The University of the Arts
Course Catalog
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Digitized by the Internet Archive
in 2010 with funding from
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http://www.archive.org/details/schoolcatalog199394univ
The University of the Arts
Course Catalog
1993-94
ff U
The University of the Arts Philadelphia Philadelphia
Office of Admissions College of College of
320 South Broad Street Art and Design Performing Arts
Philadelphia, PA 19102
215-875-4808
The University of the Arts is the only university in
the nation that is devoted exclusively to education
and professional training in the visual and per-
forming arts. The University of the Arts was
founded in 1987 through the consolidation of two
century-old institutions: The Philadelphia College
of Art and The Philadelphia College of the
Performing Arts. Located in central Philadelphia,
The University of the Arts offers comprehensive
curricula in design, fine arts, crafts, music, dance
and theater arts, and prepares its students to
assume over one hundred career paths in the
visual and performing arts and related fields.
The University of the Arts gives equal consider-
ation to all applicants for admission and financial
aid, and conducts all educational programs,
activities, and employment practices without
regard to race, color, sex, religion, national
or ethnic origin, or disability. Direct inquiries to the
Office of Personnel, The University of the Arts,
320 South Broad Street, Philadelphia, PA 19102;
(215)875-4838.
All information listed herein is subject to change.
2/94
The University of the Arts
320 South Broad Street
Philadelphia, PA 19102
215.875.4808
800. 272. 3790 (in PA + NJ)
Fax:215-875-5458
Contents
The University of the Arts
4
Academic Calendar 1993-94
6
Degree Programs
6
Admissions
8
Registration
9
Tuition and Expenses
10
Financial Aid
11
Grants and Scholarships
12
Loan Programs
12
Student Employment
12
Academic Regulations
14
Access to Student Records
15
Student Services
17
Continuing Education Programs
17
Alumni
Philadelphia College of Art and
Design
21 Programs of Study
22 Admissions Requirements
24 Graduate Admissions
24 Scholarships
25 Facilities
25 Career Services
26 Enrichment Programs
26 Undergraduate Academic Requirements
27 Graduation Requirements
28 Undergraduate Curricula
28 Foundation
29 Crafts
29 Ceramics
30 Fibers
30 Jewelry/Metals
30 Wood
32 Graphic Design
33 Illustration
34 Industrial Design
35 Painting/Drawing
36 Photography
37 Film
37 Animation
38 Printmaking
39 Sculpture
40 Fine Arts Sophomore Option
40 Art Therapy
41 Education
42 Graduate Programs
42 Master of Arts in Art Education
42 Master of Arts in Teaching in visual Arts
44 Master of Fine Arts in Book Arts/
Printmaking
45 Master of Fine Arts in Museum Exhibition
Planning and Design
45 Ceramic Studio Residence Program
46 Philadelphia College of Art and Design
Course Descriptions
62 Faculty
Philadelphia College of
Performing Arts
79
Major Areas of Study
80
Admissions Requirements
80
Graduate Admissions
81
Regulations
81
Graduation Requirements
82
The School of Dance
83
Programs of Study
83
Admissions/Audition Requirements
83
Scholarships
84
Undergraduate Curricula
86
Special Class/Performance Requirements
87
School of Dance Course Descriptions
91
The School of Music
93
Undergraduate Programs
94
Graduate Programs
94
Undergraduate Audition Requirements
96
Graduate Audition Requirements
97
Scholarships
98
Undergraduate Curricula
104
Graduate Programs
106
Regulations/Requirements
107
Graduation Requirements
108
School of Music Course Descriptions
115
The School of Theater Arts
116
Programs of Study
117
Admissions Requirements
117
Scholarships
118
Undergraduate Curricula
119
Performance Requirements
119
Regulations
121
School of Theater Course Descriptions
124
Philadelphia College of Performing Arts
Faculty
Division of Humanities
137 Requirements
138 Humanities Course Descriptions
146 Faculty
151 Administration
Academic Calendar
Fall '93 Academic Review
Spring Semester 1994
Registration Dates:
January 13 & 14
See specific dates below
Wednesday January 5
& Thursday, January 6
Thursday, January 1 3, 9:00 am Student Residences open
Late Registration for
Continuing students
Registration for Returning
Former students
Friday, January 14
Monday, January 17
Tuesday, January 18
Tuesday, January 18 &
Wednesday, January 19
Tuesday, January 18 thru
Monday, January 31
Tuesday, January 18 thru
Monday February 7
Tuesday. February 1
Friday, February 18
Monday, February 21
thru Friday, February 25
Monday, February 28
Friday, March 4
Registration all new
Students
Martin Luther King Holiday
Degree Program classes begin
Dance Extension Classes begin
Late Registration
Drop/Add period for
Degree Programs
Drop/Add period
for PCPA ensembles
Deans and Directors submit
courses for Summer I and II
to Registrar
Deans and Directors submit
courses for Fall '94 to Registrar
PCAD freshman major
selection week
Last day for removal of
"Incomplete (I") grades
from Fall '93 semester
Faculty send Sixth week academic
deficiencies to students
Deadline to withdraw from class
with "W" grade
PCAD freshman deadline to
declare a major
Returning Former students'
deadline to petition for May or
August graduation
Monday, March 28
Monday, April 4 thru
Wednesday, April 13
Thursday, April 14
Friday, April 15
Tuesday, April 26
Monday, May 2
Monday, May 2 &
Tuesday, May 3
Tuesday, May 3 thru
Monday, May 9
Monday, May 9 thru
Thursday, May 12
Saturday, May 14
Monday, May 16
Monday May 16 thru
Friday, May 20
Friday, May 20
Saturday, May 21
Monday, May 30
Wednesday, June 1
Thursday, June 2 and
Friday, June 3
Study Abroad and Mobility
applications due to Registrar
for Fall '94
Advising for Fall '94 registration
Fall '94 registration forms due to
Registrar from graduate students
and seniors
Fall '94 registration forms due to
Registrar from juniors,
sophomores and freshmen
State Grant application deadline
for all students for 1993-94
academic year
Degree Program classes end
Registration for Summer
Sessions I & II for all current
and new students
Summer registration for PCAD
Foundation Semester
Classroom examinations
Studio Critiques & Juries
Student residences close 10:00 pm
Final grades due to Registrar 5:00 pm
Senior Week
University Awards Ceremony
Commencement
Memorial Day Holiday
Readmission application deadline
for Fall '94 Semester
Academic Review
Monday, March 7 thru
Sunday, March 13
Monday, March 14
Tuesday, March 15
Friday, March 18
Spring Break for faculty
and students
Degree Program Classes resume
Talent Scholarship application
deadline for Fall '94 applicant
for admission
Art Education M.S. thesis
approval due for May degrees
Saturday, March 26
Open House
Summer Semester 1994
Monday, May 2 &
Tuesday, May 3
Session I
Monday, May 16
Monday, June 13
Sunday, June 19
Monday, June 20
Friday, June 24
Friday, July 1
Session II
Monday, June 27
Sunday, July 3
Monday, July 4
Tuesday, July 5
Friday, July 8
Friday, July 15
Friday, July 29
Registration dates for current and
new students
Registration for PCAD Summer
Foundation semester
Humanities courses begin
PCAD Summer Foundation
semester begins
PCPA MAT Program begins
Fall Registration for PCAD
Summer Foundations students
PREP Students move in
PCAD PREP Program begins
Humanities courses end
PCAD Summer Foundation
semester ends
PCPA MAT Program ends
Faculty submit grades to Registrar
before 5:00 pm
PCAD Studio Electives begin
Pre-College Students move in
Independence Day Holiday
Pre-College Summer Institute
Summer World of Dance Begins
PCPA Mini Semester begins
Academic Review (Foundation)
Application deadline for
International Candidates for
Fall Admission
Two-week pre-college
program ends
Pre-College Summer Institute ends
Summer World of Dance ends
PCPA Mini-Semester ends
Saturday, July 30
Friday, August 5
Student Residences close 12 Noon
PCAD Studio Electives end
Final transcripts due to Registrar
for Summer Degree
August Degrees granted
Degree Programs within
The University
Philadelphia College of
Art and Design
The Bachelor of Fine Arts degree is a four-year
program in the majors of Crafts, Graphic Design,
Illustration, Painting, Printmaking, Photography/
Film/Animation, and Sculpture. The four-year
program in the majors of Industrial Design and
Architectural Studies leads to the Bachelor of
Science degree.
At the graduate level are programs leading to
the degrees of Master of Arts in Art Education,
Master of Arts in Teaching in Visual Arts, Master
of Fine Arts in Book Arts/Printmaking, Master of
Fine Arts in Museum Exhibition Planning and
Design, and Master of Architecture. Teaching
certification is offered on a nondegree basis,
either independently or in conjunction with an
undergraduate degree in the Philadelphia College
of Art and Design. A Concentration in Art Therapy
is offered within the Humanities and Studio
undergraduate elective category.
Through the Continuing Education Office, an
Associate degree is offered on a part-time basis in
Communication Design, Fine Arts and Interior
Design.
Philadelphia College of
Performing Arts
The School of Dance offers four-year Bachelor of
Fine Arts degrees in Ballet, Modern and Jazz/
Theater Dance Performance, Dance Education, and
a two-year Certificate in Dance.
The School of Music offers a four-year Bachelor
of Music degree in Performance, Composition,
or Theory. Students may elect either a Classical or
Jazz/Commercial major for degrees in Perfor-
mance or Composition. Additional programs are
the four-year Undergraduate Diploma and the
two-year Certificate of Music.
Graduate programs in the School of Music
include the Master of Arts in Teaching in Music
Education, the Master of Music in Performance,
the Master of Music in Composition, the Graduate
Diploma in Performance. Majors for the Master
of Music in Performance are Instrumental Perfor-
mance, Voice, Opera Singing, Piano, Piano Accom-
panying, and Chamber Music.
The School of Theater Arts offers the Bachelor
of Fine Arts in Theatre Arts with programs in Act-
ing, Directing, Stage Combat, or Musical Theater.
Admissions
Barbara Elliott
Director of Admissions
First Floor, Haviland Hall
215-875-4808
800-272-3790 (in PA + NJ)
The University of the Arts selects its student body
after a careful evaluation of a variety of creden-
tials. A candidate must show a commitment to the
visual or performing arts and should have a strong
desire to be educated in the humanities as well.
The following information is applicable to both the
Philadelphia College of Art and Design and the
Philadelphia College of Performing Arts. In addi-
tion, requirements for the portfolio review or the
audition can be found under the heading of Admis-
sions within each College.
Admissions Calendar
The University of the Arts accepts students on
a rolling basis until all available spaces have been
filled. Students are advised to apply early to
ensure that space is available.
Admissions Procedures
Freshman Admission
Requirements
The Admissions Office accepts applications on a
rolling basis. Applicants to the freshman class
must graduate from an accredited high school and
have taken an appropriate distribution of high
school subjects, including four (4) years of English.
Applicants not holding a regular high school
diploma may qualify for admission in the following
ways:
1 . GED (General Education Diploma) tests through
the Department of Public Instruction.
Freshman applicants should submit the following:
1 . Completed undergraduate application and
application fee.
2. Official high school transcript bearing
the school seal and mailed directly to the
University.
3. Scholastic Aptitude Test (SAT) or the American
College Test (ACT) scores. Note: the University
does not set a minimum score for acceptance.
4. Statement of Purpose (one type-written page).
5. Letters of recommendation.
6. Resume (Philadelphia College of Performing
Arts only).
7. Music applicants only: repertoire for an
audition.
8. Dance and Theatre Arts applicants only:
a recent photograph.
9. A personal interview with an admissions officer
is recommended, but not required.
Portfolio Review/Audition
Arrangements must be made for a portfolio
review or audition at the time of application by
contacting the Admissions Office. Please see the
appropriate sections in The Philadelphia College
of Art and Design and The Philadelphia College of
Performing Arts and its Schools of Music, Dance,
or Theater Arts for additional admissions portfolio
and audition information.
Advanced Placement Examination
The University of the Arts may award three credits
toward the Humanities requirements for a score
of 4 or better in any CEEB Advanced Placement
Examination on an academic subject. Advanced
Placement credit is not given for studio art or
performance.
International Baccalaureate
The University may award 6 credits toward the
Humanities requirements for a score of 4 or better
in an HL (High Level) International Baccalaureate
Examination and 3 credits for a score of 4 or bet-
ter in an SL (Subsidiary Level) International Bacca-
laureate Examination in an academic subject. No
credit by examination is given for studio art or
performance.
College Level Examination Placement
(CLEP) Program
Credit may be awarded toward the Humanities
requirement by CLEP subject examination. For
additional information contact the Director of the
Humanities Division.
Interviews
Though not required, a personal interview is
recommended. Interviews must be scheduled in
advance by calling the Admissions Office at
215-875-4808.
Transfer Admission
A student who has successfully completed twelve
(12) or more hours of coursework in a college-level
program as a fully matriculated student will be
considered a Transfer. Admission decisions will be
made on a rolling basis.
Transfer Admission Requirements
Transfer students should submit the following:
1. Portfolio or audition.
2. Transcripts of all previous college experience
and a listing of courses that will be completed
before entrance into The University of the Arts.
3. Catalog or other publications describing
coursework recorded and credit assignment for
studio work.
4. Official high school transcript bearing
the school seal and mailed directly to the
University.
5. Statement of Purpose.
6. Letters of recommendation.
7. Resume (Philadelphia College of Performing
Arts only).
Transfer Credits
Transfer applicants may receive credit for courses
taken at other accredited institutions that are
similar in content, purpose, and standards to those
offered at The University of the Arts. For credit
to be granted, official transcripts of all previous
college study must be presented along with a
current catalog of that institution. A minimum
grade of "C" is required for courses presented for
transfer credit. A grade of "Pass" can be consid-
ered for transfer only if the transcript documents
that "Pass" is equal to a grade of "C" or better.
The evaluation of credit is made by the Humani-
ties and Studio or Performance Department chair-
persons/directors in consultation with the Office
of the Registrar.
Residency Requirements
Every transfer student must complete a minimum
of two semesters in residence preceding gradua-
tion and must earn a minimum of 48 credits in
Studio/Performance and/or Humanities courses.
Students must transfer or complete the required
Humanities and Studio/Performance major depart-
ment courses stipulated for the degree regardless
of the number of credits completed at other
accredited institutions. The number of credits
required for completion of the Studio/Performance
major is determined by the chairperson/director of
that department. The remaining Humanities
requirements are determined through the transfer
credit evaluation process cited above. For this
reason, transfer students may be required to
remain in residence at The University of the Arts
for more than the minimum two semesters and to
complete more than the minimum 48 credits.
Credit by Portfolio Review
Students who qualify will be granted credit by
portfolio review in studio subjects. Portfolio credit
requires the approval of the appropriate studio
major chairperson. Academic standing and course
credit based on portfolio evaluation are normally
determined during the admissions process. Credit
by portfolio may be granted only for studio art
work done prior to matriculation in the Philadel-
phia College of Art and Design. This work cannot
be part of the assigned work for a secondary or
post-secondary course. In order for matriculated
students to receive credit for independent art work
or other projects done outside the University, an
independent study or internship, whichever is
appropriate, must be rostered as part of the
student's semester schedule. The University of the
Arts does not award credit for experience outside
the classroom other than outlined above.
Credit by Audition
Students who qualify may be granted credit by
audition in Performance subjects. Audition credit
requires the approval of the Auditioning Commit-
tee and/or School Director. Academic standing
and course credit based on audition for transfer
students are normally determined during the
admissions process.
Early Admission
The University of the Arts accepts applications
from advanced high school juniors who have
completed extra high school coursework. These
students may enroll as freshmen instead of com-
pleting the senior year in high school.
The candidate's high school authorities may
grant the applicant a high school diploma upon
completion of the freshman year at The University
of the Arts.
Deferred Admission
The University of the Arts will accept applications
from candidates who plan a year of activities,
work, or travel between high school and college
and who wish to enter college one full year after
graduation from high school. A brief note explain-
ing the deferment should be attached to the
application. Deferred applicants should otherwise
follow regular application procedures. A decision
on the deferred application will be tendered when
the file is complete.
Any applicant offered admission to the current
September freshman class who wishes to defer
enrollment until the following September or Janu-
ary should request this consideration in writing.
Deferred candidates will be required to submit a
tuition deposit to guarantee their place in the next
year's class.
January Admission
Students may enter most programs in music,
dance, and design and the visual arts programs
in January during the spring term. Contact the
Admissions Office for further details.
Academic Achievement Program
(AAP)
The Academic Achievement Program is designed
for full-time residents of Pennsylvania who have
been chosen on the basis of their academic poten-
tial, motivation, and aspirations. Eligible students
for the Program are evaluated and accepted on the
basis of their application interview, SAT scores,
portfolio review or auditions, and potential to
succeed at The University of the Arts. In addition,
eligibility in the Program is determined by the
family's adjusted income.
As a talented student, chosen to be a part of
this University's and The Commonwealth of
Pennsylvania's Program, AAP students are entitled
to many special privileges, including a scholarship
to attend the summer PREP Program. Most impor-
tantly, the University is committed to retaining an
AAP student for at least 4 semesters if that
student is actively involved in the Program. This
means that the student has taken advantage of
the Program's counseling/tutoring services as well
as participated in numerous cultural activities and
special events.
The services provided by the AAP program
include:
1. Counseling — personal, academic, career, and
financial. Each new student is assigned an
AAP counselor who will assist the student from
admission through graduatiori-
2. Tutoring — students experiencing difficulty in
their Humanities, Studio, or Performance
courses through the AAP tutorial program.
Typically, tutors are upper division or graduate
students.
3. A special required summer program — studio
and academic courses.
To be accepted to this program students must
meet the following criteria:
1 . Though not academically acceptable under
normal admission policies, demonstrate poten-
tial for success.
2. Meet program guidelines for family's adjusted
income.
3. Be residents of Pennsylvania.
Students who think they meet these criteria
and wish to be considered for the AAP program,
should contact the Admissions Office.
A financial eligibility form will be sent to the
student for return to the Financial Aid Office.
Graduate Admissions
Requirements for all graduate applications are
as follows:
1 . A completed graduate application form and
non-refundable application fee of $30.00.
2. Official transcripts from each undergraduate or
graduate (if any) institution previously attended.
Transcripts should be sent directly to the Office
of Admissions by the college(s) or school(s)
involved.
3. Three letters of recommendation from refer-
ences listed on the application. Two of these
must come from professors in your field or
professionals in the major area who are famil-
iar with your capabilities and credentials.
4. A one-to two-page statement of professional
plans and goals.
5. Proof of High School Graduation.
6. Foreign-born students or international students
must submit Test of English as a Foreign
Language (TOEFL) scores.
7. Portfolio or audition.
Veterans
As an accredited degree-granting institution, the
University is approved for the training of veterans.
Information about education benefits may be
obtained from any VA office.
English as a Second Language
(ESL) Students
Students for whom English is spoken as a second
language, who are either foreign or U.S. residents,
are required to take the Test of English as a
Foreign Language (TOEFL) as a requirement for
admission to The University of the Arts. The
University may require students with below 500
TOEFL scores to attend a college-level English as a
Second Language (ESL) course offered during the
summer prior to the fall semester.
International Students
Students who are neither U.S. citizens nor resident
aliens are considered international students. Inter-
national applicants whose native language is
other than English are required to take the Test of
English as a Foreign Language (TOEFL), as stated
above. All foreign transcripts and other documents
must be translated and certified by an embassy,
legation, or consular officer of the U.SA and
mailed directly to the University by the institution.
The University of the Arts has no financial aid
for international students. Applicants must file
proof of their ability to support themselves from
their own financial resources. Documentation of
these resources is required on official bank statio-
nery indicating the equivalent of $20,000 U.S.
Dollars to meet the expense of attending the
University. The documentation is required as part
of the Admissions Application.
Please contact the Admissions Office Interna-
tional Applicant Coordinator for information, assis-
tance and an international application.
Readmission
Written appeal for reinstatement as a degree
candidate is made through the Office of the
Registrar. Appropriate departmental chairpersons/
directors and the Finance Office must endorse the
readmission prior to any registration process.
Students' program requirements are subject to
review at the time of readmission.
The University reserves the right to reevaluate
work toward a degree completed more than seven
years prior to readmission.
Tuition and Housing Deposits
A $200 Tuition Deposit is required three weeks
from the date an acceptance letter is issued. This
deposit ensures that a space will be reserved for
an admitted student in the upcoming class.
A $100 Housing Deposit is required to re-
serve a student's space in the dormitory facili-
ties. After June 1 , space is available on a first-
come first-served basis only. The Tuition De-
posit is required before the Housing Deposit
will activate the housing reservation.
Registration
Rita DiRenzo
Registrar
Second Floor, Haviland Hall
215-875-4848
The Office of the Registrar develops and maintains
all records and files relating to the student's
academic life at the University. All course and
program transactions or changes are not official
unless properly processed through the Office of
the Registrar. In order to register, students must be
formally admitted to the University and pay all
applicable tuition and fees. Students must have a
program of courses documented and approved by
the required advisorfs). All students are advised to
obtain a copy of their curriculum requirements as
soon as possible after admission to the University,
and to check those against their transcript after
each term. Student copies of the transcript are
available upon request. The Office of Registrar is
responsible for certification of completion of
requirements for graduation.
Registration
Official registration forms must be filed in order
for the student to attend class. Students are re-
sponsible for knowing regulations regarding with-
drawals, refund deadlines, program changes, and
academic policy.
Matriculating students must register for subse-
quent semesters in accord with the posted sched-
ule (see Academic Calendar). Failure to register
will result in a late registration fee (see below).
Late Registration
A late registration fee of $35 will be charged to
any student registering after the dates listed in the
Academic Calendar. Late registration may jeopar-
dize a student's chances of obtaining the program
desired.
Schedule Revision (Drop/Add)
Any schedule revision must be approved in writing
by the appropriate instructor or department chair-
person. A drop/add period is held during the first
ten days of classes each semester. A fee of $10
will be charged to students who submit schedule
revision forms after the official drop/add period.
Non-Attendence
Any student who neither attends class nor sends
an explanation for absence may be dropped from
the course at the end of the first week.
ID Cards
At the time of registration, the Public Safety
Department issues and validates identification
(ID) cards to students who have fulfilled all
financial obligations to the University. Student
ID cards allow students to gain access to all
buildings and facilities and to procure services
and privileges available at the University. In
addition, ID cards may be used for admission to
performances and exhibitions at the University
and to qualify students for discounts at many
locations throughout Philadelphia.
Tuition and Expenses
Louis J. Mayer
Director of Finance
Second Floor, Haviland Hall
215-8754865
Undergraduate Tuition and Fees
Annual tuition is charged to all full-time
undergraduate students, payable one-half each
semester. Full-time students carry a minimum of
12 credits per semester and may carry up to 18
credits without incurring additional charges. Ex-
cess credits are subject to additional charges at
the standard semester credit rate. Permission of
the Dean of the appropriate College is required for
a student to carry more than 18 credits in one
semester.
In addition to the annual tuition charge, all
students registered for 12 credits or more are
required to pay an annual general student fee. The
general student fee is applied toward the cost of
library facilities; studio and laboratory operations;
orientation; student activities; and special ser-
vices, including health services, placement, and
registration. The annual general student fee is not
refundable.
Students registering for less than 12 credits are
charged per credit. There are no other mandatory
course fees or charges except for certain deposits
and the cost of expendable materials in selected
studio classes. Reservation deposits for housing
and tuition are credited to the student's bill and
are not refundable.
Schedule of Annual
Undergraduate Charges and Fees
1993-94 Academic Year
Philadelphia College of Art and Design
Full-time tuition $11,900
(12-18 credits/semester)
Tuition per credit $515
Philadelphia College of Performing Arts
Full-time tuition $11,900
Tuition per credit $ 450
Both Colleges
General Student Fee $515
(all full-time students)
Housing Fees
Housing — Furness Hall + 1500 Pine $3570
Housing reservation deposit $ 1 00
Housing damage deposit (refundable) $ 200
Graduate Tuition and Fees
Full-time graduate students pay annual tuition plus
the general student fee. Teacher certification
special students in visual arts are considered full
time at 10.5 credits. General student fee charges
are the same for graduate and undergraduate
students. Tuition for part-time graduate studies is
charged per semester credit.
A student who has completed all the course
requirements for the Masters degree and is cur-
rently working on the graduate project, either on
or off campus, must register and pay a graduate
project continuation fee (equal to the cost of 0.5
credits/semester). This registration, through the
Office of the Registrar, is required in each suc-
ceeding semester until all degree requirements
are met.
A student without an approved leave of
absence who does not register each semester will
be considered to have withdrawn from candidacy
for the degree. Students who have not maintained
continuous registration must apply through the
Office of the Registrar for readmission to the
program, and will be retroactively charged for the
intervening semesters.
Schedule of Annual Graduate
Charges and Fees
1993-94 Academic Year
Philadelphia College of Art and Design
Full-time tuition $11,900
(10.5 credits or more)
Tuition per credit $ 685
Philadelphia College of Performing Arts
School of Music
Full-time tuition $11,900
(Master of Arts — 8 credits;
Graduate diploma — 6 credits)
Tuition per credit $ 685
Both Colleges
General Student Fee
(all full-time students)
$480
Tuition Payments and Financial
Responsibility
Payment in full for each semester is required be-
fore students may attend classes. Tuition invoices
are mailed to students each July and November.
The first semester bill must be paid by mid-August
and the second semester bill must be paid by mid-
December. Any amount unpaid after the due date
is subject to a late payment fee of $60 unless an
alternative payment plan has been arranged.
Settlement of all financial obligations of the
University rests with the student, or the student's
parents if the student has not attained indepen-
dent adult status.
Students may not withdraw in good standing
unless all financial obligations to the University
have been met. Students whose accounts become
delinquent are subject to dismissal. Students may
not receive diplomas, certificates, transcripts, or
letters of recommendation, and may not be al-
lowed to register for the following semester if
their accounts have not been paid in full.
Payment Plans
As a service to our students and their parents, the
University offers the following commercially
sponsored tuition payment plan. The plan allows
for the total tuition and fees to be paid over ten
months, from May through February.
Tuition Management Systems, Inc. (TMS) - TMS
offers a budget plan that allows you to pay all or
part of your annual charges in ten monthly install-
ments for a $30 annual administrative fee.
A separate insurance program is also available to
participants in this plan. For More information
contact Tuition Management Systems Inc. at (800)
722-4867 or (401 ) 849-1 550
Tuition Remission
Sons and daughters of alumni of The University
of the Arts are eligible for a 10% remission on
their tuition. To qualify, a student must present the
Registrar with an official copy of the long-form
birth certificate, which lists the names of both
parents. The remission applies to each semester
that the student matriculates on a full-time basis.
Families that have two or more members
attending The University of the Arts are eligible for
a tuition remission. Presentation of the long-form
birth certificate is required for each sibling attend-
ing. The youngest member of the family may
receive a 10% tuition remission each semester
during which he or she is a full-time matriculating
student.
For more information, contact the Office of the
Registrar at 21 5- 875-4848.
Housing Fees
Housing fees must be paid in full at the time of
billing. Students are not permitted to move into
University housing until all tuition and fees are
paid in full. A housing damage deposit of $200 is
required of all students who live in University
housing. This deposit is held in escrow and will be
refunded to the student after the apartment is
vacated. Any charges for damage to the apartment
will be subtracted from this deposit. An additional
Housing Reservation Deposit of $100 is required
to reserve a space in University housing. This
deposit will be credited to the student's bill and is
not refundable.
Special Charges and Fees
Application Fee
An application fee of $30 is required with every
application for admission and readmission.
Tuition Deposit
Once the student has been accepted for admission
to the University, a $200 deposit is required to
reserve a place in the class. This deposit will be
credited to the student's bill and is not refundable.
The tuition deposit must be paid within three
weeks of the offer of admission.
Schedule Revision
A fee of $10 will be charged for schedule revision
(drop/add) forms received after the first ten (10)
days of classes of the semester. A fee of $25 will
be charged for schedule revisions made after the
semester ends.
Late Registration
A late registration fee of $35 will be charged to
any student registering after the dates listed in the
Academic Calendar.
Late Payment
A late payment fee of $60 will be charged to any
student failing to pay his or her tuition and/or
housing bill by the due date.
Bad Check Penalty
A $25 fine is charged for all checks issued to the
University and not paid upon presentation to the
bank.
Transcript Fee
A $5 fee is charged to students requesting an
official transcript from the University.
Tuition Refund Policy
The following tuition refund policy is in effect:
For withdrawal
Prior to the first class 1 00% refund
Until end of second week 80% refund
During third week 40% refund
After end of third week 0% refund
A student required to withdraw for disciplinary
reasons will not be entitled to a tuition refund. A
student's residence apartment rent, general fees,
and other charges are not refundable.
Financial Aid
John Musto
Director of Financial Aid
Second Floor, Haviland Hall
215-875-4858
The University administers financial aid provided
by a variety of federal, state, and institutional
programs. Financial aid is offered in the form of
scholarships and grants, loans, and part-time
employment. University funds are awarded for an
academic year (two semesters) and must be re-
newed annually by formal application. Questions
regarding financial aid should be addressed to the
Office of Financial Aid. Also, refer to the "Smart
Money" brochure available upon request.
Application Procedure
The University's financial aid funds are limited and
early application is essential. Therefore, financial
aid applications should be received by March 15.
Financial aid decisions are made separately
from admission decisions. Applicants for financial
aid should not wait until they have been offered
admission to the University to apply for aid. Ad-
mission and financial aid applications should be
made simultaneously. Once an applicant has been
offered admission to the institution, his or her
name is forwarded to the Financial Aid Office. If
the student's financial aid needs analysis has been
received, the student will be notified of any finan-
cial aid funds that have been awarded by the
University within two weeks after being offered
admission.
New Undergraduate Students
To apply for institutional financial aid, students
must file the Free Application for Federal Student
Aid (FAFSA) to be considered for financial aid.
Residents of Pennsylvania also are required
to submit the Pennsylvania Aid Information
Request Form (PAIR). Students residing outside
Pennsylvania should check with their state's
Department of Higher Education to determine if
additional forms are required. All forms are
available from your high school guidance office or
college financial aid office.
Pennsylvania residents should submit the
Pennsylvania Higher Education Assistance Agency
(PHEAA) grant application.
Transfer Students
Every undergraduate who is transferring to the
University from another postsecondary educa-
tional institution and is applying for financial aid
must submit a Financial Aid Transcript to the
Office of Financial Aid to document the aid re-
ceived at the previous institution(s). This form can
be obtained from the University's Office of Finan-
cial Aid and must be completed by the Financial
Aid Office at the previously attended institution.
Transfer students will not be considered for finan-
cial aid from the University unless this form is
received and the application procedure properly
completed. Transfer students must also submit the
FAFSA and PAIR forms.
Graduate Students
Financial aid to graduate students consists of
assistantships and grants-in-aid. To be considered,
a student must complete a Graduate and Profes-
sional School Financial Aid Service (GAPSFAS)
form, which can be obtained from the University
Financial Aid Office or the College Scholarship
Service, Princeton, New Jersey. The application
deadline is April 1 5 for Fall and November 15 for
Spring. Students with assistantships must
maintain a B average and enroll for 9 credits per
semester.
Students are also eligible to apply for a Guaran-
teed Student Loan (GSL). Eligible students can
borrow up to $7,500 per academic year, up to an
aggregate amount of $54,750 (which includes all
undergraduate loans). Application forms can be
obtained from local banks and credit unions.
Students enrolling for the Teacher Certification
Program who have earned a master's or baccalau-
reate degree are ineligible for financial assistance
from the University.
International Students
Federal regulations limit financial aid to U.S.
citizens or eligible noncitizens, i.e., permanent
resident aliens. Aid is not available for interna-
tional students.
Currently Enrolled and Former
Returning Students
Enrolled students or former students considering
readmission, who are applying for financial aid,
must:
1 . Complete a FAFSA grant application
2. Complete a University Financial Aid Application.
The processed application and University Financial
Aid applications must be received by the Financial
Aid Office by April 30. Late applications will be
processed on a funds-available basis.
Aid awards are normally limited to a maximum
of eight semesters (four academic years). Students
who fail to complete the necessary number of
credits required for graduation within the four-year
period due to change of major or transfer status
will be considered for a fifth year of financial as-
sistance only on an individual basis. The University
cannot guarantee financial assistance beyond
eight semesters or after completion of the re-
quired number of credits needed for graduation.
A student who withdraws from the Univer-
sity midsemester for other than an approved
reason (namely, health) will not be eligible for
financial aid upon returning for a repeat of that
semester's courses.
Financial aid awarded by the University may be
used only to meet educational expenses incurred
by enrollment at the University or one of the insti-
tutions with which the University has a student
exchange program. The University is not able to
offer financial assistance for enrollment at foreign
institutions.
10
Academic Requirements
To receive financial aid at the University, the stu-
dent must be enrolled as a matriculated full-time
student in a degree program.
A student receiving aid must maintain at least a
2.0 (C) grade point average for continuation of
funding. The University reserves the right to termi-
nate financial assistance at the end of the Fall
semester if the student's grade point average is
below the level required for eligibility.
Academic Dismissal/Reinstatement
A student who has been academically dismissed
from the institution is not eligible for financial aid.
If at a later date the student is readmitted to the
University, he/she may reestablish eligibility for
financial aid by submitting a letter from his/her
Dean (or other designated official) stating that the
student has been readmitted to the University for
the period during which aid is requested.
Student Responsibilities
Students who receive awards from any outside
agency or private organization are obligated to
notify the University Financial Aid Office of such
aid. At no time can total financial assistance,
including awards from outside or private organiza-
tions, exceed the student's established level of
demonstrated financial need.
Eligibility
Financial aid is not available to any student who
has already earned a bachelor's degree in any
field. Students enrolled only for teacher certifica-
tion are also ineligible. Only matriculated, full-time
day-students may receive financial assistance
from the University.
Financial Aid Package
The amount of aid offered by the Financial Aid
Office is determined by the applicant's unmet
financial need. Financial need is determined by
subtracting financial resources (Pell Grant, state
grant, family contribution, Guaranteed Student
Loan) from the educational budget. The resulting
need is usually met by a combination of awards
called the "financial aid package."
Self-Supporting (Independent) Students
A student will be considered self-supporting if the
federal requirements as described on the Financial
Aid Form (FAF) or PHEM form are met.
Dependent Students
If a student cannot meet all the federal require-
ments to be considered self-supporting, he or she
will be classified as a dependent student.
1993-94 Projected Expense Budget
Dependent
Student
Independent
Student
Resident Commuter
Tuition $11,900 $11,900 $11,900
(12-18 semester
hours)
General Fee $ 500 $500 $ 500
Room $ 3570 $900 $ 3870
Board $ 1250 $900 $ 1725
(student's expenses
for meals, etc.)
Supplies & Books $ 1500 $1500 $ 1500
Transportations $ 1000 $1500 $ 1705
Miscellaneous
Estimated Annual $19,900 $17,200 $21,200
Expenses
Grants and Scholarships
Institutional Grants and
Scholarships
All financial aid funds administered by the institu-
tion are awarded on the basis of demonstrated
financial need and the availability of funds. Prefer-
ence is given, in the case of new students, to
those who demonstrate outstanding promise of
success in the University's curricula. However, any
applicant who applies before the published dead-
line will also be given priority. University-adminis-
tered financial aid funds will not be used to re-
place federal or state grants for which a student is
eligible but who fails to complete the required
applications.
Additional scholarships are available through
the Philadelphia College of Art and Design and
through the Schools of Dance, Music, and Theater
Arts in the Philadelphia College of Performing
Arts. Specifics on these scholarships are listed
under Financial Aid within each College.
Grant-in-Aid
These grant funds, with no repayment obligation,
are allocated by the University to supplement all
other financial aid programs. Partial funding for
this program is provided by endowed scholarships
for students with demonstrated financial need.
State and Federal Grant
Programs
Pennsylvania Higher Education
Assistance Agency (PHEAA)
PHEAA is a state program for undergraduate
Pennsylvania residents who will be matriculated
students enrolled full time for an academic year.
All permanent residents of Pennsylvania are
expected to make application for a PHEAA grant.
Application is made by submitting a FAFSA and
PAIR application. PAIR grant applications
must be sent to PHEAA in Harrisburg no later than
May 1 . Applications are available from high
school guidance counselors or college financial
aid officers.
Other State Grant Programs
If you are a permanent resident of either Connecti-
cut, Massachusetts, Rhode Island, Ohio, or Ver-
mont, you must apply for funding from the state
grant agency of your home state.
Pell Grant
To be eligible for a Pell Grant, the student must be
matriculated and enrolled for at least six credits in
an undergraduate program.
All applicants for financial aid are required to
apply for this federal grant program. If you
have submitted a completed Federal Free
Application for Federal Student Aid (FAFSA), there
is no need to submit a separate Pell Grant
application.
Supplemental Educational Opportunity
Grant (SEOG)
These grant funds, which require no repayment obliga-
tion, are supplied by the federal government and
awarded by the institution's Financial Aid Office to
students with the greatest financial need.
Loan Programs
Federal Stafford Loan
Every matriculated student is eligible to apply for a
Stafford Loan. The Federal Stafford Loan is a low
interest student loan awarded on the basis of
financial need, A full-time student may borrow up
to $2,625 for the first year, up to $3,500 for the
second year, and up to $5,500 for each of the last
two years. The interest rate is 6.2% and
repayment does not begin until six months after
leaving school.
Federal Supplemental Loan to
Students (SLS)
A full-time student may borrow up to $4,000 for
each of the first two years and up to $5,000 for
each of the last two years. The interest rate is
7.3% and repayment begins immediately after the
check is disbursed.
Parent Loan to Undergraduate
Students (PLUS)
This program is for parents who wish to borrow
funds to meet a student's educational costs. The
maximum amount that can be borrowed cannot
exceed the cost of education minus other financial
aid. The interest rate is 6.6% and repayment
begins immediately after the check is disbursed.
Perkins Loan
Perkins Loans, funded by the federal government,
are awarded by the institution to matriculated
students as part of the financial aid package.
Repayment of the principal and interest does not
begin until nine months after graduation or with-
drawal from the University. The interest rate is 5%
(subject to change). Depending on the total
amount borrowed, a student may take up to ten
years to fully repay this loan.
Exit Interviews
An exit interview is required of all students who
graduate or withdraw from the University and who
have received either a Federal Stafford Loan or
a Perkins Loan while they were students. The
purpose of this interview is to make students
aware of their financial obligations and to deter-
mine a repayment schedule.
Student Employment
College Work-Study Program (UWSP)
The Work Study Program provides employment for
students who need financial aid and who require
the wages to defray their educational expenses.
Students who are awarded work-study funds will
be placed in various jobs in departments within
the University. Students receive a biweekly pay-
check for the hours worked.
Funds are awarded as part of the Financial
Aid Package.
Academic Regulations for
The University
Specific policies pertaining to academic require-
ments and advising for each college are stated
under the sections describing the individual
colleges.
Terms of Enrollment
An undergraduate student is enrolled full time if
courses, both Studio and Humanities, total 12 or
more semester hours. For graduate students, 9 or
more semester credits constitute full-time enroll-
ment.
Grading System
A
4.00
A-
3.67
B+
3.33
B
3.00
B-
2.67
C+
2.33
C
2.00
c-
1.67
D+
1.33
D
1.00
F
0.00
Grades not included in computing averages:
I Incomplete
N6 No Grade
NC No Credit
W Withdrawal
OP Optional Pass (Grade of "C" or better)
OF Optional Fail (Grade of less than "C")
AU Audit
Computing Grade Point Average
(GPA)
The GPA may be computed by multiplying the
number of credits earned for a course by the
numerical value of the grade. The resulting figures
from all courses for that semester are then
totalled, and this figure is divided by the total
number of credits attempted that semester. The
grades of I, NG, OP, OF, W, and AU are not entered
in this computation.
Pass/Fail Option
1 . In courses taken on a Pass/Fail basis, the stan-
dard letter grades of A-C are converted to OP
by the registrar. A grade of D or F is recorded as
an OF.
2. The Pass/Fail grading option must be selected
prior to the end of the add/drop period; no
change from Pass/Fail to regular grade or regu-
lar grade to Pass/Fail may be made after the
deadline.
3. Grades of OP or OF are not computed in grade
point average.
4. The Pass/Fail policy stipulates that the instruc-
tor is not to be informed as to who is enrolled
on a Pass/Fail basis.
5. Availability of this option is limited to a total
of nine (9) credits in Humanities courses or
Electives.
Grade of Incomplete
An incomplete grade may be granted only in ex-
traordinary circumstances, either personal or aca-
demic, which prevent the student from completing
coursework by the end of the semester. The grade
"I" is given only when the completed portion of
the student's work in the course is of a passing
quality. In order to receive the grade of Incom-
plete, the student must obtain the approval of the
course instructor and the Dean of the College prior
to the conclusion of the semester. An Incomplete
grade must be removed by the end of the sixth
week of the following semester or an "F" for the
course is assigned. (In certain Dance courses a full
semester is allowed.) Forms are available from
the Office of the Registrar.
Change of Grade
If a student questions the correctness of a grade,
the student should first discuss the matter with
the instructor. If a satisfactory resolution is not
reached, the chairperson of the department or
director of the school should be consulted. The
student may, as a last resort, bring the matter to
the attention of the Dean of the appropriate
college. Any change of final grade requested by a
student must be approved by the course instructor,
who must submit the signed Change of Grade
Form to the Office of the Registrar no later than
the end of the semester following the one in
which the grade was given.
Class Attendance
All students are expected to attend classes regu-
larly and promptly and for the duration of the
scheduled instructional time. Individual instructors
will decide the optimum time for taking atten-
dance and may penalize for habitual lateness or
absence. Repeated unexcused absences may
result in a grade of "F" for a course.
Instructors should advise a student whenever
his or her performance in the course is considered
unsatisfactory by use of a Notice of Deficiency
in coursework. This form is filed with the Office of
the Registrar which will mail a copy to the
student.
Dean's List
This list is compiled each semester in the respec-
tive Dean's offices and is recorded as part of the
student's permanent record. The Dean's List hon-
ors those students who have met the following
criteria:
1 . Are full-time undergraduate degree candidates.
Candidates for Certificate, Diploma, and Gradu-
ate programs are not eligible.
2. Have attained a minimum GPA of 3.60.
3. Have received no grade lower than a "B" in any
course.
4. Have no grade of "I" or "F".
5. Take at least 12 credits for a letter grade (no
"OP" or "OF").
12
Academic Probation
Philadelphia College of Art and Design
Academic Warning
When a student, previously in good standing,
receives a semester GPA (grade point average)
between 1 .0 and 2.0, the student will receive a
letter of Academic Warning from the Academic
Dean's Office of the College on advisement from
the ARC, Academic Review Committee. Students
will be advised to achieve a 2.0 GPA during the
next semester in order to avoid further probation-
ary action. A student who receives below a 1 .0
GPA will automatically be placed on Initial Proba-
tion and will not receive an Academic Warning.
Initial Probation
If the student is unable to acieve a 2.0 GPA in
response to the conditions of Academic Warning,
the student will receive a letter of Initial Probation
from the Dean's Office on behalf of the ARC. The
student will be advised that if a 2.0 GPA and/or
other conditions are not attained by the following
semester, the student will be placed on Final
Probation and will possibly lose financial aid
according to federal regulations.
Final Probation
If the student fails to attain a 2.0 GPA and/or other
conditions for a third semester, a letter of Final
Probation will be sent advising the student that
financial aid will not be granted for that semester
and that, if a 2.0 GPA is not achieved during the
semester, the student may be dismissed from the
College.
There may be differences in the requirements
for scholarships, state and federal grants, and
loans. If you find yourself with a low GPA, you are
advised to check with the Financial Aid Office to
see how your financial aid might be affected.
Additional Conditions
1. Freshmen entering in the Academic Achieve-
ment Program will enter under Academic
Warning.
2. A student attaining a 1 .0 GPA or under will
automatically be placed on Initial Probation and
not receive an Academic Warning.
3. Students formerly dismissed from PCAD on
probation who reapply for admission to the
College would be readmitted subject to the
conditions of Final Probation and possible
additional conditions.
4. Students who have been on probation and
have removed themselves from probation for a
semester or longer, and who fail to attain
between 1 .0 and a 2.0 GPA later in the degree
program, will receive a letter of Academic
Warning.
5. Students who are readmitted to the College
following a return from a Leave of Absence or
Withdrawal will be readmitted subject to the
probation conditions existent during their last
semester at the College.
6. The ARC may require additional conditions of
the student during any one of these actions
based on departmental advice or school policy.
7. If a student fails to comply with the terms of
Academic Warning or Probation, she or he may
be dismissed from the University.
Philadelphia College of Performing Arts
Probation
Students whose semester grade point average is
below 2.0 and/or who receive the grade of "D" or
below ("C" for Theater students) in their major
area, will be placed on academic probation for one
or two semesters, as determined by the Academic
Review Committee. Failure to meet the stipulation
for removal of Probation by the end of the speci-
fied period may result in dismissal from PCPA.
If the cumulative GPA for a semester is below
2.0 ("C") the student is automatically placed on
academic probation and is required to attain at
least a 2.0 cumulative GPA is the following semes-
ter. In the Philadelphia College of Performing Arts,
a grade of "B" in the major is required in the
following semester. These requirements may be
set higher by the Academic Review Committee,
depending on the student's overall record. The
financial aid of a student may be placed in jeop-
ardy is the student does not maintain satisfactory
academic progress. If a student fails tc comply
with the terms of academic probation, he or she
may be dismissed from the University. Additional
requirements may be set by the department/
school or by the Academic Review Committee.
Dismissal
It is the University's prerogative to dismiss a
student for stated cause:
1 . Failure to maintain a cumulative GPA of 2.0
("C").
2. Failure to resolve academic probationary
requirements as specified by the Academic
Review Committee.
3. The Campus Standards Committee may recom-
mend suspension or expulsion for student con-
duct considered unacceptable at the University.
Students on academic probation who have failed
to meet their GPA requirement by the end of the
term but who are continued on academic proba-
tion for a second consecutive semester may be
dismissed at the conclusion of the second semes-
ter if they have failed to meet the GPA specified by
the Academic Review Committee.
Such students will not be considered for
readmission before the end of one full academic year.
Readmission
Written appeal for reinstatement as a degree
candidate should be addressed to the Office of the
Registrar by June 1 for the fall semester and
November 1 for the spring semester. Appropriate
departmental chairpersons/directors and the
Finance Office must endorse the readmission prior
to any registration process.
Withdrawal from Course
A student may withdraw from a class and receive
a "W" through the seventh week of the semester.
After that date, a withdrawal is possible only un-
der unusual circumstances such as accident, seri-
ous illness, or psychological stress. A "W" must
be agreed upon by the faculty member teaching
the class and the Dean of Students. A grade of
"W" will not affect the student's GPA.
Grades for courses in progress are assigned
according to the academic grading policy.
Special note: A student who withdraws from
a course after the tuition refund period is not
eligible for a refund.
Withdrawal from The University
A student may withdraw from The University of
the Arts by initiating an official withdrawal with
the Dean of Students. Clearance must be received
from the appropriate College Dean, the Finance
Office, the Library, and the major department
chairperson or school director. Grades for courses
in progress are assigned according to the aca-
demic grading policy.
Withdrawal is official when the student
receives a written notification from the Registrar.
A student who withdraws from the University with
a semester or cumulative GPA of less than 2.0
("C") will be recorded as "withdrawn not in good
academic standing."
Leave of Absence
A leave is granted for one or two semesters at the
discretion of the department chairperson or school
director. A student who remains absent past the
date of expected return must apply for readmis-
sion to the University. A leave of absence may be
requested through the Office of the Registrar. An
extension of the leave may be increased for an
additional one or two semesters.
Change of Major
Students may request a change of major through
the Office of the Registrar. Students are advised to
initiate the change of major petition prior to regis-
tration for the upcoming semester. The petition
requires the approval of the appropriate chairper-
sons or directors of both the former and the new
department or school. Deadlines are June 1 for
the fall semester and November 1 for the spring
semester.
Change of major forms are available in the
Office of the Registrar. After completion of a
change of major, students are advised to review
their degree program requirements with their
academic advisor.
Transfer Between Colleges
A presently enrolled student who wishes to
transfer into a program in another college of the
University must apply through the Office of Admis-
sions. All requirements for the college to which
the student is applying must be satisfied and
approval is granted by the Dean of the college.
Deadlines for transfer between colleges are June
1 for the fall semester and November 1 for the
spring semester. The student will be required
either to present a portfolio of artwork, or to audi-
tion, as part of the transfer requirements.
13
Graduation — Conferral of Degrees and
Diplomas
Students expecting to complete requirements for
a degree within the year (December, May or
August) are required to file a graduation petition,
signed by the appropriate department chair, in the
Office of the Registrar at the November registra-
tion for the Spring semester. The Office of the
Registrar is responsible for certification of comple-
tion of requirements for graduation.
Degrees and diplomas are conferred once a
year at the spring commencement exercises.
For students who complete degree require-
ments in other terms, the transcript will be
posted "degree granted" and the date of the
official last day of examinations. A cumulative
GPA of 2.0 is required of all graduating
students. Requirements for graduation must be
approved by the Dean of the college.
Access to Student Records
In 1 974 the Congress of the United States enacted
the Family Educational Rights and Privacy Act,
Public Law 93-380, as amended, setting out
requirements designed to protect the privacy of
students. Specifically, the statute governs (1) ac-
cess to records maintained by certain educational
institutions and agencies, and (2) the release of
such records. In brief, the statute provides that
such institutions must provide students access to
official records directly related to themselves and
an opportunity for a hearing to challenge such
records; that institutions must obtain the written
consent of the student before releasing personally
identifiable data from records to other than speci-
fied exceptions; and that students must be notified
of these rights.
As such, all students of The University of the
Arts have the following rights with regard to edu-
cational records maintained by the University:
A The right to review and make copies of educational
records which are maintained by the University.
These records generally include all records of a
personally identifiable nature; however, they ex-
clude the financial records of parents and confiden-
tial letters and statements of recommendation
received prior to June 1 , 1 975.
B. Records which, while an individual has been a
student at the University, have been created or
maintained by a physician, psychiatrist, psy-
chologist, or other recognized professional or
paraprofessional, are not available for review;
however, the student does have the right to
select a physician or other appropriate profes-
sional, at personal expense, to review these
records on the student's behalf.
C. University educational records are maintained
by:
1. Office of the Registrar
2. Office of the Dean of Students
3. Financial Aid Office
4. Finance Office
5. Office of Continuing Studies
6. Some educational records may also be
maintained by the Dean of Academic
Affairs, academic major departments,
the Learning Skills Center, and the
AAP Office.
D. The University may not generally release any
information outside the University which is
maintained in educational records without prior
consent or waiver. However, the University
does have the right to release the following
directory-type information:
1. Name
2. Address
3. Telephone listing
4. Date and place of birth
5. Major field of study
6. Participation in officially recognized
activities
7. Dates of attendance
8. Degrees and awards received
9. The most recent previous educational
institution attended by the student
If a student does not wish any of this information
made public, either in a directory of students or in
any other manner, the student must inform the
Office of the Registrar — no later than the end of
the second week of classes each semester — of
the information not to be released.
