  Tap 
Anatomy/ 

Kinesiology 
Dance  Elective* 
Notation 
Dance  History 
Composition  for  Dancers 
Humanities  Courses 
Ensemble/Dance  Lab 


*Dance  electives:  Spanish,  Ethnic,  Mime, 
Character  Dance,  Dance  in  Literature,  Yoga,  Voice 


In  the  third  and  fourth  years  of  study,  students 
major  in  Ballet,  Modern  Dance,  or  Jazz  Dance 
while  maintaining  a  nominal  amount  of  study  in  the 
related  styles. 

DEGREE  PROGRAMS 

Bachelor  of  Fine  Arts  (BFA) 

The  BFA  degree  program  is  designed  for  those 
students  who  desire  to  prepare  for  a  professional 
performing  career  in  dance.  The  program  is 
normally  completed  in  four  years  of  full-time  study 
and  carries  a  total  graduation  requirement  of  130- 
133  credits,  depending  on  the  major  field  of  study. 
24  of  these  credits  are  in  liberal  arts  courses  and 
13  are  in  music  courses.  Graduation  requirements 
for  all  dance  majors  include  the  successful 
completion  of  performance  requirement. 


Bachelor  of  Fine  Arts  in  Dance  Education 
(BFA  in  Dance  Ed.) 

The  BFA  in  Dance  Education  degree  program 
is  a  five-year  program  specifically  designed  for 
those  students  whose  primary  intention  is  to  enter 
the  dance  profession  as  a  teacher  of  dance.  The 
College  takes  the  position  that  teachers  of  dance 
must  be  of  the  same  high  level  of  accomplishment 
as  students  graduating  from  the  four-year  BFA 
program.  For  this  reason,  the  course  of  study  for 
the  first  four  years  is  the  same  as  that  followed  by 
non-education  majors.  The  fifth  year  of  study  offers 
students  the  opportunity  to  obtain  practical  and 
theoretical  training  in  teaching  methods  and  styles 
while  strengthening  their  foundation  in  dance 
techniques. 

Although  there  is  currently  no  Pennsylvania 
certification  for  dance  teachers,  this  program  of 
study  does  include  a  semester  of  supervised 
student  teaching  in  schools  and/or  private  studios 
located  in  the  Philadelphia  area.  The  total  require- 
ment for  graduation  from  this  program  is  165-168 
credits. 

Fifth  Year  Curriculum  (Dance  Education) 
Semester  IX  Semester  X 


Ballet 

Jazz  Dance 
Modern  Dance 
Dance  Education 

Seminar 
Methods  of  Teaching 

Dance  in  Secondary 

Schools 
Social/Folk/Square 

Dance 
Society  &  Education 


Ballet 

Jazz  Dance 
Modern  Dance 
Dance  Education 

Seminar 
Student  Teaching 


22 


Certificate  in  Dance 

The  two-year  Certificate  program  is  designed 
specifically  for  those  students  who  wish  to  concen- 
trate on  dance  studies  without  a  liberal  arts 
requirement.  This  program  gives  students  concen- 
trated study  in  the  broad  spectrum  of  dance  styles 
and  develops  students'  familiarity,  proficiency,  and 
performing  ability  in  these  areas.  Graduation 
requirements  include  the  successful  completion  of 
the  performance  requirement  as  well  as  the 
prescribed  course  of  study. 

ADMISSIONS 

Admission  to  the  College's  degree  and  certifi- 
cate programs  is  determined  by  a  review  of  the 
applicant's  secondary  school  record,  SAT  or  ACT 
scores,  and  audition  results.  The  admissions 
program  seeks  to  determine  the  applicant's  tech- 
nical and  artistic  grasp  of  his  or  her  major  perform- 
ance medium  and  of  dance  fundamentals  as  a 
whole.  It  also  evaluates  the  applicant's  ability  to 
function  in  a  college  environment  and  overall 
commitment  to  dance  as  a  career  and  as  an  art. 

In  special  cases  the  SAT  or  ACT  requirement 
may  be  waived  by  the  Director  of  Admissions.  No 
specific  SAT  or  ACT  cut-off  is  employed  by  the  College. 

Applicants  must  complete  requirements  for  the 
high  school  diploma,  GED,  or  the  foreign 
equivalent  prior  to  actual  enrollment  in  the  College, 
with  the  exception  of  those  accepted  under  the 
Early  Admissions  Program.  Official  transcripts  of 
secondary  school  credits  earned  must  be  submitted 
to  the  Admissions  Office  before  enrollment. 
Application  Procedures 
All  applicants  must  submit: 

1.  A  completed  Application  for  Admission  and 
a  check  or  money  order  to  cover  the  non- 
refundable $30  application  fee. 

2.  Official  transcripts  from  all  secondary 
r,o  schools  or  colleges  attended. 

3.  SAT  or  ACT  scores.  (Requests  for  waiver 


will  be  given  consideration.) 
4.  A  one-page  resume  of  previous  dance  train- 
ing including  the  names  of  teachers,  studios, 
length  of  study,  and  performance  experience. 
This  should  be  attached  to  the  application, 
and  a  photo  is  helpful  but  not  required. 

DANCE  AUDITIONS 

The  dance  audition  is  of  major  importance  in 
the  admissions  process.  Selection  is  based  upon 
the  applicant's  current  level  of  technical  proficiency 
and  potential  for  professional  development.  The 
audition  consists  of  one-half  hour  class  each  in  Ballet, 
Modern  Dance,  and  Jazz  Dance.  Applicants  must 
also  perform  a  dance  composition  limited  to  two 
minutes  which  may  be  the  applicant's  own  choreog- 
raphy. Musical  accompaniment  must  be  provided  on 
a  cassette  tape  or  record. 
VIDEO-TAPED  AUDITIONS 

If  distance  makes  a  personal  audition 
impossible,  two  letters  of  recommendation  from 
dance  teachers  with  whom  the  applicant  has 
studied  and  a  video  tape  of  performance  will  be 
acceptable.  We  request  that  video  tapes  submitted 
be  either  in  Beta-I  Format  or  VHS  Format. 
All  video-taped  dance  auditions  must  show: 

1.  Ballet  and  either  modern  or  jazz. 

2.  Warm-up  including  both  floor  work  and 
barre.  Barre  to  be  taped  sideways  and 
frontwards  and  should  include:  plies-demi 
and  grand,  tendues,  degages  (battement 
jetes),  ronds-de-jambes,  grands  battements, 
developpes  (extensions) — en  croix. 

3.  Center  work  should  include  small  and  large 
jumps,  pirouettes,  adagio  and  a  modern  or 
jazz  combination. 

4.  Locomotor  in  jazz  or  modern  dance — a 
combination  of  at  least  8  measures  which 
includes  leaps  and  turns. 

5.  A  short  work  of  your  own,  not  longer  than 
two  minutes. 


DANCE  AUDITIONS 

Dance  Scholarship  Auditions 

All  auditions  on  or  before  April  3rd  are  considered  scholarship  auditions.  Those  auditioning  after  that  date 
may  be  considered  for  awards  depending  on  the  availability  of  funds. 


Regional  Auditions 

Regional  auditions  will  be  conducted  in  the  following  cities  in  Spring  1985. 


Chicago 
Cincinnati 
Dallas 
Houston 
Los  Angeles 


New  York  City 
Pittsburgh 
San  Francisco 
St.  Louis 
Washington,  D.C. 


The  College  reserves  the  right  to  limit  the  number  of  auditions  in  any  city  because  of  scheduling  problems, 
or  a  lack  of  a  sufficient  number  of  applicants. 


Philadelphia  Audition  Dates 

Listed  below  are  the  Philadelphia  Audition  Dates  for  admission  to  the  1985-86  and  1986-87  Academic  Years. 
The  applicant  should  indicate  the  desired  audition  date  in  the  appropriate  space  on  the  Application  for  Admission. 

1985-86  ACADEMIC  YEAR 


*February  6,  1985 
*February  20, 1985 
*March  6,  1985 
*March  27,  1985 


"April  3,  1985 

April  17,  1985 
May  1,  1985 
May  22,  1985 


November  6,  1985 

December  4,  1985 

*February  5,  1986 


1986-87  ACADEMIC  YEAR 

*February  19,  1986 
*March  5,  1986 
*March  19,  1986 


*April  2,  1986 

April  23,  1986 
May  7,  1986 
May  28,  1986 


*SCHOLARSHIP  AUDITIONS 


24 


Barbara  Sandonato,  faculty 


Facilities 

The  School  of  Dance  is  housed  at  309  South 
Broad  Street  and  in  the  Annex  Building  at  313  S. 
Broad.  These  buildings  house  six  spacious  studios 
equipped  with  barres,  mirrors  and  resilient  floors. 
Dance  administrative  offices,  dressing  rooms, 
lockers,  showers,  and  lounges  are  also  located  in 
these  buildings. 

In  addition  to  the  main  PCPA  Library, 
students  have  available  to  them  one  of  the  largest 
and  most  diversified  collections  devoted  to  dance 
in  the  United  States.  Books,  films,  records,  and 
journals  are  available  to  students  for  research 
studies  and  coursework. 


25 


CAMPUS  VISITS 

Applicants  are  encouraged  to  visit  the  College. 
An  appointment  is  required  in  advance  for  a 
student  to  attend  a  day  of  dance  classes  or  to  meet 
with  dance  or  admissions  personnel.  Visits  are  an 
excellent  opportunity  for  the  applicant  to 
experience  our  program  and  to  meet  college 
officials,  but  is  not  part  of  the  audition  procedure. 


Dancer  Rudolf  Nureyev  receives  an  honorary  doctorate  degree 
from  PCPA  in  Spring  of  1980. 


Barbara  Sandonato  and  Alexei  Yudenich.  faculty 


26 


27 


Manfred  Fischbeck.  faculty 


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Actor  training  at  PCPA  is  designed  to  provide 
practical  education  in  the  craft  of  acting,  reinforced 
by  courses  in  literature  and  the  arts,  to  create  an 
intelligent  actor.  Our  purpose  is  to  educate  for  the 
profession  of  acting. 

By  involving  the  student  in  a  professional 
training  atmosphere,  PCPA  faculty  encourage  the 
acting  student's  emotional,  physical  and  intellectual 
capacities  and  focus  them  on  the  process  of  acting. 

The  curriculum  is  designed  to  develop  the 
actor's  basic  tools:  the  voice,  the  body  and  the 
mind.  Each  course  addresses  a  specific  need  in  the 
development  of  an  actor  and  stresses  the  actor's 
ability  to  find  artistic  individuality,  relaxation  and 
concentration  in  performance  and  to  make 
intelligent  decisions  in  the  growth  of  a  character. 

Performance  before  an  audience  is  not 
required  until  each  of  the  actor's  tasks  is  under- 
stood and  fulfilled. 


Curriculum 

Freshman  Year 

Acting  Studio 

Speech  for  the  Actor 

Intro,  to  Theatre 

Movement 

Mime 

English  Composition 

Musical  Theatre 

Sophomore  Year 
Acting  Studio 
Speech  for  the  Actor 
Make-up/Costume 
Movement 
Arts  in  History  I 
Musical  Theatre 

Junior  Year 
Acting  Studio 
Speech  for  the  Actor 
Movement 

Personality  &  Creativity 
Rehearsal  & 
Performance 

Senior  Year 
Acting  Studio 
Rehearsal  & 

Performance 
Musical  Theatre 


Acting  Studio 

Speech  for  the  Actor 

Intro,  to  Theatre 

Movement 

Fencing 

Dramatic  Literature 

Musical  Theatre 


Acting  Studio 
Speech  for  the  Actor 
Make-up/Costume 
Movement 
Arts  in  History  II 
Musical  Theatre 


Acting  Studio 
Speech  for  the  Actor 
Movement 

Science  and  the  Arts 
Rehearsal  & 
Performance 


Acting  Studio 
Rehearsal  & 

Peformance 
Musical  Theatre 


29 


The  late  composer  Richard  Rodgers  and  actress  Liu  Ullmann 
congratulate  each  other  upon  receiving  honorary  doctorates  from 
PCPA. 


DEGREE  PROGRAM 

Bachelor  of  Fine  Arts  (BFA) 

The  BFA  degree  program  is  designed  for  those 
students  who  desire  to  prepare  for  a  professional 
acting  career.  The  program  is  normally  completed 
in  four  years  of  full-time  study  and  carries  a  total 
graduation  requirement  of  123-126  credits,  of  which 
24  are  in  the  liberal  arts.  Graduation  requirements 
include  successful  completion  of  performance 
requirements. 

ADMISSIONS 

Admission  to  the  College's  acting  program  is 
determined  by  a  review  of  the  applicant's  secon- 
dary school  record,  SAT  or  ACT  scores,  and 
audition  results.  The  admissions  program  seeks  to 
determine  the  applicant's  grasp  of  the  fundamen- 
tals of  acting  and  technical  and  artistic  potential.  It 
also  evaluates  the  applicant's  ability  to  function  in  a 
college  environment  and  overall  commitment  to 
acting  as  a  career  and  as  an  art. 

In  special  cases  the  SAT  and  ACT  require- 
ment may  be  waived  by  the  Dean  of  Admissions. 
No  specific  SAT  or  ACT  cut-off  is  employed  by 
the  College. 

Applicants  must  complete  requirements  for  the 
high  school  diploma,  GED,  or  the  foreign  equivalent 
prior  to  actual  enrollment  in  the  College,  with  the 
exception  of  those  accepted  under  the  Early 
Admissions  Program.  Official  transcripts  of  secon- 
dary school  credits  earned  must  be  submitted  to 
the  Admissions  Office. 


Application  Procedures 

All  applicants  must  submit: 

1.  A  completed  Application  for  Admission  with 
$30  Application  Fee. 

2.  Copies  of  all  transcripts  from  colleges  and/ or 
high  schools. 

3.  SAT  or  ACT  scores.  (Requests  for  waiver 
will  be  given  consideration.) 

4.  A  one-page  resume  of  previous  theatre 
training  including  the  names  of  teachers, 
studios,  length  of  study  and  performance 
experience. 

5.  A  letter  of  recommendation  concerning 
dramatic  ability.  This  letter  can  be  written 
by  a  high  school  or  college  acting  coach  or 
by  a  theatre  director  or  producer  with 
whom  the  applicant  has  worked. 

THEATRE  AUDITIONS 

Each  applicant  must  perform  two  scenes  from 
memory.  These  scenes  are  to  be  selected  from 
published  plays,  one  from  comedy  and  one  from 
drama.  Each  scene  is  not  to  exceed  three  minutes 
in  performance  time.  After  the  scenes 
performance,  the  applicant  will  participate  in  an 
interview  which  will  be  considered  a  part  of  the 
audition  process.  Auditions  will  be  held  at  PCPA, 
or  when  appropriate,  in  the  cities  listed  under 
Regional  Auditions  on  page  31. 


