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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
PEI^FOF^MEHG AI(TS
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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10
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
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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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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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PCPA PCPA
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