E. The permanent record maintained by the
University will consist of:
1 . Directory information as noted above
2. Application for admission
3. Applicant's secondary school records
4. Cumulative University of the Arts
records of grades, credits, grade point
average, and academic actions
5. Correspondence (or copies thereof)
re: admission, enrollment, registration,
probation
6. Student petitions
7. Letters of reference/recommendation
dated after January 1, 1975
8. Disciplinary actions
9. Departmental appraisals and evalua-
tions of student progress
F The permanent records of the University do not
include:
1. Parents' and students' confidential
financial documents
2. Counseling psychologists' files
3. Health Office files
4. Faculty and staff memoranda/files
retained for personal/ professional use
G. Requests to inspect and review records may be
made by completing an Access Request —
Educational Records, which is available in the
Office of the Registrar and/or the Office of the
Dean of Students between the hours of 10:00
a.m. and 4:00 p.m. Copies of available records
may be made for $.25 for each sheet at the
time the student reviews the files.
H. If a student believes any information in the file
is inaccurate or misleading, that individual may
request, in writing, the custodian of the record
to amend, delete, or otherwise modify the
objectionable material. If said request is
denied, the student may request that a hearing
be held to further pursue the request. At this
hearing, the student may be represented by a
person of his or her choice, if so desired. If after
the hearing the request to amend is again
denied by the University, the student has the
right to place in the file a statement or other
explanatory document, provided that such
statements or documents relate solely to the
disputed information.
I. If a student believes that any of his or her rights
hereunder have been violated by the University,
he or she should make such facts known to the
Dean of Students in writing. If the Dean of
Students does not resolve the matter and the
student still feels that his or her rights have
been violated, he or she may so inform ttie
Department of Education in writing.
J. Release of information from permanent records
to outside parties requires the student's explicit
consent. Those exceptions which do not require
the student's consent are:
1 . Obligatory cooperation with police action
and litigation of criminality
2. Compilation of general enrollment data for
reports required by U.S. Government and
Commonwealth of Pennsylvania authorities
3. Participatory information-sharing with
educational service associations such as the
College Scholarship Service, the American
Council on Education, and the Union of
Independent Colleges of Art
4. Information about an individual student in
the event of a personal emergency which is
judged to threaten the health/safety of that
student
5. Compliance with judicial orders and
subpoenas
6. Response to inquiries by parents of depen-
dent students (see section K)
7. Reference by appropriate University of the
Arts' faculty and professional staff
Any release of information as outlined
above which identifies an individual student
and requires that student's consent will be
logged in his or her permanent record.
K. As provided by the act, the Office of the Dean
of Students will respond to valid requests by
parents of dependent students for grades and
related cumulative information. Although the
student's consent is not required, he or she will
be informed that such a request has been
made.
A dependent student is defined as one who is
declared a dependent by his or her parents for
income-tax purposes. The University, however, will
continue to mail semester grade reports and
actual transcripts of records directly to the student
at his or her permanent address.
14
Student Services
John Klinzing
Dean of Students
1st Floor, 1500 Pine
215-875-2229
The Student Services Division consists of a group
of concerned professionals committed to assisting
students of the University in reaching their goals.
The staff offers students an opportunity to develop
the interpersonal, leadership, organizational, and
communications skills that will serve the students
on a personal and professional level in the future.
The office of the Dean of Students administers
and coordinates student services and represents
student concerns to campus groups, faculty, staff,
and administration.
Student Governance
Students have the opportunity to participate in
government on a collegial or departmental level.
Students interested in collegial governance should
contact the Student Congress, Mezzanine, 333
South Broad Street, Philadelphia, PA 19102.
Student Resource Center
The Student Resource Center provides a wide
variety of support programs to aid in the develop-
ment of the student in his or her collegiate as well
as professional career. They include:
Career Planning and Placement
The University recognizes the student's increasing
concern for career planning and employment
following graduation, as well as the need for tem-
porary and part-time employment while enrolled.
As one of its vital services, the Center provides
career counseling, internship experience, career
and arts resources, and professional survival skills
information to students throughout their college
careers. Career workshops focus on developing
practical job-hunting skills and addressing
personal growth and development issues involving
setting long- and short-term goals. These career
and job development services supplement the
students' classroom and studio instruction.
The career office is located on the Mezzanine of
Anderson Hall. The counselor may be reached at
215-875-1069.
Personal Counseling
Frequently, students have concerns about their
emotional and social adjustment to college life.
Their concerns range the spectrum of personal
issues: relationships, identity, career goals,
achievement, and roommates. To assist students
in dealing with these needs, free psychological
counseling is available on an individual basis as
well as from peer support groups.
Students in need of psychiatric and long-term
psychological counseling may consult one of the
staff counseling psychologists for assistance and
advice on contacting resources in the Philadelphia
community.
Monthly workshops are also conducted to help
students effectively deal with these personal,
emotional, and social aspects of their college
adjustment.
Academic Services
The academic support services offered by the
Student Resource Center are available to all
students as a supplement to their classroom in-
structions. The Center helps students develop
skills in reading, writing, and other academic
areas, including successful classroom strategy and
improving study habits.
Professional and peer tutoring are available for
general skills and for specific subjects or courses.
Computer-assisted academic instruction is also
available. Throughout each semester, workshops
are given that are designed to address students'
academic concerns and needs. Professional coun-
seling is provided to enhance students' academic
and personal strategies and skills. Further, specific
support services are available to learning-disabled
students to assist them in meeting academic
requirements.
The Center provides to any student a variety of
resources, such as tape-recording equipment,
typewriters, a reference library, and a computer
center. Although they may be referred to the
Center by their Studio or Humanities instructors,
students are also welcome to avail themselves
freely of these resources and support services.
Academic Achievement Program
The Academic Achievement Program is part of the
Higher Education Opportunity Act of the State of
Pennsylvania. At The University of the Arts, the
purpose of the program is to provide develop-
mental maintenance and transition services to
students who need preparation in arts and
academics. Many students who are eligible for the
program are not aware of that fact. Students are
selected to participate in the program because of
demonstrated financial need and must be resi-
dents of the State of Pennsylvania. The residency
requirement is important because the program is
state funded. Because of life circumstances, some
students who are a part of the program have not
done as well academically in high school as they
would have liked. With the extra support of the
SRC, these students in particular become a highly
motivated, cohesive group whose determination to
succeed is reflected in the high percentage of
students who make Dean's List.
For more information, contact the Academic
Achievement Program at 215-875-2229.
Services for the Disabled
The staff of the Student Resource Center works to
ensure that all students with learning or physical
disabilities have equal opportunity to participate
fully at the University. Special support services are
available, as well as academic and psychological
counseling for these students. The staff assists
individual students in joint efforts to meet their
needs and to act as a liaison between the stu-
dents and their instructors. Information related to
a student's disability is used to provide requested
services and is otherwise communicated only with
the permission of the student.
International Student Services
In an effort to meet the special needs of the inter-
national student, the Student Services Division
has developed a network of University personnel
and offices to provide specialized services to
students from abroad. These services are provided
through Admissions, the Learning Resource Cen-
ter, the Counseling and Career Center, the Office
of Campus Life, and the Dean of Students.
The Student Services Division has designated
one member of the professional staff as Interna-
tional Student Advisor. In addition to serving as
liaison for students from abroad, the International
Student Advisor will assist the student in securing
necessary services provided through the support
areas of the University. Special programs designed
to help international students include: ESL tutorial
assistance, Immigration Service advisement, and
the International Student Association.
Students interested in participating in the
Residential Life program will deal directly with the
Office of Campus Life as do all other entering
students. While there is not a distinct residential
program for students from abroad, special efforts
are made by the Office of Campus Life to consider
the needs of the international student.
Likewise, the University Health Service, while
meeting the needs of all enrolled students, does
consider the support needs of international
students. All international students should take
special note of the University's requirement that
they maintain or secure appropriate medical insur-
ance coverage, either through their family or
through the medical insurance plan offered
through the University.
When in need of assistance, students are
advised to contact either the International Student
Advisor in the Student Resource Center at
21 5-875-2266 or the Office of the Dean of Student
Services at 21 5- 875-2229.
Health Services
The University maintains a health office, open
weekdays throughout the academic year and for
six weeks in the summer. First aid is rendered,
minor illnesses are treated, and appropriate refer-
ral to other health professionals is made. Health
counseling emphasizes disease prevention, health
maintenance, stress control, and wellness activi-
ties.
Additional medical needs and attention by a
physician are provided by the Jefferson Hospital
Family Medicine Associates. This service provides
a complete range of physicians services to all
students enrolled on a full-time basis.
Students are encouraged to see the University
nurse to help evaluate illnesses and to discuss
other health problems. She will aid in the contact
of the on-call doctor if medical intervention is
needed. The Jefferson Family Medicine Depart-
ment is located on the fifth floor in Thomas
Jefferson University Hospital at 1 1 10 Walnut
Street, a short distance from the University.
15
Because of the high cost of medical care and
because many of our students no longer are cov-
ered by their parents' hospitalization plans, the
University in conjunction with Blue Cross of
Greater Philadelphia and Pennsylvania Blue Shield
offers an optional plan to all of our students. This
plan includes hospitalization, medical, surgical,
and major medical health benefits. Students and
their families are strongly encouraged to provide
for medical emergency needs through either this
program or an alternate insurance program
through the student's family or family member's
employer. It is highly recommended that some
form of coverage be provided for the student while
enrolled at the University.
Residential Life
The University of the Arts has made a strong
commitment to providing a living/learning environ-
ment. Furness Hall is a historic remodeled build-
ing which houses students. The residence features
three-person apartments with separate kitchen
and bathroom facilities. The facility is located
within the historic block of the University and is
within a one-block walk of all University facilities.
1500 Pine is a 10-story building acquired by the
University in 1989. Its furnished apartments
include a kitchen and bath. Two to five students
are housed in studio, one- and two-bedroom
apartments. Laundry facilities are located within
the building.
The University also provides housing facilities
through privately owned apartments. All students
residing in these facilities, through the University,
are entitled to all services provided by the Office
of Residential Life.
All living environments are supervised by
specially selected resident advisors. Advisors are
upperclass students, trained in peer counseling
and crisis intervention, who assist students in
their adjustment to college as well as to life in the
city. The entire residence program is supervised by
the director of Residential Life.
Students will receive a housing brochure outlin-
ing all facilities and accommodations after they
are admitted to the University.
Freshmen from outside the Philadelphia area
are guaranteed housing if the office receives
their contracts by June 1 . Noncommuting fresh-
men are required to live in University residence
during their first year.
The office also assists students in finding off-
campus accommodations through its off-campus
housing services. Early inquiries regarding this
service are strongly recommended.
Student Activities
The University annually sponsors a variety of pro-
grams and activities to complement the academic
program. A sampling of the planned programs
includes the Friday Night Film Series, dances and
social activities, gallery and museum trips, and
sports and physical fitness programs at the "Y."
In addition, all students are invited to attend the
Philadelphia College of Performing Arts' recitals
and the Philadelphia College of Art and Design's
exhibitions, free of charge.
All extracurricular and social activities are coor-
dinated through the Student Congress and the
Office of Campus Life. Students have a major role
in determining and implementing the nature of the
student life program at The University of the Arts.
Meals
Student residences feature separate kitchens
within each room. Students prepare their own
meals according to individual schedule and dietary
preference. In addition, the University maintains a
cafe that serves breakfast and lunch and an
optional meal plan. Food-vending machines are
accessible at all times.
Automobiles
Because parking in Philadelphia can become very
costly, the University discourages students from
bringing automobiles.
Campus Security
The University has assigned security personnel to
all its buildings to provide 24-hour protection. The
University maintains a strict ID policy to ensure
the safety of students, faculty, and staff. A limited
escort service is provided for students living on
or around the University's campus. The general
campus area is patrolled on a regular basis.
Campus Security also provides programs to
develop student awareness of safety and security
concerns in an effort to isolate exposure to loss.
The campus Security Department administers the
University safety program to ensure the safety of
all students, faculty, and staff.
In the event of a family emergency and you
wish to contact your son or daughter at the Univer-
sity, call (21 5) 875-1 01 0 at any time of the day.
Security personnel will take the necessary infor-
mation, contact the appropriate offices to locate
the student and deliver the message.
Student Social Regulations
The University's regulations governing nonaca-
demic student conduct are intended to maintain a
viable and orderly institutional society, safeguard
the particular values and common welfare of its
student body, and promote the best possible envi-
ronment for professional study. Membership in
the University community is regarded as a privi-
lege, and the student is expected to exercise self-
discipline and good judgment. By official registra-
tion, the student acknowledges the University's
authority to define and enforce standards of ac-
ceptable conduct. Adjudication of alleged student
misconduct is the responsibility of the Office of
the Dean of Student Services. A committee on
campus standards, representing the student body,
faculty, and administration, serves in an advisory
capacity to the Dean. A complete reference to all
rules and procedures is contained in the current
code for student rights, responsibilities, and
conduct.
University policy provides that a student may
be required to withdraw from the University for
psychological/health reasons. A student who is
withdrawn under this policy is one whose behav-
ior is assessed as sufficiently disturbed to necessi-
tate his or her leaving the University community.
A detailed copy of the University policy regarding
emergency withdrawals may be obtained from the
Office of the Dean of Student Services or the
Student Resource Center.
School Closings
In the event of inclement weather, students should
listen to the radio stations that announce official
school closings. The University code number is 1 16.
16
Continuing Education
Programs
The University of the Arts' Continuing Education
programs offer professional instruction within a
curriculum designed specifically for students who
work during the day or cannot study full time.
Classes run in both the evenings and on Saturdays
during the academic year. In addition, there are
summer programs for both precollege and post-
college populations and a provision for part-time
study in the day program.
The New Studies Center of the Philadelphia
College of the Performing Arts of The University of
the Arts serves the educational and cultural needs
of adult learners. Offering a full program of credit
and noncredit courses in the arts, humanities,
education, and personal enrichment, the New
Studies Center extends a special atmosphere and
flexibility uniquely suited to the needs of mature,
active adults wanting to take courses for
nonmatriculated credit or self-enrichment. In 1986,
a Teachers' Institute was formed, offering semi-
nars and workshops geared to education in the
classroom. Most classes meet on weekday eve-
nings, but there are also weekend courses and a
unique Travel/Study program designed to provide
highly selected educational travel seminars.
Catalogs are available for all programs offered.
Please refer to them for specific listings and regis-
tration procedures. For additional information,
please contact to:
Continuing Education — 215-875-3350
New Studies Center— 215-875-3380
Dance Extension: School of Dance —
215-875-2270
Alumni
The value and the strength of an academic and
professional institution are often interpreted and
measured by the accomplishments of the men and
women it graduates. The alumni of The University
of the Arts are among the most accomplished and
skilled visual and performing practicing artists and
include pianist Andre Watts, photographer Irving
Penn, dancer Judith Jamison, metals artist
Samuel Yellin, jazz artist Stanley Clarke, and
painter Sidney Goodman.
The work of Philadelphia College of Art and
Design painters, sculptors, illustrators, and crafts-
men are represented in numerous collections
worldwide, and have travelled in national and
international exhibitions; the creations of its film-
makers and photographers have been honored in
international festivals; and the products and publi-
cations of its designers have become nationally
familiar. The Philadelphia College of Performing
Arts has produced an outstanding spectrum of
musicians, including many of the founders and
members of the illustrious Philadelphia Orchestra.
The alumni of the University reside in 46 states and
1 5 foreign countries. The Alumni Association of The
University of the Arts' purpose is to maintain an ongo-
ing and reciprocal relationship between the alumni
and the University through various support programs,
services, special events, and publications; to assist in
the development of plans; to participate in the im-
provement and support of the University; to promote
the general welfare and best interests of The Univer-
sity of tfie Arts.
17
I UNIVERSITY
OF THE ARTS
PHILADELPHIA COLLEGE
OF ART AND DESIGN
C r
Philadelphia College of Art
and Design
Stephen Tarantal, Dean
Carol Moore, Assistant Dean
Accreditation
The Philadelphia College of Art and Design of The
University of the Arts is accredited by the Middle
States Association of Colleges and Schools, the Na-
tional Association ofSchoolsofArtand Design, the
Industrial Designer's Society of America, and has
approval of the Commonwealth of Pennsylvania for
granting of degrees in the visual arts.
Programs of Study
The Philadelphia College of Art and Design is a
comprehensive college of the visual arts, offering
a full range of study in art and design. The college
maintains demanding standards and encourages
students to develop innovative approaches to
their work. The college offers coursework toward
a BFA degree in Painting and Drawing, Print-
making, Photography, Rim, Animation, Sculpture.
Graphic Design, Illustration, and Crafts with con-
centrations in: ceramics, fibers, metals, and wood;
BS degrees in Architectural Studies and Industrial
Design; an MA degree in Art Education; an MAT
(Master of Art in Teaching) in Visual Arts; MFA's
in Book Arts/Printmaking and Museum Exhibition
Planning and Design; an M. Arch, in Architecture;
a special concentration in Art Therapy, and a certi-
fication program in Art Education.
All freshman students enter the Foundation
Department which is an 18 credit core program of
two-dimensional, three-dimensional and drawing
courses. The Foundation program introduces the
basic language and processes of the visual arts
and prepares the students for entry into a major
department Through elective course offerings and
the Foundation Forum (a lecture series presented
by practicing professionals in the Design, Crafts
and Fine Arts fields), students are introduced to
career options and opportunities offered at the
College of Art and Design.
Sophomore Year
Students choose a major in the sophomore year
from one of nine departments:
Crafts: Ceramics, Fibers, Metals, and Wood
Graphic Design
Illustration
Industrial Design
Painting and Drawing
Photography/Film/Animation
Printmaking
Sculpture
Fine Arts Option
Junior and Senior Years
Students concentrate increasingly in their major
during the last two years of study. Many depart-
ments offer opportunities to study off-campus
during this period. Frequent field trips to muse-
ums, galleries, artist's studios, and design studios
in Philadelphia, New York, and Washington, D.C.
supplement the work in studios and workshops.
The major studio concentration is augmented
by required and elective courses in other depart-
ments at the College of Art and Design and Col-
lege of Performing Arts to encourage an aware-
ness of the productive interaction that can occur
between the many disciplines available at the
University. Alternative career opportunities are
often developed by students stimulated by
courses outside their major.
Class Size and Structure
Each department is unique, with its own curricu-
lum and structure, but in every department
classes are small and informal. Faculty advisors
and the generous student/faculty ratio assure
close individual attention and assistance through-
out a course of study.
One of the important teaching modes in the
college is the critique, or "crit," an evaluation of
student work by the instructor with participation
by the class. Given informally to the class or indi-
vidual as often as once a week, crits have proven
to be an invaluable method for the development
of critical thinking and self-awareness, which are
major goals in the educational program.
21
Admissions Requirements
The admissions staff encourages the prospective
student to send in an application at your earliest
convenience. The applicant will be notified of a
decision as soon as all credentials are complete
and the faculty have reviewed the submitted
portfolio. Decisions are made on a rolling basis.
After receiving the admission letter, a tuition
deposit ($200) is required within three weeks in
order to hold a place in the class. This deposit is
not refundable.
The Financial Aid Office strongly recommends
filing a financial aid form as soon as possible after
January 1 to ensure full consideration of all sup-
port options are reviewed.
The Philadelphia College of Art and Design gives
equal consideration to all applicants for admission and
financial aid regardless of race, color, sex, religion,
national or ethnic origins, or handicaps.
Freshman Admission
Requirements
An applicant to the freshman class must graduate
from an accredited high school and have taken an
appropriate distribution of high school subjects
including four (4) years of English. A minimum of
two (2) years of art and design are recommended.
Those applicants who do not hold a regular high
school diploma may qualify for admission in the
following ways:
1. GED (General Education Diploma) tests through
the Department of Public Instruction.
2. CLEP (College Level Examination Program) ad-
ministered monthly through the testing centers
of most major universities.
Freshman applicants should submit the following:
1. Official High School transcript
2. Portfolio
3. CEEB Scholastic Aptitude Test (SAT) or the
American College Test (ACT)
4. One letter of recommendation
5. Statement of Purpose (one type-written page)
Optional — A personal interview and addi-
tional support materials may be submitted to
assist your application.
Portfolio Content
At the Philadelphia College of Art & Design, one of our
major interests is your portfolio; your portfolio should
describe you as a visual person. We do not list specific
requirements nor assign problems to be solved. The
portfolio should reflect your visual experiences to date;
projects completed for Saturday, summer or outside
classes, as well as your classroom projects and work
done without supervision. Your admissions portfolio
should consist of 10 to 20 pieces of original work
completed within the past year. The best way to put
together a portfolio is to select from a representative
group of your collected work those pieces which dem-
onstrate your strengths, depth in areas of particular
interest and the range of your visual abilities and expo-
sure. The selection of pieces in your portfolio tells us a
great deal about you, so choose thoughtfully and care-
fully— and make the selection yourself.
Preparing Your Portfolio
The Admissions Committee reviews your work
relative to the type of art program from which you
have come. We expect to see different levels of
work from applicants. If you have been enrolled in
a school with a well developed art program, your
portfolio will certainly be different than if your
school curriculum did not focus on the visual arts.
Similarly, a student who has had extensive experi-
ence with photography and film may not have
developed the same level of manual skills as a
student who has concentrated on drawing and
design. Although there are no "right" or "wrong"
pieces to include in your portfolio, there are cer-
tain elements in which we are interested.
Portfolio Pieces
Drawings
Drawing is a skill fundamental to all visual artists.
It provides an important means to analyze and
record your environment and ideas. The ability to
draw should be reflected throughout your portfo-
lio. Drawings from observation are preferable to
those that are merely copies of photographs or
other artists' work. You can present landscapes,
self-portraits, figure drawings, mechanical draw-
ing or drafting projects, still life or objects from
your surroundings.
Work in Color
Your use of color is another important factor. The
variety of media demonstrates the breadth of your
experimentation with materials such as water-
color, pastel, paint, collage or mixed media.
Design Work
Some of your portfolio pieces should demonstrate your
understanding of 2-Dimensional design. The use of
letterforms, composition of a photograph, arrange-
ment of shapes and patterns in the picture plane are
all part of 2-D design. 3-D work such as sculpture,
ceramics, jewelry, weavings or architectural models
are a welcome addition in your portfolio.
Sketchbooks
Although not required, a sketchbook can be an
important part of the portfolio presentation. The
development of an idea can often be as important
as the finished product. A comprehensive sketch-
book shows us that you work to develop your
ideas and skills between class assignments.
Optional Presentations
You may wish to include projects you have under-
taken in computer graphics, video, original writ-
ings, performance pieces in music dance or drama
or a supplemental portfolio of work in one concen-
trated area such as crafts, design or photography.
Presenting Your Portfolio
Selecting the work to include in your portfolio is
the first step. Equally important is your presenta-
tion. Although your presentation does not need to
be elaborate, it should demonstrate the respect
you have for your work. If you present your portfo-
lio in person, part of your presentation will be your
ability to talk about your work. What a particular
project involved, why you made the design deci-
sions you did, what you learned from the experi-
ence and how you feel about the finished piece
are all important to us.
Although we do not require that you mount or
mat your work, it is important that your portfolio
be presented neatly. If your portfolio pieces are in
a specific order (i.e., grouped by medium, size or
subject matter) both you and your interviewer may
have an easier time seeing your portfolio as a
coherent body of work.
Keep in mind that work done in charcoal, chalk
or pastels should be sprayed with a fixative and
covered with a clean sheet of paper to protect the
work. Because you may have work too large to
bring to the interview we encourage your supple-
menting your original work with photographs or
35mm color slides. When documenting 3-D pieces,
it is helpful to show them from several angles.
Slides
If you are unable to come to The University for a
personal interview you should submit your portfo-
lio in the form of 35mm color slides. For best re-
sults, use a 35mm single reflex camera. Since
taking slides can be difficult, you may want to
shoot several rolls of film and experiment with
various camera settings.
You can photograph your work out-of-doors
using natural light, or inside using special photo-
graphic flood lights. The piece of artwork should
completely fill the camera frame. It is distracting
to see extraneous background objects therefore
we recommend using a simple backdrop when
photographing 3-D pieces, i.e. a white wall is
usually a good solution.
Your slides must be clearly labeled. Print your
name and social security number on each slide
and place a dot in the lower left hand comer. This
facilitates placement in the slide projector. Al-
ways number each slide and include a separate
list of descriptions. You should indicate the size
and media of the work and briefly explain the
concept, project or problem involved. When more
than one picture is used to illustrate a piece ( i.e.
sculpture, ceramics, three-dimensional design) the
slides should be labeled in sequence (2a, 2b, 2c,
etc.). Slides should be presented in an 8 1/2" x 1 1"
slide file page.
If you wish to have your slides returned to you
at the completion of the application process, en-
close a self-addressed, pre-stamped envelope
with your application.
22
Options or Additions to the Portfolio
If you are applying as a freshman in the Founda-
tion Department, you may choose to supplement
or replace the portfolio with The University of the
Arts PREP program. This is a six week summer
program offered by the Philadelphia College of Art
and Design focusing on core studies in 2-D and 3-
D Design, Drawing and studio electives. Any appli-
cant who wishes to substitute PREP for the fresh-
man portfolio requirement must give written no-
tice to the Admissions Office.
The Interview
As an applicant, you are invited and encour-
aged to visit The University and have an inter-
view with one of the Admissions staff or fac-
ulty. If you select an interview with portfolio,
you will be expected to present your work dur-
ing the scheduled meeting. The University has
not established a format or schedule of ques-
tions for the interview. Each student applying
to The University is evaluated on an individual
basis. You should be prepared to discuss your
academic record, personal achievements, extra-
curricular activities, and your portfolio. The
interview will also provide you with the oppor-
tunity to ask questions of us. Do feel free to
note questions that you may have about the
application process, financial aid, courses,
instructors, programs of study or student life
and bring these with you to your interview. We
want to assist you in making the right college
choice and we will be happy to answer your
questions during your interview.
Transfers
A transfer student may be admitted at one of the
three following levels:
Advanced Standing
Students who have accumulated at least 18-21
studio credits may be considered for admission
into a departmental major. Applicants must indi-
cate the studio department they wish to attend. A,
student's portfolio will be reviewed by the in-
tended department and a subsequent evaluation
will be made regarding admission status, semes-
ter level, and required curriculum. Final admissions
decisions will be made by the Admissions Office
based on the departmental recommendation. If an
applicant is not admitted into a studio major, he or
she may request to be reconsidered for another
department or Transfer Freshman status.
Three-Year Transfer
Students who do not have sufficient studio credits
to apply for advanced standing but have a clear
understanding of their goals in visual arts may be
considered for the Three- Year Transfer Program.
Typically these candidates have at least 24 credits
in Humanities and college-level studio experience.
Under this program, students take the Foundation
year and sophomore Studios at the same time. It
is a demanding program and requires a very ma-
ture student. If approved by both Foundation and
major department chairpersons, the transfer stu-
dent may attain junior status at the start of his or
her second year.
Transfer Freshman
Students who have not completed at least 18-21
studio credits are usually considered for entrance
into the Foundation Program. College-level elec-
tive credits may be received for Humanities and
Studio courses depending on the content of those
courses under review. The evaluation and determi-
nation of transfer studio credit and distribution
towards the bachelor's degree for transfer fresh-
men is deferred until the student enters his or her
sophomore year. The evaluation is then conducted
by the chairperson of the student's studio major
department. All other requirements for transfer
freshmen are the same as for freshman admission.
Transfer Application Requirements
1. Portfolio (slides preferred).
2. Transcripts of all previous college experience
and a listing of courses that will be completed
before entrance into The University of the Arts.
3. Catalog or other publication describing
coursework recorded and credit assignment for
studio work.
4. Official High School transcript.
5. CEEB Scholastic Aptitude Test (SAT) or the
American College Test (ACT) or the Test of En-
glish as a Foreign Language (TOEFL —
required of all international students).
6. Present a written statement of purpose
outlining your future art education objectives
(minimum: one type-written page).
7. If you are an advanced-standing and three-year
transfer applicant, you must indicate the one
department in which you wish consideration.
8. Letter of recommendation.
Transfer Portfolio
1 . Applicants without extensive studio experience
should follow instructions for freshman port-
folio.
2. Advanced-standing applicants should present a
portfolio demonstrating basic abilities —
drawing, two-dimensional and three-
dimensional design — as well as competence
and preparation in the area of intended major.
3. Applicants to the Graphic Design Department
must submit a slide portfolio. Slides or a port-
folio of original work may be submitted in all
other departments. Original work will be re-
viewed as part of the transfer interview.
4. For mailing the portfolio, follow the instructions
above.
Transfer Interviews
The chairperson of the department to which you
are applying encourages you to have an
appointment by April 1 . In most departments,
interviews are scheduled when all your
credentials are on file.
Conditional Admission for Freshmen
Offers of admission may specify one or more of the
following conditions:
1 . Successful completion of the University's Sum-
mer Pre-Freshman Enrichment Program (PREP).
PREP is a non-credit program but grades will be
given to measure performance and determine
admission. A 2.0 grade point average (GPA) -
determines successful completion. This condi-
tion is made when the portfolio review indi-
cates that additional studio preparation is nec-
essary to ensure a student's success in the
Foundation curriculum. The Pre-Freshman En-
richment Program includes studies in drawing,
two-dimensional design, and three-dimensional
design, as well as several elective courses.
Classes are scheduled for a six-week session,
thirty hours of instruction per week. Portfolio
review after completion may be required. For
more information on PREP, please contact the
Admissions Office at 21 5-875-4808.
2. Successful completion of the University's
Academic Achievement Program in addition to
PREP Program. This requirement is made when
the Admissions Committee determines that
additional scholastic training as well as studio
preparation is necessary. The program involves
workshops in reading and writing skills and
studio coursework. This workshop has been
funded by the Commonwealth of Pennsylvania's
Higher Education Equal Opportunity Act.
3. Academic Probation. Requires achievement of a
"C" (2.0) grade point average at the end of the
freshman year in order to be promoted to the
second-year level.
Special Student Status
Undergraduate enrollment in the day college is
available for non-matriculated students on a
space-available basis for credit or audit
registration in the day college. Students wishing
to apply for non-degree granting (Special Student)
status in the day college should submit an
application to the Continuing Education Office at
215-875-3350.
23
Graduate Admission
Requirements for all graduate applications:
1 . Completed graduate application form.
2. Non-refundable application fee of $30.00 by
check or money order. University of the Arts
graduates are exempt from fee.
3. Official transcripts from each undergraduate or
graduate school attended. Transcripts should be
sent to the above address directly by the
college(s) or school(s) involved.
4. Three letters of recommendation, one from
each of the three people listed on the applica-
tion. Two of these recommendations must
come from professors in your field or profes-
sionals in this major area who are familiar with
your capabilities and credentials.
5. A one- to two-page statement of professional
plans and goals.
6. Proof of High School Graduation.
Additional requirements for graduate applicants
to the Philadelphia College of Art and Design —
" Portfolio
7. Graduate Record Exams (not required, but rec-
ommended).
A portfolio of twenty (20) 35mm color slides
presented in a one page slide sheet is required.
Slides should represent the recent direction of the
work as well as the full range of experience in the
area to which application is being made. All slides
must be clearly labeled and identified. Include an
inventory list of the slides indicating the slide
number, title or description of the work, size, me-
dium, and date of completion. Original work
should not be mailed to the Admissions Office. An
applicant wishing to have his/her slides returned
must enclose a self-addressed, stamped envelope.
Applicants to the Master of Architecture Pro-
gram may present a portfolio not exceeding 11" x
14°, with a 2" x 9" x 12" format preferred.
A personal interview is strongly recommended
with the director of the program to which you are
applying. To schedule an appointment you should
contact:
MFA in Book Arts/Printmaking
(215)875-1066
MFA in Museum Exhibition Planning and Design
(215)875-1110
Master of Architecture
(215)8754881
MAT in Visual Arts
(215)875-4881
MA in Art Education
(215)875-4881
All supporting documents for the application
should be submitted to the Admissions Office prior
to the interview.
Applicants to the Master of Fine Arts in Museum
Exhibition Planning and Design Program may substi-
tute an alternative presentation for the slide portfolio.
This presentation may include, but is not limited to,
materials that demonstrate professional skills or expe-
rience in exhibition installation, research, design, archi-
tecture, theater, and fine arts, and may include original
work, written or published documents, slides, photo-
graphs, and videotapes. The applicant will be respon-
sible for arrangements for the return of any portfolio/
presentation materials submitted. If there are any
questions, please contact the director of the program.
Transfer of Credits
Students transferring from other graduate
programs, or those having completed acceptable
post-baccalaureate study elsewhere, may be
allowed to transfer up to 6 credits toward their
Master's program. The acceptance of these
credits is based on faculty evaluation and review
and approval of the department chairperson.
Scholarships
Jacob and Gertrude Arronson and
Trustee Scholarship Competitions
Each year the Philadelphia College of Art and
Design will award the Jacob and Gertrude
Arronson Scholarship to a number of entering
Foundation-year freshmen. Each scholarship is
one-half tuition for the four years the student is
enrolled. In addition, up to four entering Founda-
tion-year freshmen may be awarded Trustee
Scholarships, equal to up to one-half tuition for
the four years the student is enrolled. Arronson
and Trustee Scholarship winners will be selected
on the basis of outstanding artistic and academic
performance and for their promise as future fine
artists, designers, or craftsmen. Recipients must
maintain a 3.0 cumulative grade point average for
scholarship renewal.
Application Requirements
The competition for Arronson and Trustee
Scholarships is open to all high school seniors
who have shown a commitment to the visual arts
and a strong academic record. Students applying
for the competition should have outstanding port-
folios and rank in the top 25% of their class.
Application Procedure
To enter the Arronson and Trustee Scholarship
Competition, students must make formal applica-
tion to the Scholarship Committee by March 1.
The following credentials are required:
1. Application for admission.
2. Official high school transcripts.
3. Letter of recommendation from an art teacher
or a professional in the arts.
4. A typewritten essay on your goals as a visual
artist (minimum: one page).
5. A portfolio of twelve pieces; 35mm slides are
required. (Follow freshman portfolio
requirements in catalog.)
The Selection Process
Applicants who are awarded an Arronson or
Trustee Scholarship will be notified in April.
Endowed Scholarships
Numerous endowed scholarships are awarded to
students on the basis of financial need or on the
basis of merit. Students who apply for financial
aid will automatically be considered for endowed
scholarships. Consult the Financial Aid section of
the catalog for further details on the financial aid
application process.
24
Special Facilities
Studios and Galleries
Anderson Hall, at 333 South Broad Street, is a
nine-story visual arts facility which houses a dra-
matic gallery, natural light through large windows
and skylights, studios, classrooms, and a library
designed with a feeling of openness. Combined
with Haviland Hall across the street, the University
offers modern studios, shops, equipment, galler-
ies, and libraries to support the making of art..
The variety of studios and equipment is
extensive, ranging from woodworking and metal
shops, printmaking and computerized typesetting
shops, to fine arts, crafts, and design studios and
photo labs. Three large kilns enhance ceramic-
making capabilities and a forge has been built for
sculpture. A large weaving shop is complete with
dozens of looms and a dyeing room. A nineteenth-
century carriage house was turned into a skylit
figure-modeling studio for sculpture students.
The Exhibition Program at The University of the
Arts showcases major contemporary exhibitions
that relate to the University's diverse instruction.
In recent years, The University of the Arts has
presented exhibitions that feature professional
developments and issues pertaining to the follow-
ing areas: Architecture, Crafts, Graphic Design,
Industrial Design, Papermaking, Painting and
Drawing, Photography, Sculpture, and Book Arts.
The University's galleries play a unique role in the
educational process of the colleges and the Philadel-
phia community. As a teaching tool, the galleries func-
tion to enhance the programs within the college cur-
riculum and enrich the city's cultural life by presenting
innovative and provocative exhibitions in contempo-
rary art The galleries are highly accessible, within the
center of Philadelphia's artistic community, the exhibi-
tions are open to the public free of charge and all
events are publicized to reach beyond the college
community.
Over the years, the Rosewald-Wolf Gallery, the
university's primary exhibition space, has pre:
sented high quality exhibitions having attracted
national and international artists to the campus.
To further the Exhibitions Program dedication to '
education, major exhibitions are accompanied by
catalogs, symposia, and lectures. Complementing
the Rosenwald-Wolf Gallery, The University of the
Arts provides additional exhibition space in
Haviland Hall Galleries, the Great Hall Gallery, and
the recently created Window on Broad. These
auxiliary galleries furnish exhibition opportunities
for the faculty, alumni, and students of the univer-
sity as well as local artists.
Many smaller galleries are available, as well as
departmental exhibition spaces. Nearly every
academic department launches its own series of
shows featuring the work of students, faculty, and
outside artists. Students gain experience in
hanging shows, and there are student-run
invitationals and juried exhibitions. Highlights of
the year are the Annual Student Show, which is a
featured Commencement event, the Annual
Student Scholarship Exhibition, and senior student
exhibits.
Taken together, the facilities at the University
provide a superior environment.
Borowsky Center for
Publication Arts
The Borowsky Center for Publication Arts is both a
unique educational arm of the University and a
printing facility that provides students, staff, fac-
ulty and visiting artists from all departments, the
resource to explore the creative potential inherent
in the offset lithographic printing medium. The
Center enables qualified users the ability to expe-
rience the complete graphic arts process from
initial conceptualization through production, while
maintaining the highest printing standards.
Housed in its own independent setting on the
ninth floor of Anderson Hall, the Center is
equipped with state of the art equipment includ-
ing a Heidelberg Kors 19"x25" offset press, a Dos
flatbed horizontal camera, a darkroom for shooting
and developing negatives, and platemaking and
stripping facilities. Staffed with two master print-
ers and student assistants, the Borowsky Center
produces a wide variety of printed material includ-
ing but not limited to posters, catalogs, bro-
chures, announcements, and limited edition prints.
The Center's Fact Sheet, which includes all proce-
dures for project submittal, is distributed annually
to the University community and is always avail-
able in the PCAD Dean's office. The Borowsky
Center Advisory Committee reviews applications
each semester to schedule appropriate projects
that reflect the educational criteria of the Center.
Electronic Media Center
The Electronic Media Center provides a foundation
for learning principles of the new digital media
that have become pivotal to many contemporary
art and design activities. Central to this study is
the computer, one of the most flexible tools avail-
able to the artist, designer, or musician. Students
from any department within the university may
learn the principles of digital processes, and how
these techniques may be employed to enhance
creative problem solving.
Subjects covered include word processing,
spreadsheet usage, electronic paint systems, two
and three dimensional computer aided design,
video digitizing, image processing, animation, and
communication processes such as desktop
publishing, as well as video presentation.
Throughout introductory and advanced courses
there is emphasis upon the integrative nature of
digital processes. The program encourages stu-
dents from differing disciplines to share their ap-
plication of the computer with each other. This
approach provides students an opportunity to
examine creative problems outside their own ma-
jor, and has led to joint ventures that have been
most productive.
The University has created two excellent facili-
ties for teaching numerous courses in Electronic
Media as well as Graphic Design and Animation.
Each facility is equipped with Macintosh llci com-
puters with color monitors. In addition each facility
has two high speed LaserWriter NTX printers net-
worked to the computers, a high quality ink jet
color printer, flatbed scanner, and video digitizing
capabilities.
The Electronic Media Program is further
equipped with Amiga computers that are used
primarily for three dimensional animation in con-
junction with the existing Animation major and
elective courses.
Scanner Laboratory
This state of the art pre-press color scanner
facility provides University students with access to
some of the most recent technological
advances in electronic imaging procedures.
Dramatic changes in the Graphic Arts process
have softened the distinction between design and
production. This allows more continuous creative
input on the part of designers, illustrators,
printmakers, and photographers whose images are
ultimately realized in the reproduction printing
process. The University, recognizing these
changes, has installed a Hell 300 Laser Scanner, a
color processor and proofing equipment, with the
support of our Graphic Arts Industry Advisory Com-
mittee, the Graphic Arts Association of
Delaware Valley, and generous gifts from the Hell
Corporation and DuPont Corporation. The
University offers workshops and courses in color
theory for reproduction and color separation
through its Continuing Education program.
Oxberry Animation Stand
The University's photography/film/animation
department recently acquired a Master Series
Oxberry animation stand-the same kind of stand
used by Disney Studios and other professional
firms to film animation drawings. The new stand
enables students to produce professional quality
work. Other photography/film/animation facilities
include darkrooms, a fully-equipped sound studio,
drawing stands, editors, splicers, synchronizers,
projectors and all the essential equipment for
studio photography.
Libraries
The Albert M. Greenfield Library, one of the largest
contemporary art school libraries in the mid-Atlantic
region, houses over 60,000 books, exhibition catalogs,
and periodicals. In addition, there is a large picture
resource file, an extensive slide library, and several
special collections, including textiles.
Career Services
Because the art profession is a highly competitive
one, the Philadelphia College of Art and Design
puts considerable emphasis on career planning.
This is done through visiting lecturers from the
professional community who assess and critique
classwork, class assignments involving major
corporations, and on-campus recruitment
programs. At the same time, the Student
Resource Center offers career planning and place-
ment services to inform students of part-time and
full-time job opportunities, and offers workshops
on preparing resumes and developing interviewing
skills. The counselor helps students to locate ca-
reer directions through individual counseling tai-
lored to specific needs.
25
It is essential that students have some idea of
the business side of art. The Philadelphia College
of Art and Design is recognized as a major support
for the arts community. Working with
organizations such as the Philadelphia Volunteer
Lawyers for the Arts, the Student Resource Center
presents lectures and seminars on copyright laws,
negotiating with galleries and dealers, tax laws
and business record keeping, and health hazards.
The intent is to prepare artists — Philadelphia
Col lege of Art and Design alumni and others — to
work successfully in their field, to assure their
rights and protect their physical well-being, and to
make them aware of the benefits and services
open to them, locally and nationally.
Enrichment Programs
Student Exchange
Student exchange is available through the East
Coast Consortium of Art Schools Mobility
Program. Students in the Philadelphia College of
Art and Design may spend a semester (with a
possible extension to two) as a guest at the
following institutions:
Atlanta College of Art, Atlanta
The Cooper Union School of Art, New York
Maryland Institute College of Art, Baltimore
Massachusetts College of Art, Boston
Nova Scotia College of Art and Design, Nova
Scotia
Otis Art Institute of Parsons School of Design,
Los Angeles
Parsons School of Design, New York
Pratt Institute, School of Art and Design,
Brooklyn
Rhode Island School of Design, Providence
School of the Museum of Fine Arts, Boston
Tyler School of Art, Philadelphia
Students apply through their home institution,
which is responsible for the selection of
participants. For further information, contact the
Mobility Coordinator, Office of the Registrar, at
215-875-4848.
Nonparticipating Institutions —
Incoming Students
Students in good standing from other institutions
may attend the University for either one or two
semesters on a full-time basis. To be eligible, a
student must have completed the freshman year
at the home institution and receive approval from
the department chair of the major department in
the Philadelphia College of Art and Design. In
addition, the student must provide a letter from
the dean of the home college granting permission
to take courses at The University of the Arts and
agreeing to accept those credits for credit at the
student's own institution. All University expenses
are the responsibility of the student. Inquiries
should be addressed to the Assistant Registrar,
Office of the Registrar, at 21 5-875-4848.
Brighton Exchange
The University of the Arts offers juniors in the
Illustration Department the opportunity to
experience the illustration field as it operates in
England and Europe through a cooperative
exchange with Brighton Polytechnic, England.
Interested students must apply in the spring
semester for the following fall by contacting the
chair of the Illustration Department. Selection is
made by portfolio review for this exchange, and an
equal number of Brighton students coming to the
Philadelphia College of Art and Design.
Foreign and Summer Study Programs
Foreign and summer studies are available through
a number of programs hosted by other
institutions. Those most popular with Philadelphia
College of Art and Design students are:
-The Academies of Fine Arts in Florence and
Rome, Italy
-Parsons School of Design in Paris, France
-Skowhegan School of Painting and
Sculpture in Maine
-Tyler School of Art in Rome, Italy
-Vermont Studio School, Vermont
The University of the Arts is the accrediting
institution for the Vermont Studio School and our
students receive a discount on tuition charges.
Cooperative Program with the
Philadelphia College of Textiles and
Science
An agreement between the Continuing Education
Department of The University of the Arts and the
Philadelphia College of Textiles and Sciences per-
mits a limited number of students in each
institution to register for a maximum of 4 credits
per semester at the sister institution without the
payment of additional tuition. Students are limited
to a total of 12 exchange credits during their
four-year enrollment at the home institution.
Registration is available on a selective basis for
qualified students and is restricted to courses not
offered at the home institution.
Interested students should contact the Director
of Continuing Education at 215-875-3350, for addi-
tional information and registration materials.
Pennsylvania Academy of the Fine Arts
Coordinate-Degree Program
Established in 1970, the Coordinate-Degree
Program enables students and alumni of the
Pennsylvania Academy of the Fine Arts the
opportunity to earn a degree from The University
of the Arts by enrolling in, and successfully com-
pleting, the University's prevailing Humanities
credit requirements for its Bachelor of Fine Arts
degree. For information, contact the Office of the
Registrar at 21 5-875-4848.
Undergraduate Academic
Requirements/Policies
Academic Advising
Academic advising at the University is designed to
provide maximum information and assistance to
students from the time they enter the Foundation
Program in their freshman year until they complete
their final semester as seniors.
In the Foundation year, each student is assigned
to a Foundation section with its own advisor. Each
student is required to meet with the advisor at
least once each semester, and each student is
encouraged to seek out the advisor as soon as any
difficulties begin to occur.
At the end of the Foundation year, when the student
selects and enters one of the major departments, the
student is assigned to a faculty member who teaches
in that department This faculty member serves as that
student's advisor for the next three years. Each student
meets with his or her advisor at least once a semester
to discuss the student's academic program. In addition,
there are three formalized advising sessions: (1 ) First
semester, sophomore year When students enter a
major department, during the first two weeks the
advisor meets in small groups (4-5 students) to orient
them to collegiate and departmental academic re-
quirements and standards, departmental expectations,
elective options and opportunities, program strategies,
two-year planning, introduction to advisors (Humani-
ties and Studio), office hours: (2) Second semester,
junior year Individual meetings to review progress and
credit counting sheets from the Registrar, plan final
year (both semesters), and look at graduation require-
ments; (3) Last semester Exit interview. Students are
encouraged to meet with advisors as often as neces-
sary to deal with any problems that arise.
Each professional department is assigned one
or more Humanities faculty members who assist
both faculty advisors and their assigned students
in the selection of a Humanities course of study.
Transcript copies of student records are supplied on
request to faculty advisors by the Registrar following
the recording of grades each semester.
26
Departmental Requirements
The chairperson, with the concurrence of the
faculty, may:
1 . Establish a minimum major course grade or
major grade point average requirement higher
than the minimum set by the University;
students must be given written notification of
such requirements.
2. Place on academic probation students who fail
to meet the minimum grade requirement in a
course required for a departmental major or a
University program.
3. Dismiss a student from the department for
academic deficiencies with written notification
to the student and the Dean of the College and
the Dean of Students. Students who are dis-
missed may submit a written appeal to the
Academic Appeals Committee.
Each department will provide student majors with
written statements describing any additional
requirements for its programs at the beginning of
the academic year.
Every student must have the approval of his or
her department to proceed to the next level of
coursework. Advising is a shared responsibility
betwewen the department and the student. Each
must remain informed about the student's
progress toward graduation. And finally, the
student's petition to graduate must be approved by
the department advisor or chairperson in
conference with his or her faculty.
Credit Distribution
The student is ultimately responsible for
completion of all course requirements for the de-
gree program in which he or she is enrolled. The
University requires a minimum of 132 credits for
graduation. A student carrying an average of 16.5
credits per semester would be making
normal academic progress toward graduation.
The general credit structure is as follows:
Courses Credits
Foundation 18
Major department credits 45
Elective Studio 24
Humanities 45
Total credits
132
Studio Electives
• Major studio departments may require up to
6 credits in another studio major, and/or
Humanities.
• Students may elect to replace up to 6 studio
elective credits with Humanities courses.
• Students may take up to at least 9 credits of
studio elective courses outside their major.
• Elective studio credits may be completed in any
of the fine art, craft, and design departments at
the Philadelphia College of Art and Design, or
in the Schools of Dance, Music, and Theater of
the Philadelphia College of Performing Arts.
• Ceramic, Fibers, Metals, and Wood majors may
not select from Craft courses.
• Animation, Film, and Photo majors may not
select Photo/Film/Animation courses.
General program requirements vary within each
department. Departments issue a list of required
courses at appropriate times during the year.
Majors must follow both departmental
requirements for specified courses and the
recommended sequence in which these courses
are to be taken. The department chairperson must
approve any exception to these regulations.
The Art Therapy and Education programs are
special courses of study that are offered in
conjunction with a studio major program.
Interested students should refer to the program
descriptions in those departments.
Credit-Hour Ratio
Credit is earned at the ratio of one credit for one
class-contact hour in the Humanities courses.
Credit is earned at the ratio of one credit for two
class-contact hours in studio courses.
Dean's List
The Dean's List honors those students who meet
the following criteria:
1 . Are full-time undergraduate degree candidates.
Candidates for Certificate, Diploma, and
Graduate programs are not eligible.
2. Have attained a minimum GPA of 3.60.
3. Have received no grade lower than a "B" in any
course.
4. Have no grade of "I" or "F"
5. Take at least 12 credits for a letter grade (no
"OP" or "OF").
This list is compiled each semester in the
respective Deans' offices.
Credit by Portfolio Review
Students who qualify will be granted credit by
portfolio review in Studio subjects. Portfolio credit
requires the approval of the appropriate Studio
major chairperson. Academic standing and course
credit based on portfolio evaluation is normally
determined during the admissions process.
Residency Requirements
Every transfer student must complete a minimum
of four semesters in residence preceding
graduation and must earn a minimum of 48 credits
in Studio and/or Humanities courses. Transfer
credits and credits completed in residence must
total at least 132, and must fulfill the specific
Studio and Humanities requirements stipulated for
the degree, regardless of the number of credits
completed at other accredited institutions. Stu-
dents must transfer or complete the required Hu-
manities and Studio major department courses
stipulated for the degree regardless of the number
of credits completed at other accredited
institutions. For this reason, transfer students may
be required to remain in residence at the Univer-
sity for more than the minimum three semesters
and to complete more than the minimum 48 cred-
its. Transfer credit is evaluated by the Department
Chairs and the Director of Humanities in consulta-
tion with the Office of the Registrar.
Graduation Requirements
It is the student's responsibility to complete the re-
quirements for the BFA, BS, MA, MFA, MAT, or
MArch. degrees. This condition also applies to the
Diploma, Certificate, and Associate degrees within the
University's Continuing Education Division.
To be certified for graduation, a student must fulfill
all applicable credit requirements, satisfy the minimum
residency requirements, achieve a minimum cumula-
tive GPA of 2.0 (C average) for the BFA and BS degrees
and a 3.0 (B average) for the graduate degrees, receive
the approval of his or her department chairperson as
having met all major requirements, and submit a
graduation petition to the Office of the Registrar.
Students expecting to complete degree
requirements within the year (December, May, or
August) are advised to secure and file the Petition for
Graduation with the Office of the Registrar at the time
of the November registration for Spring semester.
Graduation with Honors
A candidate for the baccalaureate degree, only,
may graduate with honors if he or she achieves a
minimum cumulative GPA of 3.6 at the conclusion
of the semester prior to graduation.