THEATRE  AUDITIONS 

Theatre  Scholarship  Auditions 

All  auditions  on  or  before  April  3rd  are  considered  scholarship  auditions.  Those  auditioning  after  that  date 
may  be  considered  for  awards  depending  on  the  availability  of  funds. 

Regional  Auditions 

Regional  auditions  will  be  conducted  in  the  following  cities  in  Spring  1985. 


Chicago 
Cincinnati 
Dallas 
Houston 
Los  Angeles 


New  York  City 
Pittsburgh 
San  Francisco 
St.  Louis 
Washington,  D.C. 


The  College  reserves  the  right  to  limit  the  number  of  auditions  in  any  city  because  of  scheduling  problems, 
or  a  lack  of  a  sufficient  number  of  applicants. 

Philadelphia  Theatre  Audition  Dates 

Listed  below  are  the  Philadelphia  Audition  Dates  for  admission  to  the  1985-86  and  1986-87  Academic 
Years.  The  applicant  should  indicate  the  desired  audition  date  in  the  appropriate  space  on  the  Application  for 
Admission. 

1985-86  ACADEMIC  YEAR 

♦February  6,  1985  *April  3,  1985 

♦February  20,  1985  April  17,  1985 

*March  6,  1985  May  1,  1985 

*March  27,  1985  May  22,  1985 

1986'87  ACADEMIC  YEAR 

November  6,  1985  *February  19,  1986  *April  2,  1986 

December  4,  1985  *March  5,  1986  April  23,  1986 

♦February  5,  1986  *March  19,  1986  May  7,  1986 


May  28,  1986 


31 


♦SCHOLARSHIP  AUDITIONS 


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The  Graduate  Program  in  Music  is  an 
intensive  two-year  course  of  study  leading  to  the 
Master  of  Music  degree.  It  is  intended  for  the 
unusually  gifted  music  student  who  has 
demonstrated  excellence  on  the  undergraduate 
level  and  who  can  benefit  from  advanced  study  in 
music  and  the  humanities.  PCPA  affords  the 
opportunity  to  study  with  an  outstanding  faculty 
including  many  members  of  the  Philadelphia 
Orchestra,  artists  of  national  and  international 
acclaim  and  recognized  teachers  in  music  and  the 
humanities.  A  full  range  of  performance 
opportunities  is  incorporated  into  each  program. 
Degree  programs  offered  include:  Composition, 
Performance,  and  Opera  Singing. 

The  Master  of  Music  in  Composition 
Degree  program  is  based  on  four  broad 
objectives: 

1.  To  broaden  the  student's  compositional 
skills  with  reference  to  compositions  written 
for  voice,  acoustical  instruments,  and  the 
electronic  idiom. 

2.  To  acquaint  the  student  with  basic  skills  of 
research  and  to  assist  him  in  furthering  his 
knowledge  of  music  theory  and  music 
history/literature  through  the  application  of 
these  basic  research  skills. 

3.  To  develop  the  student's  ability  to  conduct, 
coach,  and  to  prepare  a  composition  for 
performance. 

4.  To  develop  effective  skills  in  writing  and 
critical  inquiry  such  that  the  student's 
perspective  of  music  is  broadened  through 
studies  in  the  humanities. 


The  Master  of  Music  in  Performance 

Degree  program  is  based  on  three  broad 
objectives: 

1.  To  advance  the  student's  performing  skill  in 
the  major  area. 

2.  To  acquaint  the  student  with  basic  skills  of 
research  and  to  assist  him  in  furthering  his 
knowledge  of  music  theory  and  music 
history/literature  through  the  application  of 
these  basic  research  skills. 

3.  To  develop  effective  skills  in  writing  and 
critical  inquiry  such  that  the  student's 
perspective  of  music  is  broadened  through 
studies  in  the  humanities. 


33 


The  Master  of  Music  in  Opera  Singing 
Degree  program  is  based  on  the  following  two 
broad  objectives: 

1.  To  train  singers  in  a  professionally  oriented 
program  to  be  more  complete  performers 
in  the  areas  of  singing,  acting,  and  movement. 
It  is  intended  to  enable  them  to  reach  a 
high  level  of  theatrical  and  musical  com- 
munication. 

2.  To  acquaint  students  with  operatic 
literature  and  to  afford  them  the 
opportunity  to  participate  in  productions. 

Specific  requirements  for  graduation  are 
determined  by  the  graduate  faculty  of  each  major 
discipline.  Current  requirements  are  available  from 
the  Coordinator  of  Graduate  Studies. 

Admissions  Criteria 

The  following  criteria  are  important  factors 
which  are  considered  when  reviewing  the 
applicant's  qualifications  for  admission  to  a 
graduate  program: 

1.  Level  of  performance  or  compositional 
ability. 

2.  Breadth  of  general  musical  knowledge, 
measured  in  four  areas:  theory,  musician- 
ship, music  history,  and  music  literature. 

3.  Facility  in  written  and  oral  organization  and 
expression  of  ideas. 

4.  Personal  commitment  to  a  career  goal. 

5.  Keyboard  proficiency  at  a  basic  level. 

6.  Academic  record  as  viewed  through 
transcript(s). 


World  famous  tenor  Placido  Domingo  receives  PCPA  honorary 
doctorate,  Spring  1982. 


34 


Application  Procedure 

1.  Complete     and     submit    the    Graduate 
Application  for  Admission,  available  from  the 
Office  of  Admissions,  along  with  the  $30. 
application  fee. 
~2.  Submit  a  list  of  all  repertoire  studied  and 
performed  or  compositions  completed. 
Performers  will  also  list  the  repertoire  to  be 
performed  at  the  audition  and  composers 
will  indicate  which  compositions  will  be 
submitted  in  a  portfolio. 

3.  Official  transcripts  from  all  post-secondary 
schools  attended  must  be  sent  directly  to 
the  Office  of  Admissions. 

4.  Three  letters  of  recommendation  from 
current  or  past  teachers,  school  officials,  or 
prominent  musicians  must  be  submitted  on 
the  appropriate  forms. 

5.  An  essay  (1000  word  minimum)  explaining 
how  study  at  PCPA  will  help  the  applicant 
achieve  his  or  her  career  goals  must  be 
submitted  with  the  application. 

6.  Foreign  students  must  take  the  TOEFL 
examination  (Test  of  English  as  a  Foreign 
Language). 

Following  the  completion  of  the  application 
procedure  outlined  above,  the  applicant  will  be 
auditioned  by  the  Graduate  Committee  and 
appropriate  members  of  the  applied  faculty. 
Applicants  will  have  a  fifteen-minute  interview  with 
members  of  the  Graduate  Policy  Committee.  The 
Committee  will  then  review  all  of  the  application 
materials  and  a  decision  will  be  made. 


Audition  Repertoire 

Graduate  auditions  are  one  half  hour  in  length 
and  should  be  performed  from  memory.  Instru- 
mentalists may  choose  their  own  repertoire  which 
must  reflect  different  style  periods  and  include  at 
least  one  Twentieth  Century  Work.  Vocalists, 
including  opera  applicants,  should  prepare 
selections  in  English,  German,  French,  and  Italian. 
Composers  should  come  prepared  to  discuss  their 
compositions,  compositional  style,  previous  train- 
ing and  compositional  goals.  All  instrumentalists 
and  vocalists  will  be  expected  to  sightread  a  piece 
selected  by  the  Graduate  Committee.  A  competent 
accompanist  will  be  available  at  each  audition. 

Taped  auditions  will  be  accepted  only  at  the 
discretion  of  the  Graduate  Policy  Committee  and 
by  prior  arrangement.  Any  acceptance  by  tape  will 
be  tentative  pending  a  live  audition  upon  arrival  at 
the  College. 

Graduate  Audition  Dates 

Please  indicate  on  your  application  the  date  on 
which  you  prefer  to  audition: 

February  27,  1985 
March  13,  1985 
March  27,  1985 

April  24,  1985 

Scholarship  dates  are  indicated  in  black  bold 
print.  However,  applicants  applying  after  those 
dates  may  be  considered  for  scholarship  if  funds 
are  still  available. 


35 


Recent  Opera  Department  productions  include:  (clockwise) 
Monteverdi's  Orfeo,  Massenet's  Manon,  Puccini's  Gianni 
Schicchi,  and  Poulenc's  Dialogues  of  the  Carmelites. 


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= — -.-^^= = — =^— 

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PHILADELPHIA 
COLLEGE  OF  THE 
PERFORMING  ARTS 

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--48*^ 


Student  Life 

The  focal  point  of  most  student  life  at  PCPA  is 
involvement  in  the  various  ensembles  and 
productions.  In  addition,  students  maintain  the 
Student  Government  Association,  electing  student 
officers  annually.  An  active  student  chapter  of 
Music  Educators  National  Conference  is  an  integral 
part  of  student  life  for  many  at  PCPA,  while 
additional  student  organizations  are  available. 

The  Center  City  location  offers  a  variety  of 
restaurants,  movies,  professional  touring  company 
productions,  all  types  of  shopping,  museums, 
libraries,  historical  areas  of  interest,  and  other 
forms  of  entertainment.  All  of  these  are  within 
walking  distance  of  the  College. 

Student  Housing 

The  RESIDENCE  HALL  (Furness  Hall)  is 
located  about  two  blocks  from  the  main  campus. 
Rooms  are  available  for  two,  three  and/or  four 
persons.  Each  room  is  equipped  with  a  small 
kitchen,  therefore  no  food  service  is  available. 

All  freshmen  are  expected  to  reside  in  the 
dormitory,  however  those  requesting  space  after 
June  1st  cannot  be  assured  of  a  room,  since  a 
limited  number  are  available. 

The  Summer  Session 

The  College  offers  a  three-week  and  a  six- 
week  Summer  Session.  Students  may  register  for 
the  courses  on  a  regular  credit  basis.  A  list  of 
course  offerings  may  be  obtained  from  the 
Registrar  after  May  1st. 

ACT  101 

Made  possible  through  a  grant  from  the 


Commonwealth  of  Pennsylvania  Office  of  Equal 
Opportunity,  ACT  101  is  geared  to  assisting 
educationally  and  economically  disadvantaged 
students  to  the  completion  of  the  certificate  or 
bachelor's  degree. 

The  Program  provides  for  specialized  tutoring 
and  counseling  in  select  courses  in  music,  dance, 
and  the  humanities.  In  addition,  if  enrollment  merits 
it,  a  six-week  pre-college  summer  preparatory 
session  is  offered.  All  services  offered  by  ACT  101 
are  free  of  charge,  and  every  effort  is  made  to 
distribute  available  financial  aid  in  such  a  way  as  to 
arrange  adequate  aid  packages  to  all  ACT  101 
students.  Those  who  qualify  for  participation  in  the 
program  must  be  residents  of  the  Commonwealth 
of  Pennsylvania  and  must  demonstrate  economic 
and  educational  need  within  the  regulations 
specified  in  the  program  guidelines.  Interested 
persons  are  encouraged  to  contact  the  ACT  101 
Coordinator. 

Pre-College  Training 

The  College  has  found  that  the  applicants  who 
are  best  prepared  for  its  programs  of  study  are 
those  who  have  had  a  minimum  of  two  to  five 
years  of  serious  study  prior  to  matriculation. 

PCPA  offers  pre-college  level  training  in  music 
and  dance  to  persons  of  all  ages  on  a  non-credit 
basis  in  the  Music  Conservatory  and  Dance 
Extension  Divisions  of  the  school.  Instruction  is 
available  on  all  instruments,  voice,  theory, 
composition,  ballet,  modern  dance,  and  jazz  dance. 

PCPA  applicants  are  not  required  to  study  in 
one  of  the  School's  pre-college  divisions,  however 
many  have  found  it  to  be  an  excellent  preparation 


for  the  college  bound  student.  Additional  informa- 
tion is  available  from  the  Conservatory  Division,  or 
the  Dance  Office. 

Early  Admissions  Program 

The  Early  Admissions  Program  is  available  to 
those  who  have  completed  the  sophomore  year  of 
high  school  with  at  least  a  B  average.  This  special 
program  allows  the  student  of  exceptional  talent 
and  ability  to  complete  high  school  and  begin 
college  simultaneously.  Those  accepted  into  the 
program  are  not  eligible  for  college  graduation  until 
which  time  all  high  school  graduation  requirements 
have  been  completed  and  a  diploma  awarded. 

This  program  is  available  ONLY  to  those  who 
have  exceptional  talent,  ability,  and  potential  in  an 
area  of  performance  as  well  as  high  academic 
achievement  and  the  full  cooperation  and  approval 
of  the  College,  the  applicant's  high  school  and 
parents. 

Those  interested  should  arrange  for  a  personal 
interview  with  the  Dean  of  Admissions. 

Part-Time  Students 

Part-time  study  is  available  to  degree  and  non- 
degree  students  each  semester.  Interested  persons 
should  contact  the  Dean  of  Admissions  for 
information  regarding  registration  procedures  and 
instructions. 

Transfer  Students 

Students  wishing  to  transfer  to  PCPA  from 
another  college  should  follow  the  same  application 
procedures  as  outlined  on  pages  15-16  for  music 


majors,  pages  23-24  for  dance  majors  and  pages  30- 
31  for  theatre  majors. 

Any  credits  earned  at  another  institution  other 
than  in  the  applicant's  major  area  will  be  evaluated 
and  validated  by  the  PCPA  Applied  Music, 
Theoretical  Studies,  General  Studies/Humanities, 
Music  Education  and/or  Dance  Division  before 
they  will  be  accepted  for  credit  toward  a  PCPA 
degree.  Advanced  standing  in  the  major  area  is 
determined  as  a  result  of  the  audition.  The 
applicant  may  be  asked  to  take  tests  which  will  aid 
in  the  evaluation  of  skill  and  knowledge.  In  no  case 
will  credit  earned  with  a  grade  below  "C"  be 
accepted.  Transfer  students  may  receive  no  more 
than  four  semesters  advanced  standing  in  the 
major  area. 

Foreign  Students 

Foreign  students  who  wish  to  enter  PCPA 
must  comply  with  all  provisions  of  the  Immigration 
Act  and  will  be  admitted  only  on  a  full-time  basis. 
Immigration  information  is  available  from  U.S. 
Embassy  offices  in  foreign  countries. 

Foreign  students  are  required  to  take  the  TEST 
OF  ENGLISH  AS  A  FOREIGN  LANGUAGE 
(TOEFL)  or  provide  proof  of  English  proficiency. 
The  College  requires  a  TOEFL  score  of  450  or 
higher.  TOEFL  information  is  available  from  the 
Educational  Testing  Service,  Box  899,  Princeton, 
New  Jersey,  08541,  USA. 

The  1-20  Form,  issued  by  the  College  for 
immigration  purposes,  will  not  be  forwarded  until 
the  applicant  has  been  fully  admitted,  provided  an 
acceptable  TOEFL  score  or  the  equivalent,  and 
submitted  the  required  advance  tuition  deposit. 