Return Degree Program
Diploma graduates of the Philadelphia College of
Art and Design may apply credits earned for the
diploma towards the University's baccalaureate
requirements. For additional information and to
apply, contact the Office of the Registrar.
27
Undergraduate Curricula Foundation Program
Elsa Johnson
Niles Lewandowski
Co-Chairpersons
215-875-1030
The Foundation Program in the Philadelphia
College of Art and Design provides the incoming
freshman with a year devoted to a basic
understanding of principles and concepts in the
visual arts.
The studio curriculum is composed of three
courses: Drawing, Two-Dimensional Design, and
Three-Dimensional Design. Each class meets for
three hours, twice a week.
Each student is a member of a Foundation
section which has a team of three faculty
members who stress not only the independent disci-
plines but the interdependent character of these disci-
plines. Through basic studies and their interaction, the
student discovers the underlying values and principles
important to all visual artists.
Classroom work is enriched by home
assignments, critiques and reviews, guest artists,
films, slides, and class trips.
One faculty member from the section's team is
designate#as the advisor from that section.
Students meet fndividually with the advisor to
discuss concerns, the registration process, and
their choice of major.
Along with the Foundation courses of Drawing,
Two-Dimensional Design, and Three-Dimensional
Design, the student chooses an additional course
offered by the Studio departments each semester.
These elective courses are designed to acquaint
the student with the practices of the major studio
areas. Students also register for two Humanities
courses, one in Art History and one in Language
and Expression.
The regular freshman is rostered for 1 6.5 credits
each semester, usually as follows:
Required Courses:
Credits
FP100 Drawing
6.0
FP120 Two-Dimensional Design
6.0
FP190 Three-Dimensional Design
6.0
FP 060 Freshman Forum
0.0
Studio Electives
3.0
Humanities
12.0
Freshman Year Total
33.0
Faculty
Ron Dorfman, Adjunct Associate Professor
Eileen Goodman, Adjunct Associate Professor
Gerald Herdman, Associate Professor
Jeanne Jaffe, Senior Lecturer
Elsa Johnson, Associate Professor
Niles Lewandowski, Assistant Professor
John Mathews, Senior Lecturer
Bob McGovem, Professor
Al Pastore, Adjunct Associate Professor
Mike Rossman, Professor
Karen Saler, Associate Professor
Charles Searles, Senior Lecturer
Richard Stetser, Professor
Lily Yeh, Professor
FT from Painting, Humanities, and Foundation
28
Crafts
The Crafts Department seeks to develop artists of
originality and resourcefulness who can excel in
the most competitive professional environment.
Studio experience is provided in four major craft
areas: ceramics, fibers, metals, and wood. There
are also offerings in glass, plaster, and papermak-
ing to complement the curriculum.
Each major area offers a balanced concentra-
tion in both the technical and aesthetic aspects
of the medium. While practical training and
specialized skills are necessary for creative
ability, the conceptual and expressive evolution
of each student is the essential focus of the
department. An ongoing study of the contempo-
rary crafts movement is seen as an integral
element for those involved in the program. The
range of faculty in each area provides the stu-
dent with exposure to a diversity of profes-
sional perspective and experience.
Through an incisive and rigorous curriculum, the
department is devoted to preparing students for pro-
fessional involvement in their craft. Upon graduation,
students elect to become independent artists, teach-
ers, or designers, or find employment in industry. Indi-
viduals often combine these occupations in order to
meet their singular needs and goals.
Required Courses for All Crafts Majors:
CR201 Intro, to Concept Development 3 credits
CR 301 Modem Crafts: A Critical History 3 credits
CR401 Senior Craft Seminar 3 credits
Faculty
Ceramics
Larry Donahue, Assistant Professor
Alec Karros, Lecturer
James Makins, Associate Professor
Lizbeth Stewart, Associate Professor
Petras Vaskys, Professor Emeritus
Fibers
Sandra Brownlee, Adjunct Assistant Professor
Sheryl Gibson, Adjunct Assistant Professor
Bobbie Lippman, Senior Lecturer
Kris Parker, Lecturer
Annabeth Rosen, Lecturer
Warren Seelig, Professor
Glass
Roland Jahn. Associate Professor
Jewelry/Metals
Sharon Church, Associate Professor
Barbara Mail, Lecturer
Rodney McCormick, Associate Professor
Richard Reinhardt, Professor Emeritus
Wood
Michael Hurwitz, Associate Professor
Peter Pierobon, Lecturer
Ceramics
Through studio practice and research, you will
acquire a thorough knowledge of ceramics as you
learn to take risks, find alternatives, and create
persuasive, original work in clay and plaster. You
may also take glassblowing and stained glass as
electives.
The Ceramics program is devoted to preparing
you for the broadest possible range of career in-
volvement. This includes fostering such practical
abilities as designing a studio, photographing
work, and seeking commissions. Graduates
become studio artists, selling through shops and
galleries. Some concentrate on the expanding
realm of architectural commissions. Others direct
their artistry toward designing for industry or
teaching — they are chairpersons or instructors at
such schools as the Cranbrook Academy of Art,
the Rochester Institute of Technology, Purdue
University, and the Massachusetts College of Art
Still others combine a number of related pursuits.
Credit Requirements
Sophomore/Introductory
Credits
Required Courses:
CR 201 Introduction to Concept
Development
3.0
CR 21 1 Introduction to Throwing
3.0
CR212 Introduction to Handbuilding
3.0
Craft Introduction Course in
Chosen Craft
6.0
Studio Electives
6.0
(CR251Moldmaking-Casting)
Humanities
12.0
Sophomore Year Total
310
Junior/Intermediate
Credits
Required Courses:
CR313 Ceramic Technology
3.0
CR 31 1 Intermediate Ceramics
6.0
CR 312 Intermediate Ceramics
6.0
CR 301 Modem Craft: A Critical History
3.0
Studio Electives
3.0
Humanities
12.0
Junior Year Total
33.0
Senior/Advanced
Credits
Required Courses:
CR401 Crafts Seminar
3.0
CR 41 1 Advanced Ceramic Studio
6.0
CR412 Advanced Ceramic Studio
6.0
Studio Electives
9.0
Humanities
9.0
Senior Year Total
310
Fibers
The Fibers studio provides the undergraduate art
student with a unique multimedia experience
grounded in fabric processes and materials as a
means of personal expression. A Fibers student
receives a strong foundation in two- and three-
dimensional woven structures, feltmaking, fabric
collage, tapestry, screen printing, resist printing,
hand-painted fabrics, papemnaking, and more.
With increasing emphasis on studio problems
that concentrate on conceptual issues, guidance is
offered through intensive group critiques and indi-
vidual evaluation with Fibers faculty. Students are
kept abreast of current issues in contemporary
fabric through a strong visiting-artist program,
field trips to New York City, Washington, and Bal-
timore, and the Philadelphia area. The Fibers fac-
ulty has achieved national reputation in regard to
their personal work in major galleries and
museums throughout the country.
Recent graduates are working as professional
artists or as apprentices to established artists;
other students have received grants and scholar-
ships to the most prestigious graduate fibers
schools, including Cranbrook Academy of Art, the
Chicago Art Institute, Tyler School of Art, and the
Banff School of Visual and Performing Arts; some
are teaching at institutions such as the Cleveland
Institute of Art and the State University of New
York at Cortland; still others hold positions in the
fashion and home-fumishing industries.
Credit Requirements
Credits
3.0
Sophomore/Introductory
Required Courses:
CR 201 Intro to Concept Development
CR221 Intro to Fibers:
Structural Investigation 3.0
CR222 Intro to Fibers: Media
Explorations 3.0
CR 324AFibers Technology 1 .5
CR324B Textile History 1.5
Craft Intra Course in Chosen Craft 6.0
Studio Electives 3.0
Humanities 12.0
Sophomore Year Total 33.0
Junior/Intermediate Credits
Required Courses:
CR321 Intra to Surface Design 6.0
CR322 Intermediate Structural Fibers 6.0
CR301 Modern Craft A Critical History 3.0
Studio Electives 3.0
Humanities 12.0
33.0
Credits
Junior Year Total
Senior/Advanced
Required Courses:
CR401 Crafts Seminar 3.0
CR423 Advanced Surface Design 6.0
CR425 Advanced Structural Fibers 6.0
Studio Electives 9.0
Humanities 9.0
Jewelry/Metals
The intent of the Jewelry/Metalsmithing program
is to expose each student to as wide a range of
concept, media, and process as possible in order
to ensure versatility and competence. Courses are
designed to give students breadth, from precious
jewelry-making to metalworking, on a small-
sculpture scale. Assignments ask that the student
consider numerous issues pertinent to the field,
such as the role of function and utility in
contemporary holloware, or the development of
multimedia ornament as applied to performance.
Emphasis is placed on personal format and pre-
sentation. Studio work is supplemented by work-
shops and symposia conducted by internationally
known artists in the field.
Jewelry/Metalsmithing students are self-deter-
mined in their career goals. Before graduation,
they are made aware of the many possibilities
available to them. Students enter national compe-
titions and win distinction for their efforts. Gradu-
ates may choose to design for major metal and
jewelry firms. Others pursue their art through the
making of one-of-a-kind, limited-production pieces
on a commission basis or through galleries. Some
seek placement in positions with alumni or jew-
eler/metalsmiths in the Northeast, and those who
choose to pursue graduate study enter the pro-
gram of their choice. Whatever they do, students
are equipped to seek and establish these contacts
as they leave the undergraduate environment
Credit Requirements
Sophomore/Introductory
Required Courses:
Credits
CR 201 Intra to Concept Development
3.0
CR 241 Intro to Jewelry Making
3.0
CR242 Intro to Metalsmithing
3.0
CR245 Metals Technology
3.0
Craft Intro Course in Chosen Craft
6.0
Studio Electives
3.0
Humanities
12.0
Sophomore Year Total
33.0
Junior/Intermediate
Credits
Required Courses:
CR 341 Intermediate Jewelry and
Metalsmithing
6.0
CR 342 Intermediate Jewelry and
Metalsmithing
6.0
CR 301 Modem Craft: A Critical History
3.0
Studio Electives
6.0
Humanities
12.0
Junior Year Total
33.0
Credits
Senior Year Total
33.0
Senior/Advanced
Required Courses:
CR401 Crafts Seminar 3.0
CR 441 Advanced Studio: Jewelry/
Metalsmithing 6.0
CR 442 Advanced Studio: Jewelry/
Metalsmithing 6.0
Studio Electives 9.0
Humanities 9.0
Senior Year Total
33.0
Wood
The Wood program is directed toward the
realization of three basic ideals:
1. To produce active, professional studio
furniture-makers.
2. To develop the students' potential for personal
expression and technical skill.
3. To provide the students with the learning skills
that will enable them to continue growing as
artists after graduation.
The curriculum is based on maintaining a bal-
ance between practical and formal aspects of
woodworking, and the more elusive concerns
involved in making art Recognizing that technical
mastery and creative ability are of equal impor-
tance, the problems are structured to encourage
the development of both concerns simultaneously.
Often the semesters are started with looser,
quicker investigations meant to stimulate ideas
and act as potential catalysts for larger, more
time-intensive pieces. Specifically, some of the
formal aspects of furniture making covered in the
introductory and intermediate levels are: tradi-
tional joinery techniques, theory of solid wood
construction, frame and panel construction, and
the lamination process. Also required is the
"Wood Tech" class, which covers in depth the
practical and technical considerations of running a
shop, such as purchasing and setting up machin-
ery, dealing with humidity, and considering the
advantage of one material over another, among
other things. Concurrent with these issues, stu-
dents engage in discussions and assignments
aimed at the development of their critical aware-
ness, which is essential to the creative process.
Credit Requirements
Sophomore/Introductory Credits
Required Courses:
CR201 Intro to Concept Development 3.0
CR261 Intro to Woodworking 6.0
CR262 Intro to Woodworking 6.0
Studio Electives 6.0
Humanities 12.0
Sophomore Year Total 33.0
Junior/Intermediate Credits
Required Courses:
CR364 Wood Technology 3.0
CR361 Intermediate Woodworking 6.0
CR362 Intermediate Woodworking 6.0
CR301 Modem Craft A Critical History 3.0
Studio Electives 3.0
Humanities 12.0
Junior Year Total 33.0
Senior/Advanced Credits
Required Courses:
CR401 Crafts Seminar 3.0
CR 461 Advanced Woodworking 6.0
CR462 Advanced Woodworking 6.0
Studio Electives 9.0
Humanities 9.0
Senior Year Total 33.0
Guest Speakers and Critics
Wayne Bates
pottery
Jamie Bennett
jewely
Harry Boom
mixed media
Nancy Carmen
ceramics
Syd Carpenter
ceramics
Kai Chan
fibers
Jon Clark
glass
Ben Cohen
Ben and Jerry's Ice Cream
William Daley
ceramics
Harris Deller
ceramics
David Ellsworth
woodturner
Roberta Griffith
ceramics
Chris Guston
ceramics
Helena Hermarck
tapestry
Jim Holmes
glass
Susam Kingsley
jewelry
Jack Larrimore
furniture maker
Mary Lee Hu
goldsmith
Joan Livingstone
fibers
Jim Mak'ms
potter
Grahm Marks
ceramics
Alphonse Mattia
furniture maker
John McQueen
basketmaker
Wendy Maruyama
furniture maker
Richard Mawdsley
jewelry
Laura Foster Nicholsen
fibers
Pavel Opocensky
jewelry/sculpture
Albert Paley
blacksmith
Elliott Pujol
metalsmith
Rudi Staffel
ceramics
Lonette Stonitsch
artist and writer
Tommy Simpson
furniture maker
Jill Slosburg-Ackerman
jewelry/sculpture
Roy Superior
woodworker
Blair Tate
artist and writer
Marianna Torgovnick
writer
Vlbeke Vestby
fibers
Bruce Volz
furniture maker
Katrina Wesleyan
performance artist
Stephen Whittlesley
furniture maker
Paula Winokur
ceramics
Design
Graphic Design
Laurence Bach
Chairperson
215-875-1060
The combination of words, symbols, drawings,
photographs, and diagrams to communicate ideas
and products is the basis of graphic design. In the
senior year, in-depth experience in creating these
components of graphic communications at a high
level of formal excellence precedes their integra-
tion in larger sets of work such as visual identity
programs, books and publications, exhibits, and
packages. Opportunities for additional study of
photography, animation, filmmaking, and emerging
technologies are available.
Throughout the three years of major
concentration, problems in graphic communication
are combined with exploratory and experimental
studies in drawing, color, photography, typography,
and computer-generated imagery. The
curriculum is supplemented by special lecture
programs, workshops with invited design firms,
and on-site seminars in selected design offices
and studios, paper and printing plants, and with
video-, film-, and computer-graphic producers.
With successful completion of the program, and
depending on individual strengths, students are
prepared for entry-level positions as graphic
designers with, for example, design groups or
studios, publishers, corporations, nonprofit
institutions, governmental agencies, architects
and planners, or advertising agencies.
The faculty consists of practicing professionals with
distinguished records of accomplishment in their
fields, sensitive and responsive to changes in the
practice of design, while maintaining a clear sense of
the bases for structuring communications.
Credit Requirements
Sophomore/Introductory
Credits
Required Courses:
GD210 Letterform Design
6.0
GD211 Descriptive Drawing
6.0
GD213 Design Systems
6.0
Studio Electives
6.0
Humanities
12.0
Sophomore Year Total
36.0
Junior/Intermediate
Credits
Required Courses:
GD306 Typography Emphasis
6.0
GD311 Communications
6.0
GD302 Materials and Processes
1.5
GD303 Production Seminar
1.5
Departmental Elective
3.0
GD300 Drawing/Graphic Proc.
GD310 Photographies
GD313 Color Studies
GD316 Drawing Applications
GD322 3-D Graphic Design
Studio Electives
3.0
Humanities
12.0
Junior Year Total
33.0
Senior/Advanced
Credits
Required Courses:
GD411 Design Studio
6.0
GD412 Problem Solving
6.0
Studio Electives
12.0
Humanities
9.0
Senior Year Total
310
Faculty
Hans Allemann, Adjunct Professor
Laurence Bach, Professor
Richard Felton, Adjunct Assistant Professor
Kenneth Hiebert, Professor
William Longhauser, Professor
Chris Myers, Assistant Professor
Chris Ransom, Senior Lecturer
Lee Willett, Assistant Professor
Chris Zelinsky, Associate Professor
Illustration
Robert Stein
Chairperson
215-875-1070
Illustrators give visual substance to thoughts,
stories, and ideas. The Illustration Department
seeks to prepare its students for entry into the
fields of book and periodical publishing, promo-
tion, education, advertising, and specialty fields.
Illustrators must call upon a broad range of
traditional and up-to-date competencies to re-
spond to today's visual problems. As visual prob-
lem-solvers and communicators, illustrators need
to be open-minded, eclectic, flexible, and imagina-
tive. The illustrator's solution should be appropri-
ate, intelligent, expressive, and visually engaging.
In order to prepare for a career in this competi-
tive field, The University of the Arts Illustration
student develops skills that encompass two-
dimensional media, from painting and drawing to
photography and technical image-making and
reproduction processes and emerging opportuni-
ties in electronic imaging. Students may concen-
trate on either a design oriented or pictorially
oriented curriculum. These skills are nurtured
within a stimulating cultural climate provided by
the resources of the faculty, of visiting profession-
als, and of the University and the city at large.
Each student progresses from general competen-
cies to a personal viewpoint, clarified career
goals, and a professional attitude.
Faculty
Inge Board, Senior Lecturer
Richard Burke, Lecturer
Robert Byrd, Senior Lecturer
Chris Cantera, Senior Lecturer
Don Daily, Senior Lecturer
Martha Erlebacher, Adjunct Professor
Ed Ferszt, Adjunct Assistant Professor
Renee Foulks, Senior Lecturer
Ralph Giguere, Senior Lecturer
Paul King, Lecturer
Alan Klawans, Senior Lecturer
Nathan Knobler, Professor
Deborah Kogan, Senior Lecturer
Jim Lakis, Adjunct Associate Professor
Tim O'Brien, Lecturer
Phyllis Purves-Smith, Associate Professor
Eileen Rosen, Lecturer
Robert Stein, Professor
Stephen Tarantal, Professor
Mark Tocchet, Assistant Professor
Credit Requirements
Sophomore/Introductory Credits
Required Courses:
IL 200 Pictorial Foundations 6.0
IL 201 Drawing as Design 3.0
IL202 Figure Anatomy 6.0
IL 204 Typography 3.0
Required Studio:
PF211 Introduction to Photography 1.5
Studio Elective 1.5
Humanities 12.0
Sophomore Year Total 33.0
Junior/Intermediate Credits
Required Courses:
IL 300 Illustration Methods 6.0
IL 301 Design Methods 3.0
IL 206 Materials and Techniques 3.0
IL302 Figure Utilization I 1.5
Select one of the following for a total
of 3 credits: 3.0
IL304 Design Groups 3.0
IL303 Figure Utilization II 3.0
Studio Electives
4.5
Humanities
12,0
Junior Year Total
33.0
Senior/Advanced
Credits
Required Courses:
IL400 Illustration
6.0
IL 401 Graphic Problems or
3.0
IL 402 Communications Workshop
IL403 Portfolio Seminar
1.5
Studio Electives
13.5
Humanities
9.0
Senior Year Total
33.0
Guest Lecturers
Illustrators (General)
Guy Billout
Harry Bliss
Wendell Minor
Wilson McLean
Childrens' Book Illustration
Carolyn Croll
3-Dimensional Illustration
Ellen Rixford
Story Board Illustration
Sam Dion
Art Directors
Jim Cardillo
Clark Mills
Elmer Pizzi
33
Industrial Design
Charles Bumette
Chairperson
215-875-1040
The Industrial Design Department provides a
professional education for those wishing to bring
beauty and appropriateness to the products,
presentations, and settings of modern society. The
program prepares one for careers in product, pack-
aging, and exhibit design, as well as for the design
of communications, furniture, equipment, vehicles,
and interiors. It also addresses problems of human
factors research, computer-aided de-
sign, product development, manufacturing, mar-
keting, and a host of other considerations related
to the humanistic uses of technology.
The department places emphasis on the
development of graphic, sculptural, and spatial
design skills as a complement to creative problem
solving, technical innovation, and effective
communications during the solution of actual
problems of design.
After initial coursework to introduce basic
design and production processes, including com-
puter-aided design and modelmaking,
students begin to develop and apply theory, skill,
and knowledge to actual design problems, many
brought into the studio by industry. Visiting
designers also bring knowledge of current design,
manufacturing, and marketing practices into
studio and lecture courses, and visits to industry
provide opportunities for direct observation and
first-hand knowledge of manufacturing processes.
Based on this foundation of skills, experience, and
information, emphasis in the final year shifts the
responsibility for knowledge of design to the
individual student, who works directly with a cli-
ent/sponsor on a thesis project prior to
graduation. During the final semester the
instructional focus also shifts to career planning,
portfolio preparation, and the development of
information gathering and business
communication skills to better prepare the student
for entering the job market.
Due to the wide scope, and creative yet
practical character of an Industrial Design
education, many career opportunities await the
graduate: with consulting firms, corporate design
staffs, manufacturing firms, exhibit houses,
retailers, advertising agencies, research
organizations, museums, educational institutions,
and government agencies, all of whom recognize
the need to constantly improve the appearance,
manufacture, performance, and social value of
their products.
Faculty
Jack Andrews, Professor
Charles Burnette, Professor,
Joseph Carreiro Professorship in Design
Robert Croston, Assistant Professor
Kenneth A. Root, Lecturer
Goetz Linger, Lecturer
Steve Wilcox, Lecturer
Julian Winston, Associate Professor
Peter Wood, Assistant Professor
Steven Yarnall, Lecturer
Orly Zeewy, Lecturer
Guest Speakers
David Gresham
Details, New York
Nancy Skolos, Tom Wedell
Skolos/Wedell, Boston — graphic design,
photography
Richard Penny
The Richard Penny Group, New York —
product design
David Kelley
David Kelley Design, Palo Alto — product
development
Bill Moggridge
ID Two, San Francisco — product
conceptualization, design
Rick Valicenti
THIRST, Chicago — graphic design
Wes Jones
Holt Hinshaw Pfau & Jones, San Francisco —
exhibits, architecture
Neil Denari
Cor-tex, Los Angeles — architecture
David Frej
Influx, Chicago — graphic identity
Michael McCoy
Fahnstrom & McCoy, Chicago — product design
Credit Requirements
Sophomore/Introductory
Credits
Required Courses:
ID 200 Studio 1: Projects
6.0
ID 220 Studio 2: Tehcniques
6.0
ID 290 Design Seminar
1.5
ID 214 Materials and Processes
1.5
ID 280 Technical Communication
1.5
Studio Electives
7.5
Humanities
12.0
Sophomore Year Total
36.0
Junior/Intermediate
Credits
Required Courses:
ID 300 Studio 3: Projects
6.0
ID 320 Studio 4: Techniques
6.0
ID 390 Design Seminar
1.5
ID 326 Intro to Human Factors
1.5
Studio Electives
7.5
Humanities
12.0
Junior Year Total
34.5
Senior/Advanced
Credits
Required Courses:
ID 400 Studio 5: Projects
6.0
ID 420 Professional Communications
6.0
ID 490 Design Seminar
1.5
Studio Electives
6.0
Humanities
9.0
Senior Year Total
28.5
Departmental Electives
While none of the following are required for
graduation, they are recommended.
ID 113 Freshman ID
ID 251 Introduction to Computer Aided Design I
ID 252 Introduction to Computer Aided Design I
ID 327 Advanced Technology
ID 351 Design with Kids I
ID 352 Design with Kids II
ID 412 Exhibit Design
ID 425 Advanced Computer Aided Design
Recommended Outside Electives
PF 208 Photography for Industrial Designer
CR252 ID Plaster Workshop
CE180 Design Drawing
CE305 Airbrush
EM 110 Computer Concepts
HU251 History of Design
HU452 Topics of Design
34
Fine Arts
Painting /Drawing
Robert Keyser
Chairperson
215-875-1080
The Painting Department provides a firm basis for
students to develop a professional involvement
with their work. A balance is sought between the
acquisition of studio skills and the development of
a critical intelligence.
Students are encouraged, through the rigor of
studio activity, to understand the breadth of art in
both its traditional and contemporary forms, and to
gain increasing authority in their own work.
Courses evolve from the study of basic working
methods and fundamental issues of image making
to the subtleties of complex pictorial organization
and the refinements of aesthetic judgment. In the
final semester of the senior year, each student is
required to complete a thesis project, which
includes a formal presentation of a paper and an
exhibition of a coordinated body of work.
The faculty of practicing professional artists
represents a diversity of attitudes and ideals.
Through the format of studio instruction, dialogue,
and critique, they seek to instill in each student a
habit of self-instruction which will serve far
beyond the program at the University.
The Painting/Drawing Department now has an
art gallery in its own area. Visiting artists/speak-
ers exhibit their latest work here. Students have
an opportunity to show their work and a student
exhibition committee is formed each year to invite
artists, manage and install the exhibitions.
Studio activity is augmented by lectures, semi-
nars, visiting artists, and field trips to museums
and galleries.
Credit Requirements
Sophomore/Introductory
Credits
Required Courses:
PT 202 Sophomore Painting
9.0
PT224 Sophomore Drawing
6.0
Studio Electives
6.0
Humanities
12.0
Sophomore Year Total
33.0
Junior/Intermediate
Credits
Required Courses:
PT302 Junior Studio
12.0
PT324 Drawing
1.5
PT390 Junior Seminar
1.5
Studio Electives
6.0
Humanities
12.0
Junior Year Total
33.0
Senior/Advanced
Credits
Required Courses:
PT402 Senior Studio
12.0
PT 490 Senior Seminar
1.5
PT424 Senior Drawing
1.5
Studio Electives
9.0
Humanities
9.0
Senior Year Total
33.0
Painting Department Guest Lecturers
Timothy Arzt
Bo Bartlet
David Brewster
Anne Seidman
James Wallace
Faculty
Eugene Baguskas, Associate Professor
Peter DiGuglielmo, Lecturer
Frank Galuszka, Professor
David Goerk, Senior Lecturer
Steven Jaffe, Associate Professor
David Kettner, Professor
Robert Keyser, Professor
Nathan Knobler, Professor
Eileen Neff, Lecturer
Gerald Nichols, Professor
Boris Putterman, Associate Professor
Warren Rohrer, Professor
Doris Staffel, Professor
Lily Yeh, Professor
35
Photography/Film/Animation
Alida Fish
Chairperson
215-875-1020
The Photography/Film/Animation Department
offers major concentrations in each of these
disciplines while providing elective classes to
the University at large. The three-year curricu-
lum of each major is built around a sequence of
classes designed to move the student to a posi-
tion of independence within the discipline. An
introduction to the intrinsic conceptual and
material concerns of the medium fills much of
the sophomore year. Within the two remaining
years, the student is expected to develop and
expand a sense of personal vision, practice,
and goals.
Within the first semester of the sophomore
year, each student is required to take both Still
Photography and Filmmaking. Separate pro-
grams of studies within each discipline com-
mence with the second semester of that year,
although work in the other areas may be con-
tinued on an elective basis.
Faculty
Norinne Betjemann, Lecturer
John Carlano, Adjunct Associate Professor
Jack Carnell, Associate Professor
Connie Coleman, Lecturer
John Columbus, Adjunct Associate Professor
Sky David, Associate Professor
Stephen Fiorella, Adjunct Assistant Professor
Alida Fish, Professor
Anthony Gorny, Associate Professor
Gerald Greenfield, Associate Professor
David Lebe, Lecturer
Paula Marincola, Lecturer
Doug Mellon Lecturer
Nora Monroe, Lecturer
Thomas Moore, Lecturer
Jeannie Pearce, Lecturer
Peter Rose, Professor, Film Area Head
David Tafler, Associate Professor
John Woodin, Lecturer
Photography
The Still Photography major, in the sophomore
year, gets a solid background in craft competence
and the conceptual concerns of photographic ren-
dering. Distortion of both process and effect is
considered, as is the use and control of traditional
color-print materials.
The junior year asks the student to consider
photographic forms beyond the traditional print —
the photographic book, nonsilver processes, and
the extended photograph, among others — while
also providing instruction in the practice of large-
format photography and studio practice with its
control of artificial lighting. In both the junior and
senior years, the student may also pursue the
study of specialized issues on an elective basis,
including the photograph in a graphic arts context,
documentary photography, multi-image
production, and the photograph within a larger
fine arts context.
The senior year largely concerns the production
of an independent body of work of the student's
own choosing and direction. The senior thesis
provides the opportunity to begin the process of
self-definition as photographers and artists. A
required senior-level course in photographic
criticism, coupled with required classes in
photography history, culminates the strong
emphasis that the department places on critical
thinking and the ability to express one's self in
words as well as through photographs.
An internship program, which places advanced
students within a variety of positions in the "real
world" one day each week, is also available.
Current positions include assistantships in
commercial studios, galleries, medical
laboratories, hospitals, and multi-image and
special-effects houses.
Credit Requirements
Sophomore/Introductory Credits
Required Courses:
PF210 Introduction to Film 3.0
PF 21 1 Introduction to Photography 6.0
PF217 Color Printing Workshop 3.0
Studio Electives 9.0
Humanities* 12.0
Sophomore Year Total 33.0
Junior/Intermediate Credits
Required Courses:
PF311 Junior Workshop I & II 6.0
PF313 Basic Studio I & II 6.0
PF315 Extended Photo Apps 3.0
Select 3 credits from the
following courses: 3.0
PF323 Selected Topics 3.0
PF413 Professional Practices 3.0
PF499 Practicum 1.5 or 3.0
PF999 Independent Study 3.0
Studio Electives
3.0
Humanities*
12.0
Junior Year Total
33.0
Senior/Advanced
Credits
Required Courses:
PF411 Senior Workshop I & II
6.0
PF415 Senior Seminar I & II
6.0
Select 3 credits from the
following courses:
3.0
PF 323 Selected Topics
3.0
PF 41 3 Professional Practices
3.0
PF499 Practicum
3.0
PF999 Independent Study
3.0
Studio Electives
9.0
Humanities*
9.0
Senior Year Total
33.0
* Please note: HU255A&B, History of
Photography is required of all Photography majors
as part of the total humanities load.
36
Him
The independent film and video artist serves as
the model for our program in both live-action film
and animation. At the same time, a solid prepara-
tion and foundation in craft has enabled an ex-
tremely high percentage of our graduates to enter
the professional field as freelance editors, sound
recordists, cinematographers, technicians, anima-
tors, screenwriters, and directors.
The filmmaking area provides its students with
a background in all phases of film and video
production, including film cinematography, video-
graphy, film and video editing, sound/image
manipulation. As in the still area, the filmmaking
students acquire a strong background in criticism,
theory, and history of media.
Media study at the University has been supple-
mented by a number of other activities and
resources, including "Mediaworks," a year-long
series of visiting artists. Under this program, film-
makers, animators, video artists, and performance
artists of both national and international reputa-
tion have visited the campus for lectures, screen-
ings, and performances. Our facilities have been
expanded, and we now offer basic video as an
adjunct to the program. In addition, the University
possesses an audio-visual department with its
own film library, a computer center, and a Friday
Night Film Series.
Credit Requirements
Sophomore/Introductory Credits
Required Courses:
PF210 Introduction to Film I & II 6.0
PF211 Introduction to Photography I 3.0
PF212 Animation Drawing I 3.0
Studio Electives 9.0
Humanities* 12.0
Sophomore Year Total 33.0
Junior/Intermediate Credits
Required Courses:
PF310 Junior Cinema Production I & II 6.0
PF314 Junior Film Forum 6.0
PF320 Film Sound 3.0
PF322 Film Technology 3.0
Studio Electives 3.0
Humanities* 12.0
Junior Year Total 33.0
Senior/Advanced Credits
Required Courses:
PF410 Senior Cinema Production I & II 6.0
PF414 Senior Film Forum I 3.0
PF430 Light and Sound 3.0
Studio Electives 12.0
Humanities* 9.0
Senior Year Total 33.0
Animation
Animation brings together a wide variety of
interests and skills. While the final presentation
utilizes the technology of filmmaking, the visual
materials being animated may be generated
through such diverse disciplines as painting and
drawing, sculpture, illustration, graphic arts, and
still photography. The Animation program offers
instruction in both traditional and experimental
approaches to the medium and is geared to
providing a foundation broad enough for either
personal explorations or a professional career.
In addition to the traditional major. Animation
also provides the opportunity for students to
pursue a concentration in Animation while
studying in other major departments. Students
considering a concentration in Animation should
consult with the Film program advisor as well as
with their own department chairperson for
assistance in arranging appropriate course
sequencing and schedules.
Credit Requirements
Sophomore/Introductory Credits
Required Courses:
PF210 Introduction to Film I & II 6.0
PF211 Introduction to Photography I 3.0
PF212 Animation Drawing I & II 6.0
PF216 Computer Animation I 3.0
Studio Electives 6.0
Humanities* 9.0
Sophomore Year Total 33.0
Junior/Intermediate Credits
Required Courses:
PF 31 2 Junior Animation Workshop I & II 6.0
PF316 Computer Animation II 3.0
PF320 Film Sound 3.0
PF322 Film Technology 3.0
Studio Electives 6.0
Humanities* 12.0
Junior Year Total
33.0
Credits
Senior/Advanced
Required Courses:
PF 41 2 Senior Animation Workshop I & II 6.0
PF414 Senior Film Forum I & II 6.0
Studio Electives 9.0
Humanities* 12.0
Senior Year Total
33.0
* HU 248 A&B, Film History are required of all
animation majors as part of the total humanities
load.
Film/Animation
Credit Requirements
Sophomore/Introductory Credits
Required Courses:
PF210 Introduction to Film I & II 6.0
PF 21 1 Introduction to Photography I 3.0
PF212 Introduction to Animation 6.0
PF216 Computer Animation I 3.0
Studio Electives 3.0
Humanities* 12.0
Sophomore Year Total 33.0
Junior/Intermediate Credits
Required Courses:
PF 31 0 Junior Cinema Production 6.0
PF 31 2 Junior Animation Workshop I & II 6.0
PF316 Computer Animation II 3.0
PF320 Film Sound 3.0
PF322 Film Technology 3.0
Humanities* 12.0
Junior Year Total
33.0
Credits
Senior/Advanced
Required Courses:
PF410 Senior Cinema Production 6.0
PF412 Senior Animation Workshop I & II 6.0
PF414 Senior Film Forum I & II 6.0
PF420 Light and Sound 3.0
Studio Electives 3.0
Humanities* 9.0
Senior Year Total
33.0
*HU 248 A&B, Film History are required of all
film/animation majors as part of the total humani-
ties load.
* HU 248 A&B, Film History are required of all film
majors as part of the total humanities load.
37
Printmaking
Patty Smith
Chairperson
215-875-1054
The Printmaking Department bases its
instructional program on the development and
realization of visual ideas through multiple
image-making processes. The primary objectives
are to develop conceptual abilities and technical
proficiencies leading the student to acquire
personal imagery and professional competence in
printmaking media. Printmaking is a bridge be-
tween Fine Arts and Design, from philosophical
approach to practical realization.
The department provides extensive facilities
and the expertise of a faculty of professional
artists for study in traditional and contemporary
methods. The major graphic media explored
include relief processes, etching (intaglio),
lithography-stone, metal plate, and offset-and
water-based screenprinting. Courses in book and
typographic design stimulate experimentation in
unifying the elements of paper, prints, typography,
and bookbinding.
Visiting artists, field trips, and guest lecturers
supplement the studio experience. Using the city
as an extended workshop. Print students attend
seminars and museum collections. The Print Study
Seminar is held in the Print Room at the Philadel-
phia Museum of Art and furnishes a unique oppor-
tunity to study original prints from the fifteenth
through the twentieth centuries.
The main emphasis over the three-year
undergraduate period of study is on the evolution
of students as artists who make individualized
demands upon the media. As with any study in the
fine arts, the experience should be
multidimensional, reflective of a broad range of
personal and professional involvement, and
reinforced with stimulation from related areas of
interest, including drawing, painting, photography,
graphic design, illustration, sculpture, and crafts.
The undergraduate curriculum is enhanced by
the graduate program in Book Arts/Printmaking.
This two-year course of study of 60 credits,
culminating in a Master of Fine Arts Degree,
the program provides the opportunity for indi-
vidual artist's expression in limited edition
bookworks. Undergraduate students work
alongside MFA candidates in studios, work-
shops, and some major and elective classes.
(Students interested in the MFA degree in Book
Arts/Printmaking should contact the Depart-
ment of Printmaking or Office of Admissions.)
Department graduates find career opportunities
in the areas of fine arts, education, book design
and binding, commercial graphic arts, illustration,
and edition printing.
Facilities
The Printmaking Department provides extensive
facilities for waterbased screenprinting, stone and
plate lithography, relief, etching and non-silver
photographic processes. The bookbinding room
houses book presses and a guillotine paper cutter.
The letterpress studio contains 3 Vandercook
presses for printing hand-set type and over 1 00
fonts of varied type. In the offset lithography press
room there is a Davidson 901 offset press and an
AF Davidson Super Chief two-color press, both
are used by the students for hands-on experience.
An important resource is the Borowsky Center
for Publication Arts, which is equipped with a
Heidelberg KOFiS offset press and full darkroom
for experimental and production printing.
Faculty
Carol Barton, Lecturer
James Green, Lecturer
Lois Johnson, Professor
Jerome Kaplan, Professor Emeritus
Hedi Kyle, Senior Lecturer
Peter Lister, Senior Lecturer
Barbara Mauriello, Senior Lecturer
Jeanette McGrath, Lecturer
Mary Phelan, Assistant Professor
Tony Rosati, Senior Lecturer
Patricia Smith, Assistant Professor
Lori Spencer, Lecturer
Franz Spohn, Adjunct Associate Professor
Sarah Van Keuren, Adjunct Assistant Professor
Jennifer Woods, Senior Lecturer
Visiting Artists
Garo Antreasian, Professor Emeritus
University of New Mexico, Albuquerque
Clive Barstow
Wales
Carol Barton
Washington, D.C.
Sebastian Carter, Rampant Lions Press
Cambridge, England
Betsy Davids, Rebis Press
California College of Arts & Crafts, Berkley
Johanna Drucker, Druckwerk
Columbia University, New York
Ruth Fine, Curator
National Gallery of Art, Washington, D.C.
Bilge Friedlaender
University of Pennsylvania
Warren Lehrer, ear/say
State University of New York at Purchase
Clive Phillpot
Director of Library, Museum of Modern Art, NY
John Risseiw, Cabbagehead Press
Professor, Arizona State University, Tempe
Keith A. Smith
Rochester, NY
Claire Van Vliet, Janus Press
West Burke, Vermont
Philip Zimmerman, Spaceheaters
State University of New York at Purchase
Credit Requirements
Sophomore/Introductory
Cred
Required Courses:
PR 201 Relief Printing
3.0
PR 202 Screenprinting
3.0
PR 204 Etching
3.0
PR 205 Concepts I, II
3.0
PR 206 Printmaking Workshop
3.0
Studio Electives
6.0
Humanities
12.0
Sophomore Year Total
33.0
Credits
Junior/Intermediate
Required Courses:
PR 300 Lithography 3.0
PR 305 Advanced Relief Printing 1.5
PR 306 Print Study Seminar 3.0
PR 223 Book Arts I 1.5
PR 307 Book Arts II 1.5
PR 308 Advanced Lithography Workshop 3.0
PR 309 Advanced Etching 1.5
Studio Electives 6.0
Humanities 12.0
Junior Year Total
Senior/Advanced
33.0
Credits
Required Courses:
PR 400 Printmaking: Advanced Workshop 3.0
PR 407 Thesis Seminar 3.0
PR 410 Book Arts III 1.5
PR 412 Advanced Screenprinting 1.5
PR 420 Thesis Workshop 6.0
Studio Electives 9.0
Humanities 9.0
Senior Year Total
33.0
38
Sculpture
Barry Parker
Chairperson
215-875-4884
Sculpture reflects one of the deepest creative
impulses of artistic endeavor. Sculptors today are
called upon to create images that range in size
from coins to monuments. Usually working as
independent artists, sculptors make objects for
exhibition and sale, or work on commission for
architects and planners.
The Sculpture Department offers instruction and
experience in both the traditional and the most
innovative aspects of the art. Resources are avail-
able for work in clay, wood, stone, ferrous and
nonferrous metals, plaster, wax, and plastic.
The department's instructional aim is to provide
a sound, balanced exposure to the formal
technical and intellectual aspects of sculpture, in
preparation for continued professional growth
beyond the undergraduate years. The curriculum is
carefully designed to provide both disciplined
instruction and time for individual creative
development.
At the introductory level, fundamentals of sculp-
ture are taught along with technical
procedures in a variety of materials. At advanced
levels, students may specialize and are
increasingly expected to initiate and complete
works reflecting their own artistic interests under
critical supervision.
Studio and shop facilities are comprehensive
and include air tools for carving, a foundry for
bronze and aluminum casting, a wood and
fabricating shop, a complete metal shop for forg-
ing and three types of welding, and a moldmaking
shop. Technical assistance and su-
pervision in the facilities is provided by a full-time
shop supervisor who is in charge of
maintaining the equipment.
Faculty members are chosen from a variety of
backgrounds, and field trips to New York, Wash-
ington, and neighboring museums serve to expand
students' visions.
Faculty
Phoebe Adams, Lecturer
Harvey Citron, Adjunct Associate Professor
Gail Ferretti, Lecturer
Alan Greenberg, Lecturer
Aaron Goldblatt, Lecturer
Barbara Lekberg, Lecturer
Steve Nocella, Lecturer
Barry Parker, Professor
John Phillips, Lecturer
Thomas Steams, Associate Professor
Credit Requirements
Sophomore/Introductory Credits
Required Courses:
SC201 Sculpture I 3.0
SC202 Sculpture I 3.0
SC220 Molding and Casting 3.0
SC 231 Introduction to Figure Modeling 3.0
SC251 Theories of Structure 1.5
SC252 Theories of Structure 1.5
Choose a minimum of 3 credits from the
following courses: 3.0
SC232 Intro to Figure Modeling 3.0
SC 241 Sculpture Projects:
Introductory Studio I 3.0
SC 242 Sculpture Projects:
Introductory Studio II 3.0
Studio Electives 3.0
Humanities 12.0
33.0
Credits
3.0
3.0
1.5
1.5
6.0
6.0
3.0
3.0
3.0
Sophomore Year Total
Junior/Intermediate
Required Courses:
SC301 Sculpture II
SC302 Sculpture II
SC321 Carving
SC421 Metal Studio
Choose a minimum of 6 credits from the
following courses:
SC 260 Structure of the Figure
SC431 Advanced Figure
Sculpture
SC432 Advanced Figure
Sculpture
SC441 Sculpture Project:
Advanced Studio
Studio Electives 6.0
Humanities 12.0
Junior Year Total 33.0
Senior/Advanced Credits
Required Courses:
SC401 Sculpture III 3.0
SC402 Sculpture III 3.0
Choose a minimum of 6 credits from the
following courses: 6.0
SC260 Structure of the Figure 6.0
SC322 Carving 1.5
SC422 Metal Studio 1.5
SC431 Advanced Figure 3.0
Sculpture
SC432 Advanced Figure 3.0
Sculpture
SC 441 Sculpture Projects:
Advanced Studio 3.0
SC 442 Sculpture Projects:
Advanced Studio 3.0
Studio Electives 12.0
Humanities 9.0
Guest Lecturers
Bill Barrett
Natalie Charcow
Cynthia Eardley
Thomas Golya
Kristen Jones
Michael Malphs
Joe Moss
James Rosati
Alvin Sher
Takeo Shimizu
James Wines
Isaac Witkin
Senior Year Total
33.0
Fine Arts Sophomore Year Option
Faculty Advisor. Professor Jerry Herdman
Students who elect to pursue a fine arts
education majoring in Painting and Drawing,
Photography/Film/Animation, Printmaking, or
Sculpture, have two program options.
1 . Students who want to study in one particular
Fine Art Department can declare that program
major during the second semester of their
foundation year and commence a concentration
as sophomores.
2. Students may choose the Fine Arts Sopho-
more Year Option and may defer major de-
partment selection until as late as the sec-
ond semester of the sophomore year, and
begin a major concentration at the start of
their junior year. Students who choose this
option and expect to graduate without time
penalty must take a minimum of six major
department credits as sophomores in the
department of their ultimate choice.
Painting and Drawing, Printmaking, and
Photography/Film/Animation Departments will
substitute 6 credits from the three other fine arts
departments toward their 45 major department
credit requirements. The Sculpture Department
will allow no substitutions and will require 45
credits in major department courses, which
students will be able to complete without time
penalty before graduation.
The 30 credit elective component and 39 major
credit distribution of the Fine Arts Sophomore Year
Option (for sculpture: 24 elective and 45 major
credits) makes it possible for those students that
wish it, to minor and major simultaneously.
A seminar is scheduled every semester by the
fine arts departments (on a rotating basis) that is
recommended to students that choose the Fine
Arts Sophomore Year Option. These courses focus
on those issues that are common to all of the fine
arts. The emphasis is on learning the language of
art and clarifying the intention of the student. This
program encourages interdisciplinary work as well
as alternatives to traditional forms of expression.
Students who choose the Fine Arts Sophomore
Year Option will be considered Fine Arts Unde-
cided Majors until they declare a major. They will
be advised by a designated Fine Arts Advisor who
is authorized to sign roster forms and will work
with students and fine art department chairs to
insure knowledgeable and appropriate selection of
courses and program. Once students become jun-
iors they will have to be a member of one of the
four fine arts major departments.
Ait Therapy
Sherry Lyons
Director
215-875-1104
Art Therapy is a new discipline within the human
services professions that offers an opportunity to
explore personal problems and potentials through
verbal and nonverbal expression. Physical, emo-
tional, and learning skills may be developed
through therapeutic art processes, forms, content,
and associations as reflections of an individual's
development, personality, and conflicts.
An undergraduate art college is the ideal place
to begin the study of Art Therapy. At The Univer-
sity of the Arts the student is equipped with prac-
tical experience in art while acquiring a back-
ground in psychology and behavioral science.
While majoring in one of the studio
departments of the University, the student is intro-
duced to Art Therapy on the undergraduate level.
Students who wish to enroll in the Art Therapy
program register for Art Therapy courses as studio
electives. Students complete all requirements in
their chosen major department. At graduation, Art
Therapy Concentration students will receive a
certificate of completion in Art Therapy in addition
to the BFA degree.
Interested students should request an inter-
view with the Art Therapy Director. The Hu-
manities Department can schedule appoint-
ments at 215-875-1 104.
Faculty
Karen Clark-Schock
Ronald Hays
Sherry Lyons
Sophomore/Introductory Credits
HU 181 A Child Psychology 3.0
HU181B Adult Psychology 3.0
HU162 Intro, to Sociology 3.0
Junior
HU384 Abnormal Psychology 3.0
AT 300 Intro, to Art Therapy 3.0
AT 301 Social and Group Process 3.0
AT 302 Theories & Tech. Art Therapy 3.0
Senior
AT 303 Clinical Aspects of Art Therapy
AT 401 Senior Practicum
HU 483 Theories of Personality
3.0
3.0
3.0
3O.0
Education
JanisT. Norman
Chairperson
215-875-4881
Pre-CertificatJon Concentration in Art
Education
The teaching of art is a profession that allows for
the artist-teacher's continued growth while
nurturing the aesthetic and creative experience of
others. Recent national as well as state-wide
attention to education and to the role of the arts in
education makes this an especially good time for
students to consider becoming an art teacher as
well as an artist. In preparing students for careers
in art education, The University of the Arts, Phila-
delphia College of Art and Design, is committed to
the ideal of teachers who are able to produce their
own competent works as well as teach others. To
that end, the University offers a flexible program
of competency-based education at the under-
graduate level to prepare students to complete a
professional certification program after graduation
or within a nine semester undergraduate program.
The Pre-Certification concentration is designed
to be taken in conjunction with a regular studio
major in the BFA program. In addition to meeting
the requirements of a major studio department,
students entering a teacher certification program
take courses in the Education Department, plus
recommended courses in Humanities, Photo-
graphy, Electronic Media, and other studio areas.
These courses are taken within the general
Humanities and studio electives requirements.
The Art Education concentration provides a
strong theoretical and practical foundation for
teaching as a career. Through field experiences
starting in the sophomore year, the student is able
to explore teaching in a variety of traditional and
alternative settings. Students are also provided
with the necessary competencies in teaching Dis-
cipline-Based Art Education through special stud-
ies in education combined with Humanities
coursework in Art History, Aesthetics, Social Sci-
ences, and Psychology, plus studies in studio pro-
duction and criticism.
The Pre-Certification Concentration may be
taken in its entirety or in part to fit individual plans
and needs. Students who satisfactorily complete
the program will be able to enroll directly in the
Professional Semester following graduation, com-
pleting the student teaching requirement and
qualifying for the Pennsylvania Instructional I Cer-
tificate to teach Art K-12 in as little as one regular
semester beyond the bachelor's degree. Another
viable alternative is that qualified graduates may
enter the Master of Arts in Teaching program.
This program, if taken in conjunction with the
BFA degree, allows for the majority of the concen-
tration in Art Education to be completed within the
four years required for the bachelor's degree. Fol-
lowing graduation, remaining course requirements
for certification may be completed in one addi-
tional professional semester, in which AE 659
Student Teaching Practicum is taken, along with
GR 550 Group Process in the Classroom and
AE 657 Professional Forum.
Faculty
Paul Adorno, Adjunct Assistant Professor
Diane Foxman, Lecturer
Arlene Gostin, Associate Professor
Janis Norman, Associate Professor
Susan Rodriguez, Adjunct Associate Professor
David Tafler, Associate Professor
Recommended Schedule of Courses for
Pre-Certification in Art Education
Freshman
Standard Foundation and Humanities Program
. *HU 151 Language of Art History
Sophomore
First Semester or Second Semester
AE201 Intro, to Visual Arts Education 1.5
*HU 1 62 Individual and Society 3.0
*HU 270lntroduction to Aesthetics 3.0
*HU 181 Child and Adolescent Psychology 3.0
*HU249ModernArt 3.0
or
*HU 448American Art After 1 945 3.0
Junior
First Semester or Second Semester
AE459 Saturday Practicum 3.0
*HU 363Modern Culture 3.0
or
*HU 462American Social Values 3.0
*HU374Personality and Creativity 3.0
or
*HU480Psychology of Creativity 3.0
Senior
First Semester
AE 547 Program Design/Methods in
Elementary School 3.0
AE 548 Program Design/Methods in
Middle/Secondary School 3.0
* Balance of required Humanities.
** Photography and Computer competency is re-
quired for certification with a minimum
requirement of one course in each area.
Required Studio Electives
Pre-Certification students should complete at least
three credits in two-dimensional media if their
major is in a three-dimensional area, and vice
versa. Other studio work should include at least
one course each in photography and computer.
The Professional Semester
The Pre-Certification Concentration, when coupled
with the Professional Semester, is accredited by
the Pennsylvania Department of Education as an
approved program to prepare students to receive
the Instructional I Certificate to teach Art K-12.
Since June 1987, all applicants for certification in
Pennsylvania must also pass the Pennsylvania
Teacher Certification Testing Program (PCTCP)
Tests to qualify for the certificate.