40 


FINANCIAL  AID 

PCPA  offers  financial  aid  to  qualified  students 
to  help  defray  educational  expenses.  Some  of  the 
awards  may  be  offered  singly  or  in  various 
"package"  combinations.  Last  year,  over  85%  of 
the  PCPA  Student  Body  received  aid  through 
PCPA  institutional  grants  and  employment,  state 
and  federal  need-based  programs  (grants,  loans, 
employment),  private  grants  and  scholarships,  or  a 
combination  of  all  types  of  aid. 

The  standard  FEDERALLY-SPONSORED 

PROGRAMS  at  PCPA  are: 

*Basic  Educational  Opportunity  Grant 
(BEOG/PELL  Grants) 

*Supplemental  Educational  Opportunity  Grant 
(SEOG) 
*College  Work-Study  Program  (CWSP) 
*National  Direct  Student  Loan  (NDSL) 
*Federally-Insured  Loans 
The  following  STATE  PROGRAMS  are 
available  at  PCPA: 

*PHEAA  (Pennsylvania  residents  only) 
*Guaranteed  Student  Loan  (GSL) 
The  following  INSTITUTIONAL  PROGRAMS 
are  available  at  PCPA: 

Tuition  Remission  Grants  (TRG) 
*Private  scholarships  and  awards 
To  be  considered  for  any  or  all  of  the  above  types  of 
student  aid,  applicants  must  submit: 

1.  The  Financial  Aid  Form  (FAF)  published 
by  the  College  Scholarship  Service.  FAF'sare 
available  at  any  secondary  guidance  office 
or  by  writing  to  the  PCPA  Financial  Aid 
office. 


2.  The  PCPA  Financial  Aid  Application  to  the 
Director  of  Financial  Aid. 

3.  The  appropriate  federal  or  state  applications 
for  individual  programs. 

NOTE:  Those  who  wish  to  be  considered  for 
a  Tuition  Remission  Grant  and/or 
private  scholarships  and  awards  must 
apply  for  admission  and  complete  the 
required  audition  prior  to  April  3. 

ALL  QUESTIONS  OR  PROBLEMS 
PERTAINING  TO  FINANCIAL  AID  OR 
APPLICATION  PROCESSES  SHOULD  BE 
ADDRESSED  TO  THE  DIRECTOR  OF 
FINANCIAL  AID. 


Maestro  Stanislaw  Skrowaczewski  conducts  the  PCPA 
Orchestra  during  a  rehearsal  session 


41 


SCHOLARSHIPS 

The  following  scholarships  are  incorporated  into  PCPA's  Tuition 
Remission  Grant  program.  Applicants  will  be  considered  for  these  and 
other  scholarship  awards  when  applying  for  a  Tuition  Remission  Grant. 


The  Lisa  Caserta  Memorial  Scholar- 
ship— awarded  annually  to  a  piano  major. 

The  D.  Hendrick  Ezerman  Piano 
Scholarship — awarded  annually  to  an 
accomplished  musician  majoring  in  piano  studies. 

The  Edwin  B.  Garrigues  Scholarship — 

awarded  annually  to  an  outstanding  undergraduate 
music  student. 

The  John  T.  Mathis  II  Saxophone 
Scholarship — awarded  annually  to  a  saxophone 
student  whose  performance  orientation  is  in 
modern  music. 


The  PCPA  Alumni  Scholarships — 

awarded  annually  to  outstanding  students  in  music, 
dance  and  theatre. 


The  Clement  C.  Petrillo  Piano 
Scholarship — awarded  annually  to  a  deserving 
piano  major. 

The  Presser  Scholarship — awarded 
annually  to  a  qualified  music  student  at  conclusion 
of  the  junior  year. 

The  Elizabeth  Ann  Pulaski  Memorial 
Scholarship — awarded  annually  to  a  major  in 
jazz  dance  studies. 


The  Edmund  J.  Parks  Memorial 
Scholarship — awarded  annually  to  a  foreign 
student  of  string  instruments. 


The  Elizabeth  M.  Strine  Piano 
Scholarship — awarded  annually  to  a  qualified 
piano  student  at  the  graduate  level. 


42 


TUITION 

Undergraduate 
Full-Time 
Full-Time 


1984-85  TUITION  AND  FEES 


Schools  of  Dance  and  Theatre     Per  Semester 
School  of  Music  Per  Semester 


Part-Time  Rates 

Individual  Major  Instruction 

Class  Instruction 
Graduate 

Full-Time  School  of  Music 

Part-Time  Rates 

Individual  Major  Instruction 

Class  Instruction 
Music,  Opera 


Per  Hour 

Per  Credit  Hour 

Per  Semester 

Per  Hour 

Per  Credit  Hour 


$3045.00 
$3045.00-$3355.00* 


$260.00 
$3255.00-$3525.00 


$350.00 


43 


COLLEGE  HOUSING  (Room  Only),  1984-85 

Double-room  occupancy  Per  Semester  $1000.00 

FEES  AND  CHARGES,  1984-85 

Application  Fee  $  30 

Registration  Fee  (Per  Semester,  Part-Time  Only)    $  25 

Tuition  Deposit  (Not  refundable  after  July  1)    $  100 

Health  Fee   $  15 

Examination  for  Advanced  Standing  $  50 

Late  Registration  Fee $  50 

Late  Tuition  Payment  Fee    $  50 

Special  or  Make-Up  Examination    $  25 

Returned  Checks    $  5 

Graduation  Fee $  60 

Transcripts  (each)    $  2 

Instrumental  Rental  Fee  (Per  Semester)    $  25 

For  Double  Degree  Students  Only) 

Instrument  Deposit  (Per  Semester) $  50 

(For  Double  Degree  Students  Only) 

Ensemble  Library  Deposit  (Per  Semester)  $  10 

Course  Overload  Fee  —  Undergraduate  (Per  Credit  Hour)    $  250 

Course  Overload  Fee  —  Graduate  (Per  Credit  Hour)    $  ** 

*A  variable  rate,  dependent  upon  Individual  Major  Instruction. 
**A  variable  rate,  dependent  upon  specific  Graduate  Program. 


TUITION  DEPOSIT 

A  tuition  deposit  is  required  of  all  new 
students  when  accepted  and  is  credited  to  the  first 
semester's  tuition.  It  is  not  refundable  after  July  1 
for  students  entering  in  the  Fall  Semester  or 
December  1  for  students  entering  in  the  Spring 
Semester. 

A  tuition  deposit  is  also  required  of  all  return- 
ing students  in  November  for  the  spring  semester 
and  prior  to  registration  in  April  for  the  fall 
semester.  The  deposit  is  credited  to  the  following 
semester's  tuition  and  is  not  refundable  after  July 
1  for  those  registering  for  the  Fall  Semester  and 
December  1  for  those  registering  for  the  Spring 
Semester. 

PAYMENT  OF  FEES 

Tuition  and  fees  are  payable  on  or  before 
August  1  for  the  Fall  semester  and  on  or  before 
December  1  for  the  Spring  semester.  Credit  will  be 
allowed  for  amounts  paid  at  registration. 

Students  who  are  delinquent  in  payment  of 
financial  obligations  will  not  be  permitted  to  attend 
classes  or  register  for  the  following  semester  and 
will  be  subject  to  appropriate  late  payment  and  late 
registration  fees.  No  transcript,  grade  report, 
degree  or  certificate  will  be  issued  to  a  student 
until  all  tuition,  fees,  fines,  emergency  loans  and 
any  other  assessed  charges  are  paid  in  full. 

COLLEGE  REFUND  POLICY 

The  College  must  engage  its  faculty  and  make 
other  financial  commitments  in  advance  of  each 
term  in  accordance  with  the  number  of  students 
who  have  expressed  their  intent  to  enroll.  When 


students  withdraw  from  the  College,  vacancies  are 
created  which  cannot  be  filled  and  the  College's 
financial  commitment  must  still  be  honored. 

The  refund  policy  at  PCPA  applies  only  to  a 
complete  withdrawal  from  all  courses  for  which 
either  a  full-time  or  part-time  student  is  registered. 
Any  partial  withdrawal  (i.e.  from  individual  courses) 
will  not  result  in  a  partial  refund  of  tuition.  A 
change  in  tuition  assessment  status  from  full-time 
to  part-time  will  not  be  permitted  on  or  after  the 
first  day  of  classes. 

Any  student  who  withdraws  from  the  College 
before  the  first  day  of  classes  will  receive  a  100% 
refund  of  tuition  paid  (excluding  fees  and  charges). 

For  those  who  withdraw  on  the  first  day  of 
classes  or  anytime  thereafter,  an  administrative 
committee  may  review  refund  requests.  When 
approved,  the  refund  schedule  allows  for  up  to  80% 
refund  during  the  first  week  of  classes;  60%  during 
the  second  week;  40%  during  the  third  week;  20% 
during  the  fourth  week;  and  no  refund  after  the 
fourth  week  of  classes. 

In  computing  refunds,  the  date  of  withdrawal  is 
the  date  on  which  the  Registrar  receives  written 
notice  from  the  student,  his  parents,  or  his 
guardian.  If  notice  is  received  after  withdrawal, 
refunds  cannot  be  made  retroactive  to  date  leaving. 

No  refunds  will  be  made  to  students  dismissed 
at  any  time  for  unsatisfactory  academic  standing  or 
infraction  of  regulations. 

Refunds  for  students  receiving  financial 
assistance  from  scholarships,  grants,  or  loans  will 
be  returned  first  to  the  grantors  in  accordance  with 
their  requirements,  and  the  difference,  if  any,  will 
be  refunded  to  the  student. 


POLICY  STATEMENT — The  Philadelphia  College  of  the  Performing  Arts  adheres  to  a  non-discriminatory  policy  with  regard  to  race,  color,  sex,  national 
ethnic  origin,  and  religious  affiliation  with  regard  to  the  review,  consideration,  and  final  disposition  of  applications  for  admission  to  the  College.  It  adheres  to 
a  full  non-discriminatory  policy  in  the  administration  of  its  educational  programs  and  policies,  financial  aid,  and  all  other  college-administered  programs  and 
activities.  The  College  reserves  the  right  to  change  the  regulations,  tuition,  fees,  faculty,  and  other  information  contained  in  this  publication  at  any  time 
without  prior  notice.  However,  in  the  event  that  any  such  changes  become  necessary,  attempts  will  be  made  to  publicize  them  adequately. 


44 


FACULTY  BIOGRAPHIES 


RICHARD  ALEXANDER  (Organ)-BM,  Curtis  Institute  of 
Music;  MM,  Yale  University;  Research  Fellow,  Institute  of 
Sacred  Music  of  the  Yale  University  School  of  Divinity;  organist 
and  choirmaster  of  St.  Paul's  Church,  Chestnut  Hill. 

JAMES  V.  AMADIE  (Modern  Harmony  and  Jazz 
Theory)— BME,  Philadelphia  Musical  Academy  (Philadelphia 
College  of  the  Performing  Arts);  former  jazz  pianist  with  the 
Woody  Herman  Orchestra;  performed  at  New  York's 
Copacabana;  accompanist  for  Mel  Torme,  Bobby  Rydelland  Al 
Martino;  performed  with  the  Philadelphia  Orchestra  Brass 
Ensemble;  composed  for  Woody  Herman,  Oscar  Peterson  and 
Charlie  Byrd;  conducted  score  for  National  Football  League 
films. 

ADELCHI  LOUIS  ANGELUCCI  (BassoonJ-Graduate, 
Curtis  Institute  of  Music;  member  of  the  Philadelphia  Orchestra 
since  1950.  Student  of  Walter  Guetter,  Bassoonist;  former 
member  of  the  Pennsylvania  Symphony  and  principal 
bassoonist  with  the  National  Symphony  Orchestra;  former 
member  of  ballet  and  opera  orchestras  of  Philadelphia. 

JEANNE  BEHREND  (Rano)-Graduate,  Curtis  Institute  of 
Music ;  studied  piano  with  Josef  Hofmann  and  composition  with 
Rosario  Scalero;  received  the  Distinguished  Daughter  of 
Pennsylvania  award  in  1978. 

NANCEY  BERMAN  KANTRA  (Modem  Jazz  Dance)- 
BA,  University  of  Colorado;  MFA,  Philadelphia  College  of 
Performing  Arts;  has  been  principal  dancer  with  The 
Philadelphia  Dance  Company  since  1978;  has  taught 
extensively  throughout  the  Tri-State  area. 

PETER  BERTINI  (Jazz  Dance) -Graduate,  SUNY  at 
Brockport  and  Philadelphia  College  of  the  Performing  Arts; 
additional  study  at  the  Clark  Center  for  the  Performing  Arts  and 
Jo  Jo's  Dance  Factory;  performed  with  The  Great  Chazy 
Dance  Company  and  the  Schuylkill  Valley  Regional  Dance 
Theatre. 


ROBERT  BLOOM  (OboeJ— Graduate,  Curtis  Institute  of 
Music;  student  of  Marcel  Tabuteau;  former  member  of  the 
Rochester  Orchestra;  former  solo  oboist  with  the  NBC 
Symphony  Orchestra  under  the  direction  of  ArturoToscanini; 
toured  with  the  Bach  Aria  Group  and  served  as  solo  oboist; 
Professor  Emeritus  at  Yale  University;  former  faculty  member 
at  the  Juilliard  School  of  Music;  former  students  include  solo 
oboists  in  the  Chicago,  Los  Angeles,  Pittsburgh,  Toronto,  San 
Francisco,  Rochester  Philharmonic,  Vancouver,  St.  Paul, 
Orlando,  Tampa,  and  New  Haven  Symphony  Orchestras. 

MICHAEL  BOOKSPAN  (Percussion)-BS,  Juilliard 
School  of  Music;  studied  with  Morris  Goldberg,  Saul  Goodman, 
and  Fred  Albright;  Principal  Percussionist  and  Associate 
Tympanist  with  the  Philadelphia  Orchestra;  and  former 
xylophone  soloist  with  the  US  Air  Force  Band;  former  member 
of  the  Little  Orchestra  Society  of  New  York,  the  New  York  City 
Ballet  Orchestra,  and  the  Goldman  Band;  current  faculty 
member  of  the  Curtis  Institute  of  Music.  Recipient  of  C. 
Hartman  Kuhn  Award  of  the  Philadelphia  Orchestra. 

BARBARA  M.  BOURBON  (Anatomy  Kinesiology)— BS, 
Physical  Therapy,  Boston  University,  PhD,  Anatomy,  Univer- 
sity of  Pennsylvania;  partner,  Philadelphia  Institute  for  Physical 
Therapy;  Assistant  Professor,  Graduate  program  of  Physical 
Therapy,  Beaver  College,  Philadelphia  College  of  Pharmacy 
and  Science,  Temple  University;  Semester  guest  lecturer  at 
Hahnemann  and  Jefferson  Universities. 

EDWARD  T.  BRAKE  (Dean  of  Admissions,  Student 
Services  Liaison)— BS,  Artist's  Diploma  in  Voice,  Southwest 
Missouri  State  University;  MS,  Southern  Illinois  University; 
Dean  of  Students  and  Instructor  in  Psychology,  Bethany 
College,  Lndsborg,  Kansas  (1966-70);  Director  of  Financial  Aid, 
Trenton  State  College,  Trenton,  New  Jersey  (1970-76);  served 
on  Special  Presidential  Advisory  Committee  on  Financial  Aid, 


45 


Washington,  D.C.  (1972-73);  studied  and  performed  with 
Marjorie  Lawrence;  studied  with  Robert  Ruetz;  appeared  in 
musicals  as  actor/singer  in  Equity  productions.  Starlight 
Theatre,  Kansas  City  (1964-70);  has  performed  with  Duke 
Ellington  (on  tour),  and  with  Shirley  Jones,  Donald  O'Connor, 
Pernell  Roberts,  Giorgio  Tozzi,  Molly  Picon,  John  Davidson, 
Sandy  Duncan,  Ginger  Rogers;  currently  Vice  President,  Board 
of  Directors  of  Philadelphia  Boys  Choir;  adjudicator  for 
numerous  talent  and  scholarship  competitions;  Outstanding 
Educator  in  America  (1971);  listed  in  Who's  Who  in  the  East 
(1973-83);  Outstanding  Young  Man  of  the  Year  Award  (U.S. 
Jaycees,  1977). 

PAULA  BROWN  (Voice,)— Graduate,  Curtis  Institute  of 
Music;  studied  with  Raquel  Adonaylo;  appeared  as  soloist  with 
the  Philadelphia  Singers,  the  Pennsylvania  Pro  Musica  and  the 
University  of  Pennsylvania  Collegium  Musicum;  also  has 
appeared  with  the  Pennsylvania  Opera  Theatre  as  Paquette  in 
Bernstein's  Candide;  has  performed  recitals  throughout  the 
United  States. 

JANICE  BRYSON  (German)— BM,  Philadelphia  College  of 
the  Performing  Arts;  MM,  Temple  University;  PhD  candidate, 
Bryn  Mawr  College;  member  of  the  Philadelphia  Singers. 

LELIA  CALDER  (Vocal  Pedagogy/Engfe/i  Diction)— BA, 
Harvard  University;  MM,  Temple  University;  private  voice 
instructor  at  Swarthmore  College;  teacher  of  class  and  private 
voice,  lecturer  on  vocal  literature.  Temple  University;  formerly 
a  soloist  with  Singing  City  and  Philamel;  member  of  the 
Philadelphia  Singers. 

LARRY  CANNON  (Make-Up)— Designer  and  make-up  for 
numerous  opera  companies  throughout  the  U.S.,  Canada,  and 
South  America,  including  the  San  Francisco  Opera  and  the 
New  York  City  Opera;  currently,  the  Master  of  Wigs  and  Make- 
up, Opera  Company  of  Philadelphia. 


MARIANNE  CASIELLO  fVoiceJ-Graduate.  Curtis 
Institute  of  Music;  professional  engagements  include  operatic 
roles  such  as  Mimi,  Violetta,  Micaela,  Nedda  and  Marguerite 
(Faust);  faculty  member  of  Curtis  Institute  of  Music  and  Settle 
ment  Music  School. 

JOSEPH  CASTALDO  (President  Emeritus  Composition) 
BM,  MM,  Philadelphia  Conservatory  of  Music  (Philadelphia 
College  of  the  Performing  Arts);  student  at  St.  Cecilia  Academy 
in  Rome  and  the  Manhattan  School  of  Music;  student  of  Vittorio 
Giannini  and  Vincent  Persichetri;  numerous  compositions 
performed  throughout  the  world;  served  as  a  founder  and  Presi- 
dent of  the  Philadelphia  Composers  Forum.  President  of  the 
Philadelphia  College  of  the  Performing  Arts,  1966-1983. 

ROBERT  L.  CERULLI  (Double  Bass)— Graduate,  Curtis 
Institute  of  Music;  BM,  Philadelphia  Musical  Academy  (Phila- 
delphia College  of  the  Performing  Arts);  MA,  Trenton  State 
College;  student  of  Roger  M.  Scott;  former  member  of  the 
Buffalo  Philharmonic  Orchestra;  current  member  of  the 
Trenton  Symphony,  the  Delaware  Symphony,  New  Jersey 
State  Opera  Orchestra;  served  as  Master  Bass  teacher  for  the 
19th  International  String  Conference. 

DONALD  CHITTUM  (Coordinator,  Theory,  Composition 
Division)— BM,  MM,  DM,  Philadelphia  Conservatory  of  Music 
(Philadelphia  College  of  the  Performing  Arts);  studied  with 
Vincent  Persichetti  and  Boris  Koutzen;  former  president  of  the 
Pennsylvania  Music  Teachers  Association  and  the  Pennsyl- 
vania Council  on  Music  and  Education;  former  chairman  of  the 
Pennsylvania  Fine  Arts  Project;  current  chairman  of  the  Music 
Teachers  National  Association;  recently  named  Teacher  of  the 
Year  by  the  Pennsylvania  Music  Teachers  Association;  chair- 
man of  the  Music  Department  of  the  Pennsylvania  Governor's 
School  for  the  Arts. 


46 


KENT  CHRISTENSEN  (Humanities)-BA,  Columbia 
Univeristy;  MA,  University  of  Connecticut. 

ANDREA    CLEARFIELD    (College   Accompanist)— BA, 

Muhlenberg  College;  MM,  Philadelphia  College  of  the 
Performing  Arts;  student  of  Margaret  Garwood  and  Susan 
Starr;  accompanist  and  coach  at  the  Aspen  Music  School; 
participant  in  the  New  College  Chamber  Music  Festival; 
accompanist  and  teacher  in  Philadelphia  area. 

CHARLES  CONWELL  (Stage  Fencing)— BS,  Norths 
western  University;  MFA,  Brandeis  University;  is  a  certified- 
recommended  actor-combatant  of  the  American  Society  of 
Fight  Directors;  taught  stage  combat  at  Temple  University;  has 
directed  various  stage  fights  in  As  You  Like  It,  Hartford  State 
Company;  Off-Broadway  production  of  The  Flight  of  the  Earls; 
People's  Light  and  Theatre  Company  productions  of  Hamlet, 
Macbeth  and  Treasure  Island;  has  taught  stage  combat  at  the 
Shaw  Festival  in  Ontario  while  assisting  artistic  director, 
Chnstopher  Newton. 

DEBORAH  COOK  (Opera)— Studied  with  Irene  Williams; 
sang  leading  roles  at  Royal  Opera  House  Covent  Garden, 
Deutsche  Oper  Berlin,  Hamburg  State  Opera,  Bayerische 
Staatsoper,  Frankfurt  Oper,  Stuttgart  Oper,  Victorian 
(Australian)  Opera;  Recordings  with  Pierre  Boulez,  Georg  Solti, 
title  role  of  Dinorah;  currently  sings  with  Los  Angeles 
Symphony,  New  Philharmonia,  London  Sinfonietta,  Orchestre 
de  Paris  and  records  regularly  with  Radio  Orchestra  Leipzig, 
Brussels  Radio  Orchestra,  Radio  Stuttgart;  commutes  to 
Europe  regularly  for  opera/concert/oratorios. 
FRANK  COSTANZO  (Violin)— BM,  University  of  Pennsyl- 
vania; member  of  the  Philadelphia  Orchestra  since  1941;  former 
member  of  the  American  String  Orchestra;  received  the 
Hartman  Kuhn  Award  of  the  Philadelphia  Orchestra  in  1959. 

NEIL  COURTNEY  (Double  Bass)- BM  and  Performer's 
Certificate,  Eastman  School  of  Music;  studied  with  Oscar 
Zimmerman  and  Roger  M.  Scott;  member  of  the  Philadelphia 
Orchestra  since  1962;  former  member  of  the  US  Marine  Band 


and  the  Rochester  Philharmonic  under  Eric  Leinsdorf;  former 
Principal  Bassist  with  the  National  Symphony  Orchestra. 

SHIRLEY  CURT1SS  (Bassoon)— BM,  BMEd,  Murray  State 
University;  MM,  University  of  Miami;  former  student  of  Sol 
Schoenbach;  students  and  ensembles  include  numerous 
winners  of  Youth  Concerts  of  the  Philadelphia  Orchestra,  New 
York  Philharmonic  and  other  orchestras  in  the  Delaware 
Valley;  former  students  also  hold  positions  in  major  symphony 
orchestras  and  universities  in  the  United  States  and  abroad. 

WALTER  DALLAS  (Acting  Director,  School  of  Theatre)— 
BA,  Morehouse  College;  MFA,  Yale  Drama  School;  additional 
studies  at  Harvard  University,  University  of  Ghana,  and  Paul 
Sills  (improvisation);  has  taught  and/or  directed  workshops  at 
Yale  University,  Antioch  College.  University  of  California, 
Berkeley,  and  University  of  Ghana;  has  guest  directed  at  several 
off -off,  off-Broadway  and  regional  theatres,  including  Atlanta's 
Alliance  theatre,  Baltimore's  Center  Stage  (where  he  was  a 
National  Endowment  for  the  Arts  Director  Fellow),  San 
Francisco's  Montgomery  Playhouse  and  New  York's  Negro 
Ensemble  Company;  founder  of  Atlanta's  Proposition  Theatre, 
Proposition  Drama  School  and  Yale's  Black  Ensemble 
Company;  recipient  of  many  awards,  including  Best  Director 
and  Creative  Genius  Awards  from  Atlanta  Critics,  two  Bronze 
Jubilee  Awards  for  Theatre  Excellence  and  a  California  Emmy 
nomination;  among  his  original  plays  which  have  been 
produced,  Willie  Lobo  Manchild  is  regularly  aired  in  California 
and  New  York. 

NICHOLAS  D'AMICO,  JR.  (Percussion)— Graduate, 
Curtis  Institute  of  Music;  free-lance  percussionist  throughout 
the  East  including  engagements  with  the  Pennsylvania  Ballet 
Company  Orchestra. 

JOSEPH  DeANGELIS  (French  Horn)- BM,  Juilliard 
School  of  Music;  student  of  James  Chambers;  former  member 
of  the  New  Orleans  Philharmonic;  current  Principal  Horn  with 
the  Philadelphia  Opera  Orchestra  and  the  Pennsylvania  Ballet 
Company  Orchestra;  has  played  extra  horn  with  the  New  York 
Philharmonic  for  the  past  20  years. 


47 


SEAN  DEIBLER  (Musicianship /Choral  Conductor)— BS, 
Susquehanna  University — Clarinet  and  Voice;  Graduate 
Diploma,  KODALY  Musical  Training  Institute;  Graduate 
Certificate;  Franz  Liszt  Academy  in  Budapest — Conducting, 
Chamber  Music  and  Solfeggio;  founder  and  director  of  The 
Music  Group  of  Philadelphia;  director  of  the  Choral  Arts 
Society  of  Philadelphia. 

JOSEPH  de  PASQUALE  (Wo/a)— Graduate,  Curtis  Insti- 
tute of  Music;  studied  with  Louis  Bailly,  Max  Aronoff  and 
William  Primrose;  Principal  Violist  with  the  Philadelphia 
Orchestra  since  1964;  former  Principal  Violist  of  the  Boston 
Symphony;  former  member  of  the  US  Marine  Band;  violist  with 
the  DePasquale  String  Quartet;  current  faculty  member  of  the 
Curtis  Institute  of  Music. 

JULIA  de  PASQUALE  (Violin)— Graduate,  Curtis  Institute 
of  Music;  student  of  Veda  Reynolds;  member  of  the  Philadelphia 
Orchestra  since  1964;  former  member  of  the  Toronto 
Symphony  Orchestra;  participant  in  the  Marlboro  Music 
Festival  under  the  direction  of  Rudolf  Serkin. 

ROBERT  de  PASQUALE  (Violin)— Graduate,  New  School 
of  Music;  student  of  Jascha  Brodsky;  member  of  the  Philadel- 
phia Orchestra  since  1964;  former  member  of  the  New  York 
Philharmonic  and  the  US  Navy  Band;  currently  a  violinist  with 
the  DePasquale  String  Quartet. 

WILLIAM  de  PASQUALE  (Violin)— Studied  with  Veda 
Reynolds  at  the  Curtis  Institute  of  Music;  Associate  Concert- 
master  of  the  Philadelphia  Orchestra  since  1964;  received  a 
Fulbright  Scholarship  to  study  in  Salzburg,  Austria,  former 
Concertmaster  of  the  New  Orleans  Philharmonic;  former 
Concertmaster  and  violin  soloist  with  the  St.  Louis  Sinfonietta; 
violinist  with  the  DePasquale  String  Quartet. 

JOHN  F.  DEVVITT  (Coordinator,  Humanities  Division)— 
BA,  Northeastern  University;  MA,  PhD,  University  of  Con- 
necticut; has  published  three  collections  of  poems:  Designs 
For  On  Ahti,  Animals  and  Finger  Food;  poems  have  also 
appeared  in  a  number  of  magazines;  winner  of  Wallace  Stevens 


Poetry  Prize;  invited  to  two  NEH  Summer  Seminars;  served  as  a 
consultant  to  Pennsylvania  Department  of  Higher  Education. 

ANNETTE  DIMEDIO  (Piano)-BA,  Swarthmore  College. 
MM,  Temple  University;  Ph.D,  Bryn  Mawr  College;  student  of 
Dr.  Clement  C.  Petrillo;  first  student  to  win  all  three  Philadelphia 
Orchestra  Student  Division  Competitions,  performing  with  the 
orchestra  on  each  occasion;  performed  with  the  Columbia 
Symphony  Orchestra;  recent  winner  of  the  Ima  Hogg  National 
Competition  resulting  in  a  solo  performance  with  the  Houston 
Symphony  Orchestra. 

ROBERT  DiNARDO  (Guitar)— Has  been  an  active,  work- 
ing musician  since  the  late  1950s;  has  performed  with  the  Phila- 
delphia Chamber  Orchestra,  under  the  direction  of  Ansil 
Bruslaw;  inaugurated  the  classical  guitar  department  at  the 
Philadelphia  College  of  the  Performing  Arts  (P.M. A.)  in  1969; 
was  staff  guitarist  with  the  Mike  Douglas  Show  and  has  per- 
formed with  such  artists  as  Tony  Bennett,  Ella  Fitzgerald,  Vic 
Damone,  Joel  Grey  and  Shirley  MacLaine. 