The Professional Semester is an intensive
experience built around a twelve-week student
teaching practicum, in which the student devotes
six weeks to teaching at the elementary school
level and six weeks to teaching at the middle or
secondary school level under the guidance and
supervision of highly qualified master teachers
and Art Education Department faculty.
Supplementary courses and activities complete
the preparation of the future teacher to enter the
profession. The professional semester is available
to students only after major requirements have
been met, and normally after graduating with a
bachelor's degree.
Professional Semester or 9th Semester of BFA
Program
AE 550 Group Process in the Classroom 1 .5
AE657 Professional Forum 1.5
AE659 Student Teaching Practicum 9.0
Academic Regulations
Students working toward certification are required
to maintain a 3.0 average in certification course-
work. Admission to the Student Teaching
Practicum is by permission of the department
based on satisfactory completion of all prerequi-
sites and on evidence of promise as a teacher
shown in prior coursework. A grade of B or better
in the Student Teaching Practicum is required for
recommendation for certification.
41
Graduate Programs
Art Education
JanisT. Norman
Chairperson
215-875-4881
Master of Arts in Art Education
The Master of Arts in Art Education is designed
to develop the studio, intellectual, and profes-
sional education background of art educators,
enabling them to meet professional goals be-
yond those possible with bachelor-level cre-
dentials. Coordinating professional education
courses with work in humanities and studio,
the MA in Art Education offers students an '
opportunity to pursue custom-designed pro-
grams of study to meet individual needs.
The program is primarily addressed to established
or new teachers, for whom the degree may satisfy
credit accrual requirements for Permanent Certifica-
tion or lead to other career advancement. However,
graduates have also found the program relevant to
positions in museum education, college (especially
junior college) teaching, arts administration, educa-
tional media, and other fields related to art education.
Applicants must hold a Bachelor's degree or equiva-
lent with no less than 40 credits in studio. A teaching
certificate is not required. Students not holding de-
grees in the visual arts can expect to roster 1 8 credits
of foundation studies and/or up to 40 credits of studio
work, dependent upon faculty review of their portfolio.
The MA program may be completed in one aca-
demic year plus a summer if the student is enrolled in
full-time study. However, course work may be under-
taken part-time over as many as five years.
Master of Arts in Teaching in Visual Arts
The Art Education Department also offers the
Master of Arts in Teaching (MAT) degree in
Visual Arts, a professional degree incorporat-
ing preparation for the Pennsylvania Instruc-
tional I Certificate to teach Art K-12. Additional
coursework includes the history, theory and
practice of art education. Intended to follow an
undergraduate degree in studio art, the MAT
degree is the most efficient way to earn a
graduate degree while becoming eligible for
certification to teach in the public schools.
Applicants to the MAT Program should possess
a BFA or BA degree in studio art with a minimum
of forty (40) studio credits with a "B" or better
average. They also must have satisfactorily com-
pleted the following coursework and/or acquired
competencies in fields relating to teacher certifi-
cation. If deficiencies exist, up to 6 credits may be
completed concurrently with the degree and
applied to elective requirements.
• 3 upper division credits in a 3D studio area if a
2D studio major
• 3 upper division credits in a 2D studio area if a
3D studio major
• Introduction to computers, preferably including
graphic applications
• Basic photography
• Art History, 12 credits, including at least one
course in 20th Century Art
• Introduction to Psychology
• Sociology or Cultural Anthropology
• Aesthetics (may be satisfied by AE 691 A)
• Art Criticism (may be satisfied by AE 691 A)
• Speech or Acting (recommended)
Master of Arts in Teaching in Visual Arts
(augmented program)
For those who seek to become certified to teach art
but do not yet have a sufficient background to prepare
for certification within the normal one-year framework
of the MAT program, the 36 credit degree may be
augmented by simply adding coursework in the areas
needed. The principal difference between the aug-
mented MAT degree and the MA certification program
is that the latter involves completion of a graduate
research project in addition to the student teaching
experience.
Master of Arts in Art Education
(with Teacher Certification)
Those who seek to become certified to teach art
and are qualified to enter the MAT program di-
rectly but prefer the academic research orientation
of the MA program may augment the MA program
with the required certification coursework, becom-
ing eligible for certification as early as the comple-
tion of the second semester of full-time study.
Normally, this option requires a minimum total of
57 credits, and it leads to a single degree.
Faculty
Janis T. Norman, Associate Professor
Paul Adorno, Lecturer
Arlene Gostin, Associate Professor
Nathan Knobler, Professor
Susan Rodriguez, Adjunct Associate Professor
David Tafler, Associate Professor
42
Requirements for Master of Arts in
Art Education
Total Credits: 36
Fall
Spring
AE 606 Research in Art Education
3.0
-
AE610 Graduate Studio Seminar
1.5
1.5
AE602 History of Ideas in
Art Education
-
3.0
AE 649 Graduate Project/Thesis
-
6.0
GR 691 University Seminar
3.0
3.0
Studio Elective
7.5
1.5
15
15
Summer
Studio Elective
3.0
Humanities Elective
3.0
6.0
The Graduate Project
The MA Program culminates in the production of a
graduate project. The Thesis Project, normally
completed in a single semester, may take one of
two distinct forms: 1 ) an academic thesis present-
ing original research in a significant historical,
theoretical, or pedagogical question relating to
visual arts education, or 2) a studio or curriculum
project for use as a pedagogical tool. Whichever
form it takes, the process followed is essentially
directed independent study under the supervision
of a faculty advisor. The student must prepare a
project proposal prior to the assignment of a
project advisor. The proposal, which need by only
a few pages in length, should include the follow-
ing components to establish the project's viability:
1 ) a concise description of the project: 2) a state-
ment of the significance of the project; 3) an
explanation of the students competence to under-
take the project (e.g., previous study or work on
the topic area or other relevant experience); 4) a
timetable for the project; and 5) a preliminary
bibliography. The proposal should be developed
with the advice of a member of the MA Program
Committee and must be submitted to the Commit-
tee at least four weeks prior to the end of the
semester preceding that in which the project is to
be undertaken. The appointment of the advisor is
by the Department Chairperson in consultation
with the student and the Committee.
The project advisor meets periodically with
the student as needed and is responsible for
overseeing the development and acceptability
of the project. Not later than the week of final
examinations, the completed project will be
reviewed by a three or four member panel con-
sisting of persons appointed by the Department
Chairperson from the following categories,
which may be overlapping: 1) the project advi-
sor; 2) two members of the MA Program Com-
mittee; 3) a member of the Art Education fac-
ulty; and 4) a faculty person outside the Depart-
ment who is knowledgeable in the field of the
project. In certain cases the extra-departmental
reviewer may be from outside of the University.
The purpose of this panel is not to work with
the student to develop the project, but simply
to act as a review panel to recommend on ac-
ceptance of the finished project. Final accep-
tance is the responsibility of the MA Program
Committee, in consultation with the review
panel. Upon acceptance, the student must pro-
vide two copies of the project and/or related
documentation, durably bound or otherwise
presented in a form appropriate to the project.
The diploma will not be released until these
copies are satisfactorily deposited.
In the extraordinary event that a project is
unacceptable as submitted, the MA Program
Committee may at its discretion offer one of the
following alternatives to the student, as circum-
stances warrant: 1 ) repetition of the project, sub-
ject to requirements which may be specified by
the Committee; or 2) assignment of a grade of
"Incomplete" to be made up within the first six
weeks of the following semester, with no addi-
tional registration required.
The Studio Component
The studio component of the MA Program is
intended to serve the professional development
needs of art educators. As such, it is tailored to
individual students along two different but not
necessarily exclusive lines. For the student whose
studio background is broad and not concentrated
in a particular discipline, the program offers an
opportunity to develop greater mastery in a single
studio area. For the student whose experience is
more narrowly concentrated in one area, the pro-
gram provides a framework for expanding studio
skills in two or more other areas. It is therefore not
expected that the MA student will have graduate
level skills in the areas being studied. Accordingly,
most studio work will utilize undergraduate
courses open to Junior and Senior majors in the
various departments of the College. However, it is
assumed that students in the MA Program will
have a sophistication, focus, and maturity which
enables them to accomplish at a level beyond that
generally required of undergraduates in these
courses. For the student whose studio background
is already both broad and deep, graduate level
work in the student's principal area may be under-
taken on an independent study basis, drawing on
the rich resources of the College's faculty by ar-
rangement through the Art Education Department.
The specific studio requirements are set at the
time of admission in consultation with the studio
department(s) involved, whose evaluation of the
applicant's portfolio is necessary for placement
purposes. Special attention should therefore be
given in the application to explaining the
applicant's objectives in the studio component and
to presenting an accurate presentation of the
applicant's studio experience and accomplishment.
Requirements for the Master of Arts in
Teaching in the Visual Arts
Total Credits: 36
Fall
Spring
AE 558 Program Design & Methods:
Middle and Secondary
3.0
-
AE 459 Saturday Practicum
3.0
-
AE 606 Research in Art Education
3.0
-
AE 657 Professional Forum
1.5
_
AE 551 Group Process in the
Classroom
-
3.0
AE 602 History of Ideas in
Art Education
-
3.0
AE659 Student Teaching Practicum -
9.0
Studio, Education, or
Humanities Electives
6.0
-
15
15
Summer
AE 550 Creative and Cognitive
Development in Children 3.0
AE 557 Program Design & Methods:
Elementary 3.0
6.0
Electives of particular interest:
GR 691 University Seminar: Structure and
Metaphor
3 credits. Fall
GR 691 University Seminar: Art and Society
3 credits. Spring
43
Master of Fine Arts in Book Arts/
Printmaking
Mary Phelan
Director
215-875-1066
The University of the Arts Master of Fine Arts
Degree in Book Arts/Printmaking builds upon the
University's thirty-year tradition of involvement
with the book and printed image. Open to all quali-
fied students with an undergraduate degree in
Liberal Arts, Design, Printmaking or Fine Arts, the
program emphasizes the development of students
as artists who make individualized demands upon
printed media and the book as an art form. The
course of study, based upon the student's interests
and level of experience, allows for the advance-
ment of conceptual abilities and technical
proficiencies in traditional and state-of-the-art
processes. The program enables the student to
develop in areas which are applicable to an aca-
demic career as well as to a range of professional
endeavors.
Visiting artists, field trips, and guest lecturers
supplement the studio experience. Access to
Philadelphia's rich heritage of public and private
collections furnishes a unique opportunity to study
page forms from manuscripts to contemporary
prints and books. Internships in professional print-
related organizations and libraries in Philadelphia
are available for qualified students.
In addition to studios for stone and plate lithog-
raphy, water-based screenprinting, intaglio, relief,
and non-silver photographic processes, the depart-
ment contains a bookbinding room with stationary
vertical and portable book presses, a tabletop and
floor board shear, and one guillotine paper cutter.
An important resource is The Borowsky Center for
Publication Arts. The Center is equipped with a
Heidelberg KORS offset press and full darkroom
for experimental and production printing leading to
career work in the publication arts. There is also
separate graduate studio space for book arts/
printmaking students that provides work stations,
light tables, portable book presses, a paper cutter
and a Vandercook press.
The main emphasis of the program is on the
development of students as artists who make
individualized demands upon the media. As with
any study in the fine arts, the experience should
be multi-dimensional, reflective of a broad range
of personal and professional involvement, and
reinforced with stimulation from related areas of
interest, including humanities, drawing, painting,
photography, graphic design, illustration, computer
imaging and typesetting, papermaking and crafts.
Requirements
Total Credits: 60
Year One
PR 600 Print Colloquium
PR 603 History of the Book
PR 617 Type/Letterpress
PR 618 Workshop:Color/Mark
PR 623 Book Binding
PR 626 Offset Lithography
PR 691 University Seminar
Humanities or Studio Electives
Year Two
PR 700 Print Colloquium
PR 710 MFA Project Type
PR 720 MFA Project Binding
PR 725 MFA Project Offset
PR 715 Graduate Studio
PR 741 MFA Thesis Studio
PR 742 MFA Thesis Studio
PR 791 University Seminar
Humanities or Studio Electives
Fall Spring
1.5
1.5
-
1.5
1.5
3.0
1.5
-
1.5
1.5
3.0
1.5
3.0
3.0
3.0
3.0
15
15
1.5
1.5
1.5
-
1.5
-
1.5
-
1.5
-
-
3.0
-
3.0
3.0
3.0
4.5
4.5
15 15
Faculty
Frank Galuszka, Professor
James Green, Lecturer
Lois M. Johnson, Professor
Nathan Knobler, Professor
Hedi Kyle, Lecturer
Barbara Mauriello, Lecturer
Mary Phelan, Assistant Professor
Patricia M. Smith, Assistant Professor
David Tafler, Associate Professor
44
Master of Fine Arts in Museum
Exhibition Planning and Design
Jane Bedno
Director
215-875-1110
Recognized formally as a part of the museum pro-
fession by the American Association of Museums
since 1 981 , the field of exhibition planning and
design has become a demanding, fast-growing
profession as museums respond to the demand for
exhibitions addressed to public needs and inter-
ests. Through the efforts of NAME, the National
Association for Museum Exhibitions, and the ini-
tiative of The University of the Arts, a fully profes-
sional graduate program in Museum Exhibition
Design is offered. The two year, 60 credit, Master
of Fine Arts Degree in Museum Exhibition Design
prepares students for professional careers in the
planning and design of exhibits and the presenta-
tion of artifacts, objects, phenomena and informa-
tion to diverse publics in museums of art, nature,
science and the humanities.
The curriculum addresses the conceptual-
ization, researching, organization, design and
production of museum exhibits and presentations
utilizing a variety of techniques and media.
Throughout the program, the student will explore
exhibit programming, evaluation and management
methods applicable in a wide range of museum
situations. Visiting experts in many aspects of
museum presentation, education and manage-
ment will participate in the curriculum while
students will make privileged visits to design de-
partments, production shops, galleries, exhibits
and programs in varied and numerous museums in
Philadelphia, the Mid-Atlantic Region, Washing-
ton, and New York. Students will undertake a
thesis project and a supervised museum internship
related to their career interests during the second
year of the program. To preserve the intimate con-
tact with museum professionals and to guarantee
participants studio facilities, the program is lim-
ited to nine entrants per year.
Most candidates will have previously com-
pleted a baccalaureate in industrial, graphic,
interior or architectural design and demonstrate
an acceptable level of professional accomplish-
ment through a portfolio or another appropriate
means. Alternatively, they may seek admission
with a baccalaureate in a discipline related to
their career direction, and take courses to de-
velop the necessary background in design. Stu-
dents from non-design, non-art backgrounds
are welcome and encouraged to apply.
Participating Institutions
Many museums in Philadelphia and the northeast
actively participate in the program through
lectures in the museum course, sponsorship of
studio projects, hosting visits, and supporting
internships.
Museums presently committed to such partici-,
pation include:
The Cooper Hewitt Museum, New York
The Franklin Institute Science Museum,
Philadelphia
The Hagley Museum and Library, Wilmington,
Delaware
The Please Touch Museum, Philadelphia
The Philadelphia Museum of Art
Faculty
Jane Bedno, Associate Professor
Ed Bedno, Adjunct Professor
Arthur Friedman, Adjunct Associate Professor
Frank Galuszka, Professor
Nathan Knobler, Professor
David Tafler, Associate Professor
Requirements
Total Credits: 60
Year One Fall Spring
ME 500 Museum Course 3.0 3.0
ME 610 Museum Exhibition Design
Studio 6.0 6.0
ME 621 Environmental Graphics 3.0
ME 623 Exhibit Materials and
Technology - 3.0
GR691 University Seminar 3.0 3.0
Elective 1.5 1.5
16.5
16.5
Summer
ME 759 Museum Internship
3.0
Year Two
ME 710 Museum Exhibition
Design Studio
-
6.0
ME 622 Media
-
3.0
ME 749 Thesis Development
3.0
3.0
GR791 University Seminar
3.0
3.0
Elective
1.5
1.5
Ceramic Studio Residence
Program
Lizbeth Stewart
Director
The Ceramic Studio Residence Program is open to
graduates of undergraduate ceramic programs.
The program offers a rare opportunity for pursuing
work in clay. The essential emphasis is to develop
each student's potential for personal expression
and artistic invention. Energies are focused on
developing ceramic artists who are prepared to
realize their creative capacity and succeed with
distinction in a professional environment.
There are five places which are awarded by
portfolio references. Accepted candidates are
required to enroll for at least six credits a semes-
ter for two semesters, be present in the studio
during major days and contribute three hours of
work as teaching assistants or technical monitors
to the undergraduate program. In exchange for
this, the student is provided individual twenty-four
hour workspace, excellent equipment, and sup-
portive tutorial instruction. Residents may audit
plaster workshop or ceramic tech class.
Former participants have been recent BFA
graduates continuing preparation for graduate
study. Others are young professional developing
their work for production and sale in their future
studios. Some residents have been teachers on
leave or ceramic artists who wish to work again in
an academic setting.
Inquiries should be made to Lizabeth Stewart,
Studio Resident Program, Ceramic Studio at The
University of the Arts. Applicants will be required
to submit from 8 to 20 slides (35 mm) and a letter
of recommendation from their ceramic instructor.
In addition, a resume and letter stating profes-
sional plans and goals is required.
The studio, located at The University of the Arts
in center city Philadelphia, is within walking
distance of the country's leading craft galleries,
museum collections, and design studios.
7.5 16.5
Philadelphia College of
Art and Design
Course Descriptions
Foundation
FP060
Freshman Forum
1 hour a week
0 credits/semester: fall
The Freshman Forum is a series of presentations
given by each major studio department in the
College of Art and Design, and each school in the
College of Performing Arts, which offer insight
into career opportunities as they relate to each
discipline.
FP100
Drawing
6 hours a week
3 credits/semester: fall and spring
The student pursues the investigation of drawing
strategies on both a perceptual and conceptual
level. The use of line and tone are developed to
examine the basic forms and structures and to
build a visual vocabulary. Exercises are designed
to acquaint the student with many aspects of
drawing as a process.
FP120
Two-Dimensional Design
6 hours a week
3 credits/semester: fall and spring
Working with point, line, shape, and color,
the student examines the principles of two-
dimensional design. Projects are designed to
focus on the interaction of these elements to yield
coherent organizational principles, spatial illusion,
and integrated compositional units.
FP190
Three-Dimensional Design
6 hours a week
3 credits/semester: fall and spring
The student explores the physical and visual
properties of three-dimensional form. The studio
experience emphasizes formal analysis and
three-dimensional design processes, using diverse
materials, to study concepts of structure,
organization, and aesthetics.
Art Education
AE201
Introduction to Visual Arts Education
3 hours, once a week
1 .5 credits
A theoretical and practical introduction to the
entire field of art education. Through field obser-
vations and classroom lecture-discussions, the
student surveys the various aspects of teaching
ina variety of situations and environments.
Included are teaching in public and private schools
K-12, as well as specialized and alternative set-
tings in museum education, early childhood educa-
tion, special education (for handicapped and gifted
children), and adult education.
AE459
Saturday Practicum
3 hours lecture-discussion,
3 hours field work each week
3 credits
Students are involved in various aspects of the
Saturday School. They observe classroom instruc-
tion, plan and teach lessons, and exhibit student
work under the supervision of cooperating master
teachers and a college supervisor.
AE500
Graduate Studio Seminar
3 lecture-discussion hours once a week,
two semesters
1 .5 credits each semester
AE502
History of Ideas in Art Education
3 seminar hours, once a week
3 credits
Seminar on major issues and trends in the history
of Art Education, with an emphasis on child-
centered and content-centered theories and the
theoretical antecedents of the discipline-based art
education movement.
AE504
Art Theory and Criticism
3 seminar hours, once a week
3 credits
AE505
Graduate Studio Seminar
3 lecture hours, once a week
1 .5 credits/semester: fall and spring
An interdisciplinary seminar exclusively for art
educators. Topics of broad concern to studio
artists will be addressed in response to students'
work, assigned readings, and relevant public
lectures or other art events in the University and
the community.
AE506
Research in Art Education: Methods and
Trends
3 seminar hours, once a week
3 credits
A graduate education seminar on principal
approaches to Art Education research. The course
examines several recent studies for their
methodologies and findings and in so doing takes
an overview of the field.
AE508
Art and Society
3 seminar hours, once a week
3 credits
46
AE539
Thesis Project
6 credits (may be divided over more than one
semester)
Directed independent study culminating in a
project supervised by a faculty advisor. The
graduate project, normally completed in a single
semestr, may take either of two distinct forms:
a) an academic thesis presenting original research
in a significant historical, theoretical, or pedagogi-
cal question relating to visual arts education, or
b) a studio or curriculum project intended for use
as a pedagogical tool.
AE547
Program Design and Methods in the
Elementary School
3 hours lecture-discussion,
3 hours field work each week
3 credits
Through review of current literature, lecture-
discussion, field observation, and mini-teaching,
students explore various educational philosophies
and develop and implement effective classroom
curricula based on prevailing theories of learning
and child development.
AE548
Program Design and Methods in the
Middle and Secondary School
3 hours lecture-discussion,
3 hours field work each week
3 credits
Continuation of AE 547, with emphasis on the
Middle and Secondary School.
AE550
Cognitive and Creative Development
3 hours lecture-discussion each week
3 credits
This course is designed to develop skills in
recognizing the developmental stages of children
and adolescents according to the theories of Jean
Piaget, Lawrence Kohlberg, Viktor Lowenfeld,
and Erick Erickson. In addition, the course will
explore the learning theories of Jerome Bruner,
B.F. Skinner, Howard Gardner, Madeline Hunter,
and Bernice McCarthy toward understanding
individual difference in creative and cognitive
development and learning styles.
AE551
Group Process in the Classroom
3 hours once a week
1.5 credits
Various aspects of classroom dynamics are
examined. These include cultural and family
factors that influence learning, expectations con-
veyed by teacher and peer behavior, techniques
of instruction, and creativity.
AE557
Professional Forum
1 .5 hours lecture-discussion, once a week
1 .5 credits
Lectures and discussions on contemporary issues
and topics in art and art education.
AE559A&B
Student Teaching Practicum
5 full days a week for twelve weeks, plus 2 hours
discussion, once a week
9 credits
An intensive experience build around a twelve-
week student teaching practicum, in which the
student devotes six weeks to teaching at the ele-
mentary school level and six weeks at the middle
or secondary school level under the guidance and
supervision of highly qualified master teachers
and Art Education Department faculty.
AE602
History of Ideas in Art Education
3 credits
Seminar on major issues and trends in the history
of Art education, with an emphasis on child-cen-
tered and content-centered theories and the theo-
retical antecedents of the Discipline-Based Art
Education movement.
AE606
Research in Art Education: Methods and
Trends
3 credits
A graduate education seminar on principal ap-
proaches to Art Education research. The course
examines several recent studies for their method-
ologies and findings and in so doing takes an
overview of the field.
AE610
Graduate Studio Seminar
1 .5 credits each semester
An interdisciplinary seminar exclusively for art
educators. Topics of broad concern to studio art-
ists will be addressed in response to student's
work, assigned readings, and occasional public
lectures or other art events in the University and
the community.
AE649
Graduate Project/ Thesis
6 credits (may be divided over more than one
semester)
Culminating independent project supervised by a
faculty advisor. The graduate project or thesis,
normally completed in a single semester, may
take either of two distinct forms: a) an academic
thesis presenting original research in a significant
historical, theoretical, or pedagogical question
relating to visual arts education, or b) a studio or
curriculum project intended for use a pedagogical
tool.
AE657
Professional Forum
1 .5 credits
Lectures and discussions on contemporary issues
and topics in art and art education
AE659
Student Teaching Practicum
5 full days a week for twelve weeks, 9 credits
An intensive experience built around a twelve-
week student teaching practicum, in which the
student devotes six weeks to teaching at the el-
ementary school level and six seeks at the middle
or secondary school level under the guidance and
supervision of highly qualified master teachers
and Art Education Department faculty.
Crafts
CR201A&B
Introduction to Concept Development
3 hours, once a week
1 .5 credits/semester: fall and spring
A drawing course directed toward a visual
investigation of drawing conventions necessary
to describe the individual craftsman's ideas and
concepts.
CR301A&B
Modern Craft: A Critical History
3 hours, once a week
1 .5 credits/semester: fall and spring
The modern craft aesthetic is examined in terms
of late 19th- and 20th-century ideas and issues.
Emphasis is placed on the interdependency of all
the arts with an eye to the unique contribution of
crafts' ideology and practice. Topical discussions
encourage students to find contemporary
relevancy and validity in an analysis of historical
precedents.
CR401A&B
Senior Craft Crafts Seminar
3 hours, once a week
1.5 credits/semester: fall and spring
A forum for the discussion of ideas and issues of
concern to students of crafts through student par-
ticipation, guest lecturers, and professional offer-
ings. A study of style and the survival techniques
of contemporaries working in craft media will be
emphasized.
CR999
Independent Study
3-6 hours
1 .5-3 credits/semester: fall and spring
An independent course of study dealing with a
particular issue of interest to student and one or
more faculty. Prior approval by the chairperson
required.
47
Ceramics
CR211A&B
Introduction to Throwing
6 hours, once a week
3 credits/semester: fall and spring
Beginning studio work with class using the throw-
ing process and related glazing and firing tech-
niques. Problems are given with an emphasis on
developing each student's potential for personal
expression and artistic invention.
CR212A&B
Introduction to Handbuilding
6 hours, once a week
3 credits/semester: fall and spring
Beginning studio work with clay using the
handbuilding processes of slab, coil pinch, and
pressing form molds, plus related glazing and
firing techniques. Problems are given with an
emphasis on developing each student's potential
for personal expression and artistic invention.
CR251A&B
Moldmaking — Casting
6 hours, once a week
3 credits/semester: fall and spring
A two-semester course in modelmaking, mold-
making, and casting techniques, using plaster and
synthetic compounds. Emphasis is given to devel-
oping proficiencies in slip casting for use in the
artist's studio and in industry for serial production.
CR311A&B
CR312A&B
Intermediate Ceramics
6 hours, twice a week
6 credits/semester: fall and spring
The second level of study overlaps the first and
concentrates on resolving conceptual and formal
issues as they relate to individual exploration.
Problems are given which encourage uniqueness
and challenge abilities. Typical issues include
usage and symbolic function, serial production,
site-oriented applications, and large-scale use of
materials. All problems stress practical as well
as aesthetic resoucefulness.
Prerequisites: CR2T1 and CR 212.
CR313A
Ceramic Technology: Clays and Kilns
1.5 hours, once a week
1 .5 credits/semester: fall
A lecture and lab course to investigate the theo-
retical and practical aspects of clays, clay bodies,
and kilns.
CR313B
Ceramic Technology: Glazes
1 .5 hours, once a week
1 .5 credits/semester: spring
A lecture and lab course to investigate the theo-
retical and practical aspects of glazes.
CR411A&B
CR412A&B
Advanced Ceramic Studio
6 hours, twice a week
6 credits/semester: fall and spring
The third phase of the ceramic program is tutorial.
Senior majors conceive their own projects and
seek their resolution independently while confer-
ring regularly with all faculty. The term culminates
with each student selecting representative work
for a public exhibition.
Fibers
CR221A&B
Introductory Fibers: Structural Investigation
6 hours, once a week
3 credits/semester: fall and spring
A survey of both traditional and experimental use
of materials and structural processes in the fabric
media. Through a series of developmental assign-
ments, students begin to explore potential two-
and three-dimensional forms in preparation for a
versatile and solid approach to the, fibers media.
Fall semester emphasizes loom-woven structures,
tapestry, and a range of off-loom mixed-media
techniques: spring semester introduces problems
in constructed surface/fabric collage and the study
of fabric forms involving armature and skeletal
fabric-support constructions.
CR222A&B
Introductory Fibers: Media Exploration
6 hours, once a week
3 credits/semester: fall and spring
A survey course that may be taken independently
but does complement Introductory Fibers: Struc-
tural Investigation. Through a series of develop-
mental assignments, students are provided with
a solid technical and conceptual base in the fabric
media. Fall semester emphasizes nonloom
constructions and a thorough study of color and
multifiber dye techniques; spring semester
focuses on woven color and advanced woven
structures.
CR321A&B
Introduction to Surface Design
6 hours, once a week
3 credits/semester: fall and spring
Introductory class in fabric design which empha-
sizes the techniques of silk-screen printing and the
conceptual potential of the media. Course material
focuses on both screen-printing processes, from
basic cut-and-resist stencils to advanced photo
stencils, as well as hand-techniques: painting,
stamping, sewing, and other construction. Textile
pigments are taught fall semester; dyes are taught
spring semester.
Prerequisites: CR 221 and/or CR 222
CR322A&B
Intermediate Structural Fibers
6 hours, once a week
3 credits/semester: fall and spring
Through a series of developmental assignments
with a conceptual emphasis, and by using
acquired knowledge from previous semesters,
students are encouraged to explore forms that
reveal the inherent physical qualities and potential
image-making possibilities of fabric. Loom-woven
and mixed-media fabric techniques are used as
appropriate, depending on the student's interest in
the development of a diverse range of two-dimen-
sional constructions, sculptural forms, costume,
etc. Prerequisites: CR 221 and/or CR 222
CR324A
Fibers Technology
1.5 hours, once a week
1.5 credits/semester: fall
This lecture course systematically investigates a
wide range of fabric structures from simple to
complex weaves. Students draft weave structures
to understand better the range of fabrics possible
on a multiharness loom. The aesthetics of woven
cloth are also discussed with a focus on the qual-
ity of line, stripe, pattern, and texture unique to
the textile.
CR324B
Textile History
1 .5 hours, once a week
1 .5 credits/semester: spring
This lecture course surveys the major textile
cultures of the world, including Egyptian, pre-
Columbian, Chinese, French, and English, utilizing
slides, books, and examples from the textile col-
lection. The various textile styles are related to
their historical, religious, and social background,
as well as to the art and decorative art occurring
simultaneously.
CR423A&B
Advanced Surface Design
6 hours, once a week
3 credits/semester: fall and spring
Advanced fabric surfaces, forms, and technical
problems are studied on an independent concen-
trated level, guided by the students' acquired
knowledge and experience from previous semes-
ters into the areas that are relevant to their
interests — whether two- or three-dimensional,
functional fabric design or fine art. Emphasis is on
senior portfolio development and personalized
assignments. Prerequisites: CR 321, CR 322
48
CR425A&B
Advanced Structural Fibers
6 hours, once a week
3 credits/semester: fall and spring
Emphasis on personal expression and style in an
open studio where each student draws from
knowledge and experience acquired in previous
years. Through individual guidance and intensive
group critique, each student begins to define him-
self or herself as a unique and creative individual.
Portfolio preparation and senior thesis exhibition
form a vital part of this course.
Prerequisites: CR 321, CR 322
Glass
CR231A&B
Introduction to Glass Blowing
3 hours, once a week
1 .5 credits/semester: fall and spring
Hot working molten glass at the furnace. Through
demonstrations, assignments, and tutoring by the
instructor, the students are guided toward mastery
in off-hand blowing.
CR231A&B
Introductory Glass
6 hours, once a week
3 credits/semester: fall and spring
Glass is considered as an expressive and creative
medium. Students work with molten glass in off-
hand blowing techniques and with flat glass in
stained-glass techniques.
CR331A&B
Advanced Glass
6 hours, once a week
3 credits/semester: fall and spring
Glass is considered as an expressive medium, and
development toward a personal style is encour-
aged. Students work with hot glass in advanced
off-hand work, blowing into molds, casting, and
enameling, as well as advanced stained-glass
work incorporating blown and cast pieces on two-
and three-dimensional stained-glass problems.
Prerequisite: CR 231
Jewelry/Metals
CR241A&B
Introduction to Jewelry Making
6 hours, once a week
3 credits/semester: fall and spring
The student is asked to explore notions of jewelry
and body adornment as means of personal expres-
sion. Projects range from precious jewelry making
to adornment that extends into performance. Ba-
sic goldsmithing skills are taught as essential,
while three-dimensional sketching and experi-
mentation in mixed media is encouraged. Suc-
cessful integration of design, material, and pro-
cess is the goal. Projects are designed to provide
students with broad exposure to the many possi-
bilities inherent in jewelry and ornament as re-
lated to the human form.
CR242A&B
Introduction to Metalsmithing
6 hours, once a week
3 credits/semester: fall and spring
Metal is an extremely versatile material; though
hard and durable, it is quite malleable and easily
worked. This course covers direct working of
metal. Sheet, wire, bar, and rod are given form by
hammering, seaming, bending, etc. The majority
of work is done in bronze, brass, and copper,
though steel, stainless steel, aluminum, and pre-
cious metals may be used as well. Given that
basic technical knowledge is a key to the full
development of ideas, emphasis is on basic hand
and machine processes conveyed through orga-
nized, comprehensive technical information. The
focus of the course is on the possibilities of metal
for the contemporary artist. Contemporary issues
addressed include the object as sculpture, process
as a source material, the importance of surface
and detail, and functional objects made by artists.
CR243A&B
Jewelry Rendering and Design
3 hours, once a week
1 .5 credits/semester: fall and spring
Students will explore two-dimensional pencil
and gouache techniques effective in creating the
illusion of finished pieces of jewelry. Emphasis is
placed on the skill development necessary to
communicate and evaluate ideas prior to making.
Presentation and development of a portfolio are
an integral part of the course.
CR245A&B
Metals Technology
1.5 hours, once a week
1 .5 credits/semester: fall and spring
A lab, lecture, and demonstration course investi-
gating the theoretical, practical, and physical
properties of metals and other materials as they
relate to methods of construction, forming, and
finishing. Maintenance of related tools and
equipment will be studied.
CR247A&B
Blacksmithing
3 hours, once a week
1 .5 credits/semester: fall and spring
Blacksmithing is both spontaneous and self-
conscious. The objects thus created embody the
calculated mystery of its creation. Although the
processes are simple, by their nature they require
a great deal of discipline and control. Group and
individual projects will be assigned during the
semester which should allow the students to
satisfy their creative and technical needs.
CR248A&B
Introduction to Jewelry and Metalsmrthing
3 hours, once a week
1 .5 credits/semester: fall and spring
Jewelry and Metalsmithing are presented as
vehicles for individual expression. Emphasis is
placed on mastering basic metalworking skills:
soldering, forming, riveting, stone setting, and
finishing. The student is exposed to contemporary
attitudes in jewelry and metalsmithing and asked
to develop his or her own approach using the tech-
niques covered.
CR249A&B
Enameling
3 hours, once a week
1 .5 credits/semester: fall and spring
Enameling is the art of firing colored glass onto
metal. The transparent, opaque, and opalescent
enamel colors are layered to produce incredible
richness, detail, depth, and brilliance in this
durable and painterly medium. Students learn
traditional techniques such as cloisonne, grisaille,
and champleve, as well as contemporary and ex-
perimental processes. Once they have gained a
facility with the medium, students go on to pro-
duce jewelry or small jewel-like paintings.
CR341A&B
CR342A&B
Intermediate Jewelry and Metalsmithing
6 hours, twice a week
6 credits/semester: fall and spring
Continued development through more advanced
metalworking processes is coupled with refinement of
skills and ideas. This increased versatility provides
potential for greater individual expression and aids the
student in formulating personal goals.
Prerequisites: CR 241, CR 242
CR441A&B
CR442A&B
Advanced Studio: Jewelry and
Metalsmithing
6 hours, twice a week
6 credits/semester: fall and spring
This final year course is devoted to mastery of
metalworking skills and the search for unique and
appropriate application. A student's personal
expression finds focus in the senior thesis, an
opportunity for in-depth exploration of an individ-
ual's concept and technology.
Prerequisites: CR 341, CR 342
49
Wood
CR261A&B
Introduction to Woodworking
6 hours, once a week
3 credits/semester: fall and spring
An introduction to basic woodworking skills and
processes, including sharpening and setting up
hand tools and machinery, theory of solid wood
joinery and construction. In addition to building
technical skills, there is emphasis on exposing
students to contemporary and historical furniture-
design issues.
CR361A&B
CR362A&B
Intermediate Woodworking
6 hours, twice a week
6 credits/semester: fall and spring
The junior year is a further investigation of
techniques, processes, joinery, and structure. Strip
lamination, tambour, and drawer work will be
covered along with assignments that deal with
surface, form, color, and content.
CR364
Wood Technology
1.5 hours, once a week
1 .5 credits/semester: fall and spring
A two-semester lecture-demonstration course that
deals with shop procedures including the funda-
mentals of machine- and hand-tool alignment, tool
sharpening, and maintenance; the structure and
design requirements of wood as a material deal-
ing with humidity, appropriateness of different
adhesives, glues, finishes, fasteners, etc.; and the
setting up of a woodworking business.
CR461A&B
CR462A&B
Advanced Woodworking
6 hours, twice a week
6 credits/semester: fall and spring
Intensive work in personal development is handled
on a one-to-one basis with instructor. Students
continue to develop their aesthetic vision and
technical skills while working on projects that
challenge their preconceptions and notions about
making art. furniture, and decorative objects.
Design
Architectural Studies
AS 101
Design Studio
Freshman Elective
3 hours, once a week
1 .5 credits/semester: fall and spring
Introduction to the study of architecture as it
manifests itself in an articulate materiality and in
problems of interpretation.
AS 202 A
Building Technology I: Structure
3 hours, once a week
1 .5 credits/semester: fall
A nonquantitative approach to the behavior of
structures. Identification of the various character-
istics and reactions due to the development of
stresses generated primarily in determinate
structures.
AS 202 B
Building Technology I: Construction
3 hours, once a week
1 .5 credits/semester: spring
Methods and materials of construction. Investiga-
tion of wood, masonry, concrete, and steel
construction.
Prerequisite: AS 202 A
AS210A&B
Design Studio
6 hours, twice a week
6 credits/semester: fall and spring
Vico's understanding that man first defines dwell-
ing in a poetic sense is the point of departure for
a series of problems intended to familiarize the
student with the more active thread of meaning
that has coursed through architecture. Emphasis
is upon the realization of projects in the form of
models and drawings — a coming to terms with
design in its more profound sense.
AS 214 A
Drawing I
3 hours, twice a week
3 credits/semester: fall
Investigation into various accepted techniques of
architectural delineation — plan, section, axono-
metric — in order to prepare the student for an in-
depth questioning of the various meanings implied
in their use. Not merely a drafting course, the
intention is to define the ground upon which think-
ing finds its limits in drawing and vice versa.
AS 214 B
Drawing I
3 hours, twice a week
3 credits/semester: spring
Techniques for "seeing" architecture will be
investigated in order to uncover the limits as well
as more relevant meanings of various types of
drawing.
AS 302 A
Technology II: Construction
3 hours, once a week
1.5 credits/semester: spring
Continuation of Construction I with emphasis on
masonry and steel construction systems. A study
of the principles of construction in terms of materi-
als and assemblies used in the following systems:
the structural system, the building envelope, and
the interior systems. Issues of joints, connecting
assemblies, and construction sequence will be
studied in large-scale detail. Emphasis will be on
the interaction between the pragmatic and the
expressive issues involved in the design of con-
struction details.
Prerequisite: AS 202 B
AS 302 B
Technology II: Environmental Control
Systems
3 hours, once a week
1 .5 credits/semester: spring
An examination of mechanical systems, compo-
nents, and materials used to control and affect
interior/exterior environment. Integration of envi-
ronmental control systems in design process.
AS310A&B
Design Studio
6 hours, twice a week
6 credits/semester: fall and spring
An extension of those values established in the
sophomore year, this studio's focus shall be the
isolation of tendencies and interests exhibited in
the previous year. With the emphasis upon the
physical realization of projects, the work will be an
in-depth search through tne context and implica-
tions surrounding a given topic. The goal is to find
the specific content that will point to that area
outside of mere topic or idea.
AS 314
Drawing II: Contract Documents
3 hours, twice a week
3 credits/semester spring
Instruction in and production of a complete set
of documents for construction.
AS 320
Case Studies in Architectural History
6 hours, once a week
3 credits/semester: fall
An in-depth study documenting, analyzing, and
interpreting major works of architecture.
50
AS402A&B
Technology III: Structural Design
3 hours, once a week
1.5 credits/semester: fall and spring
Statics and strengths of materials. Technology III
is recommended for those who wish to go on to
graduate school for their professional degree.
AS410A&B
Design Studio
6 hours, twice a week
6 credits/semester: fall and spring
Development of mature work as both an extension
and synthesis of previous years' work. Spring
semester: fall semester students are asked to
submit a proposal for their graduation project for
approval.
AS 414
Drawing II
AS 420
Advanced History/Theory of Architecture
3 hours, once a week
1 .5 credits/semester: fall
Investigation of selected topics in architectural
theory. Guest lecturers.
AS 430
Communications and Presentation Graphics
3 hours, once a week
1 .5 credits/semester: fall
Instruction and professional assistance in visual
communication techniques, with emphasis on the
development of portfolios, resume, and presenta-
tion methods. Working knowledge of existing
reproduction technologies.
AS600A&B
Architecture Seminar Workshop
3 credits each semester
Through readings in the history of architecture
and related fields, writing and drawing, students
undertake a series of analytical studies that inves-
tigate problems in representation, including its
relationship to spatial conceptions guiding the
creation of architecture.
The spring semester is a continuation of the
first semester's work to include current theories
and speculations within the framework of an in-
creased historical consciousness.
AS610A&B
Architecture Graduate Studio
6 credits each semester
Structured studio under the direction of assigned
instructor focusing on various rational and irratio-
nal design methodologies. Programmatic defini-
tion is investigated through a series of projects
researching the relationship between architecture
and its history as well as to other fields such as
literature, painting, geography, theater, music,
medicine, science, etc. The emphasis is on "mak-
ing" and processes that incorporate and embody
meaning. To this end students research the limits
of drawing, model making, and problems in repre-
sentation. A first-year review is required to
proceed through the program.
AS700A&B
Architecture Seminar Workshop
3 credits each semester
The focus of this semester is on preparation of
a written document as a program defining the
proposal for the Master's Project.
The spring semester seminar workshop covers
contemporary issues in architecture in light of the
work being developed in the design studio.
AS710A&B
Architecture Graduate Studio
6 credits each semester
Independent work under the supervision of an
architecture advisory committee leading to a
completion of a Master's Project.
AS 999
Independent Study
1.5-3 credits
Graphic Design
GD105
Graphic Design Projects
3 hours, once a week
1 .5 credits/semester: fall or spring
This course is designed to introduce Foundation
students to a selected aspect of the graphic design
discipline. The classwork begins with directed formal
studies and leads to an introductory communication
project. Emphasis will be placed on the craft and work-
ing habits of the student, as well as the breadth and
depth of the student's individual visual investigations.
The student is offered an opportunity to measure his or
her suitability to the Graphic Design major. Past topics
have included color, drawing, and typography.
GD210
Letterform Design
6 hours, once a week
3.0 credits/semester: fall and spring
In the first semester, the emphasis is on freehand
drawing of letterforms in various media and scale.
The development of the Roman alphabet is explored
through study of hand-drawn letters and later in print-
ing types. The second semester emphasizes precision
and clarity in individually designed letterforms and
sets of letterforms. The semester concludes with an
introductory communication piece based upon letter-
form design. The course is instrumental in developing
subtlety of optical relationships, therefore the use of
mechanical aids throughout tine course is discouraged.
GD211
Descriptive Drawing
6 hours, once a week
3 credits/semester: fall and spring
A freehand drawing method teaches the student
consciously to observe, analyze, understand, and
represent the underlying structure and form of
man-made and natural objects. In the process a
visual vocabulary of line, shape, value, texture,
and its spatial organization is developed as a
means of research and invention. Logical repre-
sentation rather than personal expression is
emphasized.
GD213
Design Systems
6 hours, once a week
3 credits/semester: fall and spring
This class is utilized as an intensive laboratory
to investigate the formal aspects of composition,
organic and geometric form, color, symbolic draw-
ing, craft, and the processes of conception, all
based in a serial format. All assignments are
founded on directed and playful investigation to
train the student in the areas of selection and
visual logic.
GD300
Drawing for Graphic Processes
6 hours, once a week
3 credits/semester: fall
This course emphasizes perceptive observation of
man-made objects. The student studies the form
and surface qualities of an object as described by
light, and through a conscious selection of
observed information and its translation evolves a
more significant visual symbol of the object.
GD302
Materials and Processes
3 hours, once a week
1.5 credits/semester: fall
A course that utilizes various design projects to
explore and perfect techniques for crafting visual
images for reproduction. Extensive use of the
Macintosh computer will be explored using Page-
maker, Illustrator and other software. Mechanicals
will be executed in a hands-on manner.
GD303
Production Seminar
3 hours, once a week
1.5 credits/semester: spring
A course to familiarize the student with the techni-
cal aspects of graphic reproduction, services,
processes, and their specifications through actual
design projects. Includes field trips. Use of the
Macintosh computer system is emphasized.
GD306A&B
Typography Emphasis
6 hours, once a week
3 credits/semester: fall and spring
The study and investigation of typographic prin-
ciples is related to communication needs. Explora-
tion is directed toward determining visual hierar-
chy through typographic grammar and structure as
well as examining its expressive potential.
51
GD310
Photographies
6 hours, once a week
3 credits/semester: fall or spring
This course emphasizes design as a way to achieve
both structure and meaning in photography, and as a
way to extend the range of how objects can be seen
and translated using photographic processes. Projects
include the integration of graphic, typographic, arid
photographic elements as a preparation for applied
communications. Involves extensive studio and dark-
room work.
Prerequisite: PF 21 1 A to Photography
GD311
Communications
6 hours, once a week
3 credits/semester fall and spring
This course concentrates on developing an under-
standing of formal relationships and how to use
them to create visual impact and clarity while
solving simple communications problems. Inven-
tion, intuition, and discovery are combined with
logical thought and thorough preliminary research.
Special attention is given to refining the student's
perceptual abilities, hand skills, color sensitivity,
and the integration of other media.
GD313
Color Studies
6 hours, once a week
3 credits/semester: varied semesters
Study of color concepts developed deductively
from nature and inductively by programming
relationships based on the primary attributes of
color: temperature, intensity, and value. An appli-
cation, in which color is the central feature of a
communication, evolves from the studies. Diverse
media, two- and three-dimensional contexts.
GD316
Drawing Applications
6 hours, once a week
3 credits/semester: spring
Drawing, as a primary design tool, enables the
student to develop pictorial images (signs) that
serve as means for representing and communicat-
ing ideas, feelings, and information about a sub-
ject. The course culminates in an application using
drawing, color, and typographic form.
GD322
3-Dimensional Design
6 hours, once a week
3 credits/semester: varied semesters
An elective course exploring the design of mes-
sages in spatial environments ranging from pack-
age design to exhibitions. Photography plays an
important part of this process.
GD411A&B
Design Studio
6 hours, once a week
3 credits/semester: fall and spring
Wide-ranging explorations of questions concern-
ing visual identity and programs of intercon-
nected, diverse applications. Supportive studies in
semiotics, information theory, and research meth-
ods. The design of a professional portfolio is in-
cluded during the second semester. The emphasis
in both semesters is a self-generated degree
project, involving research, proposal, complete
design formulation and final presentation.
GD412A&B
Problem Solving
6 hours, once a week
3 credits/semester fall and spring
Approaches to solving communications problems
of diverse character and increasingly practical
application are developed in this course. It as-
sumes a high level of formal ability of the student
and places special emphasis on meeting time and
technical constraints as well as developing clear
and concise thought patterns.
GD426
Advanced Typography
6 hours, once a week
3 credits/semester fall and spring
This course addresses typography as both the
primary vehicle for the communication of informa-
tion and as a support to images. The formal
aspects of text are investigated: spacing, scale,
form, legibility, meaning/information, and hierar-
chy. The Macintosh computer will be a tool
explored during this course.
Illustration
IL200A&B
Pictorial Foundations
6 hours, once a week
3 credits/semester: fall and spring
Introduction to drawing and painting skills as they
relate to illustration. Objective visual perception,
clarity in drawing, and technical facility are
stressed. Continuing slide lectures expose the
student to applicable areas of art history. Also
presented are methods of research and develop-
ment useful in creating illustrations.
IL201
Drawing as Design
6 hours, once a week
3 credits/semester: fall or spring
Drawing will be viewed in the context of traditional
design principles-composition and use of space, con-
trast focus, positive/negative relationships, texture,
and the like will be considered in the construction of
drawings from observation as well as invention. A
holistic approach to all aspects of making a drawing
will be the primary focus.
IL202A&B
Figure Anatomy
2 hours, once a week (lecture)
4 hours, once a week (drawing lab)
3 credits/semester: fall and spring
Focus on the investigation and application of line,
plane, mass, light and shade, shadow, perspec-
tive, anatomy, and proportion as they relate to
figure drawing. Weekly sessions include a lecture,
demonstrations from the skeleton, and drawing
from life.
IL204
Typography
6 hours, once a week
3 credits/semester fall or spring
Beginning studies in the form, use, nomenclature,
and history of typography. Individual letters, word
formations, text arrangements, and the application
of type to simple communication exercises. Hand-
drawn as well as mechanically generated
letterforms will be used.
IL206A&B
Materials and Techniques
3 hours, once a week
1 .5 credits/semester: fall and spring
This workshop emphasizes the development of
traditional and contemporary media. Classwork,
demonstrations, museum visits, and lectures will
support development in a variety of media —
pencil, ink, watercolor, collage, markers, airbrush,
graphic materials, and others will be considered.
IL300A&B
Illustration Methods
6 hours, once a week
3 credits/semester: fall and spring
This course deals with the development of narra-
tive imagery, pictorial illusion, and space, and their
combined potential for communication. Procedures
focus on developing visual awareness, personal
imagery, and conceptual directions. Direct drawing
situations and photographic reference (existing or
student-produced) will also serve as source mate-
rial for pictorial development. Various media and
technical procedures will be explored. Assign-
ments and lectures will focus on the requirements
of applied illustration.
IL301
Design Methods
6 hours, once a week
3 credits/semester: fall or spring
Further development of the design process in
conjunction with the requirements and options
available through photomechanical techniques.
Projects will deal with image/typography relation-
ships and will be presented for their intrinsic
design interest as well as being useful as vehicles
for understanding the processes of commercial
reproduction. Previous photographic and indirect
image-making experiences will be continued and
built on at this level.
IL302
Figure Utilization I
3 hours, once a week
1 .5 credits/semester: fall
Work from life is combined with work from a wide
range of resources. Composing figures in rational
space with a convincing relationship to the envi-
ronment is stressed. Drawing and painting media
will be examined. History of poses, contexts, and
pictorial conventions will be discussed.
52
IL303
Figure Utilization II
6 hours, once a week
3 credits/semester: spring
Studies of the figure in narrative contexts will be
explored, as will work from single and grouped
models, nude and costumed. Concentration will be
on developing compositions and concepts from
different and often combined resources. Drawing
and painting techniques will be utilized.
IL304
Design Groups
6 hours, once a week
3 credits/semester: spring
Course focuses on sequential formats. Potential
areas of inquiry include brochures, direct-mail
pieces, simple animations, slide presentations,
multipage spreads, and identity programs.
IL310
Children's Book Illustration
3 hours, once a week
1 .5 credits/semester: fall and spring
This course is concerned with the design and illus-
tration of children's trade books. The emphasis is
on the stages of development of a book from
manuscript through dummy design to finished* art.