JEFFREY  DUNCAN  (Modern  Dance)- Has  been  Dance 
Artist  in  Residence  at  the  University  of  Maryland,  Baltimore 
County  Campus  for  the  last  seven  years  teaching  creative 
courses  and  producing  and  directing  the  resident  company  at 
the  university;  was  active  in  the  New  York  dance  scene;  has 
worked  on  Broadway,  television  and  opera;  founder  of  New 
York's  Dance  Theater  Workshop  (DTW)  in  1965,  and  directed 
it  until  1975;  current  faculty  member  at  Temple  University; 
Dance  Consultant  for  Theatre  Project  and  two  dance  groups  in 
Baltimore;  tours  in  his  Solo  Dance  Concert;  choreographs  for 
various  groups  across  the  country;  serves  as  vice-president  of 
the  American  College  Dance  Festival  Association  (ACDFA). 

LILBURN  DUNLAP  (Theory  Composition)-BM,  MM, 
Philadelphia  Conservatory  of  Music  (Philadelphia  College  of  the 
Performing  Arts);  student  of  Alison  Drake  and  Vincent 
Persichetti;  former  president  of  the  Pennsylvania  Music 
Teachers  Association. 


ROBERT  ELMORE  (Organ)— BM,  University  of  Pennsyl- 
vania; 3  Licentiates  of  the  Royal  Academy  of  Music,  London; 
Associate  Degree,  Royal  Academy  of  Music,  London;  LHD, 
Moravian  College;  LLD,  Alderson-Broaddus  College;  former 
organist/choir  director  of  the  Central  Moravian  Church, 
Bethlehem,  Pennsylvania,  and  the  Holy  Trinity  Church,  Phila- 
delphia; current  organist  at  the  Tenth  Presbyterian  Church  in 
Philadelphia. 

FRANCES  FANELLI  (Piano) -BM,  Philadelphia  Musical 
Academy  (Philadelphia  College  of  the  Performing  Arts);  studied 
with  Mme.  Genia  Robinor  and  Leon  Fleisher;  made  her  New 
York  debut  at  Town  Hall  in  1966  as  winner  of  the  Leschetizky 
Association  International  Competition;  named  an  Outstanding 
Young  Woman  in  America  and  is  listed  in  the  International 
Who's  Who  of  Musicians. 

MANFRED  FISCHBECK  (Modern  Dance)— BA,  Freie 
University  of  Berlin;  former  member  of  Gruppe  Motion  Berlin, 
the  chamber  dance  ensemble  which  evolved  from  the  Mary 
Wigman  School;  since  1968,  served  as  co-director  of  the  Group 
Motion  Dance  Theatre  Company  and  School  in  Philadelphia. 

DOUGLAS  H.  FITZGERALD  (Music  Education  Coordi- 
nator ACT  101  Conductor  Symphonic  Wind  Ensemble)— 
BME,  MME,  East  Carolina  University;  Supervisor  Certification, 
Penn  State  University,  Temple  University;  studied  saxophone 
with  James  Houlik  and  Sigurd  Rascher;  soloist,  Utica  Sym- 
phony; director  of  Jazz  Ensemble,  Hamilton  College;  Guest 
Conductor  of  Wind  Ensembles/Jazz  Ensembles,  University  of 
Exeter,  England,  Montreux,  Switzerland,  New  York,  Pennsyl- 
vania and  North  Carolina;  music  supervisor  of  Music  Education 
for  Pennsylvania  public  schools;  past  presidents  of:  Region  IV 
PMEA— State  Executive  Board— MENC;  Cavalcade  of  Bands 
Association;  PCPA  Faculty  Senate;  was  director  of  PCPA 
Conservatory  Division  and  director  of  community  theaters; 
currently  Executive  Director,  Community  Arts  Alliance; 
member  Phi  Beta  Mu;  Guest  Conductor,  clinician  and  judge  for 
music  festivals  in  Pennsylvania,  New  York,  North  Carolina, 
Virginia  and  Canada. 


GARY  FLANNERY  (Jazz/Music  Theatre  Dancer-Studied 
at  Juilliard  School  of  Music  as  a  full  scholarship  student;  studied 
at  the  School  of  American  Ballet  in  New  York  City;  was  a  trainee 
with  the  Harkness  Ballet;  worked  with  the  Canadian  Ballet;  has 
toured  with  various  Canadian  musicals,  dance  companies,  has 
leading  roles  in  Broadway  and  National  Touring  companies  of 
Pippin  and  Dancin;  lead  dancer/assistant  choreographer  for 
Shirley  MacLaine's  television  specials  and  four  year  world  tour; 
principal  dancer  in  film  All  That  Jazz;  lead  dancer  in  many 
television  specials  including  Mary  Tyler  Moore,  Lena  Home  and 
Ann  Margaret;  owns  and  operates  "New  Dance  Studio"  in 
Langhorne;  teaches  in  various  professional  and  community 
centers;  studied  with  Antony  Tudor,  Jose  Limon,  Alexandria 
Danilova,  Bertrum  Ross,  Fred  Benjamin,  Lynn  Simonson, 
Stanley  Williams  and  Percival  Borde. 

JOANN  FREGALLETTE-JANSEN  (Modern  Dance 
Technique)— BS,  Ohio  University;  MS,  Smith  College;  has 
performed  in  New  York  with  Gus  Solomons,  Jr.  and  Mel  Wong; 
since  1976  has  been  the  leading  dancer  with  Dan  Wagonner;  has 
taught  and  choreographed  in  colleges  around  the  country. 

KARIN  FULLER  (Harp)-BM,  Philadelphia  Musical 
Academy  (Philadelphia  College  of  the  Performing  Arts);  studied 
with  Edna  Phillips,  Alice  Chalifoux  at  the  Salzedo  School  in 
Maine  and  at  the  Berkshire  Music  Center;  member  of  the 
Orchestra  Society  of  Philadelphia  and  the  Pottstown  Symphony 
Orchestra;  performed  with  the  Philadelphia  New  Music  Group. 
RICHARD  GENOVESE  (Trombone)— Graduate,  Curtis 
Institute  of  Music;  studied  with  Glenn  Dodson,  Charles 
Gusikoff  and  Gordon  Pulis;  substitute  trombonist  with  the 
Philadelphia  Orchestra;  current  faculty  member  at  Immaculata 
College  and  Bucks  County  Community  College;  performed 
with  the  Philadelphia  Opera  Company,  Marlboro  Festival 
Orchestra  and  the  Stuttgart  Ballet  Orchestra. 

SUSAN  B.  GLAZER  (Director,  School  of  Dance)— BA, 
American  University;  MA,  Temple  University;  additional 
studies  at  La  Sorbonne;  former  member  of  faculty,  Drexel 
University  and  Harcum  Junior  College;  past  president,  Phila 


49 


delphia  Dance  Alliance,  member  Pennsylvania  Council  on  the 
Arts  Advisory  Panel;  Chairman,  Dance  Committee,  Philadel- 
phia Art  Alliance;  dance  studies  with  Virginia  Freeman,  Paul 
Sanasardo,  Pearl  Lang,  and  Dan  Wagonner;  has  performed  in 
and  choreographed  for  companies  in  Philadelphia,  Washington 
DC,  Germany,  France,  and  Los  Angeles. 

REGINA  GORDON  (Music  Education)— BME,  Applied 
Voice,  Temple  University;  MM,  Choral  Conducting,  West- 
minster Choir  College;  Supervisor  of  Fine  Arts,  Lower  More- 
land  School  District;  Director  of  Choral  Activities,  Lower 
Moreland  High  School;  vocal  student  of  Florence  Berggren; 
conducting  student  of  Robert  Page,  Dennis  Shrock  and  Joseph 
Flummerfelt;  former  affiliate  faculty  University  of  Mary-land, 
Baltimore  County;  choirs  have  performed  in  Europe  and  at 
various  PMEA  and  ACDA  divisional  conferences;  present 
PMEA  Public  Relations  Chair;  former  president  PMEA  District 
11. 

SUSAN  D.  GOTTLIEB  (Ballet)— BS.  Wharton  School  of 
the  University  of  Pennsylvania;  studied  at  Harkness  House  for 
Ballet  Arts  and  with  the  Stuttgart  Ballet;  performed  with  the 
Ballet  Company  of  the  Philadelphia  Opera  Company  and  the 
Downtown  Ballet  Company  in  NYC.  Taught  at  University  City 
Arts  League. 

CLINTON  A.  GOULD  (Humanities)— BA,  University  of 
North  Alabama;  MEd,  Communications,  MS,  Arts  &  Science 
Policy  and  Planning,  University  of  Pennsylvania;  Research 
Fellow,  PhD  (1985).  University  of  Pennsylvania— Interdiscipli- 
nary Science  and  Humanities;  science  writer  for  NASA  and 
Smithsonian  Institute,  1971-73;  coordinator  of  NEH  and  NSF 
grants  to  develop  connections  between  science  and  the  human- 
ities; currently  Assistant  Professor  of  English  at  Community 
College  of  Philadelphia. 

ALISON  GREEN-KELLEY  (Acting)-BFA.  MA,  New 
York  University;  studied  with  Stella  Adler,  The  National 
Theatre,  The  Central  School  of  Speech  and  Drama  and  London 
University;  has  appeared  off-off  Broadway,  off-Broadway  and  in 
regional  theatre;  has  taught  at  New  York  University,  the  South 
Bronx  Community  Action  Theatre  and  at  Rutgers  University. 


DIANE  GRUMET  (Modem  Dance)— BFA,  College  Con- 
servatory of  Music,  University  of  Cincinnati;  former  soloist  with 
the  Joyce  Trisler  Danscompany;  performed  with  The  Bat-Dor 
Dance  Company  of  Israel,  Contemporary  Dance  Theatre,  New 
York  City  Opera  Ballet,  Cincinnati  Ballet  and  Opera 
Companies;  guest  artist  with  the  Alvin  Ailey  and  Jose  Limon 
Dance  Companies;  has  taught  extensively  throughout  the 
United  States;  currently  presenting  Time  Pieces,  solo  concert  of 
modern  dance,  past  and  present. 

JAMES  W.  HALA  (Trumpet)— BME,  Temple  University; 
studied  trumpet  with  Seymour  Rosenfeld,  Gerard  Schwarz  and 
Frank  Kaderabek;  studied  conducting  with  Gerard  Schwarz; 
studied  jazz  improvisation  with  Larry  McKenna;  former 
member  of  U.S.  Army  Band,  Concerto  Soloists,  Pennsylvania 
Pro  Musica,  Pottstown  Symphony;  member  of  Delaware  and 
Reading  Symphonies;  former  faculty  member  at  Temple 
University  and  Germantown  Academy. 

GEORGE  HARPHAM  (Ce//oJ— Graduate.  Curtis  Institute 
of  Music;  Assistant  Principal  Cellist  with  the  Philadelphia 
Orchestra  since  1977;  member  of  the  DePasquale  String 
Quartet  and  the  Philadelphia  Chamber  Ensemble. 

LINDA  HAVILAND  (Dance  History)— BA,  Adelphi 
University;  MEd,  Temple  University;  doctoral  candidate  in 
Aesthetics,  Temple  University;  performs  with  the  Zero  Moving 
Company;  on  faculty  at  Bryn  Mawr  College. 

FRANCO  IGLESIAS  (Voice)— Studied  at  La  Scala  of  Milan, 
Italy.  Past  Winner  of  vocal  competition  at  La  Scala.  While  at  La 
Scala  he  sang  with  such  great  artists  as  Callas,  Tebaldi, 
DeStefano,  and  Del  Monoco.  Former  Artistic  Director  of  El 
Palacio  de  Bellas  Artes,  Mexico  City,  and  Israeli  National  Opera 
Company,  Tel  Aviv.  Former  Music  Director  of  Teatro 
Municipal  of  Caracas  and  the  National  Opera  of  Venezuela. 
Recipient  of  Rockefeller  Award.  Currently  Director  of  West- 
chester (NY)  Festival  and  studio  coach/teacher  in  New  York 
City.  Many  former  students,  including  Placido  Domingo. 

GLORIA  JOHNS  (Cello)— BM,  MM,  New  England  Con- 
servatory; studied  with  Stephen  Geber,  Ron  Leonard,  and  Lynn 
Harrell;  member  of  the  Philadelphia  Orchestra  and  former 
Associate  Principal  Cellist  with  the  Buffalo  Philharmonic. 


50 


FRANK  J.  KADERABEK  (Trumpet)-  Attended  the 
Chicago  Musical  Academy;  studied  with  Edward  Masacek, 
Adolf  Herseth,  Harry  Glantz  and  Nathan  Prager;  currently 
Principal  trumpet  of  the  Philadelphia  Orchestra;  former 
member  of  West  Point  Band  and  Dallas  Symphony.  Member  of 
faculty  of  Curtis  Institute  of  Music  and  Temple  University. 

HAROLD  KARABELL  (Clarinet/Saxophone)— BA,  Glass- 
boro  State  College;  studied  with  Stanley  Marshall  and  Ralph 
McLane;  current  faculty  member  at  Temple  University  and 
Bucks  County  Community  College;  performed  with  the  Opera 
Company  of  Philadelphia  and  with  Bobby  Sherwood  and  Artie 
Shaw;  currently  the  contractor  for  the  Shubert  Theatre. 

YOHEVED  KAPLINSKY  (Piano)-BS,  MS.  DMA,  The 
Juilliard  School;  studied  with  Irwin  Freundlich  and  Dorothy 
Taubman;  prize  winner,  J.  S.  Bach  International  Competition  in 
Washington,  DC;  former  faculty  member  Glassboro  State 
College;  performances  with  orchestras  and  solo  recitals  in  the 
United  States  and  Israel;  radio  broadcasts  in  New  York  and 
Chicago. 

FREDRICK  KAUFMAN  (Dean  of  the  College/ Composi- 
tion)— BM,  MM,  Manhattan  School  of  Music;  Resident 
Composer,  University  of  Wisconsin;  faculty  member,  Rubin 
Academy  of  Music  in  Israel;  Resident  Composer  and  Depart- 
ment Chairman,  Eastern  Montana  College;  awards  from  the 
National  Endowment  for  the  Arts,  University  of  London, 
National  Association  of  Jazz  Educators,  California  Fine  Arts 
Council,  Norwegian  Government  and  Wisconsin  Composers 
League;  recipient  of  Fulbnght  Fellowship  and  the  Darius 
Milhaud  Award  in  Composition  from  Aspen  Music  Festival; 
compositions  performed  by  Israel  Philharmonic,  Zubin  Mehta 
conducting;  Pittsburgh  Symphony,  William  Steinberg, 
conductor;  and  Jersualem  Symphony  and  St.  Paul  Chamber 
Orchestra;  ballets  performed  by  Royal  Swedish  Ballet,  Royal 
Winnipeg  Ballet  and  the  Batsheva  Dance  Company;  author  of 
the  books  The  African  Roots  of  Jazz  and  Diatonic  Harmony. 

PATRICIA  KENDEL  (Flute)— Graduate  of  Curtis  Institute 
of  Music  under  William  Kincaid;  has  been  faculty  member  of 
University  of  Delaware,   West   Chester  State,  Swarthmore 


College;  currently  teaches  and  conducts  flute  ensemble  at 
Temple  University;  has  been  principal  flutist  with  Philadelphia 
Opera  Company,  Concerto  Soloists,  Pennsylvania  Ballet,  and 
Delaware  and  Reading  Symphonies. 

JANICE  KESTLER  (Musicianship)— BME,  MM,  Temple 
University;  post-graduate  study,  Westminster  Choir  College; 
national  executive  for  the  Association  of  Professional  Vocal 
Ensembles;  performs  regularly  with  the  Philadelphia  Singers; 
recently  recorded  Lukas  Foss's  Time  Cycle  with  the  composer 
conducting. 

JAY  PAUL  KRUSH  (Tuba)— BM  in  Composition;  Eastman 
School  of  Music;  MM,  Northwestern  University;  studied  with 
Arnold  Jacobs;  played  with  the  Ars  Nova  Brass  Quintet; 
Principal  Tuba  of  the  Eastman  Wind  Ensemble  and  the 
Yale/ Norfolk  Brass  Quintet;  winner  of  composition  awards 
from  the  National  Society  of  Arts  and  Letters,  the  National 
Association  of  College  Wind  and  Percussion  Instructors  and  the 
Bicentennial  Anthem  Prize;  member  of  the  Chestnut  Brass 
Company 

JAN  KRZYWICKI  (Coordinator,  Musicianship  Division)— 
BM,  University  of  Kansas,  MM,  Philadelphia  Musical  Academy 
(Philadelphia  College  of  the  Performing  Arts);  studied  at  the 
Juilliard  School  of  Music  with  Vincent  Persichetti,  Elliot  Carter 
and  Jane  Carlson.  Further  study  with  Joseph  Castaldo, 
Theodore  Antoniou,  Nadia  Boulanger  and  Darius  Milhaud; 
works  have  been  performed  by  the  Philadelphia  Orchestra,  the 
Pennsylvania  Ballet  and  the  Portland  Symphony  Orchestra. 
PAUL  KRZYWICKI  (Tuba)-BM,  MM,  Indiana  University; 
graduate  assistant  to  William  Bell;  studied  with  Joseph 
Novotny,  Lloyd  Geisler,  Abe  Torchinsky,  and  Leo  Romano; 
member  of  the  Philadelphia  Orchestra  since  1971;  member  of 
the  Philadelphia  Brass  Soloists;  former  member  of  the  U.S. 
Military  Academy  Band;  current  faculty  member  at  the  Curtis 
Institute  of  Music;  performed  with  the  Portland  Symphony,  the 
Buffalo  Philharmonic,  the  Youngstown  Symphony,  the  Boston 
Ballet  and  Opera  Companies,  and  the  Aspen  Festival 
(  >i  i  hi-stra 


51 


CARLTON  JONES  LAKE  (Music  Educat,on)-BM,  MM, 
Temple  University;  DM,  Philadelphia  Conservatory  of  Music 
(Philadelphia  College  of  the  Performing  Arts);  former 
supervisor  of  vocal  music  for  the  School  District  of  Philadelphia; 
former  coordinator  and  evaluator  for  the  Juilliard  Repertory 
Project;  founder  and  director  of  the  Academy  Boys  Choir; 
Director  of  the  PCPA  Performing  Arts  School. 

JOSEPH  LANZA  (Violin)— Graduate,  Juilliard  School  of 
Music;  student  of  Joseph  Fuchs,  Hans  Letz,  and  Frank 
Costanzo;  member  of  the  Philadelphia  Orchestra  since  1958; 
former  member  of  the  Juilliard  Symphony  Orchestra  and  the 
U.S.  Navy  Orchestra. 

PHOEBE  LAW  (Librarian)— BA,  (music),  Taylor  University; 
MA  (musicology),  University  of  California,  Los  Angeles;  MALS 
(library  science).  Rosary  College  Graduate  School  of  Library 
and  Information  Science;  teaching  assistant,  Oregon  State 
University  School  of  Music;  music  cataloger,  Northwestern 
University  School  of  Music  Library;  catalog  librarian,  Mont- 
gomery County  Library  (Texas);  public  services  librarian, 
Houston  Public  Library;  medical  librarian,  Elkart  General 
Hospital,  (Indiana). 

S.  ARCHYE  LEACOCK  (Music  Education)- BM,  Temple 
University;  MA,  Indiana  University;  director  of  Special  Program 
for  the  Handicapped  at  Settlement  Music  School;  former  music 
teacher  in  Trinidad,  West  Indies;  director/coach  of  the  National 
Folk  Choir  of  the  Best  Village  Council  in  Trinidad;  coordinator 
of  the  Office  for  the  Disabled  at  Temple  University;  teacher  of 
flute  and  piano  at  West  Oak  Lane  School  of  Music. 

JOHN  LEONARD  (Classical  Cwtar)-BM,  MM,  Philadel- 
phia Musical  Academy  (Philadelphia  College  of  the  Performing 
Arts);  student  of  Robert  DiNardo;  student  of  plectrum  guitar 
with  Joseph  Sgro  and  Dennis  Sandole. 

FLORENZA  D.  LEVENGOOD  (Piano)— Early  studies 
with  her  father,  Antonio  Decimo,  clarinetist;  studied  piano  with 
Leo  Ornstein  at  the  Philadelphia  Musical  Academy  (Philadel- 
phia College  of  the  Performing  Arts);  studied  chamber  music 
and  interpretation  with  Carlo  Peroni  of  St.  Cecilia  Academy  in 
Rome. 


GLORIA  V.  LIHOTZ  (Voice)-BM,  MM,  Philadelphia 
Musical  Academy  (Philadelphia  College  of  the  Performing  Arts); 
studied  with  Carolyn  Dengler  and  Licia  Albanese;  studied 
dramatics  with  Tito  Capobianco  and  Rhoda  Levine;  current 
faculty  member  of  the  Merchantville  Conservatory  of  Music; 
performed  with  the  Philadelphia  Opera  Company,  the  Regal 
Opera  Company  and  the  Philadelphia  Musical  Theatre. 

LOREN  LIND  (Flute)— BM,  Temple  University;  graduate 
studies  at  the  University  of  Hawaii;  student  of  Murray  Panitz; 
member  of  the  Philadelphia  Orchestra  since  1974;  studied  with 
the  principal  flutists  of  the  Honolulu  Symphony,  Seattle 
Symphony,  and  the  NHK  Symphony  of  Tokyo;  former  member 
of  the  Lyric  Opera  Orchestra  and  the  Honolulu  Symphony. 

ANTHONY  MARCHIONE  (Trumpefj-Graduate,  Curtis 
Institute  of  Music;  has  performed  as  Principal  Trumpet  with  the 
CBS  Symphony  Orchestra,  Philadelphia  Lyric  and  Grand 
Opera,  and  Philadelphia  Little  Symphony;  performed  with  the 
Metropolitan  Opera  and  the  Stuttgart  Chamber  Symphony; 
current  Principal  Trumpet  with  the  Valley  Forge  Music  Theatre; 
teacher  and  conductor  with  the  Philadelphia  Archdiocesan 
school  system. 

RONALD  MARLOWE  (Piano,)— Member  of  twin  duo- 
pianist  team;  the  duo  has  performed  with  the  Philadelphia 
Orchestra,  New  York  Philharmonic,  Pittsburgh  Symphony  and 
the  Dallas  Symphony  Orchestra;  as  children  the  duo  pianists 
appeared  on  the  Milton  Berle.  Gary  Moore  and  Steve  Allen 
television  shows;  in  addition,  they  have  appeared  on  the  Mike 
Douglas  Show,  Johnny  Carson's  "Tonight  Show"  and  NBC's 
distinguished  "Recital  Hall"  series. 

W.  ALVIN  McDUFFY  (Jazz  Dance  Technique )-B A,  Uni- 
versity of  Michigan;  studied  with  Alvin  Ailey,  Martha  Graham, 
Nat  Home;  danced  with  the  Alvin  Alley  American  Dance 
Theater,  George  Faison  Universal  Dance  Experience;  per- 
formed in  the  national  touring  companies  of  The  Wiz,  Your 
Arms  Too  Short  to  Box  with  Cod.  Purlie,  Raisin  and  others;  has 
taught  and  choreographed  at  the  Flex  Point  Ballet  Center  in 
Holland,  Joseph  Russillo  Ballet  Studio,  Paris,  Brussels, 
Germany,  Martinique  and  Michigan. 


52 


LARRY  MCKENNA  (Saxophone)  — Studied  saxophone 
with  Tony  Benedetta  and  arranging  with  Frank  Hunter  and 
Dennis  Sandole;  performed  with  Frank  Sinatra,  Tony  Bennett, 
Michel  LeGrand,  and  Sarah  Vaughan. 

GUIDO  MECOLI  (Clarinet)- Graduate,  Curtis  Institute  of 
Music;  studied  with  Ralph  MacLean,  Jules  Serpentine,  Ignatius 
Gennusa,  and  Anthony  Gigliotti;  former  Principal  Clarinetist 
with  the  Philadelphia  Lyric  and  Grand  Opera  Companies; 
former  member  of  the  Reading  Symphony  and  Trenton 
Symphony  Orchestra;  guest  soloist  with  the  Curtis  String 
Quartet;  member  of  the  Pennsylvania  Ballet  Orchestra. 

DOUGLAS  S.  MEDLIN  (Coordinator,  Music  Education)— 

BM,  University  of  Georgia;  MM,  East  Carolina  University;  EdD, 
University  of  Illinois;  former  Director  of  Music  Education  at 
West  Virginia  Wesleyan  College,  music  instructor  at  Macon 
Junior  College,  and  public  school  teaching  in  Connecticut  and 
Virginia. 

PATRICK  MERCURI  (Guitar)— BM,  BME,  Philadelphia 
Musical  Academy  (Philadelphia  College  of  the  Performing  Arts); 
student  of  Robert  DiNardo  on  classical  guitar;  performer  of 
fretted  instrument  parts  for  the  Philadelphia  Orchestra,  the 
Opera  Company  of  Philadelphia,  the  Pennsylvania  Opera 
Theatre  and  the  Forrest  Theatre;  current  faculty  member  at 
Cabnni  College  and  Eastern  College. 

NAOMI     MINDLIN     (Modern    Dance     Technique)— BS, 

Brandeis  University;  has  performed  with  the  Boston  Ballet 
Company,  New  England  Dance  Theatre,  the  Bridgport  Ballet 
and  the  Jose  Limon  Dance  Company;  currently  teaches  in  New 
York. 

LEONARD  MOGILL  (Viola)-BM,  Philadelphia  Musical 
Academy;  Graduate,  Curtis  Institute  of  Music,  Honorary 
Doctorate,  Philadelphia  College  of  the  Performing  Arts;  student 
of  Louis  Bailly;  member  of  the  Philadelphia  Orchestra  since 
1935,  retired;  former  member  of  the  Musical  Fund  Society 
Quartet;  current  faculty  member  at  Temple  University  and  the 
New  School  of  Music. 


MARGARITA  CSONKA  MONTANARO  (Harp)  — 
Graduate,  Curtis  Institute  of  Music;  graduate  studies  at  Vienna 
Music  Conservatory;  member  of  the  Philadelphia  Orchestra 
since  1963;  studied  with  Carlos  Salzedo  and  Marilyn  Costello; 
participant  in  the  Marlboro  Festival. 

MICHAEL  NATALE  (Trumpet)-BME,  Philadelphia 
Musical  Academy  (Philadelphia  College  of  the  Performing  Arts); 
studied  with  Gilbert  Johnson;  staff  trumpeter,  Mike  Douglas 
Show;  substitute  trumpet  for  the  Tonight  Show  Band;  has 
worked  extensively  with  Peter  Matz,  Nick  Perito  and  Bob 
Florence;  composed  original  music  for  NFL  films,  1976. 

JOE  NERO  (Percussion)— Graduate,  Curtis  Institute  of 
Music;  toured  nationally  with  Burt  Bacharach,  Anthony  Newley 
and  Bette  Midler;  toured  internationally  with  Bobby  Rydell; 
played  New  York  theatre,  jazz  and  night  clubs  and  was  house 
drummer  at  the  Waldorf  Astoria;  has  performed  with  the  Penn- 
sylvania Ballet,  Grand  Opera  Company  and  on  the  Mike 
Douglas  Show;  drummer,  percussionist  at  the  Forrest  Theatre; 
free-lances  in  commercial  and  jazz  music;  on  faculty  at  music 
and  high  schools  in  the  Philadelphia  area;  teaches  privately. 

CAROL  A.  OATIS  (Anatomy  Kinesiology) -BS,  Physical 
Therapy,  Marquette  University;  PhD,  University  of  Pennsyl- 
vania, Anatomy;  partner,  Philadelphia  Institute  for  Physical 
Therapy;  faculty  member,  Graduate  program  of  Physical 
Therapy,  Beaver  College  and  Temple  University. 

CAMILLE  A.  PAGUA  (Humanmes)-BA,  Harpur  College 
(State  University  of  New  York  at  Binghamton);  M.  Phil..  PhD, 
Yale  University;  Woodrow  Wilson  Fellowship  Designate;  Yale 
University  Graduate  Fellowship;  doctoral  dissertation  directed 
by  Harold  Bloom;  taught  at  Bennington  College,  Wesleyan  Uni 
versify  and  Yale  University;  has  lectured  and  published  articles 
and  book  reviews  in  scholarly  journals,  encyclopedias,  and 
newspapers. 

ANDREW  PAP  (Ballet)— Studied  at  Licoul  Pedagogic  Uni- 
versitar  and  Scoala  de  Coreografie  in  Romania;  current  faculty 
member  of  the  Pennsylvania  Ballet  School;  former  member  of 
the  Romanian  State  Opera  and  Ballet;  taught  at  Scoala  de 


53 


Coreografie,  the  Italian  Dancers  Union,  the  Saratoga  Ballet 
Center,  and  the  International  Dance  Center  in  Rome. 

DIANNE  PERKINS  (Humanities)— MA,  PhD.  Temple  Uni- 
versity; lecturer  in  English,  Philadelphia  College  of  Art  since 
1979. 

JOSEPH  PRIMAVERA  (Conductor,  Symphony  Orchestra/ 
Music  Education) — Graduate,  Combs  College  of  Music; 
conductor  of  the  Delaware  Valley  Philharmonic  Orchestra  and 
the  Youth  Orchestra  of  Greater  Philadelphia;  former  member 
of  the  Philadelphia  Orchestra;  former  conductor  of  the  Old 
York  Road  Symphony;  appeared  as  Guest  Conductor  with  the 
London  Philharmonic;  performed  as  Music  Director  and 
Conductor  of  the  feature  film  CYC  AD  and  seven  CBS  specials; 
recipient  of  the  C.  Hartman  Kuhn  Award  from  the  Philadelphia 
Orchestra. 