Professional practice, working with editors and art
directors, will be discussed. Students will become
familiar with the work of past and present book
illustration and design. Guest lecturers will be
invited to share their experiences with the class.
IL4O0A&B
Illustration
6 hours, once a week
3 credits/semester: fall and spring
Assignments revolve around specific areas of
illustration — advertising, book, documentary,
editorial, and institutional. Emphasis is on solu-
tions, both practical and relevant, to professional
needs and demands. A senior thesis project (com-
peting for Ely awards) will be incorporated in the
spring semester.
IL401
Graphic Problems
6 hours, once a week
3 credits/semester: fall and spring
Previous design experiences in process and tech-
nique are synthesized and applied to practical
problems. A variety of traditional formats — post-
ers, book and record jackets, folders, and the like
— will be explored.
IL402A&B
Communications Workshop
6-12 hours, once a week
3 or 6 credits/semester: fall and spring
Structured as an actual studio, the workshop will
produce visual material for a variety of clients.
Admission to the workshop will be by portfolio
review with a maximum of sixteen participants to
be selected.
IL403
Portfolio Seminar
3 hours, once a week
1 .5 credits/semester: spring
This course is involved with identification of
personal style, professional presentation (portfo-
lio, letterhead, business cards), and techniques of
promotion. Each student is expected to develop
a portfolio based on existing and recommended
projects. Guest lectures on a variety of topics.
IL999
Independent Study
3-6 hours
1.5-3 credits/semester: fall and spring
An independent course of study dealing with a
particular issue of interest to the student and a
faculty member. Prior approval by the chairperson
required.
Industrial Design
ID 113
Freshman ID
1.5 credits
ID 200
Studio 1: Projects
6 hours
3 credits
ID201A&B
Conceptual Drawing
3 hours, once a week
1 .5 credits/semester: fall and spring
A drawing class concerned with the processes of
getting ideas from one's head onto paper. The
course is structured with the Design, Craft, or
Illustration student in mind — those who would
wish to explore dimensional forms on paper be-
fore transferring them to a permanent material.
A one-semester course.
ID210A&B
Processes
6 hours, once a week
3 credits/semester: fall and spring
The exploration and study of the "hard" and "soft"
information processes that are used by designers.
Various problem-solving techniques are introduced
and implemented. Emphasis is placed on the written
word as a method of communication. Several short
research papers are required. The student is given a
grounding in basic technology and science, including
wood, metal and plastic technology, optics, mechan-
ics, basic electronics, and energy systems.
ID211A&B
Visual Languages
6 hours, once a week
3 credits/semester: fall and spring
The study and application of the language and
visual systems that are used by designers to deal
with the concerns and problems among people,
technology, and the environment. Two- and three-
dimensional concepts are combined with form,
drawing, and graphic skills while studying meth-
ods of practical application.
ID213A&B
Design Methods
6 hours, twice a week
3 credits/semester: fall and spring
A course combining the teaching of the "tools" of
designer mechanical drawing, perspective draw-
ing, basic shop techniques, and model making.
Field trips are taken to industrial manufacturers to
acquaint the students with advanced production
methods.
ID 220
Studio 2: Techniques
6 hours
3 credits
ID 280
Technical Communication
1.5 credits
ID 230
Design Seminar
1 .5 credits
ID 300
Studio 3: Projects
6 hours
3 credits
ID301A&B
Design Seminar
3 hours, once a week
1 .5 credits/semester: fall and spring
A forum for the discussion and study of current
ideas within the design field. Presentations are
made by the staff and guest lecturers.
ID 302 A
Visual Techniques
3 hours, once a week
1 .5 credits/semester: fall
This course will develop proficiency in the use
of mixed media as a means of making effective
forms in drawing. Drawing techniques will be
developed for precise descriptions of surface,
color, and material using pastels, markers,
prismacolor, and other designer's materials. The
student will also learn to make effective portfolio
presentations.
ID 302 B
Presentation Techniques
3 hours, once a week
1 .5 credits/semester: spring
The use of photographic, video, and advanced
digital media, including scanners, paint programs,
and animation, augmented as appropriate with
traditional media, in the design of product presen-
tations. Instruction in the art of organizing the
presentation of information to convey the under-
standing of a design to particular audiences.
Prerequisite. ID 302A, Visual Techniques
53
ID303A&B
Industrial Materials and Processes
3 hours, once a week
1 .5 credits/semester: fall and spring
Films, lectures, and field trips are used to familiar-
ize students with industrial fabrication processes
for wood, metal, and plastics; techniques such as
die making, injection molding, blow molding, laser
cutting, explosion forming, etc., are explored.
Emphasis is placed on the study of material char-
acteristics and their appropriate use with forming
methods.
ID 304
Package Design
3 hours, once a week
1.5 credits/semester: fall and spring
This course complements the existing typographi-
cally oriented graphics course with one that ad-
dresses creative packaging concepts, production
processes and the graphic communication of prod-
uct information through good packaging design.
ID 310 A SB
Design Studio
3 hours, twice a week
3 credits/semester: fall and spring
This studio teaches the day-to-day practices of
being a designer. Covers theory and methodology
applied to designing for mass production. Many
projects are conducted with the help of consult-
ants from industry. Problems include the consider-
ation of human needs, packaging, manufacturing
processes, and marketing.
ID311A&B
Graphic Design
3 hours, once a week
1 .5 credits/semester: fall and spring
An intensive workshop in the structuring of visual
and typographic information as applied by the
industrial designer to products, packaging, corpo-
rate identity, stationery, signage, and exhibits.
ID312A&B
Exhibit Design
3 hours, once a week
1 .5 credits/semester: fall and spring
The exploration of the exhibit design process; the
collection of information, planning, traffic flow,
display, and communication techniques. Exhibit
design requires the extensive use of all the
designer's skills.
ID 320
Studio 4: Techniques
6 hours
3 credits
ID 326
Human Factors
3 hours, once a week
1 .5 credits/semester: fall and spring
A study of human-engineering principles for the
design of products and equipment used by people.
The first half of the semester focuses on human
anatomy, anthropometrics, and the motion and
strength of body components. The second half
explores the sensory systems, human perception
and sensitivity. During the semester, the lectures
are complemented with laboratory experiments
designed to teach students methods of testing and
evaluating their own product design concepts.
ID 390
Design Seminar
1.5 credits
ID 400
Studio 5: Projects
3 credits
ID401A&B
Industrial Design Seminar
3 hours, once a week
1 .5 credits/semester: fall and spring
A forum for the discussion and study of current
ideas within the design field. Presentations are
made by the staff and guest speakers. The course
requires a term paper concerned with the issues
considered.
ID 402
Advanced Design Workshop
3 hours, once a week
1.5 credits/semester: fall and spring
A workshop where each student deals with
problems of an advanced nature of his/her own
choosing.
ID 407
Computer Aided Design
3 hours, once a week
1 .5 credits/semester: fall and spring
Instruction and self-guided tutorials in the use of
the Macintosh II computer as a tool for 3-dimen-
sional design, product modeling, and presenta-'
tion. Previous coursework in computer studies is
recommended.
ID410A&B
Senior Design Studio
3 hours, twice a week
3 credits/semester: fall and spring
Focused on raising the levels of design skill and
knowledge to the professional level, the senior
studio places increasing responsibility on the
student to rethink, improve, and supplement previ-
ous work in preparation for entering the profes-
sion. The final semester is devoted to an industry-
sponsored thesis project in which the student
obtains sponsorship, organizes, manages, and
realizes a project in near professional circum-
stances.
ID411A&B
Portfolio Preparation
3 hours
1.5 credits: fall and spring
Instruction and guidance in the preparation of
professional stationery, resume, portfolio, and
slide presentation.
ID412A&B
Exhibit Design
3 hours, once a week
1 .5 credits/semester: fall and spring
The exploration of the exhibit design process; the
collection of information, planning, traffic flow,
display, and communication techniques in archi-
tectural space, requiring the extensive use of all
the designer's skills.
ID 422
Advanced Technologies
3 hours, once a week
1.5 credits/semester: fall
Through a series of lectures, video tapes, and field
trips, students are introduced to the technologies
and inventions responsible for state-of-the-art
mobile robots, electronic media, and smart appli-
ances. The basic principles of electro-mechanics,
sensors, micro-processors, systems integration,
electronic packaging, and user interface are
examined through hands-on investigation. Each
student selects an automated appliance to exam-
ine in detail and prepares a graphic report that
illustrates the way the product works.
ID 423
Automated Appliance Design
3 hours, once a week
1 .5 credits/semester: spring
Innovative and futurist thinking is the focus of this
course. Students select a functional activity that
will take place in the houses of the future. These
activities could include: food storage, food prepa-
ration, cleaning, care of clothing, or personal
hygiene. The selected activity will be researched
and concepts presented utilizing automation tech-
niques, innovative processing or robotics to create
a new generation of effort-saving appliances.
Current and future approaches to these activities
will be reviewed in detail with lectures on hydrau-
lics, pneumatics, thermodynamics, composite
materials, controllers, communication, and chemi-
cal processing.
ID 490
Design Seminar
1 .5 credits
ID 999
Independent Study
3-6 hours
1 .5-3 credits/semester: fall and spring
An independent course of study dealing with a
particular issue of interest to student and one or
more faculty. Prior approval by the chairperson
required.
Museum Exhibition Planning and Design
ME500A&B
Museum Course
3 credits
A lecture course exploring the history, organiza-
tion, and operation of the museum as a cultural
institution, an economic entity, and a management
enterprise. Frequent guest speakers will bring a
wide range of knowledge and practices from their
respective institutions to provide the student with
insight into the functional differences between
museums of different types, sizes, and missions.
The course is intended to provide students with an
overall understanding of the museum as an insti-
tution and to provide access to the thinking of
various people responsible for running museums,
departments within museums, and activities
within the department of museums. All institu-
tions which actively sponsor an internship will
provide speakers for this course.
54
ME 610 A &B. ME 710
Museum Exhibition Design Studio
6 hours, twice a week
6 credits/semester: fall and spring
This studio course is the primary vehicle for explor-
ing museum exhibition design and presentation
concepts, for developing skills and techniques in
museum exhibition design, and for developing
the ability to organize and produce outstanding
exhibits that clearly communicate their intended
messages to diverse audiences. The intent of the
course is to educate the student in the conceptual-
ization, researching, organization, design, produc-
tion and evaluation of museum exhibits and pre-
sentations through direct problem solving
experience under tutorial guidance in a studio
environment. Exhibit programming, evaluatio'n,
and management methods applicable to a wide
range of museum situations will be explored-often
with input from museum professionals to simulate
the circumstances and issues of actual museum
work. The structuring and presentation of informa-
tion through design using different state of the art
media, display systems, and presentation tech-
niques will be accomplished in the studio.
ME 621
Environmental Graphics
3 credits
A studio course focusing on the writing, typo-
graphic layout, and production of descriptive
labels, signage, graphic images, and other infor-
mation that document and define an exhibition,
message or message system in an environment.
The course will provide the student with an intro-
duction to the issues, skills and practices related
to the design and production of two dimensional
images used to convey meaning in a three dimen-
sional context. The phenomena of perception,
color, scale, and lighting as the effect type form
and imagery in three dimensional environments
will be introduced while the use of different tech-
niques for applying lettering and graphic images
to surfaces bounding and defining architectural
space will be explored.
ME 622
Media for Exhibition Communication
3 credits
A laboratory/workshop course focused on the
ways in which sound, video, computers and
robotic devices may be incorporated into museum
presentations of various types. The course will
provide the student with an introduction to the
issues, skills, and practices related to the design
and production of interactive communications
using electronic media and mechanisms. The
studio will introduce the organization, production
and production languages, touch screens, and
senors for the purpose of organizing an educa-
tional experience.
ME 623
Exhibition Materials and Technology
3 credits
A demonstration/visitation course directed at the
problems of exhibit production and the application
of different technologies to meet many types of
museum exhibition needs. The student will be
introduced to the range of suppliers and services,
including display fabricators, security system
providers and others, often through direct behind-
the-scene visitations and discussions with those
directly concerned. The course is intended to pro-
vide students with an introduction to the issues,
skills, equipment, information, resources, and
practices which define the correct use of the many
technological systems used in modern exhibit
design.
ME749A&B
Thesis Development
6 credits
An independent research or design project which
may take the form of a publishable document of
potential value to the profession of museum exhi-
bition design. The project may be carried out in
conjunction with the internship.
ME 759
Museum Internship
6 credits
The course will provide the student with super-
vised, practical experience doing actual exhibit
design in a museum environment. Designed to
bridge the summer between the first and second
year and to extend through the third semester of
the program, the internship is supervised jointly by
the Director of the MFA Program and the supervis-
ing official at the host institution. The internship is
structured to provide the student with a thorough
understanding of the practice of exhibit design
within the host institution, and is a practicum in
which the experience gained in the Museum Exhi-
bition Design Studio course is tempered by appli-
cation in the setting of an actual museum.
Fine Aits
Fine Arts Major
FA260A&B
Sophomore Fine Arts Studio/Seminar
3 hours, once a week
1 .5 credits/semester: fall and spring
A lecture/discussion course in which the structural
and expressive components common to two-
and three-dimensional arts are explored. Lecture/
discussions alternate with assigned problems in
which students utilize a wide variety of materials
and methods to form objects that confirm or ques-
tion the ideas addressed in the lectures.
FA460A&B
Senior Fine Arts Studio
6 hours, once a week
3 credits/semester: fall and spring
This is an issue-oriented course directed toward
individual development. A quarter of the time is
given to presentation and discussion of contempo-
rary issues, and the remaining time is given to
studio practice. Individual critiques supplement
the studio work. The development of the senior
thesis is also addressed in this course.
Photography/Film/Animation
PF20B
Photography for Industrial Designers
3 hours, once a week
1 .5 credits/semester
The goals of this course are the development of
the necessary skills to produce a slide portfolio of
extremely fine quality; to understand the role of
photography as a research tool in design, as well
as to learn how to put together a coherent visual
presentation of a design idea. After establishing
basic studio lighting techniques for two and three
dimensional objects, students will deal with the
problems of lighting an arhitectural model and
lighting in a non-studio setting. The semester will
culminate in a slide portfolio of the student's work
which will include a mock slike presentation of a
design idea.
PF210A
Introduction to Him I
6 hours, once a week
3 credits/semester: fall
An introduction to the mechanics and techniques
of silent filmmaking. Principles of shooting and
composition, lighting, the logic of arrangement,
and editing are explored. In addition to critique of
student work, selected screenings of outside work
of historical and critical significance form an im-
portant aspect of the course.
PF210B
Introduction to Film II
6 hours, once a week
3 credits/semester: spring
A continuation of PF 21 0 A with emphasis on more
experimental modes: timing, staging and blocking
exercises to develop a sense of direction, multiple
projections, and an introduction to sound concepts
and techniques.
Prerequisite: 210 A
PF211A
Introduction to Photography I
6 hours, once a week
3 credits/semester: fall
Introduction to basic concepts, processes, and
techniques of black-and-white photography,
including camera operation, exposure, darkroom
procedures, lighting, and their controlled applica-
tions. Emphasis is upon the normative standard of
photographic rendering. Required for admission
to Photography courses above PF 21 1 .
PF211 B
Introduction to Photography II
6 hours, once a week
3 credits/semester: spring
While consolidating the student's control of the
medium, this course introduces the student to a
departure from normative photographic rendering,
techniques, and modes of expression and form.
There is a heavy emphasis on manipulation of
materials.
Prerequisite: PF 21 1 A, or by portfolio inspection
55
PF212A
Animation Drawing I
6 hours, once a week
3 credits/semester: fall
Through a series of specific lessons centered
around drawing from the moving human figure,
the student is introduced to the kinesthetic sense
— a sense of motion, time, and space. Special
emphasis is placed upon the student's develop-
ment of responsibility for the dramatic aspects of
timing. Films are also viewed to enhance the
extensive drawing practice done in class.
PF212B
Animation Drawing II
6 hours, once a week
3 credits/semester, spring
While continuing with issues of animation draw-
ing from the fall semester, emphasis is placed
upon the development of a sense of dramatic film
structure, specifically centered around the issue of
pacing. This concern is developed through both
individual and class projects. Films are once again
screened in each class to enhance practice.
Prerequisite: PF 21 2 A
PF213
Photo Studio Techniques
3 hours, once a week
1.5 credits/semester
The goal of this is the development of the neces-
sary skills to produce a slide portfolio of extremely
fine quality. After establishing the basic studio
lighting techniques for two and three dimensional
objects, the student will deal with the lighting and
optical problems posed by the differing materials
of glass, wood, clay, metals, and fibers. While the
traditional photo studio is the backdrop for under-
standing the various lighting possibilities, much
discussion will take place regarding the use of the
artist's workplace or other equally appropriate
context for display of workpieces. The use of the
camera as a sketching tool will be addressed.
PF215
Photo Materials I
3 hours, once a week
1 .5 credits/semester: spring
A course acquainting students with both tradi-
tional and less traditional black-and-white and
color materials through experimentation with
films, papers, chemistry, and techniques. Linkages
between photography and other media such as
nonsilver, graphic arts and digital imaging pro-
cesses are explored.
PF216
Computer Animation I
3 credits
An introductory course in computer animation
required for Animation majors. Emphasis in this
course will be upon developing the student's
expertise with the Amiga computer and electronic
media.
PF217
Color Printing Workshop
6 hours, once a week
3 credits/semester: spring
Introduction to traditional methods of color print-
ing leading to an exploration of the technical and
creative possibilities of color in photography.
Prerequisite: PF 21 1 A, or by portfolio inspection
PF218
Creative Sound
6 hours, once a week
3 credits/semester: spring
An exploration of the creative use of sound as a
primary artistic medium. Topics include sound and
hearing, microphones and recording, tape editing
and manipulation, sound aesthetics and produc-
tion styles, voice and narration, signal processing
and sound manipulation, and production formats.
Through audio production projects, students will
gain insights into new ways of using sound, both
on its own and with other media.
PF228
Selected Topics (Animation)
6 hours, once a week
3 credits/semester: fall and spring
An exploration of media used in animation. The
content of each course offereing will reflect the
professional interests of the instructor.
Prerequisites: may vary with topic.
PF310A&B
Junior Cinema Production
6 hours a week
3 credits/semester: fall and spring
Production techniques in actual filming situations:
starting from the script through budgeting, script
breakdown, camera work, and editing, to the
finished release print. Students are expected to
execute specific assignments in lighting, editing,
and sound, and are introduced to synch-sound
procedures.
Prerequisites: PF210 A &B
PF311A&B
Junior Workshop (Photography)
6 hours, once a week
3 credits/semester: fall and spring
Exploration of photographic imagery through a
series of problems aimed at personal vision and
creative growth.
Prerequisites: PF 21 1 A & B, or by portfolio
inspection.
PF312A&B
Junior Animation Workshop
6 hours, once a week
3 credits/semester: fall and spring
Emphasis within the course is placed upon the
development of keen observation of movement
phenomena — motion in three dimensions,
complex and compound movement, phrasing of
movement, and issues of timing — and the ability
to translate these observations into sequential
drawings. Various skills and techniques are intro-
duced, including table-top animation techniques,
pixilla-tion, track reading for animation, and
rotoscopic methods. Special attention is placed
upon the integration of these skills and investiga-
tions toward the realization of a short personal
animated film.
Prerequisite: PF 21 2 A
PF313A&B
Basic Studio
6 hours, once a week
3 credits/semester: fall and spring
Introduction to studio techniques, use of the
4" x 5° camera, and artificial lighting, and color
transparency material.
Prerequisites: PF211A&B
PF314A&B
Junior Film Forum
3 hours, once a week
3 credits/semester: fall and spring
A study of the aesthetics of cinema through an
examination of the elements of film language and
film as a visual art. Specifically, the course is a
theoretical and practical inquiry into the ways in
which visual and aural elements are used to ex-
plore and produce artistic meaning, along with an
examination of the relationship between film and
the other visual arts.
PF315
Expaneded Photographic Applications
3 credits
A course emphasizing the linkages between cam-
era work, computers, and offset printing. Through
the use of electronic imaging, image editing, color
separations, traditional darkroom processes, and
printing processes, students will explore the tech-
nical, aesthetic, and ethical approaches to elec-
tronic imaging and photography.
PF316
Computer Animation II
3 credits
An advanced course in computer animation using
the Amiga computer and video. Emphasis in this
course will be placed upon the students personal-
ized exploration of animation and graphic model-
ing software.
PF320
Film Sound
6 hours, once a week
3 credits/semester: fall
Introduction to the application of sound in film
with instruction and practice in the use of sound-
recording equipment, mixers, sound transfer, edit-
ing, general techniques, and an introduction to the
ARP 2600 electronic synthesizer.
Prerequisite: PF210B or PF 21 2 B
PF322
Rim Technology
6 hours, once a week
3 credits/semester: spring
An examination of some of the technical materials
and procedures that complement the filmmaker's
production skills: basic electronics, optical print-
ing, on-line video editing, computer image pro-
cessing and mechanical skills. Projects in image/
sound relationships and alternative screening
formats are undertaken.
Prerequisite: PF210BorPF212B
56
PF323
Selected Topics (Photography)
6 hours, once a week
3 credits/semester: fall or spring
Study of one or more various media, methods, or
problems in still photography to be offered according
to the instructor's interests and students' requests.
Courses have covered areas such as: portraiture, docu-
mentary photography, digital imaging, color manipula-
tion, photographic illustration.
Prerequisites: may vary with topic.
PF410A&B
Senior Cinema Production
6 hours a week
3 credits/semester: fall and spring
Continuation of PF 310. Increased independence
is required of senior majors.
Prerequisites: PF 310 B, PF 320, PF 322
PF411A&B
Senior Workshop (Photography)
6 hours, once a week
3 credits/semester: fall and spring
Continuation of Junior Workshop; work on long-
term individual project or shorter-term problems to
develop technical, aesthetic, and conceptual mas-
tery of the medium.The course culminates in a
group thesis exhibition.
Prerequisite: 6 credits in Photography, including
PF 31 1 , or by portfolio inspection.
PF412A&B
Senior Animation Workshop
6 hours, once a week
3 credits/semester: fall and spring
Directed independent production of a short film
project in an idiom of the student's choosing, and
production of a VHS video portfolio composed
of several short animated sequences that each
student will be able to use to get work as either a
free-lance animator or for an animation company.
Prerequisite: PF 312 A&B
PF413A&B
Professional Practices (Photography)
6 hours, once a week
3 credits/semester: fall and spring
Study of the practice of professional photography,
with attention to various career opportunities,
portfolio presentation, business practices, profes-
sional ethics, photographic law, and personal
objectives. A variety of professional guests visit
the course.
Prerequisite: PF 313
PF 414 A&B
Senior Him Forum
3 hours, once a week
3 credits/semester: fall and spring
Selected topics dealing with specific issues in
film history, theory, and analysis.
PF415A&B
Senior Seminar (Photography)
3 hours, once a week
3 credits/semester: fall and spring
An analysis of contemporary criticism in photogra-
phy. Extensive reading and some writing with
attention to current showings and exhibitions are
required.
Prerequisite: permission of department
chairperson.
PF499
Practicum
3-6 hours, arranged
1 .5-3 credits/semester: fall and spring
An apprentice or intern program in which the stu-
dent is placed in one of several professional pho-
tographic situations. Placements include assisting
in professional studios, practice in biomedical
photography laboratories, and curatorial positions
in galleries, among others.
PF999
Independent Study
3-6 hours
1 .5-3 credits/semester: fall and spring
An independent course of study dealing with a
particular issue of interest to student and one or
more faculty. Prior approval by the chairperson
required.
Painting
PT202A&B
Sophomore Painting
9 hours a week
4.5 credits/semester: fall and spring
Studio work will introduce the student to the
elements of pictorial construction — form, color,
composition, and technique — through life-study
and project assignments emphasizing analysis,
perception, and pictorial imagination. Integration
of the technical aspects of painting and the inter-
pretations of meaning will be sought. Periodic
formal critiques and museum and gallery visits will
supplement studio activity.
PT219*
Watercolor
3 hours, once a week
1 .5 credits/semester: fall or spring
A course in which the preferred medium is trans-
parent watercolor, the particular characteristics of
which will be explored. Both perceptual and
nonperceptual approaches will be introduced.
PT224
Sophomore Drawing
6 hours, once a week
3 credits/semester: fall and spring
An introduction to the issues of drawing, including
perception, analysis, invention, and experimenta-
tion. A variety of thematic ideas, structural possi-
bilities, and imaginative interpretations will be
explored. Examples of historic and contemporary
masterworks will be shown.
PT225*
Figure Drawing
3 hours, once a week
1 .5 credits/semester: fall or spring
This course will consider issues of drawing that
focus on the human figure. Perennial qualities
associated with figure drawing will be investi-
gated as well as contemporary approaches. The
class will consider gesture, volume, spacial illu-
sion, tonality, and compositional and stylistic
responses. The students wil'l work with models in
the studio and with other source materials:
FT 226*
Abstract Drawing
6 hours, once a week
3 credits/semester: fall and spring
Studies in the diverse forms and processes of
abstraction. Using both improvisational and sys-
tematic methods, drawings will explore composi-
tional principles based on nature, chance, and
geometry.
PT237*
Representational Painting
6 hours, once a week
3 credits/semester: fall or spring
A studio course addressing contemporary atti-
tudes toward representational modes of painting.
Why do figurative paintings today look the way
they do? What are the sources, the premises, and
the processes that have generated the styles that
have emerged since 1945.
PT238*
Abstract Painting
6 hours, once a week
3 credits/semester: fall or spring
Two approaches will be considered — abstraction
as pictorial structure that interprets the concrete
world nonrepresentationally, and abstraction as
pictorial structure that graphically presents ideas
and emotions that have their genesis in other than
observed reality. Studio assignments will investi-
gate concepts, sources, and procedures. Examples
from traditional and contemporary art will be used.
PT240*
Materials and Techniques
3 hours, once a week
1 .5 credits/semester: fall or spring
This course will concern itself with the materials
and processes used in making pictorial works of
art. Information on the appropriate use of materi-
als, such as pigments and painting supports, will
be given and explored by the students. This course
will also delve into materials and processes to
create aesthetically significant surfaces.
PT241*
Color Studies
3 hours, once a week
1 .5 credits/semester: fall or spring
Studio work and independent projects will con-
sider the purposes and effects of color organiza-
tion, color perception, and color theory. Color will
be approached as emotive, symbolic, depictive,
and structural.
PT245*
Figure Drawing
3 hours, once a week
1.5 credits/semester: fall or spring
This course is based on the concept that drawing
and modeling are mutually supportive. Students
draw from the model using a variety of materials
and approaches. They model in clay. Emphasis is
placed on the exploration of intentions and con-
cepts, and the development of visual perception.
57
PT261*
Inter-Media
6 hours, once a week
3 credits/semester: fall or spring
The development of artworks that are realized
through the combination of diverse materials and
media.
PT264*
Mixed-Media
3 hours, once a week
1.5 credits/semester: fall or spring
A diversity of drawing and watercolor materials
and techniques will be explored, and used in order
to develop a versatile repertoire of drawing skills.
PT269*
Collage
3 hours, once a week
1.5 credits/semester: fall or spring
Projects will explore pictorial conventions through
the use of material collected and assembled by
the student and developed as elements of compo-
sition. Attention will be given to the history of
collage and its influence upon the methods and
meanings of painting.
PT302A&B
Junior Studio
12 hours a week
6 credits/semester: fall and spring
Studio activity that develops a professional work-
ing routine in the student, who will be encouraged
to show increasing personal initiative and direc-
tion. Regular critiques on both an individual and
group basis will connect the student to the values
of the past and the present, stimulate interest in
the major questions of our time, and provide
resources for progress. Visiting artists will be
invited to participate through lectures and studio
critiques.
PT324
Junior Drawing
3 hours a week
1 .5 credits/semester: fall or spring
An intermediate studio class continuing the
general concerns of FT 224. Required for majors;
open as an elective, space permitting.
FT 390
Junior Seminar
2 hours, once a week
1 .5 credits/semester: fall or spring
A lecture course on the nature and effect of various
theories of art. Emphasis is placed upon the meaning,
the imperatives, and the choices that are significant in
shaping the course of individual works and generic
movements in the history of painting.
PT402A&B
Senior Studio
12 hours a week
6 credits/semester: fall or spring
15 hours a week
7.5 credits/semester: fall or spring
Critical commentary will center on four areas
of concern:
1 . The character of the work — its formal
properties, its physical properties, aspects of
intelligibility.
2. Intentionality — investigation of motives and
choices.
3. Context — ways that a work relates to a larger
body of work, both generic and stylistic.
4. Quality — approaches to questions of value.
There will be individual critiques each week and
periodic group critiques involving the participation
of visiting artists.
FT 424
Senior Drawing
3 hours a week
1.5 credits/semester; fall or spring
Advanced drawing, specialized projects.
FT 490
Senior Seminar
2 hours, once a week
1 .5 credits/semester: fall or spring
This seminar will focus on pictorial art and its role
in culture, both in historic and contemporary
contexts. Issues surrounding the various purposes
of art and how culture deals with artists will be
explored. Emphasis will be placed on student
participation.
Courses marked * are open to all majors and
nonmajors.
Printmaking
PR 201
Relief Printing
6 hours, once a week
3 credits/semester: fall
Basic relief-printing methods, including linoleum
cut, woodcut, metal relief, cardboard cut,
collagraph assemblages, embossment, and re-
lated techniques will be introduced and explored.
PR 202
Screenprinting
6 hours, once a week
3 credits/semester: fall
Introduction and investigation of all basic methods
of serigraphy, for use with water-based inks: pa-
per stencil, resist, photosensitive emulsion, with
emphasis on acquisition of visual expression and
technical skills in the screenprinting media.
PR 204
Etching
6 hours, once a week
3 credits/semester: spring
Basic techniques in traditional and contemporary
etching, drypoint, aquatint, collagraphy,
photoetching, and possible combinations of them
are explored. Development of inherent qualities,
idiosyncracies, their application in the modern
modes of expression, and interrelationship of all
etching methods are investigated.
PR205A&B
Concepts I and II
3 hours, once a week
1 .5 credits/semester: fall and spring
Idea development, visual perception, and the orga-
nization of experience into compositions related to
printmaking. Primary concern is acquisition of
professionalism, applicational skills, group discus-
sions, and general growth of critical evaluative
abilities.
PR 206
Printmaking Workshop
6 hours, once a week
3 credits/semester: spring
A continuation of the development of skills in all
media — relief, intaglio, and screenprinting — by
concentration on one or any combination of them,
including nonprintmaking methods.
PR 211
Etching/Monoprint
3 hours, once a week
1 .5 credits/semester: fall and spring
Introduction to the basic methods in etching,
such as drypoint, aquatint, collagraph, and
photoetching.
PR212A&B
Lithography
3 hours, once a week
1 .5 credits/semester: fall and spring
Lithographic drawing and printing methods are
introduced and investigated in this autographic
medium. Students are encouraged to develop their
own ideas through this medium and explore it
with regard to their major field.
PR213A&B
Screenprinting
3 hours, once a week
1 .5 credits/semester: fall and spring
Basic stencil methods, such as paper, direct
photosensitive emulsion, and resist, for use with
water-based inks, are developed through
individual imagery.
PR 222
Nonsilver Printmaking Processes
3 or 6 hours, once a week
1.5 or 3 credits/semester: fall or spring
Building images in color with layers of brushed-on
light-sensitive emulsion. Light-resists can range
from photogram objects to drawings and paint-
ings, to film or paper negatives. Processes covered
are Vandyke brown, cyanotype, gum bichromate,
and palladium.
PR 223
Book Arts I: Bookbinding Methods
3 hours, once a week
1 .5 credits/semester: fall and spring
A workshop class familiarizing the student with
the characteristics and handling qualities of mate-
rials used in various book structures. Some of the
items covered include pamphlets, multisignature
books, clamshell boxes, portfolios, accordion
structures, and Oriental binding. Emphasis will be
placed upon both the use of conservationally
sound materials and the use of these structures as
vehicles for the students' creative expression.
58
PR 224
Book Arts: Structures
3 hours, once a week
1.5 credits/semester: fall or spring
Historical book forms serve as models as well as a
departure point for innovative new work. Students
are made familiar with traditional binding tech-
niques, encouraged to explore new applications
and to experiment by combining images and text
into unique book structures.
PR 300
Lithography
6 hours, once a week
3 credits/semester: fall
All of the basic techniques of drawing, image
making, and printing skills that are necessary to
produce hand-pulled, black-and-white lithographs
from stones or plates will be experienced.
PR 305
Advanced Relief Printing
3 hours, once a week
1.5 credits/semester: fall
More demanding methods of relief printing will be
introduced and cultivated. Wood engraving, en-
graving on plastic, color printing, and related tradi-
tional and contemporary methods will be pursued.
Special emphasis will be on the relief-printing
methods' affinity and compatibility to many other
methods, particularly intaglio and hand-set type.
PR306A&B
Print Study Seminar I and II
3 hours, alternate weeks
1.5 credits/semester: fall and spring
Study and discussion of original prints and rare
books from masters of the fifteenth through the
twentieth centuries; studio research into various
print processes that parallel the course.
PR307A&B
Book Arts II: Letterpress
3 hours, once a week
1 .5 credits/semester: spring
Introduces the basic organization of typographic
elements through hand composition (metal type)
and letterpress printing. Study invclves the
analysis and development of the printed page by
combining type and images.
PR 308
Advanced Lithography Workshop
3 or 6 hours, once a week
1 .5 or 3 credits/semester: spring
Further investigation and development of litho-
graphic image making, including photographic
techniques and multicolor printing. Editioned
prints of greater scope and complexity are under-
taken consistent with the student's interest and
experience.
PR 309
Advanced Etching
3 hours, once a week
1 .5 credits/semester: spring
Introduction of more advanced technology in etch-
ing than was considered in the previous semester
— messotint, engraving, blend, and viscosity
printing, as well as their interrelationships and
compatibilities; acquisition of necessary profes-
sional skills in handling these concerns; develop-
ment of perceptual and visual applications of the
peculiarly etching-related abilities to one's image
making.
PR 322
Advanced Nonsilver
3 or 6 hours, once a week
1 .5 or 3 credits/semester: fall or spring
Continued development of image and skills in
combinations of nonsilver processes.
PR 326
Offset Lithography
3 or 6 hours, once a week
1.5 or 3 credits/semester: fall or spring
A hands-on course which develops skills in print-
ing with offset press lithography for personal
imagery in both hand-drawn and photographic
methods.
PR 327
Advanced Offset Lithography
3 or 6 hours, once a week
1 .5 or 3 credits/semester: fall or spring
Continuation of printmaking in offset lithography:
advanced individual projects and production to
poster printing in this versatile medium.
PR 400
Printmaking: Advanced Workshop I
6 hours, once a week
3 credits/semester: fall
Students continue to develop their own style,
ideas, and technique while establishing their
direction and personal and original expression.
The workshop atmosphere permits a comfortable
handling of all procedures and problems in all
printmaking processes and possible involvement
with adjacent expressive means, such as drawing,
painting, sculpture, photography, crafts, etc.
PR 407
Thesis Seminar I and II
3 hours, once a week
1.5 credits/semester: fall and spring
Acquisition of a professional profile: portfolio
preparation, resume, slides, exhibition participa-
tion, discussions of works in progress. The pre-
graduation presentation of portfolio and the one-
person show as well as cultivation of awareness
of contemporary conditions and practices in the
field are among the primary concerns of this class.
PR 410
Book Arts III: Artists Books
3 hours, once a week
1.5 credits/semester: fall
The course offers experience in forming ideas
for combination of paper and printed surfaces in
book organization. The challenge of joining
printmaking, typography, and binding is explored
on an individual and experimental basis.
PR 412
Advanced Screenprinting
3 hours, once a week
1.5 credits/semester: fall
Continued investigations of this versatile medium
on an advanced technical and image level, includ-
ing printing on three-dimensional forms and
decals, with emphasis on integration of idea and
process.
PR 420
Printmaking: Thesis Workshop I and II
6 hours, twice a week
6 credits/semester: spring
Preparation of a series of prints and related draw-
ings for portfolio and exhibition presentation.
PR600A&B.PR700A&B
Book Arts/Printmaking Colloquium
1 .5 credits each semester
Professional practices and issues related to
printmaking, book and publication arts are
explored through discussions, lectures and field
trips.
PR 603
History of the Book
1.5 credits
Hands-on study of rare books and manuscripts
from antiquity to the present with discussions that
deal with the structural, historical and artistic
significance of the book. The class meets at the
Library Company of Philadelphia and other local
rare book collections.
PR617A&B
Type/Letterpress
1.5 credits/fall
3 credits/spring
The student learns to incorporate calligraphic,
handset or computer-generated letterforms with
images in unique and editioned books. Emphasis
is placed on proficiency in process and the cre-
ation of a personal visual language.
PR 618
Workshop: Color/Mark
1.5 credits
Provides the student with an opportunity to ex-
plore a broad range of image-making approaches.
The emphasis will be on mark making with a
number of instruments and media, the use of color
as a structural basis for composition, and the com-
positional and expressive use of letter forms.
PR623A&B
Bookbinding
1 .5 credits each semester
Basic book structures are explored in the first
semester with emphasis on sound conservation
techniques and good craftsmanship. In the second
semester historic book structures serve as models
and departure points for innovative bindings.
59
PR826A&B
Offset lithography
3 credits fall
1.5 credits spring
Offers the student hands-on experience with off-
set lithography as an artist's medium. The primary
focus is on the creation of personal imagery (pho-
tographic and/or hand drawn) for prints and books.
The course enables students to take advantage of
state-of-the-art production methods and develops
skills in photo-mechanical processes, platemaking
and color printing.
PR 710. PR 720. PR 725
MFA Project Type, Binding, Offset
1.5 credits each
The MFA candidate develops an individual course
of study and defines the number of projects in a
written contract. The evolution of ideas and imag-
ery is encouraged through frequent faculty and
visiting artist critiques.
PR 715
Graduate Studio
1.5 credits
Expansion of studio time for development of indi-
vidual candidates Book Arts/Printmaking projects
as defined in their contracts.
PR 741
MFA Thesis Studio
3 credits
Continuation of book and printmaking projects
combined with related visual concerns in prepara-
tion for the required MFA Thesis Exhibition to be
presented during the final semester.
PR 742
MFA Thesis Studio
3 credits
An independent studio format that allows for con-
sultation with major professors in preparation for
the required MFA Thesis Exhibition.
PR 999
Independent Study
3-6 hours
1.5-3 credits/semester: fall and spring
An independent course of study dealing with a
particular issue of interest to student and one or
more faculty. Prior approval by the chairperson
required.
Sculpture
SC201.SC202
Sculpture I (Forms, Composition, and
Methods)
6 hours, once a week
3 credits/semester: fall and spring
An introductory studio course on the fundamentals
of sculpture. The approach is through tactile and
visual perception with instruction in both tradi-
tional and contemporary form making in a variety
of materials and techniques. Sculptural issues
addressed are the recognition and construction of
space and form, axial relationships, movements,
scale, weight, balance, organic and geometric
qualities, modularities, transformations, and sym-
bolic meaning.
SC220A&B
Molding and Casting
3 hours, once a week
1.5 credits/semester: fall and spring
In the first semester, the course covers processes
and techniques utilizing plaster, rubber, plastics,
clays, and wax for making hard and flexible molds
and for casting sculpture in durable materials. The
second semester provides a thorough foundation
in foundry practices, including wax preparation,
investing, pouring bronze or aluminum, chasing,
finishing, and patinating finished metal casts.
SC231.SC232
Introduction to Figure Modeling
6 hours, once a week
3 credits/semester: fall and spring
Modeling from life for the beginner, stressing
direct observation, eye-hand coordination, and
depth discrimination. Both perceptual and concep-
tual skills are developed and fundamental studio
practices are taught, such as armature construc-
tion, clay utilization, and modeling techniques.
Works are fired in clay or cast in plaster.
SC241.SC242
Projects Studio: Introductory Studio
6 hours, once a week
3 credits/semester: fall and spring
An open studio oriented toward helping the devel-
opment of individual initiative. Stressed are how
ideas are transformed into sculptural statements
through aesthetic reasoning and the internal logic
of a sculpture's color, material, and physical con-
struction.
SC251.SC252
Theories of Structure (Seminar— Lecture)
1.5 hours, once a week
1.5 credits/semester: fall and spring
Lectures and discussions of various concepts and
philosophies of structure: mathematical, biologi-
cal, linguistic, perceptual, etc., and their implica-
tions to the definition of art.
SC260A&B
Structure of the Figure
6 hours, once a week
3 credits/semester: fall and spring
An anatomic and morphological analysis of male
and female bodies for artists through a three-
dimensional constructional method. Covered are
proportions, anatomic structure, surface topology,
morphological variation, and the body in move-
ment. This course is directed toward two-dimen-
sional artists as well as sculptors, and what is
stressed are the means by which the body's
salient features can be recognized from any view-
point in any pose.
SC301.SC302
Sculpture II (Attitudes and Strategies)
6 hours, once a week
3 credits/semester: fall and spring
A studio-criticism course that focuses on the issue
of artistic strategy as it applies to sculptural cre-
ation. Assignments given attempt to aid students
to recognize their own and alternative tendencies
through projects that are made to reflect attitudes
like expressionism, idealism, mathematical
systems, decoration, naturalism, etc.
Prerequisites: SC 201, SC 202
SC321.SC322
Carving
3 hours, once a week
1 .5 credits/semester: fall and spring
This course introduces the student to carving, one
of the basic methods of forming sculpture. Stu-
dents learn to prepare, maintain, and use the tools
of the carver. They will be introduced to the char-
acteristics of suitable carving materials. Emphasis
is placed on the exploration of the formal and
expressive potentials of cawed sculpture.
SC401.SC402
Sculpture III (Types and Modes)
6 hours, once a week
3 credits, semester: fall and spring
Terms like monumental, genre, narrative, emblem-
atic, environmental, etc., reflect the cluster of
types of sculptural imagery. This studio-criticism
course is concerned with the ideational and tech-
nical issues raised by various types of sculptural
imagery which are assigned in turn. What is
stressed in each case is the relationship that
sculptures have with the context they exist in and
the purpose they serve.
Prerequisites: SC 201, SC 202
SC421.SC422
Metal Studio
3 hours, once a week
1 .5 credits/semester: fall and spring
Form making in noncast metal sculpture has con-
tributed much to the history of sculpture, particu-
larly in the present, where the idiom has become
as familiar as carving and modeling. Concurrently
offering both basic and advanced technical
instruction in welding, forging, and other ferrous
metal techniques, this course is oriented to mak-
ing sculpture with iron or steel.
60
SC431.SC432
Advanced Figure Sculpture
6 hours, once a week
3 credits/semester: fall and spring
For students seriously involved with the figure,
this course provides an atelier to continue figure
modeling on increasingly advanced levels, and a
context to help formulate a personal figurative
sculptural idiom. Works are sculpted at various
scales, including life size, and independent
projects are undertaken in consultation with the
faculty. Critiques involving the meaning and sculp-
tural significance of the works are an integral part
of the ongoing class activity.
Prerequisites: SC 231 and SC 232, or by permission
SC441.SC442
Project Studio
6 hours, once a week
3 credits/semester: fall and spring
This course provides a studio context where
maturing self-initiated areas of concentration in
sculpture can be developed to fruition on an
advanced level. Whatever the direction, a critical
emphasis is placed through both open and devised
assignments on how materials and forms compat-
ible to personal statements are found.
Prerequisites: SC 241 or SC 242
SC 999
Independent Study
3-6 hours
1.5-3 credits/semester: fall and spring
An independent course of study dealing with a
particular issue of interest to student and one or
more faculty. Prior approval by the chairperson
required.
All Sculpture classes can be taken as studio
electives by nonmajors.
Art Therapy
AT 300
Introduction to Art Therapy
3 credits
Following a brief introduction to the field of art
therapy, students visit a variety of institutions and
are exposed to a wide range of disorders — intel-
lectual, physical, emotional, and social. The course
is developmentally oriented, starting with children,
followed by adolescents, adults, and the aged.
AT 301
Social and Group Process
3 credits
The focus of this course is on the understanding of
how individuals function as members of society,
as well as on the basic elements of group dynam-
ics. By helping students deal directly with group
behavior, this course enables them to understand
better themselves and the interactions of others.
AT 302
Theories and Techniques of Art Therapy
3 credits
An introduction to the examination of types of
mental and behavioral disorders as it pertains to
art therapy is presented, along with the general
theory and techniques used with the various
populations.
AT 303
Clinical Aspects of Art Therapy
3 credits
A weekly class with an art therapist held at the
Eastern Pennsylvania Psychiatric Institute of the
Medical College of Pennsylvania. This course
presents a survey of the field of art therapy in
practice through live interviews, films, literature,
and discussion.
AT 401
Senior Practicum
3 credits
A field-experience placement is arranged to
provide an opportunity for the student to become
acquainted and to work with a specific special
population. This clinical practicum is carefully
supervised by the Art Therapy faculty.
mi 483
Theories of Personality
3 credits
This course is concerned with the study of person-
ality, the patterns of behavior and predisposition
that determine how a person will perceive, think,
feel, and act. Psychoanalysis, behaviorism,
humanism, and existentialism are among the
theories explored.
Graduate Seminar
GR691A
University Seminar Structure and Metaphor
3 credits
A University-wide seminar in which graduate
students from various disciplines in the visual arts
examine theoretical issues in art and design. Top-
ics covered include the psychology of perception
and systems of organization, representation, and
expression.
GR691B
University Seminar Art and Society
3 credits
The second semester of the University Seminar
focuses on the place of art and the artist in
society.
GR791A&B
University Seminar Criticism
3 credits each semester
A two-semester seminar in which second-year
graduate students from various disciplines in the
visual arts further examine the nature of image-
making with particular attention to the theory and
application of criticism.
61
Philadelphia College of
Art & Design Faculty
Paul Adomo
Lecturer: Art Education
AB, Georgetown University
MSC, University of Pennsylvania
Experience: founder and first director of Bartram
High School for Human Services, an alternative
for humanizing high school education; trainer and
consultant for other alternative schools in the
Philadelphia area; consultant for National Com-
mission on Resources for Youth. Currently an
Instructional Support Teacher for the Priority One
Program, School District of Philadelphia.
Hans-Ulrich Allemann
Adjunct Professor: Graphic Design
Swiss National Diploma (MFA Equiv.)
School of Design, Basel, Switzerland
Exhibitions: Shows in Switzerland, Germany,
and USA
Awards: Swiss National Award for Applied Arts;
Typomundus Award; NY Type Directors Club
Award; AIGA Awards; Philadelphia Art Directors
Club Awards
Publications: Graphis; Print Magazine; ID Maga-
zine; Graphic Design USA; Type Directors Club NY
Annuals; Top Symbols and Trademarks of the
World, Deco Press Milano; Graphic Design Educa-
tion, ABC Edition.
Jack Andrews
Professor: Industrial Design
BID, Pratt Institute
Experience: Industrial designer General Motors
Styling Staff; Director Industrial Design, Center for
Creative Studies; Design director Samuel Yellin
Metalworkers, Co.; President Skipjack Press, Inc.
Awards: Walter Dorwin Teague, IDSA.-1967; NEA
Grant 1988; NEA Grant 1990.
Book: Edge of the Anvil, a resource book for black-
smiths.
Laurence Bach
Professor: Graphic Design
Chairperson: Graphic Design
BFA, Philadelphia College of Art
Allgemeine Gewerbeschule, Basel, Switzerland
Experience: instructor, State University of New
York — Purchase; Moore Col lege of Art; The
Aegean School of Fine Arts
Exhibitions: Zygos Gallery, Washington, DC;
Dolan/Maxwell Gallery, Philadelphia; Laurence
Miller Gallery, NY; Marian Locks Gallery,
Philadelphia; Wesleyan University; The
Photographic Center of Athens; Robert Samuel
Gallery, NY; Modernism Gallery, San Francisco;
The Photographers' Gallery, London; The
Neuberger Museum, NY
Grants: New York State Council on the Arts; Pola-
roid Corporation; National Endowment for the Arts
Awards: Art Directors Club Gold Medal
Eugene Baguskas
Associate Professor: Painting/Drawing
BFA, Yale University
Exhibitions: "Earth Art I & II." Philadelphia;
one-man show: Green Mountain Gallery; "In
Praise of Space," landscape painting in American
art; two-man exhibit, Gross-McLeaf Gallery,
Philadelphia; group show, Butcher-More Gallery,
Philadelphia; "Broad Spectrum," PCA Faculty
Show — Allentown Art Museum, Gallery at
University of Pittsburgh, and William Penn Memo-
rial Museum, Harrisburg; paintings in numerous
private and public collections; "Landscapes,"
Swarthmore College; "Drawings," Butcher-More
Gallery, Philadelphia; One Person Exhibit, Morris
Gallery PA Academy of the Fine Arts; Phila.
Museum of Art, "Art Now", Contemporary Art in
Philadelphia; Institute of Contemporary Art "25
Pick 25", Philadelphia
Rick Barrick
Lecturer: Photo/Film/Animation
B.A., University of Georgia
He has his own commercial studio in New York
City and his clients include: American Express,
IBM, Reader's Digest, The New York Daily News,
General Foods and others.
Jane Bedno
Director: Museum Exhibition Planning and Design
Associate Professor
BA, Roosevelt University
Graduate studies at The Institute of Design,
Illinois Institute of Technology, and Virginia
Commonwealth University
JD, College of William and Mary
President, Bedno/Bedno Museum Exhibition
Planning and Design.
Ed Bedno
Adjunct Professor: Museum Exhibition Planning
and Design
BFA, Art Institute of Chicago
MS/GD, Institute of Design, Illinois Institute
of Technology
Former Chief of Exhibits, The Smithsonian's
National Air and Space Museum, and The Field
Museum of Natural History, Chicago
Norinne L Betjemann
Lecturer: Photo/Film/Animation
BFA, Moore College of Art
Experience: Invited speaker at: University of
Delaware, Old Dominion University, The Fleisher
Art Memorial, Moore College of Art
Exhibitions: Delaware Art Museum (1 989
Purchase Award), Philadelphia Museum of Art,
Beaver College, Penn State University, Philadel-
phia Art Alliance, Jessica Berwind Gallery
Collections: Dupont Corp; Moore College of Art;
Delaware Art Museum, Boca Raton Museum of
Art, and various corporate collections.
Among her commercial clients is The Philadelphia
Orchestra.
62
Sarah Bodine
Lecture: Crafts
BA, Cornell University
Publications: Metalsmith, American Craft, Studio
Potter, American Ceramics, Ceramics Monthly,
New Art Examiner, NCECA Journal, Design Book
Review, Places, Industrial Design, AIGA Quarterly,
Metropolis, American Studio Jewelry{f\'\iio\'\,
1991). Editor, Metalsmith Magazine.
Sandra Brownlee-Ramsdale
Adjunct Assistant Professor: Crafts
BRA, Nova Scotia College of Art and Design
MFA, Cranbrook Academy of Art
Exhibitions: "Brocade", Minneapolis, Minnesota;
"Pictorial and Narrative Fibers", Texas, Colorado,
Louisiana; "Figure and Place," Chicago, Illinois;
"Grrrrhhh. . . a study of social patterns, Collabora-
tive Book Project with Warren Lehrer," Halifax,
Nova Scotia; "Works of Craft — The Massey
Foundation Collection," Ottawa, Ontario;
"Cranbrook Connection: New Images in Fabric,"
Detroit, Michigan and New York.