CHARLES  W.  RAISON  (Executive  Director)-BA,  Michi- 
gan State  University;  MFA,  Tulane  University;  Associate 
Professor  and  Chairman  of  the  Theatre  Department,  Lycoming 
College,  Williamsport,  PA  (1961-69);  Executive  Director, 
American  Academy  of  Dramatic  Arts,  NYC  (1969-1976); 
Director  of  Planning  and  Development,  Studio  Arena  Theatre. 
Buffalo,  NY  (1976-79);  Executive  Director,  Playhouse  Square 
Foundation,  Cleveland,  OH  (1979-1982);  consultant  for 
National  Endowment  for  the  Arts  and  various  theatre  projects 
nationwide. 

DEBORAH  REEDER  (Cello)-  BM,  MM.  Philadelphia 
Musical  Academy  (Philadelphia  College  of  the  Performing  Arts); 
studied  with  Lome  Munroe  and  Luigi  Silva;  former  member  of 
the  Philadelphia  Orchestra;  current  Principal  Cellist  with  the 
Opera  Company  of  Philadelphia  and  the  Mozart  Society  of 
Philadelphia;  former  Principal  Cellist  of  the  Philly  Pops; 
performed  with  the  Cheltenham  Trio,  Viola  de  Gambist  with  the 
American  Society  of  Ancient  Instruments  and  with  the  Pince- 
ton  Chamber  Orchestra,  the  Pennsylvania  Ballet  Company 
Orchestra,  Penn  Contemporary  Players,  the  Philadelphia 
Composers'  Forum  and  the  Concerto  Soloists. 


RONALD  REUBEN  (C/armeO-Graduate.  Temple  Uni- 
versity and  Curtis  Institute  of  Music;  studied  with  Joseph 
Gigliotti  and  Anthony  Gigliotti;  former  member  of  the  Stan 
Kenton  Band  and  Chicago  Little  Symphony;  former  member  of 
Chamber  Symphony  of  Philadelphia;  member  of  faculty  at 
Temple  University  and  the  New  School  of  Music;  Bass  Clarinet 
with  Philadelphia  Orchestra  since  1967. 

LAVAUGHN  ROBINSON  (Tap  Dance)- Performed  at  the 
Apollo  Theatre  in  NYC  and  Frank  Palumbo's  clubs  in  Philadel- 
phia; performed  with  the  Dancing  Jets  and  the  South  Sydney 
League  in  Australia;  performed  with  the  Wayne  Newton  show 
for  several  years. 

GABRIELA  ROEPKE  (Opera  Theatre  HistoryJ-Studied 
in  Santiago.  Paris  and  the  University  of  North  Carolina; 
recipient  of  two  Fulbnght  Scholarships  and  the  Roland  Holt 
Playwright  Award  and  a  Guggenheim  Fellowship;  author  and 
producer  of  over  15  original  plays  in  Latin  America,  the  United 
States  and  Spain;  former  visiting  lecturer  at  the  New  School  for 
Social  Research  and  at  the  Society  for  Ethical  Culture  in  New 
York  City;  lectures  for  New  York  City  Opera  Guild;  has  had 
numerous  articles  published  in  the  San  Diego  Opera  Magazine, 
the  New  York  City  Opera  Spotlight  and  Opera  News. 

SEYMOUR  ROSENFELD  (Trumpet)-Graduate.  Curtis 
Institute  of  Music;  studied  with  Saul  Caston;  member  of  the 
Philadelphia  Orchestra  since  1946;  member  of  the  Philadelphia 
Brass  Ensemble;  current  faculty  member  at  Temple  University; 
former  member  of  the  Ballets  Russes  de  Monte  Carlo  and  the 
St.  Louis  Symphony. 

ANDREW  RUDIN  (Theory  Composition)-BM.  University 
of  Texas;  MA,  University  of  Pennsylvania;  studied  composition 
with  Kent  Kennan,  Paul  Pisk,  George  Rochberg  and  Karlheinz 
Stockhausen;  electronic  music  compositions  heard  in  Fellini 
film  Satyricon;  composed  for  the  Pennsylvania  Ballet,  Murray 
Louis  and  the  Alwin  Nikolais  Dance  Theatre;  musical 
contributions  to  Tennessee  Williams'  play  Outcry. 


54 


BARBARA  SANDONATO  (Ballet)-  Former  principal 
dancer  and  associate  founder  of  Pennsylvania  Ballet  Company; 
former  principal  dancer  with  the  National  Ballet  of  Canada; 
taught  at  the  Pittsburgh  Ballet  Theatre  and  the  Pennsylvania 
Governor's  School  for  the  Arts;  featured  guest  artist  with  the 
Boston  Ballet  Company,  the  Wisconsin  Ballet  with  Rudolf 
Nureyev,  and  with  the  New  York  City  Opera  Company. 

PEARL  B.  SCHAEFFER  (Dance  Pedagogy) -BS,  Drexel 
University;  MFA,  Philadelphia  College  of  the  Performing  Arts; 
choreographs  for  the  Academy  Boys  Choir  and  Performing 
Arts  School;  member  of  the  Group  Motion  Dance  Company; 
performed  with  the  Philadelphia  Opera  Company  and  the 
Duncan  Centennary  Ensemble. 

CARL  B.  SCHMIDT  (Coordinator,  Graduate  Division/ 
Theory  and  Composition)— BA,  Stanford  University;  MA, 
PhD,  Harvard  University;  scholar  on  seventeenth  century 
Italian  and  French  opera;  recipient  of  research  awards  from  the 
American  Philosophical  Society  and  the  American  Council  of 
Learned  Societies  to  underwnte  studies  on  Lully. 

DAVID  SCHNEIDER  (Oboe)-BM,  Philadelphia  Musical 
Academy  (Philadelphia  College  of  the  Performing  Arts);  student 
of  Alfred  Genovese;  Principal  Oboe  with  the  Philly  Pops 
Orchestra,  Trenton  Symphony  and  the  Lancaster  Symphony 
Orhcestra;  First  Oboist  with  the  Philadelphia  Opera  Orchestra, 
the  Concerto  Soloists  and  the  Mozart  Society;  member  of  the 
Fairmount  Woodwind  Quintet. 

HENRY  G.  SCOTT  (Double  BassJ-Graduate,  University 
of  Rochester,  Eastman  School  of  Music;  student  of  Ferdinand 
Maresh,  Oscar  G.  Zimmerman,  and  Roger  M.Scott;  member  of 
the  Philadelphia  Orchestra  since  1974;  former  member  of  the 
Rochester  Philharmonic,  the  Chamber  Symphony  of  Philadel- 
phia, the  Baltimore  Symphony,  and  the  New  York  Phil- 
harmonic. 

PETER  SEGAL  (Classical  Guitar)  Studied  with  Jose 
Tomas,  Antonio  Vivaldi,  Alirio  Diaz,  and  Oscar  Ghiglia; 
appeared  with  Janet  Ketchum  as  flute/guitar  duo;  second  prize 
winner  on  the  International  Competition  for  Guitarists  in 
Alessandria,  Italy  in  1971. 


NADINE  SENYK  (Musicianship)— BM,  Philadelphia  College 
of  the  Performing  Arts;  MM,  New  England  Conservatory  of 
Music;  Principal  studies  with  Clement  C.  Petnllo,  Gabriel 
Chodos;  Master  Classes  include  Gaby  Casadeseus,  Re  Koster, 
Victor  Rosenbaum,  Narcis  Bonet  (Conservatoire  Americaine, 
Fontainebleau,  France);  Special  Assistant  to  the  Director  of 
Music  of  the  Pennsylvania  Governor's  School  for  the  Arts. 

JOHN  SHAMLIAN  (Bassoon )— Graduate,  Curtis  Institute 
of  Music;  Graduate,  Royal  College  of  Music,  London;  member 
of  the  Philadelphia  Orchestra  since  1951;  former  member  of  the 
Indianapolis  Symphony  Orchestra,  the  London  Symphony 
Orchestra,  and  the  Royal  Philharmonic  Orchestra,  and  the 
London  Wind  Trio;  performed  at  the  Prades  Festival,  France, 
with  the  BBC  Symphony,  the  BBC  Chamber  Players,  Sinfonia 
of  London  Film  Music,  Covent  Garden  Opera,  Sadlers  Wells 
Ballet,  and  the  Philharmonic  Orchestra  of  London. 

CAROL  LUPPESCU  SKLAROFF  (Ballet)— Studied  with 
Margaret  Craske  and  Anthony  Tudor  at  the  Metropolitan 
Opera  Ballet  School;  former  member  of  the  Metropolitan  Opera 
Ballet  touring  group  and  the  Ballet  Rambert  where  she  danced 
roles  in  Coppelia  and  Giselle;  principal  dancer  with  the  Pennsyl 
vania  Ballet  Company  where  she  danced  leading  roles  in  Lilac 
Garden,  Sleeping  Beauty,  Mignon  Pas  de  Deux,  Le  Corsair  Pas 
de  Deux,  Donnezetti  Vanations  and  Concerto  Barocco;  has 
taught  ballet  classes  at  the  Pennsylvania  Ballet  School  and  the 
Ballet  Studio. 

JOSEPH  SMITH  (C/anneti-BM,  Curtis  Institute  of  Music; 
MM,  Temple  University  and  West  Chester  State  College; 
studied  with  Anthony  Gigliotti  and  Anthony  Liberio;  member  of 
the  Pennsylvania  Ballet  Orchestra,  the  Philharmonic 
Orchestra,  and  Young  Audiences,  Inc. 

DANIELLE  SMITH-ORLANDO  (Opera  Coach)- BM, 
MM,  Temple  University,  Piano  Performance;  studied  at  the 
Eastman  School  of  Music;  former  Musical  Director  of  Opera 
Department  at  Temple  University;  active  accompanist  in  Phila- 
delphia area;  currently  the  Assistant  Conductor  of  the  Phila 
delphia  Opera  Company. 


55 


FA  YE  B.  SNOW  (Jazz  Dance)— BS,  West  Chester  State 
College;  MA,  George  Washington  University;  studied  Horton 
Technique  with  Marion  Cuyjet  and  Joan  Kerr  Dancers;  also 
studied  with  James  Truitte  at  Alvin  Ailey  American  Dance 
Center;  choreographed  for  Juba  and  Joan  Kerr  Dancers; 
danced  with  Arthur  Hall  African  American  Dance  Ensemble 
and  the  Coppertone  Review;  worked  with  Duke  Ellington  and 
Count  Basie. 

EVAN  SOLOT  (Coordinator,  Jazz  Studies)— BM,  MM, 
Philadelphia  Musical  Academy  (Philadelphia  College  of  the 
Performing  Arts);  performed  with  and/ or  composed  for  Burt 
Bacharach,  Count  Basie,  Tony  Bennett,  The  Carpenters,  Mike 
Douglas,  Sergio  Franchi,  Lena  Home.  Woody  Herman,  Henry 
Mancini,  Barry  Manilow,  Bette  Midler,  Lou  Rawls,  Diana  Ross, 
John  Travolta,  and  Dionne  Warwick;  former  chairman  of  the 
National  Association  of  Jazz  Educators  Composition  Contest, 
honored  by  Down  Beat  magazine  for  his  efforts  in  making 
PCPA  one  of  the  best  jazz  education  resources  in  the  United 
States;  currently  a  voting  member  of  the  National  Academy  of 
Recording  Arts  and  Sciences. 

MICHAEL  STAIRS  (Musicianship/Organ)-  BM,  West- 
minster Choir  College;  Artist  Diploma.  Curtis  Institute  of 
Music;  studied  organ  with  Alexander  McCurdy;  studied  piano 
with  Mathilde  McKinney  and  Vladimir  Sokoloff;  studied 
composition  with  Warren  Martin  and  Matthre  Colucci; 
Associate  Organist  of  the  John  Wanamaker  Court  Organ; 
Chairman  of  Musicianship  Studies  at  the  New  York  School  of 
Liturgical  Music;  organist/choirmaster  at  the  Church  of  St. 
Asaph,  Bala  Cynwyd. 

SUSAN  STARR  (Piano)— Graduate,  Curtis  Institute  of 
Music;  studied  with  Eleanor  Sokoloff  and  Rudolf  Serkin; 
appeared  as  soloist  with  the  Philadelphia  Orchestra  more  than 
30  times  since  her  debut  with  the  Orchestra  at  the  age  of  six;  a 
winner  of  the  Second  International  Tchaikovsky  Competition  in 
Moscow;  appeared  in  recital  at  the  White  House  at  the  request 
of  President  Carter. 


JOHN  TACCONELLI  (MimeJ-Has  studied  at  the  New 
York  Pantomime  Theatre  with  Menni  Yakin;  additional  studies 
with  Zwi  Kanar.  Henry  Shreibman  and  Christopher  Duncan; 
has  performed  in  many  Philadelphia-area  theatrical  produc- 
tions, including  To  Be  Young,  Gifted  and  Black  and  Death  of  a 
Salesman,  and  has  done  work  in  radio  and  film. 

MARSHALL  TAYLOR  (SaxophoneJ-BME,  Wheaton 
College;  MM,  Northwestern  University;  additional  studies  at 
Paris  Conservatory  and  the  University  of  Paris  under  a 
Fulbright  Grant;  studied  with  Theodore  Varges,  Russell  H. 
Platz,  Fred  Hemke,  Marcel  Mule,  and  Henry  Schumann;  former 
member  of  the  U.S.  Military  Academy  Band;  current  faculty 
member  of  Temple  University. 

PAT  THOMAS  (Modem  Dance  Technique)— Trained  with 
Martha  Graham;  taught  and  performed  with  Alvin  Alley; 
performed  with  Yuriko  Dance  Company  and  the  Swedish 
Modern  Dance  Company;  toured  the  Far  East  performing  and 
teaching  in  Japan,  Hong  Kong  and  Maylasia;  taught  in  Spain  and 
in  Israel  where  she  performed  with  the  Batsheva  Dance 
Company. 

ADELINE  TOMASONE  (Flute)  BM,  Curtis  Institute  of 
Music,  under  Murray  Panitz;  Also  studied  with  Kenton  F.Terry 
and  Julius  Baker;  Solo  appearances  with  Philadelphia 
Orchestra,  Lansdowne  Philharmonic,  Bricktown  Philharmonic 
and  PCPA  Orchestra;  currently  solo  flutist  of  Opera  Company 
of  Philadelphia,  Davidsbund  Chamber  Players,  Bach  Chamber 
Consort,  Mozart  Society  of  Philadelphia,  Delaware  Valley  Phil- 
harmonic; Member  of  Fairmount  Woodwind  Quintet  with 
Young  Audiences,  Inc.;  Theater  and  studio  work  in  Philadel 
phia  and  New  York;  Former  member  of  Philly  Pops,  Delaware 
Symphony. 

JOANNE  TULLI  (Jazz  Dance)-BA,  SUNY  at  Brockport; 
MFA,  Philadelphia  College  of  the  Performing  Arts;  studied  with 
Rhea  London  and  Harold  Pierson;  performed  with  the  Ballet  des 
Jeunes  in  Philadelphia  and  the  Philadelphia  Dance  Company. 