Awards: National Endowment for the Arts; Pennsylva-
nia Council for the Arts; The Canada Council; The
Ontario Arts Council; The Nova Scotia Talent Trust
Charles Bumette
Professor: Industrial Design
Joseph Carreiro Professorship in Design
Chairperson: Industrial Design
B Arch, M Arch, PhD Arch, University of
Pennsylvania
Experience: industrial designer, George Nelson &
Co. Inc.; Educational Consultant, General Motors;
principal investigator, Institute for Environmental
Studies; executive director, Philadelphia Chapter
American Institute of Architects/Center for the
Building Industry; dean/professor, School of Archi-
tecture, University of Texas at Austin
Awards: Citation for Excellence in Design, Phila-
delphia, AIA; National Endowment for the Arts
(The University City Science Center, 1977; Phila-
delphia Art Alliance, 1 981 ); DOE, Passive Commer-
cial Demonstration Grant; DOE, Appropriate
Technology Grant; College of Fellows, American
Institute of Architects; Board of Directors, IDSA.
Robert J. Byrd
Senior Lecturer: Illustration
BFA, Philadelphia College of Art
Experience: illustrator, teacher/instructor:
Philadelphia Colleges of the Arts, Moore
College of Art
Exhibitions: Philadelphia Art Alliance; Rosenfeld
Gallery; Society of Illustrators; Graphis/Graphis
Posters; Bologna World Book Children's Fair;
Children's Book Showcase; "The One Show —
Original Children's Book Art," Master Eagle Gallery
Clients: AT&T, SmithKline Beckman, Manufactur-
ers Hanover, Cigna Corp., CBS, ABC, World Book/
Childcraft, National Wildlife Federation,
Houghton-Mifflin, Macmillan, First Pennsylvania
Corp., Doubleday & Company
Publications: Marcella Was Bored, E.P. Dutton:
1985, Pinocchio, Doubleday: 1980, The Children's
Aesop, Doubleday: 1989, The Emperor's New
Clothes, Dutton Children's Books: 1991, Dragons
And Dinosaurs, Random House: 1990
Christine Cantera
Senior Lecturer: Illustration
BFA, Philadelphia Colleges of the Arts
Awards and Exhibitions: Type Directors Club 26,
NY; Artists Guild of Chicago; Art Directors Club of
Chicago; American Society of Magazine Photogra-
phers; AIGA Communications; AIGA/Design 2
Experience: magazine publishing, book publishing,
advertising/PR, corporate design, signage
John J. Carlano
Adjunct Associate Professor. Photo/Film/Animation
BFA, Philadelphia College of Art
Experience: free-lance photographer; clients in-
clude: CIGNA, American Craft Magazine, MGM/
UA Home Video, Stroemann Bread, Academy
Insurance Group, Philadelphia Industrial Develop-
ment Corporation
Exhibitions: Chicago Art Institute; Allentown Art
Museum, Allentown, PA; Marian Locks Gallery,
Philadelphia; "Challenge Exhibition," Fleisher Art
Memorial, Philadelphia; Mednick Gallery, solo
show, Philadelphia; Nexus Gallery, Philadelphia;
The Photography Gallery, Philadelphia
Awards: PCA Venture Fund recipient; American
Photographer Magazine; Fellowship: PA Council
on the Arts: 1990
Jack Carnell
Assistant Professor: Photo/Film/Animation
BFA: The University of New Mexico
MFA: Tyler School of Art
Exhibitions: Allentown Art Museum, Institute of
Contemporary Art in Los Angeles, Philadelphia
Museum of Art
Awards: NEA, Emerging Artist Grant; Pennsylvania
Council on the Arts, Guggenheim Fellowship
Sharon Church
Associate Professor: Crafts
Chairperson: Crafts
BS, Skidmore College
MFA, School for American Craftsmen, Rochester
Institute of Technology
Exhibitions: "Craft Today: Poetry of the Physical,"
American Craft Museum, NYC, "Form, Formel,
Formalismus," Munich, West Germany, "American
Jewelry Now" Touring Exhibition, "Jewelry USA,"
American Craft Museum, NYC; "Contemporary
American Crafts" Philadelphia Museum of Art.
Collections: Delaware Art Museum
Organizations: American Craft Council, Pennsylva-
nia Society of Goldsmiths, Society of North Ameri-
can Goldsmiths
Awards: NEA Fellowship Grant, 1978
Harvey Citron
Adjunct Associate Professor: Sculpture
BFA Ed, Pratt Institute
Diploma, Academy of Fine Arts, Rome, Italy
Exhibitions: "Contemporary Realism" international
travelling show (Pennsylvania Academy of Fine
Arts; Virginia Museum of Fine Arts; Oakland Mu-
seum of Art; Berlin Museum of Art; Holland); Dart
Gallery, Chicago; "Figurative Art in New York"
Artist's Choice Museum; Tibor de Nagy Gallery;
Soho Center for Visual Arts; 41 st Eucharistic Con-
gress; Union League, NY
Karen Clark-Schock
Senior Lecturer
Art Therapy
BA, Rosemont College
MCAT, Hahnemann University
Experience: registered art therapist and program
coordinator, Paoli Memorial Hospital 1977-1989;
teaching faculty at Hahnemann University; private
practice. Co-founder Intraspect, a personal and
professional development company; national
lecturer and published author.
Connie Coleman
Lecturer: Photo/Film/Animation
BFA, MFA Rhode Island School of Design
Experience: single-channel videotapes, radio
pieces, computer generated graphics, multi-
channel video installations.
Publications: Art Forum, Independent, Afterimage.
Awards: PA State Council on the Arts and the
NEA/AFI Mid Atlantic Regional Media Arts
Programs; Artist-in-Residence, Experimental Tele-
vision Center, Oswego, NY
John Columbus
Adjunct Associate Professor. Photo/Film/Animation
BFA, Hartford Art School
MFA, Columbia University School of the Arts,
Film Division
Experience: Columbia University, Film Division;
Stockton State College, Pomona, NJ; director,
Thomas A. Edison/Black Maria Film & Video
Festival, 1980 to present; producer or production
collaborator, various commissioned independent,
and commercial media projects, 1970 to present
Exhibitions: Independent Filmmaker's Program;
New Jersey Network Public Television; Lancaster
Gallery; Nexus Gallery, Philadelphia; Stockton
State College Performing Arts Center; Oakside
Gallery Series, Bloomfield, NJ; Sinking Creek Film
Festival, Swain School of Design; Dartmouth
College; Morris Museum
Robert B. Croston
Assistant Professor: Industrial Design
Director: I.D. Advanced Technology Lab
BA, Franconia College
MS, University of Massachusetts, Amherst
Experience: director. Industrial Design, Transitions
Research Corp.; Senior Human Factors Engineer,
General Dynamics Land Systems
Awards: National Endowment for the Arts, Design
Student Fellowship
Exhibitions: Herter Gallery, University of Massachu-
setts; Robots 12, "Helpmate," Detroit, Michigan
Organizations: member IDSA, HFS, AEMS, AUVS
Thomas Daley
Lecturer: Crafts
BA, Temple University
Experience: Partner, Samuel Crothers Associates,
Architects
63
Don Daily
Instructor: Illustration
AA, Trenton Junior College
BFA - Illustration, Art Center College of Design
Awards: Merit, Society of Illustrators, NY; NY
Salmagundi Club Illustrations for major motion
pictures, national magazines and advertising
campaigns, book covers
Private portrait commissions
Sky David
Assistant Professor: Photo/Film/ Animation
BFA, Texas Tech University
MFA, California Institute of the Arts
Experience: headed Animation Department at
Carpenter Center for the Visual Arts and Harvard
University; instructor, San Francisco Art Institute
and California College of Arts and Crafts
Exhibitions: Los Angeles County Museum of Art;
PBS Television's NOVA; World Festival of Anima-
tion, Zagreb, Yugoslavia; American Film Festival,
New York; Festival of Abstract Film, Paris; Los
Angeles International Filmmakers Exposition;
Toronto International Festival of Animation (retro-
spective exhibition); Sinking Creek Film Celebra-
tion; Canadian BBC Arthur C. Clarke Special;
Athens International Film Festival; Chicago Inter-
national Film Festival; Ann Arbor Film Festival;
Marin County Film Festival; International Tournee
of Animation, Black Maria Film Festival
Awards: International Festival of Animation in
Zagreb, Yugoslavia; Athens International Film
Festival; Independent Filmmakers Exposition, NY;
American Film Institute and the National Endow-
ment for the Arts, 1 976; Society for the Encourage-
ment of the Arts, sponsored by San Francisco
Museum of Modern Art; grant from Sinking Creek
Film Celebration; Pennsylvania Council on the Arts;
Marin County Film Festival
Peter DiGuglielmo
Lecturer: Painting/Drawing
BFA, Philadelphia College of Art and Design
Associate Director — Jessica Berwind Gallery
Lecturer, Anderson Ranch Center for the Arts,
Snowmass, CO, Watercolor Painting.
Lecturer, Cheltenham Art Center, Cheltenham, PA
Exhibitions: Faculty Exhibition, Cheltenham, PA.
Annual Awards Show, Cheltenham Art Center,
Spector-Gorsin Award for Painting. Invitational,
Nexus Gallery. Juried Painting Exhibition,
Westburg Gallery-Glassboro State College and
The Philadelphia Art Alliance. One-Man Show,
Philadelphia Art Alliance. Alumni Exhibition, Phila-
delphia College of Art and Design. Juried Drawing
Exhibition, Beaver College.
Larry Donahue
Assistant Professor: Crafts
BFA, Philadelphia College of Art
MA in Education, The University of the Arts
Professional Experience: Moravian Pottery and
Tile Works
Grants and Awards: Venture Fund Grant
Lectures Nationally on Plaster Mold Making
Exhibitions: Campbell's Soup Tureen Show, 1986
Ronald Dorfman
Adjunct Associate Professor: Foundation
BFA, Philadelphia College of Art
MFA, Tyler School of Art, Temple University
Experience: proprietor, Ronald Dorfman Design,
Richboro, PA, a full-service agency with interna-
tional clients in the fashion, home furnishings,
travel, and book-publishing industries
Exhibitions: General Electric Company, Philadel-
phia; faculty shows, Philadelphia College of Art
Michael Dunas
Lecturer: Crafts
BA, New York University
Publications: Metalsmith, American Craft Studio
Potter, American Ceramics, Ceramics, Monthly,
New Art Examiner, NCECA Journal, Design Book
Review, Places, Industrial Design, AIGA Quarterly,
Metropolis, American Studio Jewelry{K\zzo\\,
1991)
Martha Mayer Erlebacher
Adjunct Professor: Illustration
BID, MFA, Pratt Institute
Gallery: J. Rosenthal Fine Arts, Chicago, IL; Koplin
Gallery, Santa Monica CA
Laurie Feinberg
Lecturer: Architectural Studies
B Arch, Cornell University
Center for Architecture and Urban Studies,
San Francisco Design Studio
Experience: registered architect State of Pennsyl-
vania; urban designer. Department of Planning,
City of Baltimore; project architect, Campbell Tho-
mas, Philadelphia; Skidmore, Owings & Merrill,
San Francisco
Richard Felton
Adjunct Associate Professor: Graphic Design
MFA, Yale University
Gail Ferretti
Lecturer: Sculpture
BFA, Tyler School of Art
MFA, Alfred University
Exhibitions: Philadelphia Art Alliance; Gross
McCleaf gallery; Fleisher Challenge Exhibitions
Finalists; Show-Mellon Bank (Phila); Port of History
Museum
Apprenticeship: Moravian Tile Works
Award: James Wilbur Johnston Sculpture Compe-
tition, Honorable Mention
Edmund J. Ferszt
Adjunct Assistant Professor: Illustration
Director: Continuing Education
BFA, Tyler School of Art, Temple University
MA, University of Wisconsin
MS Ed., Bank Street College of Education and
Parsons School of Design
Exhibitions: Janet Fleisher Gallery, Rosenfeld
Gallery, Philadelphia Art Alliance, Moravian
College, Langman Gallery, Cheltenham Art Center,
Moore College of Art, Allentown Art Museum
Collections: Penn Federal Bank, Philadelphia
Museum of Art, numerous private collections in
the Greater Philadelphia area
Awards: Tobeleah Wechsler First Prize, Annual
Awards Show, Cheltenham Art Center
Stephen Fiorella
Adjunct Assistant Professor Photo/Film/Animation
BFA, Philadelphia College of Art
MFA, University of Delaware
Experience: lecturer in photography, Beaver College
Experience: Freelance Photographer specializing
in editorial and Public Relations Photography;
Lecturer in Photography, Beaver College.
Selected Group Exhibitions: Lowe Art Museum,
Miami, Florida; Museum of Fine Arts, St. Peters-
burg, Florida; Scottsdale Art Center, Scottsdale,
Arizona; Salina Art Center, Salina, Kansas; Burden
Gallery, Aperture Inc., N.Y; The Photo Center
Gallery, Tisch School of the Fine Arts, New York
University; International Print Biennial, Cabo Frio,
Brazil; Philadelphia Photographers International,
Cigna Museum, Philadelphia.
Solo Exhibitions: Sol Mednick Gallery, Philadel-
phia; Booktrader Gallery, Philadelphia.
Awards/Nominations: Indo-U.S. Subcommission
on Education and Culture, Nominee to Indo-Ameri-
can Fellowship; Council for International Exchange
of Scholars, Fulbright Fellowship, Nominee to
India; Philadelphia College of Art Venture Fund;
University of Delaware Arts Council Grant.
Collections: The Asia Society, N.Y; EMBRAGEL,
Cabo Frio, Brazil.
Publications: Aperture Magazine; Focus On Asian
Studies Journal; American Poetry Review; Passion
International Magazine.
Alida Fish
Professor: Photo/Film/Animation
Chairperson: Photo/Film/Animation
BA, Smith College
MFA, Rochester Institute of Technology
Experience: visiting artist, Arrowmont School of Arts
and Crafts, Gatlinburg, TN; Photography Program
Coordinator and Visiting Artist, Penland School,
Penland, NC; visiting artist, Roanoke College, Salem,
VA; Univ of New Mexico, Albuquerque
Exhibitions: Catherine Edelman Gallery, Chicago;
Fine Arts Center, University of Kentucky; Tianjin
Fine Arts College, China; Kohler Arts Center,
Sheboygan, Wl; Nexus Gallery, Philadelphia; Dela-
ware Art Museum; Photocollect, NYC; Delaware
State Arts Council Gallery; University of Alabama;
Morris Gallery, Pennsylvania Academy of Fine
Arts; Toledo Museum; Project Arts, Cambridge,
MA; Santa Barbara Museum; Lightfantastic Gal-
lery, Michigan State University; Southern Light
Gallery, Amarillo College; Cameravision Gallery,
Los Angeles; Albright-Knox Art Gallery, Buffalo,
NY; Morning Art Center, Chicago; University of
Vermont; Portland Museum of Art
Publications: Searching Out the Best, Exploring
Color Photography, American Photographer, The
Alternative Image, Camera, Modern Photography,
Quiver '84, Contemporary Photography as
Phantasy, Women See Woman
Collections: George Eastman House International
Museum of Photography; Standard Oil of Indiana;
Triboro Electric Corp.; Morton, Lewis, King and
Krieg; Humboldt State University; Murray State
University; Rochester Institute of Technology
Awards: Delaware Individual Artists Grant, PCA
Venture Fund, Polaroid Artists Program
64
Renee P. Foulks
Adjunct Assistant Professor: Illustration
BFA, Moore College of Art
MFA, Tyler School of Art, Temple University
Exhibitions: Grand Central Art Galleries, NY; John
Pence Gallery, San Francisco; St. Louis Artists
Guild; Delaware Art Museum; Noel Butcher
Gallery, Philadelphia; State Museum of Pennsylva-
nia; Woodmere Art Museum; University of
Scranton; Moravian College; Goforth Rittenhouse
Gallery, Phila.; John Szoke Gallery, N.Y.; Philadel-
phia Museum of Art "Contemporary Phila Artists"
Awards: NJ State Council on the Arts Painting
Grant, American Artist Magazine National
Competition Painting Award; Venture Fund Grant,
The University of the Arts
Diane Taylor Foxman
Lecturer: Art Education
BA, Antioch College
MA Art Education, Goddard College
Experience: Mainline Night School; Art Teacher,
Lower Merion School District, 28 years
Exhibitions: Woodmere Art Gallery; Paul Tash Gallery
Publications: Authored art education booklets for
Lower Merion School District; awaiting publica-
tion of The Dispossessed Child in Art Education
Affiliations: Member National Art Education Asso-
ciation, Faculty Sponsor of Student Chapter,
National Art Education Association
Malcolm Frazier
Lecturer: Sculpture
BA, University of Kansas
Bordese Studios, Carrara, Italy; Stone Carving
Exhibitions: Shidoni Gallery, Santa Fe, annual
sculpture exhibitions; McAllister Gallery, Texas;
East 7th Gallery, Lawrence, Kansas
Frank Galuszka
Professor: Painting
BFA, MFA, Tyler School of Art, Temple University
Experience: Tyler School of Art; Louisiana Tech
(AASCU Studies) Center in Rome; Aegean School,
Greece
Exhibitions: More Gallery, Philadelphia; Sherry
French Gallery, NY; National Academy of Design,
NY; Artist's Choice Museum, NY; Yale University,
New Haven, CT; "New American Drawing,"
Galleria de Ca Pesaro, Venice; Drawing Center, NY;
University of Virginia; Galleria Primo Piano, Rome;
USIS, Rome; Courthouse Show I & II, Philadelphia
Awards: Fulbright recipient; joint US-Romanian
government grant for a "Young Professional in the
Arts" in Bucharest; fellowship recipient, Pennsyl-
vania State Council for the Arts
Sheryl Gibson
Adjunct Assistant Professor: Crafts
BS, University of Maryland
MA, Tyler School of Art, Temple University
Exhibitions: Handweavers Guild of America,
Galveston Center for the Arts, Tyler School of Art,
Beaver College, Utah Museum of Fine Arts, Salt
Lake Art Center
Awards: Temple University Fellow, Utah Designer/
Craftsman, University of Maryland Honors Scholarship
Ralph Giguere
Senior Lecturer: Illustration
BFA, The University of the Arts
Clients: The New Yorker, The Atlantic Monthly; Psy-
chology Today; Omni; Redbook U.S. News and World
Report; The Boston Globe; Texaco; Scott Foresman;
RCA; AH. Robbins; Cigna; Rhone Poulenc Rhorer
Pharmaceutical; Wyeth Laboratories.
Awards: The Society of Illustrators; American
Illustration; Graphis; Communication Arts.
David Goerk
Senior Lecturer: Painting
BFA, Philadelphia College of Art
MFA, Indiana University
Exhibitions: Larry Becker Gallery, Jessica Berwind
Gallery, Momenta, Beaver College — Works on
Paper, Biennial '89 — Delaware Art Museum,
"Transmutations" — University of Pennsylvania,
1 0 x 12: A Decade of Fleisher Challenge Artists,
Janet Fleisher Gallery, 1988 Philadelphia Drawing
Competition — Philadelphia Art Alliance, Alli-
ances in the Park
Collections: Philadelphia Museum of Art, Beaver
College
Aaron Goldblatt
Lecturer: Sculpture
BFA, Philadelphia College of Art
MFA Rutgers University
Experience: instructor; University of Vermont;
Germantown Academy; Rutgers University; techni-
cal assistant, Alice Ayckock, Lauren Ewing, Ann
and Patrick Poirier
Exhibitions: A.J. Wood Gallery; Moore College of
Art; "Jazz, '81," Vernon Park; one person show,
Haverford College; "Alliance in the Park," Fairmont
Park; "Duchampiou" The University of the Arts;
"Philadelphia Redevelopment Authority Park Pro-
posals," Nexus Gallery; "Summerfest," Rutgers
University; Zimmerli Museum Annual Exhibition,
New Brunswick, NJ; Vox Populi Gallery
Eileen Taber Goodman
Adjunct Associate Professor: Foundation
BFA, Philadelphia College of Art
Exhibitions: one-woman shows Marian Locks Gallery,
Swarthmore College, Hollins College, Pennsylvania
Academy of the Fine Arts, Peale House Galleries,
Gross-McLeaf Gallery; group exhibitions, "New Tal-
ent," Terry Dintenfass, NYC; "Still Life," First Street
Gallery, NYC; Art in City Hall, Phila; Allentown Art
Museum; Beaver College; Greater Harrisburg Art
Festival; "Philadelphia Images"
Collections: AT&T, Chemical Bank of New York
Awards: Cheltenham Art Center Painting Annual,
Tobeleah Wechsler Painting Prize, Beaver College
Purchase Award
Publications: Painting the Still Life, Watson-
Guptill, NY, 1985; American Artist, 1981 TheArtof
Watercolor, Prentice-Hall, 1985
Anthony Petr Gorny
Associate Professor, Photo/Film/Animation
MFA, Yale University School of Art
BFA, S.U.N.Y College at Buffalo
Experience: Tyler School of Art, Professo; Pennsylvania
Academy of Fine Arts, Instructor; has taught at Moore
College of Art, Drexel University, Community College
of Philadelphia, Fleisher Art Memorial
Collections: Albright-Knox Art Gallery, Buffalo; S.R.
Guggenheim Museum; Brooklyn Museum; Victoria
and Albert Museum; Cleveland Museum of Art;
Philadelphia Museum of Art; National Gallery of
Art, Washington, D.C.; Pennsylvania Academy of
the Fine Arts.
Awards: NEA Individual Artist Fellowship; PA
Council on the Arts Individual Fellowship
Arlene Gostin
Associate Professor: Education
University of Cincinnati
BA, University of Delaware
MA, Philadelphia College of Art
Exhibitions: Philadelphia Art Alliance, The Print
Club, Rosenfeld Gallery, Langman Gallery
Collections: Philadelphia Museum of Art, Salzburg
Academy; prints included in public and private
collections
Experience: printer/painter collaborations with
Neil Welliver for Brooke Alexander Gallery, NYC;
Clarkson M. Potter Publishers, Inc., NYC; The Lim-
ited Editions Club, NYC; Institute of Contemporary
Art, Philadelphia, PA
James Green
Lecturer: Printmaking
BFA, Oberlin College
M Ph., Yale University
MLS, Columbia University
65
Alan Greenberg
Lecturer: Sculpture
BFA, Tyler School of Art
MFA, Purdue University
Exhibitions: Foster Goldstrom Gallery, NYC; Tower
Gallery, Penn State University; Bank of America,
San Francisco, CA.; Nexus Gallery, Berkeley, CA.:
Souther Exposure Gallery, San Francisco, CA.;
Oakland Museum, Oakland, Ca.; Dobrick Gallery,
Chicago III.; Louisiana State University, Baton
Rouge; Fendrick Gallery, Washington, D.C.;
Artpark, Lewiston, NY.; San Francisco Art Institute,
CA.; The House in Contemporany Art, California
State University, Staniscus, Tinrock, CA.; Art
Agolo, Santa Ana College, CA
Collections: Carnegie Museum of Art; Indianapolis
Museum
Grants and Awards: PCA Fellowship Grant;
Artpark; Oakland Arts Council; Oakland Museum
Gerald Greenfield
Associate Professor: Photo/Film/Animation
Director, Graduate Studies
BA, Pacific University
MFA, Rhode Island School of Design
Experience: Adjunct Associate Professor, Drexel
University; Visiting Associate Professor: University
of Oklahoma, Indiana University of Bloomington,
University of Massachusetts at Boston; research
specializations in Chinese photography and soci-
ety, theory of art, computer art, color theory and
processes
Exhibitions: Gallery 913 Wilmington DE; Rutgers
University, NJ; Simon's Rock College; Chiaroscuro
Gallery, Lenox, MA; Nexus Gallery, Philadelphia;
The Gallery, Bloomington, IN; Vincennes Univer-
sity; Art Museum, Indiana University; Addison
Gallery of American Art, Andover, MA; Boston
Center for the Arts; University of Massachusetts at
Boston; Lewis and Clark College; Massachusetts
Institute of Technology; Museum of Art, University
of Oregon
Awards: Unicolor Artist Support Grant; National
Endowment for the Humanities Summer Seminar;
Ford Foundation Grant; Philadelphia College of Art
Venture Fund Award
Thomas Y. Han
Assistant Professor: Architectural Studies
BA, University of California, Berkley
M Arch, Southern California Institute of
Architectue, L.A.
Cranbrook Academy of Art
Experience: Architecture Intermundium, Milan,
Italy; various offices in California and Philadelphia
Exhibitions/Awards: Galerie Z.B.,Frankfurt, West
Germany, 1989-90; Levy Gallery, Moore College of
Art, Philadelphia, PA, "Topographies," 1989; Mu-
seum of Modern Art, New York. "Deconstructivist
Architecture," 1988; Gropius Museum, Berlin,
West Germany, I.B.A. "City Edge" Competition.
First Prize, 1987; Venice Biennale, Italy. Three
Architectural "Machines" and Drawings,
Palmanova Competition, Grand Prize, 1985
Publications: catalogue, Traume um ein Haus:
Aktion Poliphile. Frankfurt, 1990; catalogue,
Deconstructivist Architecture. New York, 1988;
DOMUS, August issue. Milan, 1988; catalogue,
The International Bauausstellung. Berlin, 1988; AA
Files, Issue no. 14. London, 1987; catalogue, Venice
Giennale, 1985
Ronald E. Hays
Senior Lecturer: Art Therapy
MS, Hahnemann Medical College
Experience: assistant professor and director,
Creative Arts in Therapy Education, Hahnemann
University; consultant, Arts in Special Education
Projects of Pennsylvania; Past president, Associa-
tion for Care of Children's Health.
Gerald Herdman
Associate Professor: Foundation
Director, Pre-College Programs
Certificate, Cleveland Institute of Art
MFA, University of Pennsylvania
Experience: visiting artist/lecturer, University of
Vermont, Colgate University, Cooper Union, Pratt
Institute, Pennsylvania State University, Maryland
Institute
Exhibitions: Cleveland Museum of Art; Judson
Memorial Church, NYC; various universities;
Gross-McLeaf Gallery, Philadelphia; organized
exhibitions independent of commercial or
institutional support since 1963; representative,
JoAnn Nostrand, Oklahoma City
Kenneth Hiebert
Professor: Graphic Design
BA, Bethel College
Diploma, Allgemeine Gewerbeschule, Basel,
Switzerland
Experience: research associate in the arts, Yale
University, Graphics in the Street faculty, Federal
Design Seminar, Carnegie Mellon and Yale-
Brissago Summer Programs.
Projects: typographic systems designed for IBM
and Westinghouse; designer of Hermeneia series,
published by Fortress Press (AIGA 50 Best Books
Award); NEA grant for documenting design
processes using electronic technology.
Selected Awards: AIGA communication graphics;
AIGA Philadelphia Awards; Society of Typographic
Arts; Type Directors Club of New York; Art Direc-
tors Club, Philadelphia.
Selected Exhibitions: "Post-Modern Typography,"
Ryder Gallery; "Ephemeral Images: Recent
American Posters," Cooper-Hewitt; "American
Culture Posters," University of Louisville; "Twelve
Eclipses, Depleted Armour," Lima Art Association,
Lima, OH; "Thirty Years of Poster Art," Gewer-
bemuseum, Basel, Switzerland; "The Expanded
Photograph," Philadelphia Civic Center.
Publications: Author, Graphic Design Processes. . .
universal to Unique, Van Nostrand Reinhold, NY:
1992
Michael Hurwitz
Associate Professor: Crafts
BFA, Boston University
Experience: workshops: Altos de Chavon,
Dominican Republic; Appalachian Crafts Center,
Smithville, TN; Boston University
Exhibitions: "Twice Gifted," Workbench Gallery,
NY; "Beeken/Parsons, Hurwitz & Somerson,"
Snyderman Gallery, Philadelphia; "Dairy Barn,"
Athens, OH; "Mid-Atlantic Woodworkers," Stifel
Arts Center, WV; "Artist Designed Furniture,"
Norton Gallery of Art, West Palm Beach, FL;
"Contemporary Crafts: A Concept in Flux,"
National Craft Showroom, NY
Publications and reviews: American Craft, 1986;
Craft International, 1985, 1984; Living with Crafts,
Design Book Three; Fine Woodworking, 1983
Awards: National Endowment fot the Arts Visual
Artist Fellowship; Pennsylvania Visual Artist
Fellowship
Jeanne Jaffe
Senior Lecturer: Foundation
BFA, Tyler School of Art, Temple University
MFA, Alfred University
Exhibitions: Tweed Museum of Art, Duluth, MN;
El Paso Museum of Art, El Paso, TX; Carborundum
Museum, Niagara Falls, NY; Tyler Visiting Artists,
Philadelphia; Whitney Counterweight, NYC;
various group shows in NY area
Awards: National Endowment for the Arts;.
Assistantship; PA Council on the Arts Grant Visual
Arts Fellowship; Philadelphia College of Art
Venture Fund
Steven Jaffe
Associate Professor: Painting/Drawing
BFA, Philadelphia College of Art
MFA, Tyler School of Art
Exhibitions: Philadelphia Museum of Art,
Pennsylvania Academy of the Fine Arts, Academy
of Arts and Letters, University of North Carolina,
Atlantic College of Art
Collections: The University Museum, University of
Louisville; Samuel White Institute of Art, Louis-
ville; Philadelphia College of Art
Exhibitions: Phila. Museum of Art, PA Academy of
Fine Arts, Academy of Arts and Letters, New York;
University of North Carolina; Atlantic College of
Art, Rutgers University; Charles More Gallery,
Philadelphia
Collections: Phila. Museum of Art, Delaware Mu-
seum of Art; Allen R. Hite Collection, University of
Louisville, KY.
66
Roland Jahn
Associate Professor: Crafts
BA, MS, MFA, University of Wisconsin
Collections: Corning Museum of Glass;
Philadelphia Museum of Art; Vassar College;
Brooks Memorial Art Gallery, Memphis; Delaware
Art Museum; Johnson Foundation; numerous
private collections
Publications: Contemporary Art Glass, Modern
Glass, Glass Registry, Glass Art Magazine
Exhibitions: "Philadelphia: Three Centuries of
American Art," Philadelphia Museum of Art; "New
American Glass," Huntingdon Galleries,
Huntingdon, WV
Commissions: nine chalices for the 41st Eucharis-
tic Congress, Philadelphia; USA delegate, Interna-
tional Conference on Glassblowing, London;
correspondent for Studio and Glass magazines
Elsa Johnson
Associate Professor: Foundation
Co-Chairperson: Foundation
BFA, Cooper Union
MFA, University of Pennsylvania
Exhibitions: sculpture for University City Town-houses;
Redevelopment Authority of Philadelphia; Marian
Locks Gallery, Philadelphia; Art Alliance, Philadelphia;
Cheltenham Art Center, Cheltenham, PA
Grants: Philadelphia College of Art Venture Fund
Lois M. Johnson
Professor: Printmaking
BS, University of North Dakota
MFA, University of Wisconsin, Madison
Exhibitions: The Brooklyn Museum National Print
Exhibition; Pratt International Print Exhibition; ■
Graphics International, India; The Print Club;
"Works by Women on Paper," Los Angeles;
Boston Printmakers National Exhibition; Prints 78
National Print Invitational; Philadelphia Museum
of Art History of Silk Screen; American Drawings,
Pennsylvania Academy of the Fine Arts; Marian
Locks Gallery Contemporary Philadelphia Artists,
Philadelphia Museum of Art; "Recent Publica-
tions" Arizona State University, VAR1 Studios
Collections: Atlantic Richfield Corporation, General
Electric Corporation, University of North Dakota,
University of Wisconsin, New York Public Library,
Philadelphia Museum of Art, The Metropolitan
Museum of Art, Fogg Museum of Art, Boston .
Awards: Visual and Performing Arts Program, 1980
Winter Olympics, Lake Placid, NY; Pennsylvania
Council on the Arts Artist Fellowship, 1980; One
Percent Commission for City of Philadelphia, 1988
Alec Karros
Lecturer: Crafts
BFA, Philadelphia College of Art
MFA, Rhode Island School of Design
Experience: instructor, Rhode Island School of
Design; artist in residence, Glassell School,
Houston Museum; artist in residence, University
of Georgia
Exhibitions: Monarch National, San Angelo Mu-
seum, San Angelo Texas; Nicolayson Museum,
Caspar Wyoming; Pewabic Pottery, Detroit, Michi-
gan; The Elements, Greenwich, Connecticut; The
Hallowed Vessel, Lill St. Gallery, Chicago, Illinois
David Kettner
Professor: Painting and Foundation
BFA, Cleveland Institute of Art
MFA, Indiana University
Exhibitions: "Made in Philadelphia 2," Institute of
Contemporary Art, Philadelphia; "Contemporary
Drawing," Pennsylvania Academy of the Fine Arts;
"Six Serf-Portraits, 1975 Series," Whitney Museum of
American Art, NYC; "Recent Works." NYU, Albany,
NY; "A Bach Transcription," Morris Gallery, Pennsylva-
nia Academy of the Fine Arts; "The Bach Project,"
Marian Locks East, Philadelphia
Collections: Philadelphia Museum of Art; Rutgers
University; Pennsylvania Academy of the Fine Arts;
The Davidson Collection, Chicago
Awards: Philadelphia College of Art Venture Fund
Robert Keyser
Professor: Painting/Drawing
Chairperson: Painting/Drawing
University of Pennsylvania
Certificate: Atelier Fernand Leger, Paris
Twenty-nine solo exhibitions since 1951 in U.S.A.
(New York, Philadelphia, Washington, D.C.,
Williamsburg, VA, New Haven and Chicago) and
abroad (London, Paris and Rome).
Selected public collections: College of William and
Mary, Virginia, Pennsylvania Academy of the Fine
Arts, Philadelphia Museum of Art, Phillips Collec-
tion, Washington, D.C.
Paul H. King
Senior Lecturer: Illustration
BFA, Philadelphia College of Art
4-year Certificate, Pennsylvania Academy of the
Fine Arts
MFA, Boston University
Experience: Boston University, Emmanuel College,
Moravian College, Baum School of Art, Community
College of Philadelphia. Work in numerous private
collections and group shows.
Clients: AT&T, Pennwalt Corp., Merc Sharp +
Dome, Campbell Soup Co., Lewis Gilman & Kynett,
Pennwalt Corporation, Gray & Rogers
Alan J. Klawans
Senior Lecturer: Illustration
BFA, Philadelphia College of Art
Lecturer: Tyler School of Fine Arts, Moore College
of Art, Annenberg School of Communications
Director of Design: SmithKline Beckman Corporation
Design projects exhibited: NY Art Directors Club,
Society of Illustrators, American Institute of Graphic
Arts, Society of Publication Designers, New York Type
Directors, Philadelphia Art Directors Club
Paintings and prints exhibited: Museum of
Modern Art; Whitney Museum of American Art;
Pennsylvania Academy of the Fine Arts; The
Brooklyn Museum; Philadelphia Museum of Art;
Smithsonian Institution; The Print Club, Philadel-
phia; Dulin Museum; Corcoran Gallery
Nathan Knobler
Professor: Graduate Studies
Diploma in Civil Engineering, Ohio State University
BFA, Syracuse University
MA, Florida State University
Experience: Art Director and Illustrator, New York
and Hartford, CT; Professor, Head, Department of
Art, University of Connecticut; Dean of Academic
Affairs, The Philadelphia College of Art
Exhibitions: Pennsylvania Academy of the Fine
Arts; Brooklyn Museum; American Federation of
Arts, National Drawing Exhibition; American
Federation of Arts traveling exhibition, "New En-
gland Printmakers," Institute of Contemporary Art,
Boston; Wadsworth Atheneum, Hartford, CT;
DeCordova and Dana Museum; Worcester
Museum; William Benton Museum, CT; Smith
College Museum; Allentown Museum; Manwaring
Gallery; Connecticut College; Lyman Allen Mu-
seum; Berkshire Museum, Pittsfield, MA; Slater
Museum; New Britain Museum of American Art;
Joan Peterson Gallery, Boston; Angeleski Gallery,
NY; Chase Gallery, NY
Publications: author, The Visual Dialogue (three
editions in English, translated and published in
Spanish, Indonesian and Roumanian editions);
articles and lectures on visual perception, draw-
ing, the artist in society, political art, children's art
Research on visual perception and creativity
Deborah Kogan
Senior Lecturer: Children's Book Illustration
Philadelphia College of Art
Pennsylvania Academy of the Fine Arts
Experience: painter, illustrator, author
Exhibitions: AIGA; American Watercolor Society;
Carnegie-Mellon University; Hibiya Library, Tokyo,
Japan; Philadelphia Museum of Art
Awards: Louis Comfort Tiffany Grant for Painting,
Drexel Citation for Book Illustration
Publications: author/illustrator: The Cloud, Harper
& Row; Fog-Drift Morning, Harper & Row; My
Dog, Trip, Holiday House; illustrator: Hubknuckles,
Crown; Immigrant Girl, Holiday House; My Prairie
Year, Holiday House; Through Grandpa's Eyes,
Harper & Row
Andrea Krupp
Lecturer: Printmaking
BFA, Philadelphia College of Art
Experience: assistant conservator of rare books,
Library Company of Philadelphia; limited edition
box and portfolio production, Atelier Dermont-
Duval, Paris, France
Exhibitions: Paris International Pring Group, Oslo;
The Arts of the Book, Philadelphia; Practival and
Provocative, Philadelphia; Grafiek, Utrecht
Commissions: Artist's book editions: Nottamum
Town; Le Desir de Pleindre, for Editions Carina,
Paris/Utrecht
67
Hedi Kyle
Senior Lecturer: Printmaking
Diploma, Werk-Kunstschule, Wiesbaden, West
Germany
Experience: graphic design, illustration, fabric
design, hand bookbinding
Teaching: Center for Book Arts, NY, 1977-85;
Paper and Book Intensive, Oxbow, 1983-86;
numerous workshops, US and Canada; Cooper
Union, NY, 1981,1983
Exhibitions: 3 one-person, 1 two-person, and
17 group shows
Publications: one book, four articles, several book
reviews
Collections: mostly private; some libraries and archives
Memberships: board of directors, Center for Book
Arts; American Institute for Conservation; Pacific
Center for Book Arts; Friends of the Dard Hunter
Museum; Guild of Book Workers
Jim Lakis
Adjunct Associate Professor: Illustration
Exhibitions and Awards: Art Directors Club of
Philadelphia; Photo Graphis; AIGA Award of
Excellence; Art Directors Club of New York;
Advertising Club of New York
Major clients: Smith, Kline and French Laboratories;
N.W. Ayer Advertising Agency; Spiro and Associates
Advertising Agency; Widmere Communications
David Lebe
Lecturer: Photo/Film/Animation
Philadelphia College of Art
Exhibitions: XYZ Gallery, Gent, Belgium; Catherine
Edelman Gallery, Chicago; University of Maryland;
Fine Arts Museum of Long Island; Roanoke
Museum of Fine Arts; Alternative Museum, NYC;
Marcuse Peifer Gallery, NYC; The Noyes Museum;
Images Gallery, Cincinnati; Marianne Deson
Gallery, Chicago; Kohler Arts Centr, Sheboygan,
Wl; Jayne H. Baum Gallery, NYC; Nexus Gallery,
Atlanta; Allentown Art Museum
Publications: Through a Pinhole Darkly, Photogra-
phy: Art and Technique: "Looking Back," Darkroom
Photography, Poetic Inquiry, Truth Fantasy: David
Lebe Photographs' The I.C.P Encyclopedia of
Photography: "Open to Light: The Photography of
David Lebe, " Darkroom Photography, Lenseless
Photography, The Advocate
Collections: Philadelphia Museum of Art; Allen-
town Art Museum; The J. Paul Getty Museum,
Santa Monica, CA; The Albin 0. Kuhn Library and
Gallery, University of Maryland; Miller/Plummer;
Henry S. McNeil, Jr; Dechert, Price and Rhoads;
Poloroid Corporation
Barbara Lekberg
Lecturer: Sculpture
BFA, MA, University of Iowa
Honorary Doctor of Fine Arts, Simpson College
Exhibitions: Whitney Museum; Museum of
Modern Art; Pennsylvania Academy of the Fine
Arts; Chesterwood (Daniel Chester French Estate);
National Academy of Design; seven solo exhibi-
tions at Sculpture Center Gallery, NYC; numerous
show in other national galleries
Awards: two Guggenheim Fellowships; grant from
the National Academy and Institute of Arts and
Letters; numerous commissions
Public Collections: Whitney Museum; Des Moines
Art Center; Birmingham Museum of Fine Art;
corporate and private collections internationally, in
the U.S, Canada, Brazil, Sweden, Bermuda
Niles Lewandowski
Assistant Professor: Foundation
Co-Chairperson: Foundation
Director of New Talent and Prep Programs
BFA, Maryland Institute College of Art
MFA, University of Pennsylvania
Exhibitions: Gross-McLeaf Gallery; Meredith
Contemporary Art, Baltimore, MD; Bucks County
Community College; Chestnut Hill College; Fifth
Street Gallery, Wilmington, DE; Nesbitt Design
Arts Gallery, Drexel Univ; McKinney Gallery, West
Chester University.
Awards: Philadelphia College of Art Venture Fund
Tobleah Wechsler Award, Cheltenham Annual,
Purchase Prize Award, Camden County Cultural
Heritage Commission.
Collections: INA Cigna Corporation, Delaware Art
Museum Sales and Rental Gallery, MBank USA,
Bell Savings Association, Penn Mutual Life Insur-
ance Company
Bobbie Lippman
Senior Lecturer: Crafts
BA, Sarah Lawrence College
Certificate, Pennsylvania Academy of the Fine Arts
Experience: instructor, Penland School of Crafts;
program director/instructor, RittenhouseTown Paper-
making Workshops, Fairmount Pari? workshops
Exhibitions: "Innovative Prints and Paper," Plum
Gallery, MD; "Crossover: Contemporary Artists'
Books and Paperworks," Marlboro Gallery, MD;
Cheltenham Annual Exhibition; Pennsylvania
Academy of the Fine Arts Fellowship Shows
Collections: Gannett Publications, Inc., Headquar-
ters, USA Today, VA; Bethesda Hospital, Maryland;
CIGNA Corporation, Philadelphia
Peter Lister
Senior Lecturer: Printmaking
Pennsylvania Academy of the Fine Arts
Barnes Foundation
Experience: instructor, Rosemont College; Guilford
College, NC; Philadelphia Museum of Art;
Holmesburg Detention Center; The Print Club;
Cheyney State College
Exhibitions: The Print Club; Philadelphia Art
Alliance; Woodmere Art Center; Pennsylvania
Academy of the Fine Arts; Cheltenham Art Center;
National Academy of the Fine Arts; "112 Prints, 1 0
Portfolios," Philadelphia College of Art; Rosemont
College; Virginia Intermont College; George
O'Bannon Gallery
Collections: Phillips Collection, Washington, DC;
Philadelphia Museum of Art; Free Library of Phila-
delphia; ARCO; IBM; RCA; Bell of Pennsylvania
William Longhauser
Professor: Graphic Design
BS, University of Cincinnati
MFA, Indiana University
Graduate study, Allgemeine Gewerbeschule,
Basel, Switzerland
Experience: visiting professor, University of
Cincinnati, summer 1980
Organizations: member, American Institute of
Graphic Arts
Exhibitions: Typographism, Georges Pompidou
National Contemporary Art Center, Paris; Thirty
Years of Poster Art, Basel, Switzerland; AIGA Just
Type, New York; AIGA Philadelphia Shows, Phila-
delphia; New York Art Directors Club Exhibition,
New York, Europe, Asia; STA 100 Shows, Chicago,
New York; 10th and 11th International Poster
Biennale, Warsaw, Poland; Lahti VI & VII Poster
Biennale, Lahti, Finland; Works on Paper, Tianjin,
Peoples Republic of China; Design USA, Soviet
Union; Design Excellence: 50 Posters of the 80's,
The University of Tennessee; Letterforms and
Typography, Indiana University; American Institute
of Graphic Arts: Effective Assignments in Graphic
Design, New York
Books/Publications: Graphic Style from Victorian
to Post-Modernism, 1988; Type and Image, 1989;
Step-By-Step Graphics, Vol. 6, No. 2, 1990; 77ie
Twentieth Century Poster-Design of the Avant
Garde (Revised Edition), 1990; The History of
Graphic Design (Revised Edition), forthcoming
Sherry J. Lyons
Adjunct Associate Professor: Humanities and Art
Therapy
Director: Art Therapy
BA, University of Pennsylvania
MS, Hahnemann Medical College
Experience: assistant professor, Hahnemann
University and Hospital; registered art therapist,
Ashbourne Day School, 1967-72; lecturer and
author on art therapy with children; consultant for
Arts in Special Education Project of Pennsylvania
and private practice in Art Therapy.
Barbara Mail
Senior Lecturer: Crafts
BS, State University College at Buffalo, NY
MFA, State University College at New Paltz, NY
Exhibitions: "American Jewelry Now," American
Craft Museum; Solo shows at Convergence
Gallery, NY; and Swan Gallery, Philadelphia
Awards: Pennsylvania Council on the Arts
Fellowship Grant, 1983
Paula Marincola
Lecturer: Photo/Film/Animation
BA, Syracuse University
Experience: curator, "Independence Sites: Sculp-
ture for Public Places"; art critic, ARTFORUM
magazine; consultant. The Fabric Workshop; assis-
tant director/curator, Institute of Contemporary
Art, Philadelphia
Publications: reviews of Jack Tworkov, Laurence
Bach, Georgia Marsh, Phoebe Adams, and Guy
Goodwin in ARTFORUM magazine; "William
Larson: Photographs 1969-1985," Investigations
1985 (exhibition catalog, ICA); "Kenny Scharf:
Paintings and Customized Appliances," Investiga-
tions 1985; "Face to Face: Recent Portrait Photog-
raphy," Investigations 1984, "Chronology," Laurie
Anderson: Works from 1969- 1983 (exhibition cata-
log); Image Scavengers: Photography (exhibition
catalogue), 1982
Kent Massey
Senior Lecturer: Industrial Design
S.B., Massachusetts Institute of Technology.
Experience: Consultant in computerizing design
processes of graphic and industrial designers.
Previously an aerospace systems engineer on
space station and communications satellite
projects.
Clients: DuPont, Campbell Soup, CIGNA, Conrail,
Allemann, Almquist & Jones, Cloud Geshen,
Malish Design Ltd.
John Mathews
Senior Lecturer: Foundation
BS, Skidmore College
MFA, University of Pennsylvania
Exhibitions: Interiors, Saratoga Springs; Faculty
Club, University of Pennsylvania; Mendola Gallery,
Boston; Venture Fund Award Show; Phillips Mill,
New Hope; Bucks County Community College;
Lehigh Art Alliance; Southern Vermont Art Asso-
ciation; Harrisburg Art Association
Barbara Mauriello
Senior Lecturer: Printmaking
BA, Trinity College
MA, New York University, School of Education
Rodney McCormick
Associate Professor: Crafts
BFA, Tyler School of Art, Temple University
MFA, Rhode Island School of Design
Recent Exhibitions: Solo Show, 1990, Owen
Patrick Gallery, Philadelphia; Contemporary
Philadelphia Artists: A Juried Exhibition, 1 990,
Philadelphia Museum of Art
Awards: National Endowment for the Arts
Individual Fellowship Grant, 1990
Robert F. McGovern
Professor: Foundation
Diploma, Philadelphia College of Art
Collections: Philadelphia Museum of Art; Free
Library of Philadelphia; Cornell University Rare
Rook Collection; American Catholic Historical
Society
Commissions: Daylesford Abbey, Paoli, PA; Our
Lady of Lourdes Hospital, Camden, N.J.; Mount St.
Joseph's Academy, Flourtown; Franklin Institute,
Philadelphia
Exhibitions: over 14 one-man shows of paintings,
drawings, and prints
Publications: Article Contemplation and the Artist,
The Way, Herthrop College, London
Awards: two time recipient of the Philadelphia
College of Art Venture Fund
Jeanette McGrath
Lecturer: Printmaking
BFA, Philadelphia College of Art
Doug Mellor
Lecturer: Photo/Film/Animation
BS, Roanoke College
Experience: commercial photographer; owner,
D.W.Mellor Studio; clients include: Cigna
Insurance, American Express, Fortune Magazine,
Lewis Gilman and Kynet Advertising, Apple
Computer, Wyeth International, Ketchum
Advertising, Elkman Advertising. Director, The
Photography Gallery, Philadelphia and La Jolla,
CA, 1980-83
Larry Mitnick
Associate Professor: Architectural Studies
Chairperson: Architectural Studies
B Arch, Cooper Union
M Arch, Harvard University
Experience: Registered Architect Pennsylvania and
Massachusetts; Principal, Larry Mitnick, Architect;
public lectures at Laval University, New York
Institute of Technology, Ecole Polytechnique Fed-
eral du Lausanne
Awards: Progressive Architecture magazine
citation — multifamily housing, January 1981
Competitions: new public office building, Vienna,
Austria, collaborators Robert Krier, Kunibert
Gaugusch, 1975-76; new multi-purpose
community facility, Morges, Switzerland,
collaborator Professor P. von Meiss, assistant
Marc Henry Collomb, 1975-76; NEA grant-John
Hejduk, "The Riga Project," 1987
Exhibitions: Cooper Union, works by invited poets,
painters, writers, sculptors, architects, responding
to the themes "window, room, furniture;"
"Pedagogy and Practice," National Academy of
Design, NYC, exhibition of drawings, painting,
architecture; "Young Faculty Architecture," Joe
and Emily Lowe Art Gallery, Syracuse University;
Bank of Indochina, Lausanne, Switzerland
(painting in bank collection); gallery of the Theatre
du Vide-Poche, Lausanne, Switzerland
Nora L Monroe
Lecturer: Photo/Film/Animation
BA: Ohio State University
MFA: Candidate, Temple University
Experience: Producer/Director/Sound/Editor of
Skin and Ink; Artists and Collectors, half hour
documentary film released in December 1989.
Sound Person for Talk Out W(M.Wellner, 1988,
Gabrielle's Story (P. Romeu, 1989). Time Til Light
(M. Connor, 1989), A Temporary Life (Y. Leach,
1990).
Exhibition: Skin and Ink: Artists and Collectors has
been featured at the American Folklore Society's
Centennial Conference, The Athens International
Film and Video Festival, The Houston International
Film Festival, Independent Focus 1990 WNET-TV
New York, Independent Images 1990 WHYY-TV
Philadelphia.
Awards: Skin and Ink: Artists and Collectors re-
ceived the Bronze Award for documentary at the
Houston International Film Festival, 1990
Thomas Moore
Lecturer: Photo/Film/Animation
BA: Temple University
MFA: University of Delaware
Director of the Booktrader Gallery in Philadelphia,
Freelance Curator at the University of Delaware,
University of the Arts and other public institutions.
Board member of The Society for Photographic
Education. On the Advisory Panel for the Photogra-
phy Department of The Philadelphia Community
College.
Exhibitions: University of Delaware; Old Dominion
University; Millersville University; The Philadelphia
Print Club; Nexus Gallery
Chris Myers
Assistant Professor: Graphic Design
BA, University of Toledo
MFA, Yale University
Awards: The Alexey Brodovitch Award for
Distinction in Graphic Design, Yale School of Art;
American Institute of Graphic Arts; Philadelphia
Art Directors Club; Philadelphia Chapter of the
American Institute of Graphic Arts; Society of
Typographic Arts; The University and College
Designers Association; Individual Design Grant,
National Endowment for the Arts
Group Exhibitions: STA 100, Design America 1988,
The University and College Designers Association,
Principal of the Philadelphia design firm, The
Office of Mayer + Myers, Philadelphia
69
Gerald Nichols
Professor: Painting/Drawing
Diploma, Cleveland Institute of Art
MFA, postgraduate fellow, University of
Pennsylvania
Exhibitions: "Made in Philadelphia 2 and 3,"
Institute of Contemporary Art; "Contemporary
Drawings," Philadelphia Museum of Art; Philadel-
phia College of Textiles and Science; "Iceberg
Project," University of Vermont, Burlington; "The
Fox Hunt," Morris Gallery, Pennsylvania Academy
of the Fine Arts; Allentown Art Museum; "Figura-
tively Sculpting," P.S.1, Long Island City, NY; "
Arctic, Antarctic, Audubon," NYC; "Terminal New
York," Brooklyn, NY; "Reflections," C.W. Post Col-
lege, Greenvale, NY; Bernice Steinbaum Gallery,
NYC; "Synthetic Art," Harm Bouckaert Gallery,
NYC; "Activated Walls," The Queens Museum,
Flushing, NY; University City Science Center, Phila-
delphia; "Memento Mori," Museum of Contempo-
rary Art, Mexico City, Mexico; "Pale Gate," More
Gallery, Philadelphia "Kronos, God of War, Cleve-
land Institute of Art, Cleveland, Ohio; "Tox
Project", Art Park, Lewiston, N.Y.
Collections: The Cleveland Museum of Art;
Philadelphia Museum of Art
Awards: Guggenheim Fellowship
Eileen Neff
Lecturer: Painting/Drawing
MFA, Tyler School of Art
BFA, Philadelphia College of Art
BA, Temple University
Exhibitions: Installation, Carnegie Mellon Gallery,
Pittsburgh, PA, 1990; Installation, "Philadelphia Art
Now", Philadelphia Museum of Art, Philadelphia,
PA 1990; Solo Exhibition, Lawrence Oliver Gallery,
Philadelphia, PA, 1989; "Philadelphia Art Now",
Pennsylvania Academy of the Fine Arts, Philadel-
phia PA, 1988; Installation, Roland Gubson Galley,
Potsdam, NY, 1987; "Made in Philadelphia", Insti-
tute of Contemporary Art, Philadelphia, PA, 1 984;
Installation, PSI, Long Island City, NY, 1981.
Collections: Larry Mangel, Dietrich Foundation
Awards: PA Council on the Arts, 1989; National
Endowment of the Arts, 1988; Mid Atlantic States
Grant, 1987.
Philadelphia critic for Art Forum magazine.
JanisT. Norman
Associate Professor: Art Education
Chairperson: Art Education
BAE, University of Kansas
MA, University of Missouri, Kansas City
PhD, University of Kansas
Awards: Nancy B. Altwater Scholarship, for out-
standing Art Education Candidate, University of
Kansas; Official Commendation, Art Education
Appreciation Award, Missouri Art Education Asso-
ciation Cultural Leadership Grant; USA/Para Broth-
ers National Partners of the Americas Title Grant
Recipient, Environmental Protection Agency
Publications: "Counseling the Gifted Student for a
Career in the Visual Arts", NACAC Journal; "Do
Videos Work?", Transfer Magazine, "Making Art
Basic in Secondary Schools - A Model for Effec-
tive Instruction"; "The Effectiveness of an Inte-
grated Arts Program on Student's Academic
Achievement," National Arts Education Research
Center anA topic of published dissertation; "The
Art Education Connection, A Solution for Local
Concerns," Missouri Art Education Journal; " Tal-
ent and Energy in Art Education, focus article;
"Development and Appreciation of Natural Dyes
for Fibers Used in Textile Design," published by
Environmental Protection Agency; "Individualiza-
tion in the Instruction of Art," curriculum guide;
"Why Teach Art in Our Schools?"; "Design, the
Key to Successful Art Instruction."
Exhibitions: Juried Group Exhibit, Federal Reserve
Gallery, Kansas City, MO; juried Group Exhibit,
Unitarian Gallery, Kansas City, MO; Juried Group
Exhibit, Unity Village Gallery, Kansas City, MO;
Invitational Group Show, University of Kansas,
Lawrence Kansas, 1967, '84, '85, '86; Invitational
Group Show, Ball State University, Muncie, Indi-
ana; Crown Center Juried Exhibition, Hallmark,
Kansas City, MO; Invitational Show, Kansas City
Philharmonic Designer's Showcase; Missouri Art
Festival, first place award, Chillecothe, MO; Mid-
west Research Institute Gallery, Kansas City, MO,
two person show; Garfield Gallery, Union, MO,
two person show; Thornhill Gallery Invitational
Show, Avila College, Kansas City, MO
Robert Oppecker
Senior Lecturer: Crafts
BFA, Philadelphia College of Art
Exhibitions: "Contemporary Metals USA," Downey
Museum of Art, CA, 1985; "PCA Metals: More
Than a Decade," Sign of the Swan Gallery, 1984;
"Statements in Sterling," 1982; "More
Metals," Sign of the Swan, 1982
Tim O'Brien
Instructor: Illustration
BFA, Paier College of Art, New Haven, CT
Freelance Illustrator
Awards: Merit Society of Illustrators 29, 30, 31;
Society of Publication Designers, Merit 1990; Print
Design Annual, 1 989; Institute of Outdoor Adver-
tising National Award, 1988
Barry Parker
Professor: Sculpture
Chairperson: Sculpture
MFA, Eastern Michigan University
University of Massachusetts
Experience: Sculptor-in-Residence, Vermont
Studio School; Sculptor-in-Residence, Studio
L'Homme Dieu Art School
Exhibitions: Tech World Plaza, Washington, D.C.;
Artluminium, Montreal, Canada; George Mason
University, VA; "The Artists Hand," The Sculpture
Center, NY; one person show at Westchester Uni-
versity, PA; outdoor sculpture, Burlington County
Community College, NJ; Three Rivers Arts Festi-
val, PA; The Soho Building, NY: one person outdoor
show at Houston and Bowery, NYC; Sculptor's
Guild Annual Exhibits, Lever House, NY: "Sculpture
'84," Beaver College, PA; "New Directions," sculp-
ture invitational, Harrisburg, PA; one-man show,
Christine Price Gallery, Castleton State College,
VT; Hallwalls Gallery, Buffalo, NY; Associated
Artists Exhibit, Carnegie Museum, Pittsburgh; one-
man show, Jamestown, NY; Society of Sculptors
Exhibit, PPA Gallery, Pittsburgh, PA
Awards: Philadelphia College of Art Venture Fund
Kris Parker
Lecturer: Crafts
BFA, Maryland Institute
MFA, Tyler School of Art, Temple University
Experience: instructor, Maryland Institute, Tyler
School of Art, Interlochen Center for the Arts
Exhibitions: "Fiber National '88," Dunkirk, NY; "Art
in City Hall: Philadelphia Panoramas, the Cityscape
in Three Dimensions;" "New Work," Mobilia Gal-
lery, Cambridge, MA; "50th Golden Anniversary:
Alumni Exhibition," Tyler School of Art; "The 65th
Cleveland May Show," Cleveland Museum of Art;
20th Century Gallery, Philadelphia; "Sculpture/
Penn's Landing," Port of History Museum, Philadel-
phia; "Constructions," Provident National Bank,
Philadelphia; "Sculpture 300," Philadelphia Art
Alliance, Philadelphia,
Albert J. Pastore
Adjunct Associate Professor: Foundation
BFA, Philadelphia College of Art
MFA, Tyler School of Art, Temple University
Experience: freelance illustrator
Organizations: Society of Illustrators, NYC
Exhibitions: Festival di Giovantu, Trieste, Italy;
Society of Illustrators, NYC; Philadelphia Art
Directors Club; Philadelphia Artists Guild;
Rosenfeld Gallery, Philadelphia; Philadelphia Art
Alliance; Kutztown State College
Clients: TV Guide; After Six, Inc.; General Electric;
Binswanger; Bookbinders
70
Jeannie Pearce
Lecturer: Photo/Film/Animation
BFA, Rochester Institute of Technology
MFA, University of Delaware; Tyler School of Art,
Temple University
Exhibitions: Nexus Gallery, Philadelphia; Tianjin
Fine Art College, China; Art in City Hall,
Philadelphia; Art Space, Modesto, CA; Pratt
Institute, NYC; Muse Gallery, Philadelphia;
Delaware Center for Contemporary Arts,
Wilmington; University of Kentucky, Lexington;
University of Florida, Gainesville; Foto Gallery,
NYC; Color Services Gallery, Santa Barbara, CA;
Allentown Art Museum, Allentown, PA; The Light
Factory, Charlotte, NC; Friends of Photography,
Carmel, CA; Soho 20 Gallery, NYC; Western
Heritage Museum, Omaha, NE; Los Angeles
Center for Photographic Studies; Delaware Art
Museum, Wilmington; Cambridge Photography
Gallery, Cambridge, MA
Awards'. Pennsylvania Council on the Arts;
Delaware Center for the Contemporary Arts
Award; University of Delaware Purchase Award;
L.A. Center for Photographic Studies Award;
Philadelphia College of Art Venture Fund
Collections: Coopers and Lybrand, University of
Delaware, Los Angeles Center for Photographic
Studies, Murray State University, George Eastman
House
Mary Phelan
Assistant Professor: Printmaking
Director, Graduate Program Book Arts/Printmaking
BS, The College of Saint Rose
MA, University of Wisconsin
Proprietor: Irish Pig Press; Blind Hand Press
Exhibitions: "The Arts of the Book," The University
of the Arts; "Practical and Provocative," The
Painted Bride; "Artist's Books," The Print Club;
"Point of Departure," Elvehem Museum, Madison,
Wisconsin; "Books in the Delaware Valley,"
Swarthmore College; "Bookworks, 1982," Moore
College of Art; "Paper in Particular," Columbia
College; Vermillion "80," University of South
Dakota
Awards: American Association of Museums; PCA
Venture Fund
Peter Pierobon
Senior Lecturer: Crafts
Wendell Castle School of Woodworking
Experience: Wendell Castle Design Workshop,
designer of one-of-a-kind commissioned furniture
Tom Porett
Professor: Electronic Media
Director: Electronic Media
BS, University of Wisconsin
MS, Institute of Design, Illinois Institute of
Technology
Electronic music studies, Philadelphia Musical
Academy
Experience: computer graphics and design
systems consultant; computer graphics program
design; educational multimedia presentation
design
Exhibitions and installations: PIX IM Art Show,
Paris, France; IBM Gallery, NYC; SIGGRAPH Art
Show (traveling exhibition); Prix Ars Electronica
'87, Linz, Austria; Center for Creative Photography,
Tucson, AZ; Everson Museum, Syracuse, NY;
Computer Images '86: one man show, York
University, CUNY; University City Center Gallery,
Philadelphia; Musee d'Art Moderne de la Ville de
Paris, France; Electronic Imaging Exhibition,
Stockholm, Sweden
Awards: Philadelphia College of Art Venture Fund
Faculty Grant; UICA Faculty Grant; Guggenheim
Fellowship
Phyllis Purves-Smith
Associate Professor: Illustration
BFA, Cooper Union
MFA, Tyler School of Art, Temple University
Solo exhibitions: Tyler School of Art, Temple
University; Moravian College, Bethlehem, PA;
Gross-McLeaf Gallery, Philadelphia, PA; Indiana
University of Pennsylvania, University Museum,
Indiana, PA; Pindar Gallery, NYC
Group exhibitions: More Gallery, Philadelphia, PA;
American Artist Golden Anniversary National Art
Exhibition, John Pence Gallery, San Francisco; St.
Louis Artists' Guild, St. Louis, MO; Grand Central
Art Galleries, NY
Boris Putterman
Associate Professor: Painting
Diploma, Cooper Union
BFA, Philadelphia College of Art
MFA, Indiana University
Teaching experience: Indiana University, John
Herron Art School, Cleveland Institute of Art
Exhibitions: PCA "Observances," "Gallery Space
1976," Philadelphia YM/YWHA; Moravian
College; St. Joseph's University; "Representational
Painting in Philadelphia"; "The Human Face,"Rider
College, curator and participant
Susan Rodriguez
Adjunct Assistant Professor: Saturday School
Education Coordinator
BFA, M Ed, Tyler School of Art, Temple University
Barnes Foundation, Merion, PA
Honorary Doctorate, Moore College of Art
Experience: School District of Philadelphia, Tyler
School of Art, Philadelphia Museum of Art,
Fleisher Art Memorial
Awards: official commendation, Excellence in
Teaching, Philadelphia Board of Education; federal
grant; Pennsylvania teaching grant, 1982;
corporate grant
Publications: MuseumJournal, Carnegie Institute;
Arts and Activities Magazine, California; Instructor
Magazine, New York; The Special Artists Hand-
book, Date Seymour Publishers, 1984; Art Smart,
Prentice Hall, 1988.
Exhibitions: "Women in Art," Philadelphia
Museum of Art; "Ten Philadelphia Artists,"
Villanova University; Artists' Equity at the
Waterworks; Kammer Gallery; Kroungold Gallery;
Arabesque Gallery; Plastic Club Drawing Award
Warren Rohrer
Professor: Painting
BA, Eastern Mennonite College
BS, Madison College (James Madison University)
Selected group exhibitions: "Pittsburgh
International," Carnegie Museum of Art; "Three
Hundred Years of American Art," Philadelphia
Museum of Art; Pennsylvania Academy of the Fine
Arts; Corcoran Gallery of Art; "A Sense of Place,"
Joslyn Art Museum, Omaha, Nebraska
Solo exhibitions: CDS Gallery, NYC; Lamagna Gal-
lery, NYC; Morris Gallery, Pennsylvania
Academy of the Fine Arts; Marian Locks Gallery;
Makler Gallery
Collections: The Metropolitan Museum of Art,
Philadelphia Museum of Art, Pennsylvania
Academy of the Fine Arts, Delaware Art Museum,
Smith College Museum of Art, Allentown
Museum of Art, Portland (OR) Art Museum
Awards: Artists' Fellowship, Pennsylvania Council
on the Arts; Artists' Fellowship, National
Endowment for the Arts
Kenneth Root
Senior Lecturer: Industrial Design
BSID, Art Center College of Design
Experience: Designer — Loewy Intemation,
General Motors Design Staff, DuPont Clinical
Systems, DuPont Photo Products, Design Director
— Masterpiece Miniatures.
Consultant Clients: Ford Truck, Navistar, Hess +
Eisenhardt Coach, American Motors, Masco Corp.,
Intermetro Industries.
71
Tony Rosati
Senior Lecturer: Printmaking
BA, Rider College
MFA, Tyler School of Art, Temple University
Experience: assistant to the curator, The Lessing J.
Rosenwald Collection, Jenkintown, PA; visiting
artist, Tyler School of Art
Collections: National Gallery of Art, Washington,
DC: DeCordova Museum of Art, Lincoln, MA; Dulin
Gallery of Art, Knoxville, TN; Zimmerli Art
Museum, Rutgers University, New Brunswick, NJ;
Philadelphia Museum of Art; Pennsylvania Acad-
emy of the Fine Arts, Philadelphia, PA; numerous
private and corporate collections
Exhibitions: "Plate/Print II," The Print Club,
Philadelphia; Philadelphia Art Alliance;
"Contemporary Philadelphia Printmakers," Paley
Library, Temple University, Philadelphia; 14th Dulin
National Print and Drawing Competition; 56th
Annual International Competition, The Print Club,
Philadelphia; 8th International Miniature Print
Competition, Pratt Graphics Center; invitational
exhibition of American printmakers, Kipp Gallery,
Indiana University of Pennsylvania;
Dolan/Maxwell Gallery, Philadelphia; Woodmere
Museum of Art, Philadelphia; Gallery Kobe, Kobe,
Japan; Beaver College, Glenside, PA; 62nd Annual
International Competition, The Print Club, Philadel-
phia; Art in City Hall, Philadelphia
Awards: Pennsylvania Council on the Arts,
Artist-in-Residence Grant, 1984-88; Abbington Art
Center, Artist in Residence; Venture Fund Award,
University of the Arts, numerous awards from
exhibition competitions
Peter Rose
Professor: Photo/Film/Animation
BA, CCNY
MFA program, San Francisco State College
Solo Exhibitions: Chicago Art Institute; American
Museum of the Moving Image, Astoria, NY;
Centre Pompidou, Paris; Experimental Intermedia,
NYC; Los Angeles Contemporary Exhibitions;
American Center, Paris; Corcoran Gallery,
Washington, DC; University of Arizona, Tucson;
Virginia Museum of Fine Arts, Richmond; Portland
Art Museum, ME; Brattle Theatre, Cambridge,
MA; San Francisco Cinemateque; The Kitchen,
NYC; Collective for Living Cinema, NYC; Cornell
Cinema; Boston Film and Video Foundation;
Athens Film and Video Festival; Pacific Film
Archives, Berkley, CA; Millenium Film, NYC;
Walker Art Center, Minneapolis; Museum of Art,
Carnegie Institute, Pittsburgh; and elsewhere
Group Exhibitions: MOMA Anthology Film Ar-
chives, NYC; films and tapes shown at festivals,
museums and media centers in US and abroad
Collections: Australian National Film Archive;
California Institute of the Arts; Donnell Film
Library, NYC; Oberhausen Film Collection, West
Germany; Enoch Pratt Free Library, Baltimore;
Haftford Atheneum; Museum of Modern Art, NYC;
Museum of Art, Carnegie Institute; Free Library of
Philadelphia; Northwestern University; Simon
Frazer University, Vancouver, Canada; South
Carolina Arts Commission; West Virginia Library
Commission; Port Washington Public Library; Okla-
homa Museum of Art; Image Forum. Tokyo; Centre
Pompidou, Paris
Awards: National Endowment for the Arts;
Guggenheim Fellowship; Pennsylvania Council on
the Arts; Mid-Atlantic Regional Media Grant;
Governor's Hazlett Award in Media Arts;
Philadelphia College of Art Venture Fund; and
awards from many film festivals
Eileen Rosen
Lecturer: Illustration
BS, Moore College of Art
Publications: The New Yorker, Single Parent,
Science + Children
Michael Rossman
Professor: Foundation
BID, Pratt Institute
MFA, Pratt Institute
One-man Exhibitions: The More Gallery, Philadel-
phia 1989; Gross McCleaf Gallery, Philadelphia
1979 and 1973
Selected Group Exhibitions: "Artists Choose Art-
ists", The Institute of Contemporary Art, 1991;
The More Gallery, 1986-1990; "Affects/Effects 2",
Invitational Traveling Exhibition: Philadelphia Col-
lege of Art, Allentown Art Museum, Museum
Gallery at the University of Pittsburgh; William
Penn Memorial Museum, Harrisburg, PA; Bucks
County Community College, Doylestown, PA;
"Eastern Pennsylvania Regional Drawing" and
"Drawing in Philadelphia", Beaver College,
Glenside, PA; Invitational Exhibition, Woodmere
Art Galley, Chestnut Hill, PA; "The Earth Show",
Philadelphia Civic Center, Recipient of the
Wintersteen Prize; Philadelphia Art Alliance
Design History. Senior Designer, Creative Playthings,
Inc., Summer Seminar, 1966; Industrial Designer,
General Electric, Computer Department, 1963
Karen Saler
Associate Professor: Foundation
BFA, Philadelphia College of Art
MFA, Maryland Institute College of Art
PA Teacher Certification
Exhibitions: "Women's Regional Drawing
Exhibition," Philadelphia Art Alliance; Venture
Fund Exhibition
Collections: works in public and private collections
in New York, Philadelphia, Baltimore, and Rome
Grants: Prix de Rome painting grant; Rome Prize
renewal grant; Philadelphia College of Art Venture
Fund; American Professors Abroad Grant to Israel
Organizations: fellow, American Academy in
Rome; Artists Equity
Joanne Schiavone
Lecturer: Printmaking
BS Ed, University of Delaware
Philadelphia College of Art
Experience: workshops given at Penland School,
Penland, NC; Peters Valley, Layton, NJ; SUNY-
Purchase, Purchase, NY
Grants: artist fellowship, NJ Council on the Arts;
artist fellowship, Pennsylvania Council on the Arts;
Distinguished Artist Award from the State of NJ
Exhibitions: "Artists Books," New Delhi, India; "Accent
on Color," Scarsdale, NY; Pennsylvania Grants Recipi-
ents Exhibit; "Design '86," Prallsville Mill Gallery,
Stockton, NJ; "Book Sculptures," Doshi Center for
Contemporary Arts, Harrisburg, PA "Breaking the
Bindings," Elvehjem Museum of Art, Madison, Wl;
"24th Annual Delaware Art Museum Craft Exhibition,"
Wilmington, DE; "Books by Printmakers," The Print
Club, Philadelphia
Charles Searles
Senior Lecturer: Foundation
Pennsylvania Academy of the Fine Arts
University of Pennsylvania
Awards: General Services Commission;
International Arts Festival, "Festac," Lagos,
Nigeria; National Endowment for the Arts Fellow-
ship; Creative Arts Program Fellowship, "CAPS,"
to develop metal sculpture, NYC
Solo Exhibitions: Land Mark Gallery; Sande
Webster Gallery, Phila.; Mont Clair Museum, NJ;
Noyes Museum, NJ
Group Exhibitions: "Black Art, Ancestral Legacy",
Dallas Museum of Art (traveling exhibition); Peale
House Galleries; CAPS Fellowship Exhibit; "Afro-
American Abstraction," PS-1, NYC; "Painted
Sculpture," Sculpture Center Gallery, NYC; "The
Cun/e of a Plane II," 22 Wooster, NYC
Public Commissions: William J. Green Federal
Building, Phila.; Newark Amtrack Station, Newark,
NJ; Dempsey Multi Service Center, NYC
Also teaches at Bloomfield College, NJ and Jersey
City State College, NJ
Warren Seelig
Professor: Crafts
BS, Philadelphia College of Textiles and Science
MFA, Cranbrook Academy of Art
Exhibitions: Miller/Brown Gallery, San Francisco,
CA; one-man show. The Roberts Gallery, Contem-
porary Craft Association, C.W. Post Center of Long
Island University, NY; The Cleveland Museum of
Art; Philadelphia Museum of Art; The Denver
Museum of Art; Crafts Advisory
Committee, London; The Central Museum of
Textiles, Lodz, Poland; Hadler/Rodriguez Galleries,
New York; San Francisco Museum of Modern Art;
Institut fur Kunstlerische Textilgestaltung, Linz,
Austria; The Textile Museum, Washington, DC
Gallery: The Hadler/Rodriguez Gallery, New York
Awards: Pennsylvania Council on the Arts
Individual Fellowship; National Endowment for the
Arts Individual Fellowship Grant
72
Timothy P. Sheesley
Lecturer: Printmaking
BA, State University New York, Oneonta
MFA, Tyler School of Art
TMP Tamarind Institute of Lithography
The Banff Center, School of Fine Art
Academic Program, Tours, France
Experience: Owner/master printer of Corridor
Press; President of MD Litho Stones, Inc.; Master
Printer, Western Graphics; Tamarind Institute Mas-
ter Printer Fellowship
Exhibitions: Penn Prints, Associated Artists,
University of Pennsylvania; Hobart and William Smith
College; Strozzi Place, Florence, Italy; Rhode Island
College of Art Kutztown State University; Prints of the
80's, Swansea Wales Momenta Art Alternative, Phila-
delphia; Philadelphia Art Alliance; The Woodmere Art
Museum; Color Print Society
Patricia M. Smith
Chairperson and Assistant Professor: Printmaking
BA, Immaculata College
MA Ed., Philadelphia College of Art
Yoshida Hanga Academy, Tokyo, Japan
Exhibitions: "Multiple NewWave," The Print Club;
"Prints from the Brandywine Workshop," Hahn Gal-
lery; "Positive Direct Offset," State University of New
York, Purchase; "Original Offset," World Print Council,
San Francisco; Moore College of Art, Philadelphia;
Lunami Gallery, Tokyo; College Women's Association,
juried exhibition, Tokyo, Japan
Lori Spencer
Lecturer: Printmaking
BFA, State University of New York, Purchase
MFA, The University of the Arts
Experience: Offset technician at Moore College of
Art and Design; printer in the Borowsky Center for
Publication Arts at the University of the Arts; off-
set printer at various commercial shops; hand
bookbinding
Exhibitions: Pyramid Atlantic, Book Arts work from
The University of the Arts, Small Computers in the
Arts, SCAN Exhibition '90; Limited Editions from
the Borowsky Center; The Laurie W and Irvin
Borowsky Gallery
Collections: The University Library of the
University of the Arts; private collections
Franz Frederick Spohn
Adjunct Associate Professor: Printmaking
MFA, Ohio State University
Experience: printer for screen editions by Pat Steir
and Jules Olitski, and Edgar Heap-of-Birds;
illustrator for Delacourt Press (Doubleday/Dell)
including, children's alphabet book and "Boys and
Sex" and "Girls and Sex"; collaborations-Glen
Vivian Museum, Swansea, Wales; Strozzi Palace,
Florence Italy; visiting artist, Carnegie Mellon,
Tulane University, Washington State University,
Spokane Falls Community College. Consultant for
Hunt Manufacturing, Instrucitonal Video-
Waterbased Screenprinting
Exhibitions: Southern Alleghenies Museum of
Art; Glenbow Museum; Philadelphia Museum of
Art; Mississippi Museum of Art; Please Touch
Museum, Philadelphia; "The Confectioner's Art,"
American Craft Museum, New York (3 year
travelling exhibition)
Thomas Stearns
Associate Professor: Sculpture
Memphis Academy of Art
Cranbrook Academy of Art
Accademia di Belli Arti, Venice
Exhibitions: Venice Biennale; Brussels
International; Parke-Bernet Gallery; Smithsonian
Institution; Musee d'Art Moderne, Paris; Carnegie
Institute; Municipal Museum, Warsaw, Poland;
L'Uomo et L'Arte, Milan, Italy; Pennsylvania
Academy of the Fine Arts; Detroit Institute of Art;
Renwick Gallery; National Museum of American
Art, Washington, DC; Willard Gallery, NY; Musee
des Artes Decoratifs, Montreal, Canada
Awards: John Simon Guggenheim Fellowship,
Italian Government Award, National Institute of
Arts and Letters Grant, Fulbright Travel Grant,
Artists and Writers Revolving Grant
Publications: Who's Who in American Art, Who's
Who in the East
Robert Stein
Professor: Illustration
Chairman: Illustration
BFA, Massachusetts College of Art
MFA, Tyler School of Art, Temple University
Experience: staff designer, KYW-TV; freelance
designer and consultant, Chilton Publishing; panel
member, NAEA Eastern Arts Conference; guest
curator and promotion material designer, "Design
and Illustration: USA," Iran-American Society,
Tehran, Iran; poster series, "The Chiasmal Syn-
drome," "Pseudo-Tumor Cerebri," commissioned
by Pennsylvania College of Optometry; Poster,
Pennbook Festival '90, PA Center for the Book.
Exhibitions: Rosenfeld Gallery, Philadelphia;
Philadelphia Art Alliance; University of Delaware;
William Penn Memorial Museum; Philadelphia
Civic Center; Monmouth College; Anton Gallery,
Washington, DC
Collections: Westinghouse Corporation, RCA, First
Pennsylvania Bank, William Penn Memorial
Museum, numerous private collections.
Member: Society of Illustrators, Design Advisory
Board, Community College of Philadelphia
Publications: represented in Graphis Posters 87
Richard Stetser
Professor: Foundation
BFA, Philadelphia College of Art
Exhibitions: sculpture executed for Adath Zion
Congregation, Philadelphia; Whitman Park,
Philadelphia; Thompson, Ramo, Woodridge Corp.;
Redevelopment Authority of Philadelphia; Phila-
delphia Art Alliance; Glassboro State College;
Faculty Group Show, PCA 1977, '81; American
College in Paris, 1981; Venture Fund Award Exhibi-
tion, 1986; Duchampidou, PCA, 1987; Faculty
Drawing Exhibition, 1989.
Lizbeth Stewart
Associate Professor: Crafts
BFA, Moore College of Art
Maintains Independent Studio, Represented by
Helen Drutt Gallery, NY
Selected Exhibitions: International Ceramics Exhi-
bition, Hookodden Art Center, Museum of Modern
Art, Oslow, Norway; American Clay Artist, Port of
History Museum, Philadelphia; From the Mold,
Kansas City Art Institute, MO; Craft Today —
Poetry of the Physical, American Craft Museum,
NY; Solo Exhibition, Morris Gallery, Pennsylvania
Academy of the Fine Arts; American Porcelain,
New Expressions in an Ancient Art, Renwick Gal-
lery, Smithsonian Institute, Washington, DC.
Awards: Pennsylvania Council on the Arts
Craftsmen's Fellowship; National Endowment for
the Arts Craftsmen's Fellowship
Collections (selected): Campbell Museum, NJ;
Purchase Award, Lennon Foundation, Palm Beach
Florida; Joseph Hirshorn Collection, Washington,
DC.
Elizabeth Swartz
Lecturer: Architectural Studies
BFA, Rochester Institute of Technology
Philadelphia College of Art
Experience: freelance designer; Gray and Rodgers
Advertising Inc., Philadelphia; Modem
Photography magazine, NY; North American
Publishing Company, Philadelphia
David Taffler
Associate Professor: Education and Photo/Film/
Animation
BA, Harpur College, SUNY Binghamton
MFA, Columbia University
MA, University of Wisconsin, Madison
PhD, Columbia University
Experience: co-chair. Media Arts Caucus, College
Art Association; consultant and judge. Black Maria
Film/Video Festival; technical advisor, Film Divi-
sion, Columbia College; steering committee, Inde-
pendent Film/Video Association, Philadelphia
Exhibitions: solo show, "Berks Filmmakers," Read-
ing, PA; "The Best of Philadelphia Filmmakers,"
solo show, "Five Films," Collective for Living Cin-
ema, NYC; "Affects/Effects II," The University of
the Arts; Rosemont College
Publications: "I remember television. . ." New Mu-
seum Catalogue, "Der Blick und der Sprung", Kunst-
forum, "The Circular Text". Journal of Film and Video,
"Autonomy/Community: Marginality and the New
Interactive Cinema", Cinematograph, "Beyond Narra-
tive: Notes Toward a Theory of Interactive Cinema",
Millennium Film Journal, "Commentary: Videography
and Computer Graphics", Leonardo, "The Economics
of Renewal: Music Video and the Future of Alternative
Filmmaking, AFTERIMAGE. "DOUBLE YOU (and
X,Y,Z)"; Video's New Interactive Frontier," SPOT; "An
Argument for a Foundation Course in Video", AFI Edu-
cation Newsletter, "Adventures with Art," Art Teacher
73
Stephen Tarantal
Dean, Philadelphia College of Art and Design
Professor: Illustration
BFA, Cooper Union School of Art and Architecture
MFA, Tyler School of Art, Temple University
Exhibitions: NY Historical Society: Guggenheim
Museum; Bertha Schaefer Gallery, NY; Richard
Rosenfeld Gallery, Phila.
Collections: Guggenheim Museum, NY; North
American Phillips Corp., NJ; SmithKline Beckman,
Philadelphia; Westinghouse Corp., Pittsburgh; US
Cultural Library, Bombay; Xerox Corporation,
Stamford, CT; AT&T, NY; Time Life, Inc. NY; Phila-
delphia National Bank.
Publications: "42 Years of Graphic Covers"; work
has been represented in numerous design arts
publications including: Graphis Magazine and
Graphis Annuals, Society of Illustrators Annuals,
NY and Phila. Art Director's Annuals, Print Maga-
zine and Print Regional Annuals.
Awards: Fulbright Grant to India; UICA Faculty
Research and Development Grant; Illustration/
Design Awards — NY and Phila. Art Director's
Club, NY Society of Illustrators, Phila.; Vietnam
Memorial Competition; Fountain of Freedom —
Monument to the US Constitution.
Mark Tocchet
Assistant Professor: Illustration
Illustrator, Creative Director, Tocchet Studio, Inc.
BFA, School of Visual Arts
Clients: Ash/Ledonne; BBD+O; Cunningham +
Walsh; Doyle, Dane, Berbach; Oglivy & Mather;
Wells, Rich, Greene, Inc.; American Diabetes
Association; American Museum of Natural His-
tory; Citibank; The Meadowlands; Pepsi-Cola;
Reebok; Resorts International; School of Visual
Arts Press; Seagrams; CBS; Dell; Holt, Reinhart &
Winston; MacMillan; Random House; Rodale
Press; Sierra Club; Simon & Schuster; New York,
The New York Times: Viking/Penguin; Ziff-Davis
Awards: Society of Illustrators; Communication
Arts Magazine; Print Magazine; Master Eagle
Merit Award; National Calendar Awards Medal
Winner; The Rhodes Scholarship Award for Out-
standing Achievement in the Media Arts
Exhibitions: Museum of American Illustration; Art
Directors Club, NY; Master Eagle Gallery
Gotz Unger
Senior Lecturer: Industrial Design
BS, Design, Gesamthechschule, Kassel;
MID, Royal College of Art, London
Experience: Development Manager, Knoll Inter-
national; Director, Design Development Dept.,
Wallace; Senior Lecturer, New York School of
Interior Design. Design Consultant
Sarah Van Keuren
Adjunct Associate Professor: Printmaking
BA, Swarthmore College
Philadelphia College of Art
MFA, University of Delaware
Exhibitions: The Book Trader, 'The Print Club Selects";
"Challenge Exhibition," Fleisher Art Memorial;
Swarthmore College; Philadelphia Art Alliance
Grants: Philadelphia College of Art Venture Fund;
Brandywine Offset Institute Artist Fellowship;
Pennsylvania Council on the Arts Photography
Fellowship
LeeWillett
Assistant Professor: Graphic Design
Allgemeine Gewerbeschule, Basel, Switzerland
Ohio State University
Experience: Hi. Chu & Co., NY; Principle, Harvey/
Willett Design New York.
Julian Winston
Associate Professor: Industrial Design
BID. Pratt Institute
Clients: Philo Records, Pixenbar Music, American
Institute for Homeopathy, National Center for
Homeopathy, Creative Playthings
Joseph Wong
Associate Professor: Architectural Studies
B Arch, University of Kentucky
M Arch, Cranbrook Academy of Art
Awards: International Student Studies; University
of Kentucky travel award to study in England and
Western Europe
Exhibitions/competitions: "Berlin Edge Project,"
design team member with Daniel Libeskind,
exhibits and several publications; exhibition of
drawings and paintings at the China Museum of
Art, Beijin, 1988; one man show, Tianjin College of
Fine Arts, University of Kentucky, Stoneman
Gallery, Washington, D.C., William Hunt Architec-
tural Bookstore, San Francisco, CA; "Parameto,"
journal of Architecture and Urbanism
Public lectures: Tianjin College of Fine Art, Chong
Quing Institute of Architecture and Engineering,
Xian Fine Arts College, Qing Hua University, China;
Chief speaker "Society for the Advancement of
Architecture and Culture in China," Beijin;
Pennsylvania Council of the Arts Grant
Publications: Unitas, Taiwan; Internationale
Bauausstellung, Berlin; Deconstructivist Architecture,
Domas, Italy; Outlook, Beijing, China; and others
Peter Wood
Assistant Professor: Industrial Design
BA, Pennsylvania State University
BA, Philadelphia College of Art
Experience: partner, Sundberg & Wood, firm for
special design
Jennifer Woods
Senior Lecturer: Printmaking
BFA, Philadelphia College of Art
Mellon Internship, Folger Shakespeare Library, 1984
Experience: chief of conservation. The Library
Company of Philadelphia
Organizations: Guild of Bookworkers, seminar
coordinator, 1985; American Institute of
Conservation; Designer Bookbinders
Steven Yarnall
Lecturer: Industrial Design
BFA, Philadelphia College of Art
NAABB Architecture, University of Tennessee
Lily Yen
Professor: Painting, Humanities
BA, National Taiwan University
MFA, University of Pennsylvania
Visiting professor at Central Academy of Fine Arts in
Beijing and Tianjin Fine Art College in Tianjin, China.
Villege of Arts and Humanities, Philadelphia
Awards: The Pennsylvania Council on the Arts;
The Pennsylvania Humanities Council; The Phila-
delphia Foundation, Philadelphia; The Asian
American Art Center, NY; The Stockton Rush Bartol
Foundation.
Orly Zeewy
Senior Lecturer: Industrial Design
BS, University of Cincinnati
BA University of Cincinnati
Experience: Associate Professor Drexel University;
principle, Zeewy Design.
Christine Zelinsky
Assistant Professor: Graphic Design
MFA, Allgemeine Gewerbeschule, Basel,
Switzerland
Publications: Graphis, Typographicsche
Monatsblaetter, Publicite, Modern Publicity, ID,
"Universal Unique, "Basel School of Design: The
Arman Hofman Years"
Exhibitions: "15 Graphic Designers," AIGA
Invitational; group shows in Zurich, Switzerland,
Philadelphia and New York City.
74
Emeritus Professors
Edna Andrade
Foundation
Morris Berd
Painting
William Dailey
Crafts/Ceramics
Larry Day
Painting
Benjamin Eisenstat
Painting/Illustration
Albert Gold
Illustration
Jerome Kaplan
Printmaking
Oscar Mertz
Foundation
Richard Reinhardt
Crafts/Metals
Petras Vaskys
Crafts/Ceramics
75
I UNIVERSITY
OF THE ARTS
PHILADELPHIA COLLEGE
OF PERFORMING ARTS
vlv
Philadelphia College of
Performing Arts
Stephen Jay, Dean
Annette DiMedio, Assistant Dean
Accreditation
The Philadelphia College of Performing Arts (PCPA)
of The University of the Arts is accredited by the
Middle States Association of Colleges and
Schools, and the National Association of Schools
of Music, and has approval of the Commonwealth
of Pennsylvania for the granting of degrees in the
performing arts.
The College
The Philadelphia College of Performing Arts is
comprised of the Schools of Dance, Music, and
Theater Arts. Its curricula combine the
performance emphasis of the traditional
conservatory, stressing individualized training,
practice, and discipline, with a liberal arts
education.
Founded in 1870 as the Philadelphia Musical
Academy, and merged with the Philadelphia Con-
servatory of Music in 1962, the College has long
been regarded as one of America's foremost pro-
fessional schools of higher education. Many of its
early graduates and faculty were members and
founders of the Galley 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 cur-
rently serving on the College faculty. The Academy
of Music, home of the world-famous Philadelphia
Orchestra, is adjacent to the historic Shubert The-
ater building, headquarters of the Philadelphia
College of Performing Arts.
In 1976 the institution was renamed the Phila-
delphia College of the Performing Arts, thereby
signaling its intention to expand its program to
include all three of the performing arts disciplines
— Music, Dance, and Theater. In 1977, the Phila-
delphia Dance Academy joined the College to
become the School of Dance. Founded in 1947,
The Philadelphia Dance Academy was one of the
foremost conservatories of dance in the nation
and one of the first three institutions in the coun-
try granting a degree in dance. The School of The-
ater was initiated in 1983.
The Philadelphia College of Performing Arts
thus became Pennsylvania's first and only inde-
pendent college dedicated exclusively to the per-
forming arts, and one of the first of its kind in the
United States. Its philosophy is founded on the
principle that there is a common bond among
artists, whatever their discipline, and that artists
must interact with each other for their inspiration
and growth. Indeed, many of the College's stu-
dents have developed interdisciplinary careers
which require familiarity with all the performing
arts. Its recent association with the Philadelphia
College of Art and Design as part of The University
of the Arts, adds an extraordinary new dimension
to PCPA's artistic training by bringing performing
and visual arts and artists together in a single
professional educational community.
Major Areas of Study
School of Dance
Undergraduate Programs
Bachelor of Fine Arts (BFA) in Dance
Bachelor of Fine Arts (BFA) in Dance Education
Certificate in Dance
Dance Majors
Ballet
Dance Education
Modern
Theater Dance/Jazz
School of Music
Undergraduate Programs
Bachelor of Music (BM) - Classical Music
Bachelor of Music (BM) - Jazz/Commercial Music
Bachelor of Music (BM) - Theory
Bachelor of Music (BM) - Composition
Diploma Program
Certificate Program
Graduate Programs
Master of Music (MM)
Master of Arts in Teaching, Music Education
Graduate Diploma
Areas of Concentration
Bassoon*
Clarinet
Composition
Contra Bass
Electric Bass
Flute
French Horn*
Guitar
Harp*
Oboe*
Opera Singing+
Organ*
Percussion
Piano
Piano Accompanying and
Chamber Music+
Saxophone
Theory*
Trombone
Trumpet
Tuba*
Viola
Violin
Violoncello
Voice*
Voice/Opera*
* Classical Only
+ Graduate Only
School of Theater Arts
Undergraduate Program
Bachelor of Fine Arts (BFA) in Theater Arts
Programs:
Acting
Directing
Stage Combat
Musical Theater
79
Admissions Requirements
Admissions decisions are based on an evaluation
of artistic proficiency and potential together with
academic performance.
Also refer to the sections on general admissions
requirements for entrance to The University of the
Arts, and to the sections concerning the particular
School of Dance, Music, or Theater for additional
information about Admissions, including Audition
requirements.
Undergraduate Admissions
To qualify for admissions to the Philadelphia
College of Performing Arts, students must have
graduated from an accredited high school and
have taken an appropriate distribution of subjects,
including four years of English. A General
Education Diploma (GED) or completion of the
College Level Examination Program (CLEP) may be
accepted as substitutes for a high school diploma.
The Admissions Office must have the com-
pleted application on file no later than two weeks
prior to the scheduled date of the audition. To
complete the application, the following must be
submitted:
1 . A completed application form along with the
nonrefundable $30 application fee.
2. An official copy of the high school transcript, or
GED or CLEP certification.
3. Scholastic Aptitude Test (SAT) or American
College Test (ACT) scores.
4. A statement of purpose: One-page, type-writ-
ten essay describing the student's ambitions,
goals, motivations, and commitment to training
for the performing arts.
5. A resume of performance experience and pri-
vate training (include all applicable names and
dates).
6. A letter of recommendation from the student's
performing arts teacher.
Additional supportive materials are welcome.
Though not required, a personal interview in the
Admissions Office is recommended. Interviews
must be scheduled in advance by calling the Ad-
missions Office at 215-875-4808.
Audition
Every student applying to the Philadelphia College
of Performing Arts must pass an entrance audi-
tion. An application must be completed and filed
in the Admissions Office before an audition will be
scheduled. Taped auditions should be accompa-
nied by a completed application. Specific audition
requirements are presented in the sections con-
cerning the Schools of Dance, Music, or Theater
Arts. Applicants may audition in person at the
University, by submitting an audition tape, or audi-
tion in specified locations throughout the US.
Transfer Admissions
Students who have enrolled in a college-level
program and completed more than twelve hours of
course work will be considered a transfer
student. The admissions process for a transfer
student is the same as that outlined above under
"Undergraduate Admissions." In addition, transfer
students must submit official copies of all
post-secondary school transcripts.
Transfer Credits
Students may receive credit for courses taken at
other accredited institutions that are similar in
content, purpose, and standards to those offered
at The University of the Arts. For credit to be
granted, the student must submit official
transcripts of all previous college study along with
current catalog(s) of the institution(s). A minimum
grade of "C" is required in order to present a
course for transfer credit. The evaluation of credit
is made by the Division of Humanities faculty and
school directors in consultation with the Office of
the Registrar.
Advanced standing credit in music perfor-
mance, music composition, theater and dance
may be transferable. At the time of the en-
trance audition, the appropriate faculty Audi-
tions Committee will evaluate the student's
performance with respect to the level of
achievement for advanced standing. Transfer
credits are granted in the amount which would
normally be given for similar courses in the
curricula of the Philadelphia College of Per-
forming Arts, up to the level of placement.
Should the amount of previously earned
credit be less than that awarded by PCPA for
similar work, Advanced Standing credit will be
automatically granted.
Advanced Standing or transfer credits are
not normally awarded to students in graduate
degree programs.
Final determination of transfer status cannot be
made until all final transcripts from previously
attended schools have been received, and all
appropriate placement and entrance examinations
have been completed.
Additional Stipulations
School of Music
A maximum of half of the total required credits
(two years) in Music may be transferable in the
major field of study such as major study in Instru-
ment, Voice, Composition, Theory.
School of Theater Arts
A maximum of half of the total required credits
(two years) in Theater may be transferred in
the major field of study: Acting, Speech, Move-
ment, Mime, etc.
Graduate Admissions
Applicants to the Graduate Programs in the School
of Music must complete an application file and an
audition to be eligible for admission.
Auditions are scheduled by calling the Admissions
Office. A completed application must be on file in
the Admissions Office no later than two weeks
prior to the scheduled audition date. In order to
complete the application file, the student must
submit the following:
1 . An Application for Graduate Admissions form
(available from the Admissions Office) along
with the nonrefundable $30 application fee;
2. An essay (minimum length: 1,000 words) de-
scribing your reasons for wishing to attend the
University in terms of career goals and commit-
ment to training for the professional performing
arts;
3. Official copies of all transcripts from high
schools, undergraduate and graduate schools
which were attended;
4. Three letters of recommendation (two of these
must come from professionals in the major
area);
5. Repertoire for the audition.
International Student Admissions
Students who are neither U.S. citizens nor resident
aliens are considered international students. Inter-
national students must comply with all provisions
of the Immigration Act, and may only be admitted
on a full-time basis. All foreign transcripts and
other documents must be translated and certified
by an embassy, legation, or consular officer of the
United States.
Application and audition procedures are identi-
cal to those of undergraduate, transfer, and gradu-
ate admissions listed above with the following
exceptions/additional requirements:
1 . The scores for the Test of English as a Foreign
Language) TOEFL) are required instead of SAT
or ACT scores.
2. International students must file proof of ability
to support themselves from their own financial
resources or the resources of a sponsor. Docu-
mentation of these resources is required on
official bank stationery and must be stated in
U.S. dollars.The estimated annual expense for
an international student is $18,000 (U.S. dol-
lars). The documentation is required as part of
the Admissions application.
3. Official Transcripts of every academic record
since high school graduation must be submitted
with the application and fee. If the original
records are not in English, a certified English
translation must also be included. Handwritten
documents are not acceptable.
80
Regulations
Attendance
Professional Standards and Behavior
It is expected that students of the Philadelphia
College of Performing Arts maintain high stan-
dards of professionalism with respect to studio,
classroom, rehearsal, and performance commit-
ments. Regular and punctual attendance and
appropriate preparation for lessons, classes,
rehearsals, and performances are of the utmost
importance to the attainment of professional
artistic goals.
Absence
An "excused" absence is one which has received
the prior consent of the instructor; is due to illness
or emergency, appropriately documented by medi-
cal certificate, etc.; or caused by performance at
an official school function with the approval of the
appropriate School Director or Dean of PCPA. All
other absences are "unexcused."
It is the responsibility of the student to arrange
with his/her instructors to make up all missed
work. Failure to do so will result in lowered
grades. Students who are excessively absent will
receive an "F" in the course. (Due to the ensemble
nature of the courses, work in Acting Studio and
musical ensembles cannot be made up.)
Students must notify PCPA concerning absences
involving private lessons and/or rehearsals involv-
ing other participants. Messages should be di-
rected to the office of the School Director.
Change of Major or Status
Students wishing to change their major or pro-
gram status must:
1 . Secure appropriate form from the Registrar;
2. If approved by the appropriate School Director,
take a special audition, as required;
3. Return completed form to the Registrar.
Class/Lesson Cancellations or
Lateness of Instructor
Students must check every morning for notices
regarding class or lesson changes. Such notices
are posted in a designated area. If none is posted
for the scheduled class or lesson and the instruc-
tor is not present, students are expected to wait
for 10 minutes for an hour-long class/lesson and
1 5 minutes for those of longer duration. In the
event the instructor fails to appear within the 10-
15 minute waiting period, students are to report to
the appropriate School Director's office, and may
then leave without penalty.
Dean's List
The Dean's List honors those students who meet
the following criteria:
1 . Are full-time undergraduate degree candidates.
(Candidates for Diploma and Graduate Degrees
are not eligible.)
2. Have attained a minimum GPA of 3.60.
3. Have received no grade lower than a "B" in any
course.
4. Have received no grade of "I" or "OF."
5. Have taken a minimum of 12 credits for letter
grades (not "OP" or "OF").
Faculty Advisory
All students are assigned to a faculty advisor. Lists
are posted in the Shubert Student Lobby during
the first week of the academic year.
Appointments will be made at the mutual
convenience of the student and the faculty
advisor.
Students should feel free to see their advisor at
any time concerning problems they may encounter.
Probation
Students whose semester grade point average is
below 2.0 and/or who receive the grade of D or
below in their major area ("B" in Theater), will be
placed on probation for one or two semesters, as
determined by the Scholastic Standing
Committee. Failure to meet the stipulation for
removal of Probation by the end of the specified
period will result in dismissal from PCPA.
Student Status
Special Students
"Special" students are those not matriculated in a
degree, diploma or certificate program of the
Philadelphia College of Performing Arts. Special
students are not usually admitted to the School of
Theater Arts.
Full-Time/Part-Time Status
Full-time undergraduate students are those who
are enrolled for 12 to 18 credits per semester,
except for Double Degree students in the School
of Music.
Part-time students carry fewer than 12 credits
in any given semester.
Full-time enrollment for graduate students is
considered to be the maximum number of credits
proscribed in each semester of the student's par-
ticular curriculum.
Students wishing to enroll for more than the
maximum credit load must receive approval from
the Dean PCPA, and a per-credit surcharge may be
levied.
Note: Only Full-time students are admitted to the
School of Theater Arts.
Graduation Requirements
Undergraduate
To qualify for graduation, a student must fulfill the
following requirements:
1. Achieve a minimum cumulative grade point
average (CGPA) of 2.0 ("C" average).
2. Earn the total required credit hours for the par-
ticular curriculum.
Graduate
Graduate Degree students are bound by the
followign policies and requirements.
1 . Achieve a minimum cumulative grade point
average (CGPA) of 3.0 ("B" average).
2. Pass a written comprehensive examination in
the final semester of residency.
3. Courses in which Graduate student earns a
grade of "C need not be repeated. Courses in
which a grade of "F is earned must be re-
Graduation With Honors
A candidate for the baccalaureate degree, only,
may graduate with hoors if he or she achieves a
minimum cumulative GPA of 3.6 at the conclusion
of the semester prior to graduation.
Graduation honors apply only to undergraduate
degree students.
81
The School of Dance
Susan B. Glazer
Director
Edna Cohen
Assistant Director
309 South Broad Street
215-875-2269
The School of Dance is dedicated to the training of
young artists for careers as professional perform-
ers, dance educators, and choreographers, and
provides an intensive exploration of dance in its
physical, intellectual and creative aspects. The
School provides an environment in which students
may develop an individual artistic vision while
being exposed to a variety of artistic roles.