56 


LEON  LINGER  (Voice)— Graduate,  Gdansk  Conservatory 
of  Music;  past-president  of  Jeunesses  Musicales  de  Pologne; 
former  music  director  of  Operetta  Studio  in  Gdynia,  Poland  and 
assistant  director  of  the  Opera  Theatre  of  the  Warsaw 
Academy  of  Music;  coached  in  opera  theatres  of  Warsaw,  Lodz, 
Gdansk,  Gdynia  and  Szczecin;  has  performed  chamber  music 
throughout  Poland;  currently  coaching  at  the  Chamber  Opera 
Theatre  of  New  York;  coaching  vocal  students  of  Mrs.  Antonia 
Lavanne  at  Mannes  College  and  Mrs.  Margaret  Hoswell  van 
Der  March  in  Manhattan. 

CHARLES  VERNON  (TromboneJ-Graduate,  Brevard 
College  and  Georgia  State  University;  studied  with  Arnold 
Jacobs  and  Edward  Kleinhammer;  former  member  of  the  Balti- 
more Symphony  and  the  San  Francisco  Symphony;  current 
member  of  the  Philadelphia  Orchestra. 

CARLO  VILLA  (Violin)— Graduate  of  Curtis  Institute  of 
Music;  student  of  Ivan  Galamian;  has  appeared  with  orchestras 
under  the  baton  of  Klemperer,  Giulini,  Sawallisch,  Tennstedt, 
Szell,  Boult,  Munchinger  and  others;  has  appeared  with  major 
symphony  orchestras  throughout  North  and  South  America 
and  Europe. 

MIHALY  V1RIZLAY  (Cello)— Artist's  Diploma,  Franz  Liszt 
Academy;  studied  with  Zoltan  Kodaly;  currently,  principal 
cellist  of  the  Baltimore  Symphony;  appeared  with  the  Chicago 
Symphony  under  Fritz  Keiner  and  with  Sergiu  Comissiona, 
Brian  Pnestman,  William  Steinberg,  Leopold  Stokowski,  and 
Yehudi  Menuhin;  taught  master  classes  at  the  Shawnigan  Lake 
School  of  the  Arts  performing  with  John  Ogden,  Gary  Karr, 
Janos  Starker,  and  Ruggiero  Ricci. 

KAREN  VORKAPICH  (Tap  Dance)-Studied  at  Indiana 
University  and  Thomas  Hampton's  On  Stage  Studio; 
performed  with  the  Sue  Charles  Dancers;  member  of  Vardar,  a 
Yugoslavian  folk  dance  ensemble;  studied  tap  with  Thomas 
Hampton.  Formerly  on  faculty  of  Temple  University;  performs 
with  the  Mill  Creek  Cloggers  and  the  Philadelphia  Tap  Dancers. 


PAUL  WAG  AR  (Speech  for  Actors)— University  of  Toronto; 
Webber  Douglas  Academy  of  Dramatic  Art,  London;  private 
study  with  Vivian  Matalon;  past  company  member  of:  The  Royal 
Shakespeare  Company;  The  New  Shakespeare  Company, 
London;  The  Stratford  Festival,  Canada;  founding  member  of 
The  American  Repertory  Theatre,  London;  past  Artistic 
Director  of  Toronto  Repertory  Theatre;  currently  Co-Artistic 
Director  of  The  Philadelphia  Area  Repertory  Theatre. 

ALAN  WAGNER  (Voice)— BM.  Northwestern  University; 
MFA,  Carnegie-Mellon  University;  studied  with  Todd  Duncan 
and  with  Richard  Torigi  and  Nicola  Moscona  at  Academy  of 
Vocal  Arts;  winner  of  regional  Metropolitan  Opera  auditions; 
1971  first  prize  winner  of  national  Emma  Feldman  Competition; 
performs  leading  roles  with  Philadelphia  Opera,  Pittsburgh 
Opera,  Opera  Delaware,  Pennsylvania  Opera  Theatre;  soloist 
with  Philadelphia  Orchestra;  current  faculty  member  at  West 
Chester  University. 

VIVIAN  WAGNER  (Voice)— BM,  Curtis  Institute  of  Music; 
studied  with  Richard  Bonelli  and  Euphemia  Giannini  Gregory; 
coached  and  Leo  Resonek  and  Vladimir  Sokoloff;  recipient  of 
the  Whitney  Award  for  Excellence  presented  by  the  Boston 
Conservatory  of  Music;  extensive  performing  experience  here 
and  abroad;  featured  soloist  with  the  Concerto  Soloists,  the 
Philadelphia  Singers;  currently  master  teaching  operatic 
principals  in  companies  in  Germany. 

KAY  WALKER  (Coordinator,  Opera  Division)— BM,  West- 
minster Choir  College;  MM,  University  of  Michigan;  Artist's 
Diploma,  Philadelphia  College  of  the  Performing  Arts;  opera 
director  and  choreographer  for  companies  in  the  Princeton  and 
Philadelphia  areas. 


57 


DAVID  WETHER1LL  (French  HornJ-Graduate,  Curtis 
Institute  of  Music;  Associate  Principal  Horn  with  the 
Philadelphia  Orchestra  since  1978;  performed  as  soloist  at  La 
Scala  in  Milan  and  with  the  Ensemble  Inter-Contemporaire  of 
Paris. 

BENJAMIN  WHITTEN  (Piano)-  Graduate,  Peabody  Con- 
servatory of  Music;  studied  with  Austin  Conradi;  Leon  Fleisher, 
and  Emerson  Meyers;  appeared  with  orchestra  throughout  the 
United  States,  Canada,  Panama,  South  America,  and  Europe; 
recipient  of  the  Tiffany  Scholarship,  the  Paul  Thomas  Award, 
the  Mason  and  Hamlin  Award;  designated  as  a  Danforth 
Foundation  Associate;  current  faculty  member  of  the  Wilming- 
ton Music  School  and  West  Chester  State  College;  former 
president  of  the  Pennsylvania  Music  Teachers  Association; 
named  PMTA  Teacher  of  the  Year  in  1970  and  1979. 


ALEXEI  YUDENICH  (Ba/tetJ-Graduate,  Sarajevo  Opera 
Ballet  School,  Yugoslavia;  former  member  of  the  Sarajevo 
Opera  Ballet  Company;  former  principal  dancer  with  the  Penn- 
sylvania Ballet  Company;  taught  at  the  Pennsylvania  Ballet 
School  and  the  Princeton  Ballet  Society;  choreographed  for 
Misericordia  College  and  the  Wilkes-Barre  Ballet  Theatre; 
performed  with  the  Boston  Ballet  Company,  California  Ballet 
Company  and  Jacksonville  Ballet  Theatre.  Chairman,  Dance 
Department  of  the  Pennsylvania  Governor's  School  for  the 
Arts. 

WILLIAM  P.  ZACCAGNI  (Saxophone)-  Studied  at 
Temple  University  and  with  Vince  Trombetta  and  Harold 
Karabell;  toured  with  Burt  Bacharach  and  Anthony  Newley; 
recorded  with  the  Salsoul  Orchestra  and  MFSB. 


NOTE:  Faculty  biographies  not  included  in  this  section  were  not  available  at  time  of  printing. 


Edited  By:  Dovie  R.  Prather 


58 


CALENDAR 


1985  SPRING  SEMESTER 

January  21,  1985-May  10,  1985 


'Subject  to  change 


59 


1985-86  ACADEMIC  YEAR* 

FALL  SEMESTER 

September  4,  1985-December  13,  1985 
SPRING  SEMESTER 

January  20,  1986-May  9,  1986 


PCPA  STUDENT  BODY* 


United  States: 


Alabama    1 

Alaska    2 

Arizona    1 

California     5 

Colorado  2 

Connecticut    2 

Delaware   5 

Florida    3 

Georgia   3 

Illinois     1 

Iowa   1 

Indiana  1 

Kansas  1 

Kentucky     1 

Louisiana 1 

Massachusetts    4 

Maryland  12 

Michigan    1 

Foreign  Countries: 

Canada    5 

Israel    1 

Italy    1 

Japan  1 

Korea  6 

Malawi    1 


Minnesota   2 

Missouri     1 

Montana    2 

New  Jersey 89 

New  York   22 

Ohio  3 

Oklahoma    1 

Oregon    1 

Pennsylvania  192 

Puerto  Rico     3 

Rhode  Island    2 

Tennessee  1 

Texas  3 

Vermont    5 

Virginia    3 

Washington     3 

Washington,  D.C 8 


Malaysia     1 

Norway    1 

Mexico     2 

Philippines 1 

Spain    1 

Taiwan 2 

Venezuela   3 


*  Based  on  1984  Fall  Semester  Enrollment 


61 


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Dorm.  Shubert  Building 

15th  &  Pine        250  S.  Broad  St. 


PCPA 

Annex  Dance  Studios 

313  S.  Broad  St.        309  S.  Broad  St. 


52 


TIPS  TO  THE  APPLICANT 

1.  Submit  your  Application  for  Admission  as  early 
as  possible. 

2.  Answer  each  question  on  the  Application;  type 
or  print  clearly. 

3.  List  the  name(s)  of  your  parent(s)  or 
guardian(s).  This  information  should  also  be 
supplied  by  married  applicants;  in  the  event  of  an 
emergency,  the  College  will  need  to  make  these 
contacts. 

4.  As  soon  as  you  submit  your  Application, 
request  that  copies  of  your  high  school  and/or 
college  transcript(s)  be  sent  to  the  Admissions 
Office. 

5.  If  you  are  applying  for  financial  aid,  please  do 
not  hesitate  to  contact  the  Director  of  Financial 
Aid,  who  can  advise  you  and  answer  your 
questions  on  financial  aid  programs. 

6.  To  be  considered  for  a  talent  scholarship  grant, 
you  must  submit  your  Application  and  complete 
your  audition  on  or  before  April  3,  1985.  Appli- 
cants who  audition  after  that  date  will  be  consid- 
ered for  scholarships,  if  funds  are  available. 

7.  If  you  wish  to  participate  in  a  Regional  Audition, 
you  must  first  submit  the  Application  for  Admis- 
sion. 

8.  Remember,  if  you  or  your  parents  have  any 
questions,  please  contact  the  Admissions  Office;  it 
exists  to  make  your  application  and  admission 
procedure  as  simple  as  possible.  A  telephone  call 
or  letter  sometimes  can  alleviate  a  great  deal  of 
concern.  Call  or  write:  PCPA  Admissions  Office, 
250  S.  Broad  St.,  Philadelphia,  Pennsylvania  19102. 
(215)893-3174. 


63 


APPLICATION  FOR 
UNDERGRADUATE  ADMISSION 

PERSONAL  DATA  (Please  Pnn.  or  Type! 

Name 

Street  Address 

City 


COLLEGE  OF  THE 
PEI^OEgn^G  AI^TS 


Xounty._ 


_Social  Sec.  No 

-Telephone  __ 1 

Area  Code 

_State 


JZ\p_ 


Citizenship  _ 


_Sex. 


_Birth  Date_ 


_Marital  Status_ 


EDUCATION 

List  All  High  Schools  and  Colleges  Attended 


City 


Dates 


STATUS 

Full-time  a 
Part-time  o 


DEGREE  OR  DIPLOMA  PROGRAM  FOR  WHICH  YOU  ARE  APPLYING 

(Complete  MUSIC,  DANCE  or  THEATRE  Section  below) 

SCHOOL  OF  MUSIC       a  Bachelor  of  Music  □  Double  Degree 

n  Two-Year  Certificate  in  Music 

Major  Date  You  Plan  to  Enter  o  January     n  September,  19 

SCHOOL  OF  DANCE      n  Bachelor  of  Fine  Arts  □  Bachelor  of  Fine  Arts  in  Dance  Ed. 

a  Two-Year  Certificate  in  Dance 
Major  Date  You  Plan  to  Enter  o  January     o  September,  19 


SCHOOL  OF 
THEATRE  (ACTING) 

Major  


o  Bachelor  of  Fine  Arts 


Date  You  Plan  to  Enter  n  January     n  September,  19 


AUDITION  DATES  are  listed  in  the  Admissions  Bulletin.  Please  indicate  the  dates  on  which  you  most  prefer  to  audition. 


LENGTH  OF  STUDY  in  major  area_ 


PIANO  PLACEMENT:  (Music  &  Dance  majors  only)  Have  you  ever  studied  piano?  a  yes  a  no.  If  yes,  how  long? 
TAP  PLACEMENT:  (Dance  Majors  Only)  Have  you  ever  studied  tap?  a  yes  a  no.  If  yes,  how  long?  


TEACHER  PREFERENCE  (Music  Majors  Only)  Assignment  subject  to  teacher  acceptance  and  schedule  vacancy.  If  you  have 
a  teacher  preference,  please  indicate 


64 


PARENT(S)  OR  LEGAL  GUARDIAN  (S)  (Married  students  should  also  complete.  Information  to  be  used  only  in 
event  of  emergency  notification.) 

Name Age Occupation 

Address Title 


City.  State,  Zip Employer _ 

Phone Bus.  Phone 


Yes  No 
o  □  I  have  requested  copies  of  my  high  school/college  transcripts  to  be  forwarded  to  the  Admissions  Office, 
a  a  I  have  requested  that  the  results  of  my  SAT's  or  ACT's  be  forwarded  to  the  Admissions  Office. 
n  □  Please  forward  a  Financial  Aid  Application  and  information 
n  □  I  have  enclosed  my  Dance  Resume  (Dance  Majors  ONLY) 
n  n  I  have  enclosed  my  Biographical  Narrative  (Music  Majors  ONLY) 
□  □  I  have  enclosed  my  Biographical  Narrative  or  Resume  (Theatre  Majors  ONLY) 

Which  area(s)  best  indicate  the  way(s)  in  which  you  first  learned  of  and  became  interested  in  the  Philadelphia  College  of 
the  Performing  Arts?  Please  be  specific. 

□  College  Night/Career  Day  □  Private  Teacher 

□  Friends.  Relatives,  etc.  □  High  School/College  Counselor 

□  Classroom  Teacher  □  Newspapers,  Ads,  etc. 

□  Other  —   (Please  Indicate) 

I  certify  that  the  information  on  this  application  and  attached  documents  (if  any)  is  true  and  correct  to  the  best  of  my 
knowledge.  A  student  found  guilty  of  NONDISCLOSURE  or  MISREPRESENTATION  in  the  completion  of  this  application  may 
be  subject  to  the  appropriate  disciplinary  action,  resulting  in  possible  dismissal  from  the  College. 


Signature Date_ 


Note:  Please  enclose  a  check  or  money  order  for  the  $30  Application  Fee  (non-refundable)  made  payable  to  the 
Philadelphia  College  of  the  Performing  Arts  and  mail  to:  Admissions,  Philadelphia  College  of  the  Performing 
Arts,  250  South  Broad  Street,  Philadelphia,  Pa.  19102  (215)  893-3174. 


65