Faculty by Department
Ballet
Edward Myers
Andrew Pap
Barbara Sandonato
Carol Luppescu Sklaroff
Jon Sherman
Suzanne Slenn
Jazz/Theater Dance
Peter Bertini
Beth Hirschhaut-lguchi
Nancy Berman Kantra
Ronen Koresh
Henry Roy
Wayne St. David
Modern Dance
Manfred Fischbeck
Naomi Mindlin
Milton Myers
Faye B. Snow
Pat Thomas
JoAnn Tulli
Tap Dance
Joan Lanning
Michael Lanning
LaVaughn Robinson
Dance Studies
Peter Bertini - Dance Notation
Alice Bloch - Dance History
Robert Christophe - Mime
Annette DiMedio - Music Survey
Manfred Fischbeck - Eurythmics/lmprovisation/
Dance Composition
Charles Gilbert- Voice
Susan B. Glazer - Fundamentals of Dance
Sherry Goodil - Dance Therapy
Julia Lopez - Spanish Dance
Rae Mangan - Nutrition
Rachel Mausner - Alexander Technique
Gabriela Roepke - Dance in Literature
Pearl B. Schaeffer - Dance Pedagogy
Connie Vandarakis- Anatomy/Kinesiology
Paul Wagar - Acting
Kariamu Welsh-Asante - African Dance
Technical
Jay Madara - Director
Janette Howard - Assistant
Costumes
Clyde M. Hayes - Director
Facilities
The three main studios of the School of Dance are
located at 309 South Broad Street. These spa-
cious, bright, and well-lighted studios are fully
equipped with barres and mirrors, huge windows,
pianos, audio consoles, and ceiling fans. Their
floors have been newly renovated with four-inch,
state-of-the-art suspension for the safest and
most comfortable dancing surface available. Lock-
ers, dressing rooms, showers, and lounges are
found adjacent to the studios. Three additional
studios are located at 313 South Broad Street. The
University has completely restored its historic
Shubert Theater, which serves as the institution's
major performance hall for students, as well as
"home" to a number of regional performing arts
organizations, including the Pennsylvania Ballet.
The University's Drake Theater, a 250-seat theater,
is used for dance student performances, as is a
200-seat theater in the 313 South Broad Street
building. The Albert M. Greenfield Library contains
books, journals, and videotapes devoted to dance,
which are available to students for research and
coursework.
Visiting Artists
Visiting artists are a continuous and significant compo-
nent of education in the School of Dance. Recent
guests who have conducted master classes and work-
shops have included Edward Villella, Donna
McKechnie, Oleg Briansky, Gabriella Darvash, James
Truitt, Meredith Monk, and Ronnie Favors. The profes-
sional dance community feels very much at home in
the School's studios. Frequently dancers from touring
companies surprise dance students by making
unannounced appearances, taking class, sharing their
professional experiences, and providing inspiration.
82
Programs of Study
Bachelor of Fine Arts (BFA) in Dance
Bachelor of Fine Arts in Dance Education
(BFA Dance Ed)
Certificate in Dance - two-year program
Majors
Ballet
Jazz/Theater Dance
Modern Dance
Dance Education
Bachelor of Fine Arts in Dance: Ballet
Modem, or Jazz/Theater Dance
The Bachelor of Fine Arts (BFA) in Dance is a program
designed for those students who wish to prepare for
professional careers in dance performance and/or
choreography. The BFA in Dance program is normally
completed in four years of full-time study with a total
requirement of 130-136 credits.
Bachelor of Fine Arts in Dance
Education
The Bachelor of Fine Arts (BFA) in Dance Education
is a program designed specifically for students
whose primary intention is to enter the profession
as a teacher of dance. Although there is currently
no Pennsylvania State certification for dance
teachers, this program includes supervised class
teaching in schools and/or private dance studios.
The BFA in Dance Education is designed as a four-
year program of full-time study with a total re-
quirement of 130-136 credits.
Certificate in Dance
The Certificate in Dance is a two-year program
intended for those students who wish to concen-
trate exclusively on dance studies. This intensive
program is designed to develop the student's fa-
miliarity with and proficiency in a broad spectrum
of dance styles. The Certificate in Dance is
awarded in recognition of achievement, and does
not constitute an academic degree.
Admissions Requirements
In addition to the general application requirements
for all students to the Philadelphia College of Per-
forming Arts, applicants to the School of Dance
must submit the following:
1 . A one-page (250 words) statement of purpose,
outlining the applicant's goals, expectations,
and reasons for choosing the dance program.
2. A resume outlining all previous dance experi-
ence and instruction including performances,
names of teachers and studios, length of study,
and all applicable dates.
3. A letter of recommendation from the current
dance instructor.
Auditions
An audition is required of all applicants to the
School of Dance. The audition may be taken in
Philadelphia, at designated regional audition loca-
tions, or submitted on VHS format video tape. The
audition evaluates the applicant's current level of
technical proficiency and potential for professional
development.
The Philadelphia and regional audition consists of
four parts:
1 . A one-half-hour ballet class taken with other
applicants.
2. A one-half-hour modern dance class taken with
other applicants.
3. A one-half-hour jazz dance class taken with
other applicants.
4. A prepared dance solo. The solo may not be
longer than two minutes in length, and may be
the choreography of the applicant or someone
else. Musical accompaniment must be provided
by the applicant on cassette audio tape or
record (audio equipment will be provided). The
dance solo should feature the area of dance in
which the applicant is most proficient and with
which he or she feels most comfortable.
Video-taped auditions must show:
1 . Ballet and either Modern or Jazz Dance.
2. Warm-up including both floor work and barre:
Barre should be taped from the side and front,
and should include plies (demi- and grand-),
tendus, degages (battements jetes), ronds de
jambes, grand battements, developpes (exten-
sions) en croix.
3. Center work should include small and large
jumps, pirouettes, adagio, and a modem or jazz
combination.
4. Locomotor in modern or jazz — a combination
of at least eight measures which includes leaps
and turns.
5. A short solo presentation, not longer than two
minutes.
Video tapes should be VHS format; all tapes must
be clearly labeled with name, address, and reper-
toire descriptions.
Scholarships
Trustee Scholarship
Each year the School of Dance awards a Trustee
Scholarship to an entering freshman. The award is
made on the basis of outstanding artistic and
academic performance, and for promise as a fu-
ture dancer. Recipients must maintain a 3.0 cumu-
lative grade point average. All auditioning stu-
dents will be considered for this award but must
audition prior to March 1 . Notification of the
award is made in April.
Talent Scholarships
Talent Scholarships are awards to matriculating
students who give evidence of outstanding artistic
ability. Recommendation for the Talent Scholarship
is based on the audition as well as demonstrated
need. To maintain eligibility, the student must
participate fully in rehearsals and performances,
have a "B" or better in the Major area, and main-
tain a minimum 3.0 cumulative grade point aver-
age (2.75 minimum for Freshmen) in all Dance
courses.
Students applying for Talent Scholarships must
file a Talent Scholarship Application as well as the
appropriate Financial Aid Form, obtainable from
the Financial Aid Office.
New students should audition prior to March 1 5.
Those auditioning after March 15 will be considered
for scholarships as funds become available.
Returning students applying for Talent Scholar-
ships are subject to special audition and/or evalu-
ation of their work in Dance Studio and Ensemble.
The Curriculum
The curriculum in the School of Dance has been
carefully organized to allow the student to grow to
his/her maximum potential as a dancer. It has
been developed over the years by professionals
who are experienced with the world of dance and
its demands.
Daily technique classes in ballet, modern
dance, and jazz dance are basic to all courses of
study. Electives include improvisation, repertory,
partnering, Spanish dance, ethnic dance, charac-
ter, and mime. Through courses such as dance
history and score reconstruction the student will
gain a historical perspective of different dance
traditions. Music, voice, and acting classes pro-
vide the necessary links to allied performing arts.
The curriculum includes courses in the liberal arts
and social sciences, with special emphasis placed
upon the manner in which they relate to the arts.
83
Core Curriculum
The Core Curriculum is common to all Bachelor of
Fine Arts programs in the School of Dance for the
first two years. These required courses develop a
solid foundation from which students pursue their
specific areas of interest.
Freshman Year Semester
1st 2nd
DA101A&B Ballet HI 2 2
DA103A&B Modem Dance HI 2 2
DA113A&B JazzDanceHI 1 1
DA123A&B Tap HI 1 1
DA 107 Eurythmics 1 -
DA 109 Improvisation I - 1
DA 1 1 6A&B Fundamentals of the
Art of Dance HI 1 1
DA117A&B Survey of Music HI 3 3
Electives 1 1
HU110A Language & Expression 3 -
HU103A&B Intro, to Modernism 3 3_
18 15
Sophomore Year
DA201A&B Ballet IIHV 2 2
DA203A&B Modem Dance IIHV 2 2
DA213A&B Jazz Dance IIHV 1 1
DA205A&B Dance Notation HI 2 2
DA 209 Anatomy 1 -
DA 210 Kinesiology - 1
DA211A&B Dance History HI 3 3
DA 216 Music for Dancers 1 -
DA 217 Dance Composition I - 2
DA 77- Dance Ensemble 1 1
Electives 1 1
HU— Humanities 3 3
17 18
Ballet Major
The final two years of the Ballet major emphasize
advanced technique in ballet, including Pointe or
Men's Ballet class. In addition, Ballet majors con-
tinue non-major studies in either Modem or Jazz
17 18
Senior Year
DA401A&B Ballet Major IIIJV 4 4
* — Modern or Jazz for
non-majors 1 1
DA407A&B Ballet Repertory IIIJV 2 2
DA419A&B Dance Production I, II 2 2
DA421A&B Pointe IIIJV or
DA427A&B Men's Class IIIJV 1 1
DA 77- Dance Ensemble 1 1
Electives 1 1
HU— Humanities 3 3
HU — Humanities 3 -
18 15
*DA 326A&B, DA 328A&B, DA 426 A&B,
DA 428A&B, as appropriate
Jazz/Theater Dance Major
The Jazz/Theater Dance major emphasizes acting,
music, and voice in addition to the technical study
of jazz dance, and prepares students for dance
careers related to theatrical performance.
uance.
Junior Year
Semester
Junior Year
Semester
1st 2nd
1st 2nd
DA 311 A&B
Jazz Major l.ll
4 4
DA 301 A&B
BalletMajorl.il
4
4
* —
Ballet or Modem for
* —
Modern or Jazz for
1
1
Non-majors
1 1
DA308A&B
Dance Pedagogy l.ll
2
2
DA308A&B
Dance Pedagogy I, II
2 2
DA307A&B
Ballet Repertory l.ll
2
2
DA317A&B
Dance Composition II, III
2 2
DA309A&B
Partnering l.ll
1
1
DA 319
Theater Functions
- 2
DA 31 9
Theater Functions
-
2
DA323A&B
Tap Dance IIIJV
1 1
DA 324
Character Dance
-
1
DA345A&B
Voice l.ll
1 1
DA347A
Acting I
1
-
DA347A&B
Acting Ml
1 1
DA 321 A&B
Pointe I, II or
1
1
DA77-
Dance Ensemble
1 1
DA327A&B
Men's Class l,ll
Elective
1
DA77-
Dance Ensemble
Electives
1
1
1
HU —
Humanities
3 3
HU —
Humanities
3
3
17 18
Senior Year
DA 411 A&B Jazz Major IIIJV
* — Ballet or Modem for
non-majors
DA419A&B Dance Production l,ll
DA423A&B Tap Dance V,VI
DA445A&B Voice IIIJV
DA447A&B Acting IIIJV
DA 77- Dance Ensemble
Electives
HU — Humanities
HU — Humanities
4 4
18 15
*DA 325A&B. DA 326A&B, DA 425A&B, DA 426
A&B, as appropriate.
Modem Dance Major
Modern Dance majors further develop technique,
repertoire, and composition in the area of Modern
Dance. In addition, Modem Dance Majors also
pursue non-major studies in either Ballet or Jazz
Dance.
Junior Year
DA303A&B
DA305A&B
DA308A&B
DA317A&B
DA 319
DA322A&B
DA77-
HU-
Semester
1st 2nd
Modern Dance Major V-VI 4 4
Ballet or Jazz for
Non-majors
Modern Repertory l-ll
Dance Pedagogy l-ll
Dance Composition ll-l
Theater Functions
Improvisation ll-lll
Dance Ensemble 1 1
Elective 1 -
Humanities 3 3
1 1
2 2
2 2
2 2
- 2
1 1
17
18
Senior Year
DA403A&B
Modem Dance
i_
Major VII-VIII
Ballet or Jazz for
4
4
DA405A&B
DA 41 7
DA419A&B
Non-majors
Modern Repertory lll-IV
Dance Composition IV
Dance Production l-ll
1
2
2
2
1
2
2
DA77-
Dance Ensemble
Electives
1
1
1
1
HU —
Humanities
3
3
HU —
Humanities
-
3
16 17
*DA 325A&B, DA 328A&B, DA 425A&B,
DA 428A&B, as appropriate.
Dance Education Major
Students choosing to pursue the Bachelor of Fine
Arts in Dance Education continue dance technique
studies in one major area and one non-major area
of concentration. The culmination of the program
is an internship as a student teacher.
Junior Year
DA 3 — A&B Major Technique
DA 3 — Non-major Technique
DA 308A&B Dance Pedagogy l-ll
DA 31 7A&B Dance Composition II-
DA319 Theater Functions
DA 77- Dance Ensemble
Elective
HU — Humanities
HU — Psychology
Senior Year
DA 4 — A&B Major Technique
DA 4 — Non-major Technique
DA 408A&B Dance Symposium l-ll
DA 410 Student Teaching
DA419A&B Dance Production
HU 4 — Humanities
HU 4 — Humanities
Semester
1st 2nd
4 4
1 1
2 2
II 2 2
- 2
1 1
1 -
3 0
3 3
17 15
16 17
Certificate
in Dance
Total Credits: 55
First Year
Semester
1st 2nd
DA 101A&B
Ballet l-ll
2 2
DA 103A&B
Modem Dance l-ll
2 2
DA 107
Eurythmics
1 -
DA 109
Dance Improvisation
1 -
DA113A&B
Jazz Dance l-ll
1 1
DA116A&B
Fundamentals of the
Art of Dance l-ll
1 1
DA117A&B
Survey of Music l-ll
3 3
DA123A&B
Tap Dance 1-111 1
DA 211 A&B
Dance History l-ll
Electives
2 2
1 1
Second Year
DA 201 A&B Ballet lll-IV
DA 203A&B Modem Dance lll-IV
DA 207 A&B Dance Pedagogy-ll
DA 209 Anatomy
DA 210 Kinesiology
DA213A&B Jazz Dance lll-IV
DA 21 6 Music for Dancers
DA 21 7 Dance Composition I
DA 31 9 Theater Functions
DA 77- Dance Ensemble
Electives
15 14
2 2
2 2
2 2
1 -
- 1
1 1
1 -
- 2
- 2
1 1
2 1
12 14
85
Special Class/
Performance Requirements
Dance Technique Class
Presence in Dance Technique class is especially
vital to the student's professional development.
Dance Technique classes meet up to five times
per week depending upon the course and level.
Absences must not exceed twice the number of
weekly class meetings per semester for the par-
ticular course. Extensive absences, whether "ex-
cused" or "unexcused," will adversely effect the
course grade.
Dance Ensembles
Dance majors are expected to actively participate
each semester in a Dance Ensemble. (Note: There
is no performance requirement for freshmen.)
Dance Ensembles are performance-oriented
groups in Ballet, Jazz, and Modem Dance. Reper-
tory for Dance Ensembles may be an original work
by a faculty member, an exceptional student work,
or one reconstructed from dance notation.
Students are expected to complete six en-
semble credits (one each semester). The require-
ment may be fulfilled by participation in Consort,
the student performing dance company. Consort
carries variable credits and may, with special
permission of the Director of the School of Dance,
also fulfill certain curricular requirements such as
Repertory and Partnering.
Required Performance credit may also be
satisfied by participation in Senior Concerts,
Composition Concerts, and approved outside
professional work.
Additionally, Seniors may earn Performance
credit in conjunction with their Dance Production
course. Sophomores and Juniors may be awarded
ensemble credit by doing their own choreography
if the work is shown in concert form.
Senior Dance Concert
1 . Preparation for the senior concert takes place
during the two-semester Dance Production
course under the supervision of a senior faculty
member. Each student may select an advisor
who will assist in the choreographic and tech-
nical production of the concert. Performance
dates are chosen in September. Most concerts
are shared by several seniors and are per-
formed in the Drake Theater.
2. Jury: All senior dance students will present their
finished concert three weeks before their sched-
uled date of performance to a jury consisting of
three faculty members and the Director and Assis-
tant Director of the School of Dance. During this
presentation, all technical cues should be in place
and announced, and the technical crew must also
be present. A draft of the program copy is to be
submitted for review.
3. Requirements:
a. Choreography — Modern majors must cho-
reograph a solo work and a large or small
group piece. Ballet majors must choreograph
one work, either solo or small group. Jazz ma-
jors must choreograph one solo and one group
piece, or two group pieces. If any singing is
included, the School of Dance vocal coach must
be consulted and approve the work.
b. Performance — All students must perform in
at least one work of their own choreography
and one work of a fellow student. Additionally,
Ballet majors must perform in a piece from the
standard ballet repertory.
c. Technical Assistance — Each student must
fulfill a technical-personnel requirement either
as Stage Manager, Lighting Technician/De-
signer, or Sound Technician. Personnel are
selected well in advance of the concert date
and meet with the Technical Director of the
Theater early in the semester to set up re-
hearsal dates.
4. Responsibilities: The University will provide the
theater, a technical director, and the basic tech-
nical facilities. Any additional support, special
lighting, or sound needs must be provided by
the student. All programs, flyers, and promo-
tional material can be duplicated by the Dance
Office if presented well in advance of the pro-
duction in finished (typed) state.
5. Evaluation: Most senior Dance students view
their Senior Concert as the culmination of their
four years at The University of the Arts and a
most important aspect of their college experi-
ence. The faculty, too, judges this performance
as a serious demonstration of the student's
ability as a dance artist. Evaluations of the
content of the performance are offered by at
least three faculty members after the
preconcert jury presentation.
The production aspect of the concert will be
graded by the faculty in charge of the course. The
final grade thus reflects both the process and the
choreographic end result.
Graduation Requirements
In addition to the general PCPA requirements
for graduation, each Dance Major must fulfill
the Senior Dance Concert requirements, as
previously described.
Dance Extension
309 South Broad Street
215-875-2269
The Dance Extension Division offers credit and
noncredit dance courses for students of all ages,
from beginner through advanced levels. The pro-
grams enable students to explore their potential in
a stimulating and professional environment. The
Extension Division presents a wide variety of
courses, taught by the same highly qualified in-
structors who work with our full-time students of
the School of Dance. These courses for non-Dance
Majors are open to all University of the Arts stu-
dents for elective credit.
86
The School of Dance
Course Descriptions
DA101A&B
Ballet Ml
2 credits per semester
Fundamentals of ballet technique including barre
and center floor work. The course serves to intro-
duce and develop basic ballet technique and vo-
cabulary. Body placement and alignment is
stressed through an understanding and application
of these basics. Continuous advancement and
development is provided from beginning to ad-
vanced levels throughout this four-semester se-
quence (Ballet l-IV). Required of all Dance majors.
DA103A&B
Modern Dance III
2 credits per semester
Basic technique of modern dance for the develop-
ment of skills, intellectual understanding, kinetic
perception, and maximum versatility. Includes
barre work, center floor, isolation, falls and recov-
eries, contractions and release. Part of two-year
sequence (Modern Dance l-IV). Required of all
Dance majors.
DA 107
Eii rythmics
1 credit
A beginning course in dance theory and composi-
tion which explores the development of rhythm
perception through movement improvisation. Stu-
dents receive weekly movement assignments
directed toward specific rhythm and dance prob-
lems. Required of all Dance majors.
DA 109
Improvisation I
1 credit
This course comprises breathing and centering
warm-ups, isolation exercises, and technical im-
provisation on movement qualities, including
swinging, gliding, falling, rising, slow motion.
Students learn to develop choreographic ideas
through group improvisational structures. A con-
tinuation of the creative work of DA 107. Required
of all Dance majors.
DA113A&B
Jazz Dance III
1 credit per semester
A presentation of styles designed to broaden
knowledge and technique of concert and theater
jazz dance. Classes employ floor stretches and
center barre as warm-up procedures. Movement
patterns emphasize simultaneous coordination of
multiple rhythm patterns in different parts of the
body. Combinations advance from simple to com-
plex throughout this four-semester sequence (Jazz
Dance l-IV). Required of all Dance majors.
DA116A&B
Fundamentals of the Art of Dance III
1 credit per semester
This freshman course deals with basic aesthetic
considerations of the dance art form. The first
semester examines the nature and forms of dance,
dance in relation to other arts, and its language
and literature. The second semester is an "Effort-
Shape" course, based on the principles of Rudolph
Von Laban. Required of all Dance majors.
DA117A&B
Survey of Music III
3 credits per semester
Study of rhythm, melody, harmony, tempi and dy-
namics, and musical forms. The course also sur-
veys the history of music from ancient to modern,
including jazz. Musical rhythms and structures are
studied in the one-hour laboratory section. Re-
quired of all Dance majors.
DA123A&B
Tap III
1 credit per semester
Basic vocabulary of tap, and development of rhyth-
mically accurate footwork and accompanying body
movements. Required of all Dance majors.
DA201A&B
Ballet lll-IV
2 credits per semester
Continuation of DA 101 A&B. Required of all
Dance majors.
DA 203 A&B
Modern Dance lll-IV
2 credits per semester
Continuation of DA 1 03 A&B. Required of all
Dance majors.
DA 205 A&B
Notation III
2 credits per semester
Notation I is an introduction to the Laban system
of recording dance movement. The course deals
with the study of basic notation symbols for read-
ing and writing movements involving steps, arm
and leg gestures, turns, and rhythmic and spatial
patterns. Notation II comprises intermediate study
in reading and writing dance phrases including
torso, parts of the limbs, and head. Required of all
Dance majors.
DA 209
Anatomy for Dancers
1 credit
A study of the structured makeup of the human
body, and the relationship of body systems to each
other. Included is a study of the structure and func-
tion of the nervous, pulmonary, circulatory, and
digestive systems. Required of all Dance majors.
DA 210
Kinesiology
1 credit
A study of the mechanics of the body in motion
based upon the background provided in Anatomy
for Dancers (DA 209). Muscular and biomechanical
aspects are presented, with a stress on overuse
syndrome and prevention of dance injuries. Re-
quired of all Dance majors.
DA 211 A&B
Dance History III
3 credits per semester
The study of the interaction between dance and
the society in which it develops, emphasizing the
changing role and nature of dance. Dance History I
deals with dance from the Renaissance through
Diaghilev's Ballet Russe. Dance History II surveys
dance from pre-World War II to the present. Re-
quired of all Dance majors.
DA 213 A&B
Jazz Dance lll-IV
1 credit per semester
Continuation of DA 1 1 3 A&B. Required of all
Dance majors.
DA 216
Music for Dancers
1 credit
An exploration of various kinds of musical materi-
als and literature, from Gregorian chant to New
Music, relating the selection of music to the cre-
ation of dance composition. Improvisation utilizing
different sounds and instruments. Prerequisite to
Dance Composition (DA 217). Required of all
Dance majors.
DA 217
Dance Composition I
2 credits
The course integrates the improvisational skills
acquired earlier in Eurythmics, Improvisation, and
Music for Dancers. Designed to provide the begin-
ning choreographer with the tools needed to struc-
ture a dance composition in solo and duet forms.
Required of all Dance majors.
DA 301 A&B
Ballet V-VI
4 credits per semester
Continuation of DA 201 A&B. Required of students
majoring in Ballet.
DA 303 A&B
Modern Dance V-VI
4 credits per semester
Continuation of DA 203 A&B. Required of students
majoring in Modern Dance.
DA 305 A&B
Modern Repertory III
2 credits per semester
A study of contemporary and/or classical repertory
by resident or guest choreographers or notators,
as well as the viewing, discussion, and analysis of
great works on video and film. Required of Mod-
ern Dance majors.
DA 307 A&B
Ballet Repertory III
2 credits per semester
The study and performance of dances of the
Renaissance and Baroque periods, followed by
major classical and modern ballets. Required of
Ballet majors.
87
DA308A&B
Dance Pedagogy III
2 credits per semester
Dance I is an introduction to current philosophies
and practices of teaching dance, and a historical
survey of the role of dance in education. The sec-
ond semester deals with identification and
exploration of basic concepts of teaching dance,
and application of these principles to the concrete
development of lesson plans. Required of all
Dance majors.
DA309A&B
Partnering III
1 credit per semester
The basic technique of adagio (pas de deux). Students
perform major classical works. Required of Ballet
majors. May be taken as an elective by other Dance
majors with permission of the instructor.
DA311A&B
Jazz V- VI
4 credits per semester
Continued development of technique and various
styles as introduced in DA 1 13 A&B. The course
progresses from basic to complex rhythm and
isolation exercises and movement combinations
stressing subtlety of dynamics, as well as prepara-
tion of repertory. Required of students majoring in
Jazz/Theater Dance.
DA 317 A&B
Dance Composition 11—111
2 credits per semester
Continuation of DA 230. Problem solving and
analysis of materials through individual projects.
DA 319
Theater Functions
2 credits
A basic production course dealing with concepts
of lighting and set design dance. Students are
required to gain practical experience by working in
the theater on dance concerts during the year.
Required of all Dance majors.
DA 321 A&B
Pointe Ml
1 credit per semester
Basic technique of dancing ballet on pointe.
Women dance variations from the classical reper-
toire. Required of students majoring in Ballet. May
be taken as an elective by other Dance majors.
DA 322 A&B
Improvisation If— III
1 credit per semester
Individual improvisations are performed on themes
with objects in restricted or altered spaces and times.
Various structures are used for group improvisation.
Free improvisation with live music is stressed. Re-
quired of students majoring in Modem Dance.
DA 323 A&B
Tap lll-IV
1 credit per semester
The first year of a two-year sequence (DA 333-
334, 433-444). The study and practice of the
tap style of dance from simple rhythmic foot-
work to more complex multirhythms and reper-
tory. Required of students majoring in Jazz/
Theater Dance.
DA 324
Character Dance
1 credit
The course deals with the study of the relation-
ship between ethnic styles and classical ballet,
and the proper technique for performing national
dances stylized for the classical ballet repertory.
Required of students majoring in Ballet. May be
taken as an elective by other Dance majors with
permission of the instructor.
DA 325 A&B
Ballet for Non-majors V-VI
1 credit per semester
Continuation of DA 201 A&B. For students major-
ing in Modern or Jazz/Theater Dance.
DA 326 A&B
Modern Dance for Nonmajors V-VI
1 credit per semester
Continuation of DA A&B. For students majoring in
Ballet or Jazz/Theater Dance.
DA 327 A&B
Men's Class Ml
1 credit per semester
The technical movements of dance frequently
performed by the male dancer. Required of stu-
dents majoring in Ballet. May be taken as an elec-
tive by other Dance majors.
DA 328 A&B
Jazz for Nonmajors V-VI
1 credit per semester
Designed for Ballet and Modern majors. The
course further develops the vocabulary and skills
learned in DA 213 A&B.
DA 345 A&B
Voice Ml
1 credit per semester
Vocal training for the non-Voice major. Designed
to develop the vocal instrument to meet both the
musical and nonmusical vocal requirements of the
theater. Required of students majoring in Jazz/
Theater Dance.
DA347A
Acting I
1 credit
Techniques of theatrical expression, improvisa-
tion, and interpretation. Required of students
majoring in Ballet and Jazz/Theater Dance. Open
to Modern Dance majors as an elective.
DA347B
Acting II
1 credit
Continuation of DA 347A. Required of students
majoring in Jazz/Theater Dance. Open to other
Dance majors as an elective.
DA 401 A&B
Ballet VII-VIII
4 credits per semester
Continuation of DA 301 A&B. Required of students
majoring in Ballet.
DA 403 A&B
Modern Dance VII-VIII
4 credits per semester
Continuation of DA 303 A&B. Required of students
majoring in Modern Dance.
DA 405 A&B
Modem Repertory lll-IV
2 credits per semester
Continuation of DA 305 A&B. Required of students
majoring in Modern Dance.
DA 407 A&B
Ballet Repertory lll-IV
2 credits per semester
Continuation of DA 307 A&B. Required of students
majoring in Ballet.
DA 411 A&B
Jazz VII-VIII
4 credits per semester
Continuation of DA 31 1 A&B. Required of students
majoring in Jazz/Theater Dance.
DA 417
Irrterarts Composition IV
2 credits
This course is designed for choreographers to
work collaboratively with artists in related media
such as video, photography, music, crafts, and/or
text. Work is presented at the end of the semester.
Course may be team-taught. Required of Modem
majors; open as an elective to all University stu-
dents with permission of instructor.
DA 419 A&B
Dance Production Ml
2 credits per semester
Designed to assist senior students in meeting their
graduation performance requirement. Each stu-
dent participates in the rehearsal, performance,
and technical aspects of the senior graduation
concerts scheduled at the end of each spring.
Students are expected to take major responsibili-
ties for the production of these programs. A gradu-
ation requirement for all Dance majors.
DA 421 A&B
Pointe lll-IV
1 credit per semester
Continuation of DA 341 A&B. Required of students
majoring in Ballet. May be taken as an elective by
other Dance majors. Prerequisite: DA 342.
DA 423 A&B
Tap V-VI
1 credit per semester
Continuation of DA 323 A&B. Required of students
majoring in Jazz/Theater Dance.
DA 425 A&B
Ballet for Non-majors VII-VIII
1 credit per semester
Continuation of DA 325 A&B. For students major-
ing in Modern or Jazz/Theater Dance.
DA426A&B
Modem Dance for Nonmajors VII-VIII
1 credit semester
Continuation of DA 326 A&B. For students major-
ing in Ballet or Jazz/Theater Dance.
DA 427 A&B
Men's Class lll-IV
1 credit per semester
Continuation of DA 327 A&B (1 hour weekly). Re-
quired of all male Ballet Majors. May be taken as
an elective by other Dance majors. Prerequisite:
DA 352.
DA 428 A&B
Jazz for Nonmajors VII-VIII
1 credit per semester
Continuation of DA 328 A&B. For students major-
ing in Ballet and Modern Dance.
DA 445 A&B
Voice lll-IV
1 credit per semester
Continuation of DA 345 A&B.
DA 447 A&B
Acting lll-IV
1 credit per semester
Continuation of DA 347 A&B. Required of students
majoring in Jazz/Theater Dance. May be taken as
an elective by other Dance majors. Prerequisite:
DA 338.
DA 77-
Dance Ensembles/Labs
1 credit per semester
DA 771
Ballet Ensemble
DA 772
Dance Consort
DA 773
Modern Ensemble
DA 774
Jazz Ensemble
DA 775
Tap Ensemble
Dance Education
DA 308 A&B
Dance Pedagogy III
2 credits per semester
Dance I is an introduction to current philoso-
phies and practices of teaching dance, and a
historical survey of the role of dance in educa-
tion. The second semester deals with identifi-
cation and exploration of basic concepts of
teaching dance, and application of these prin-
ciples to the concrete development of lesson
plans. Required of all Dance majors.
DA 408 A
Dance Symposium I
3 credits
A course designed specifically for those students
who will be completing their student teaching
requirement in the following semester. The course
includes observation techniques, source material
preparation, and evaluation criteria. Discussion
sessions center around the application of dance
principles to the learning situation. The role of
dance teacher is examined.
DA 408 B
Dance Symposium II
3 credits
This course is designed to complement the actual
student teaching experience. Specific situations,
problems, and achievements of the student teach-
ing process are discussed and evaluated.
DA 410
Student Teaching
8 credits
Students teach under supervised direction for one
semester in a public or private school. If place-
ment for student teaching is not within a school
system, arrangements are made for the student to
do this supervised teaching through local dance
studios. Student Teaching must be taken concur-
rently with DA 408 B. Prerequisite: DA 408 A.
Dance Electives
DA 111
Spahish Dance
1 credit
A study of the basic techniques of playing casta-
nets for the Sevillanas, as well as development of
fundamental skills in footwork and handclaps for
flamenco.
DA 115
Mime
1 credit
An exploration of the commedia deH'arte, Kabuki,
and twentieth-century techniques developed by
Decroux, Barrault, and Marceau. Emphasis is
placed on animals as the primary key to funda-
mental movement, as well as analysis of human
movement, including elements of age, environ-
ment, body type, and facial features.
DA 119
Yoga
1 credit
The study of a system of exercises to achieve
physical and spiritual well-being.
DA 121
The Alexander Technique
1 credit
A method for moving with ease and grace which
can be used in any situation (ballet, jazz, modern
dance, and also everyday activities). By releasing
unnecessary tension in movement, the student
learns to avoid dance injuries or change harmful
habits so that chronic injuries can heal.
DA 124
Ethnic Dance
1 credit
The study of the contribution of black dance to the
development of American dance through the mas-
tery of the technique.
DA 126
Dance Ethnology
2 credits
A survey of the broad perspectives of dance as an
expression of culture through investigation of
Western and non-Western dance forms.
DA 127
Stage Combat
1 credit
Introduces dancers to stage fencing techniques
using courtswords, sabers, and daggers.
DA 129
Nutrition
1 credit
The study of nutrition and its application to food
selection, with special emphasis on the nutritional
needs of the dancer.
89
DA 130
Dance Therapy
1 credit
An examination of the use of dance movements as
therapeutic tools in working with the physically
and mentally handicapped.
DA223A&B
Tap lll-IV
1 credit per semester
Continuation of DA 123 A&B.
DA 314
Score Reconstruction
2 credits
The application of Laban principles to the re-cre-
ation of notated solo and/or group works. The
works studied are drawn from repertory of estab-
lished choreographers and include compositions in
the various styles of dance. The course may in-
clude performance of reconstructed works.
DA 422
Styles of Jazz
1 credit
An exploration of Jazz styles of historic and con-
temporary Jazz dance artists.
Note: The following courses, required of particular
Dance majors, are open as electives to other
Dance majors:
DA 345 A&B & DA 445 A&B
Voice l-ll-lll-IV
DA 317 A&B
Dance Composition ll-lll
DA 324
Character Dance
DA 323 A&B & DA 423 A&B
Tap lll-IV-V-VI
DA 347 A&B & DA 447 A&B
Acting l-ll-lll-IV
DA 321 A&B & DA 421 A&B
Pointe l-ll-lll-IV
DA 327 A&B & DA 427 A&B
Men's Class l-ll-lll-IV
DA101X
Ballet Elective
1 credit per semester ,
A fundamental ballet technique course for non-
dance majors.
DA103X
Modern Dance Elective
1 credit per semester
A fundamental modern dance technique course for
non-dance majors.
DA113X
Jazz Dance Elective
1 credit per semester .,..,, .,
A fundamental jazz dance technique course for
non-dance majors.
DA 114X
Karate Elective
1 credit per semester
DA123X
Tap Dance Elective
1 credit per semester
A fundamental tap technique course for non-dance
majors.
90
The School of Music
Marc Dicciani
Director
250 South Broad Street
215-875-2206
The School of Music is dedicated to the prepa-
ration and training of young musicians for a
professional career in performance, composi-
tion, music theory, and music education. The
student's growth as a musician is the primary
goal of the program. The School stresses indi-
vidualized training in a conservatory atmo-
sphere in order to produce professional musi-
cians and teachers of the highest caliber.
Undergraduate students in the School of Music
study the performance and composition of jazz or
classical music. All programs lead to an academic
degree, diploma, or certificate. Preparatory
courses for the MAT in Music Education are also
offered at this level.
Graduate programs are available in instrumen-
tal or vocal performance, opera, piano accompany-
ing and chamber music, music education, and
composition. These programs offer flexibility along
with intensive study in the major area.
Performance opportunities play an important
part in the student's education by sharpening tech-
nical skills and increasing the student's musical
repertory. The School sponsors a student orches-
tra, chamber ensembles (including a New Music
Ensemble), jazz and fusion ensembles, and choral
groups. Students are involved in a rigorous sched-
ule of performances, with over 125 concerts pre-
sented each year.
The faculty of the School of Music is made up
of experienced and practicing artists; included are
members of the Philadelphia Orchestra and New
York Philharmonic, professional opera singers, and
well-known soloists, composers, theorists, and
music historians.
Close work with the faculty is supplemented by
the School's ongoing Master Class Series. Artists
who have participated in this series include pia-
nists Andre Watts and Victor Borge; trumpeter
Wynton Marsalis; composers Pierre Boulez, John
Cage, and George Crumb; singers Beverly Sills and
Placido Domingo; conductors Klaus Tennstedt and
Ricardo Muti; and jazz musicians Thad Jones, Mel
Lewis, Peter Erskine, and Stanley Clarke.
To further prepare its students for careers in the
professional music world, the School of Music
provides electronic equipment and facilities in-
cluding synthesizers, an electronic studio, a com-
puter laboratory, and a facility for computer musi-
cal calligraphy. Through a grant from the William
Penn Foundation, the School of Music has recently
opened a state-of-the-art music technology facil-
ity, which includes a recording studio, three midi
studios, an editing room, and a number of re-
hearsal rooms.
Founded in 1871 as the Philadelphia Musical
Academy, and later merged with the Philadelphia
Conservatory of Music, the School counts among
its alumni some of the nation's finest musicians,
including pianist Andre Watts, composer Vincent
Persichetti, and jazz artists Stanley Clarke, John
Davis, and Lew Taborkin.
Faculty by Department
Classical Applied and
Bassoon
Chamber Music Studies
Mark Gigliotti
Strings
Saxophone
Marshall Taylor
Violin
William P. Zaccagni
'David Arben
*Frank Costanzo
Woodwind Chamber Music
'Robert de Pasquale
"Jonathan Blumenfeld
"William de Pasquale
Shirley Curtiss
Chin Kim
"Lorin Lind
"Joseph Lanza
Adeline Tomasone
A. William Liva
Brass
Viola
Trumpet
"Leonard Mogill
James Hala
Janee Munroe
Anthony Marchione
Violoncello
"Seymour Rosenfeld
Ulrich Boeckheler
Evan Solot
""Lome Munroe
Dennis Wasco
"Deborah Reeder
French Horn
Contrabass
Francis Orval
"Neil Courtney
"David Wetherill
"Henry Scott
Trombone
Craig Thomas
"Tyrone Breuninger
Harp
Richard Genovese
"Margarite Csonka Montanaro
Dan Tomasone
Classical Guitar
Tuba
John Leonard
Jay Paul Krush
Pat Mercuri
"Paul Krzywicki
Peter Segal
Brass Chamber Music
String Chamber Music
Richard Genovese
"Robert de Pasquale
James Hala
"William de Pasquale
Jay Paul Krush
A. William Liva
Percussion
String Orchestra Repertory
Percussion
"William de Pasquale
"Michael Bookspan
"Deborah Reeder
Joseph Nero
"Neil Courtney
"Anthony Orlando
Classical Guitar Ensemble
Percussion Ensemble
John Leonard
Anthony Orlando
Peter Segal
Woodwinds
Keyboard
Piano
Flute
Susan Starr, Chair
""Julius Baker
Annette DiMedio
Jeffrey Khaner
Marina Gusak-Grin
"Lorin Lind
David Hartl
Adeline Tomasone
Benjamin Whitten
Oboe
Piano Class
"Jonathan Blumenfeld
Annette DiMedio
"Louis Rosenblatt
Mark Valenti
Clarinet
Organ
"Anthony Gigliotti
Michael Stairs
Guido Mecoli
"Ronald Reuben
91
Voice-Opera
Voice
Vivian Wagner, Chair
Paula Brown
Marianne Casiello
David Hartl
Patricia Stasis
Opera
Vivian Wagner, Chair
Yoko Hashimoto-Sinclair (make-up)
Paula Mlinar (costume mistress)
Leland Kimball (stage direction)
Gary Magby (coaching and vocal literature)
Richard Raub (Coaching)
Paul Wagar (Acting)
Languages and Diction
Leila Calder
Carmela Novielli
Therese Casadesus Rawson
Jazz Applied and Ensemble Studies
Evan Solot, Chair
Strings
John Blake
Saxophone
Ronald Kerber
William Zaccagni
Trumpet
Richard Kerber
Evan Solot
Dennis Wasco
Trombone
Richard Genovese
James Pugh
Keyboards
Mark Valenti
Guitar
Robert DiNardo
Ed Flanagan
Thomas Giacabetti
Patrick Mercuri
Contrabass
Craig Thomas
Percussion
Joseph Nero
Piano
Trudy Pitts
Ensembles and Conducting
Orchestra
Sean Deibler
Chorus and Chamber Choir
Jeffrey Kern
Conducting
Sean Deibler
Janice Goto
Jazz Ensembles
John Blake-Small Jazz Ensemble
Robert DiNardo-Jazz Guitar Ensemble
Ed Flanagan-Small Jazz Ensemble
Craig Thomas-Small Jazz Ensemble
Evan Solot-Fusion Ensemble
William Zaccagni-Stage Band
Music Studies
Composition and Theory
Andrew Rudin, Chair
Joseph Castaldo
Donald Chittum
Frederick Kaufman
Andrew Rudin
Carl Schmidt
Lee Silvan
Evan Solot
Computer and Electronic Music
George Akerley
Andrew Rudin
Musicianship
Sean Deibler, Chair
Ruben del Pilar Andino
Mark Valenti
Music History and Literature
Donald Chittum
Gary John Magby
Gabriels Roepke
Andrew Rudin
Carl Schmidt
William Zaccagni
Recording
James Gallagher
Music Business
Marc Dicciani
Music Education- Undergraduate and
Graduate Studies
Douglas Medlin, Director
Leila Calder
Sean Deibler
Marc Dicciani
Janice K. Goto
Richard Kerber
"Joseph Primavera
William Zaccagni
Graduate Studies- Applied Music and
Composition
Carl Schmidt, Director
Joseph Castaldo
Donald Chittum
Kent Christensen
Sean Deibler
Joseph Primavera
Orchestral Manager and Librarian
Robert Loy
Concert Manager
Richard Hotchkiss
Music Librarian
Mark Germer
School of Music Accompanists
Andrea Clearfield
Reuben del Pilar Andino
'Denotes present or former member of the
Philadelphia Orchestra
**Denotes present or former member of the
New York Philharmonic Orchestra
Facilities
The School of Music is located in the Shubert
Theater building at 250 South Broad Street and at
313 South Broad Street. Facilities include chamber
music studios, electronic music and recording
studios, computer studios, practice rooms, a class
piano laboratory, and various-sized classrooms.
Practice rooms are generous in size, and most are
equipped with grand pianos. Six new piano stu-
dios and a harpsichord studio have recently been
opened, reserved for private instruction and prac-
tice by keyboard majors. A two-manual Challis
Harpsichord, two harps, and a complete set of
percussion instruments are available for practice.
The University's newly-restored, historic
Shubert Theater and several smaller theaters
are used for student performances. There are
several studios for electronic music composi-
tion, equipped with computer hardware and
software, various synthesizers, and mixing,
recording, and monitoring equipment. The mu-
sic library, located in the Shubert building, con-
tains books, manuscripts, journals, and scores,
and listening and viewing facilities for the
study of audio and video recordings.
Performance Opportunities
Orchestra
Chorus
Chamber Singers
New Music Ensemble
Stage Band
Fusion Ensemble
Small Jazz Groups
String Trios and Quartets
Flute Ensemble
Woodwind Quintet
Saxophone Ensemble
Brass Ensemble
Percussion Ensemble
Classical Guitar Ensemble
Jazz Guitar Ensemble
Piano Chamber Music
Piano Accompanying
Mixed Chamber Ensembles
Opera Staging
Aria Class
92
Programs of Study
Major Areas of Concentration
Accompanying/Chamber Music (graduate
only)
Bassoon
"Cello
"Clarinet
"Composition
"Contrabass
Electric Bass (jazz/commercial only)
"Flute
French Horn
"Guitar
Harp
Harpsichord
MIDI Emphasis (jazz/commercial only)
Oboe
Organ
"Percussion
"Piano
Piano Accompanying and Chamber Music
(graduate only)
"Saxophone
Theory
"Trombone
"Trumpet
Tuba
"Viola
"Violin
Voice
Voice-Opera Emphasis
Woodwind Emphasis (jazz/commercial only)
"May be studied as a classical or jazz major.
Otherwise, the listing is for classical only.
Undergraduate Programs
Students in the Bachelor of Music in Perfor-
mance program may choose either a classical
or jazz/commercial major. See "Major Areas of
Concentration."
Bachelor of Music in Classical
Performance
The classical major offers concentrated studies in
a major performance area and a solid background
in supportive musical areas. These include private
lessons in the major area, coaching, large en-
semble activities, chamber music, and opportuni-
ties for solo and ensemble performances.
The Opera Emphasis program allows singers to
concentrate on opera studies. Beginning in the
third year, the curriculum includes special opera
courses in acting and staging, opera repertory,
opera preparation and additional coaching, dance,
and movement. The program also includes regular
performance in aria classes, staged performances
of opera scenes, and presentations of full-length
operas in the Shubert Theater.
Bachelor of Music in Jazz/Commercial
Music
The Jazz/Commercial major provides a direct and
pragmatic education for students interested in
establishing a career as a performer, arranger, or
composer in jazz and/or commercial music. Stu-
dents receive lessons in both classical and jazz/
commercial areas. Performance opportunities are
available in the School's award-winning jazz en-
sembles. Special courses include Jazz Arranging,
History of Jazz, The Business of Music, Computer
Music Composition, MIDI Synthesis, and Record-
ing Techniques.
Students may elect to enroll in the MIDI em-
phasis program which begins in the third year,
in addition to their performance or composition
classes, students take courses in advanced
MIDI stynthesis and the analysis and composi-
tion of commercial music.
Woodwind majors may elect to enroll in a
woodwind specialist program which includes the
study of various woodwind instruments.
Bachelor of Music in Composition
Students enrolled in this program take both
class and private instruction in composition in
addition to courses in orchestration, computer
music composition, computer calligraphy and
conducting. Virtually all student compositions
are read or performed, and frequent perfor-
mances of student's music highlight the
school's concert schedule. Student composers
are also encouraged to collaborate with danc-
ers, choreographers, filmmakers, and actors,
taking full advantage of the creative environ-
ment of the University. Students may major in
Classical or Jazz/Commercial Composition.
Bachelor of Music in Theory
The theory major prepares students to pursue
graduate study in theory or musicology. In addition
to taking the core theory program, students take
courses in the History of Theory, Advanced Tonal
Theory, Set Theory, Reduction Theory, Serial
Theory, and do a senior project in analysis, re-
search, or composition.
Master of Arts in leaching- Co-requisite
Program (MATPREP)
A seventeen-credit course of study designed to
satisfy co-requisite requirements for entrance into
the Master of Arts in Teaching in Music Education
program. Open to all undergraduate music majors,
classes include an introduction to music educa-
tion, basic conducting, lab teaching, functional
piano and classroom skills, psychology of music
teaching, and orchestration. Completion of the
MATPREP program with an average of 3.0 or
higher in these courses satisfies most MAT en-
trance requirements.
Diploma Program
This four-year program is designed primarily for
students who wish to take the entire musical por-
tion of the undergraduate curriculum without hu-
manities courses. Students wishing to transfer
from this program to the Bachelor's degree pro-
gram may do so in any year of their matriculation.
Certificate in Music
The Certificate in Music program consists of the
musical studies normally taken during the first two
years of the Bachelor of Music program. No hu-
manities courses are required.
93
Graduate Programs
Master of Music
The Master of Music degree program is designed
for students who already hold a Bachelor of Music
degree or its foreign equivalent. Intended for
those preparing for careers as professional musi-
cians, this two-year program provides superb
musical training with renowned teachers and
intensive classroom study. Performance degrees
are offered in orchestral instruments, piano, piano
accompanying and chamber music, voice, and
opera singing. Many students enrolled in the pro-
gram perform regularly in a variety of greater
Philadelphia musical ensembles.
The School also offers a Master of Music de-
gree in composition. Students work closely with
their major teacher and are encouraged to draw
on the creative talents of a department rich in
compositional experience.
Master of Arts in Teaching in Music
Education (MAT)
The Master of Arts in Teaching in Music Educa-
tion is a thirty-six credit program designed for
students who have completed Bachelor's de-
grees in applied music, music theory/composi-
tion, music history/literature, or other non-
education curricula. The MAT can be com-
pleted in a summer-plus one academic year
format, provided that co-requisite requirements
. have been met and placement testing does not
indicate the need for supplementary studies.
Undergraduate students in music at the Univer-
sity may take advantage of the preparatory
program known as MATPREP, a seventeen-
credit course of studies which satisfies all co-
requisites. The MAT in Music Education leads
to teaching certification in the Commonwealth
of Pennsylvania.
Graduate Diploma
The Graduate Diploma is a two-year advanced
plan of study in performance. The curriculum is
flexible in order to address the needs of the indi-
vidual student. Admission to the program is lim-
ited to students who possess a Bachelor's Degree,
College-Level Conservatory Diploma, or the for-
eign equivalent of either, and who possess ad-
vanced performance ability. Specific and individu-
alized programs of study are developed in consul-
tation with the Director of Graduate Studies for
Master of Music and Graduate Diploma Programs.
Undergraduate Audition
Requirements
An audition is required of all applicants to the
School of Music. The audition is designed to dem-
onstrate that an applicant's technical proficiency
and potential for professional development are at
the college level. The audition may be taken in
Philadelphia, at designated regional audition loca-
tions, or may be submitted on audio cassette tape
or VHS format video tape (tape must be clearly
labeled with name, address, and repertoire).
Audition requirements are the same for all
undergraduate programs: Bachelor of Music. Un-
dergraduate Diploma, Certificate in Music.
Classical Auditions
String Instruments
Violin
1 . Major and minor scales, two or three octaves.
2. A technical study or etude (suggested:
Kreutzer).
3. Two solo pieces demonstrating technical ability,
tone quality, musicality, and sense of style
(suggested: a sonata by Handel or Mozart, and
a concerto by Mozart or Haydn).
4. Sight-reading.
Viola
1 . Major and minor scales, two or three octaves.
2. A technical study or etude (suggested: Kreutzer
or Mazas Special and Brilliant Etudes).
3. Two solo pieces demonstrating technical ability,
tone quality, musicality, and sense of style
(suggested: Handel, Telemann, Stamitz).
4. Sight-reading.
Violoncello
1 . Major and minor scales, two or three octaves.
2. A technical study or etude (suggested: Popper).
3. Two solo pieces demonstrating technical ability,
tone quality, musicality, and sense of style
(suggested: a movement from one of the Bach
Suites, and a movement from any standard
concerto).
4. Sight-reading.
Contrabass
1 . Major and minor scales, two octaves.
2. A technical study or etude (suggested: Simandl
Exercises, Book I, pp. 74-75, 104-105).
3. One solo piece demonstrating technical ability,
tone quality, musicality, and sense of style.
4. Sight-reading.
Guitar
1 . Major and minor scales with Segovia Fingering.
2. A technical study (suggested: Sor-Segovia Stud-
ies Nos. 1, 6, 9, or 10; Carcassi Op. 60, Studies
20 or 23; Villa-Lobos Etudes).
3. Two solo pieces demonstrating technical ability,
tone quality, musicality, and sense of style. One
piece should be from the sixteenth or seventeenth
century and the other from the twentieth century.
4. Sight-reading.
Harp
1 . Major and minor scales, two octaves.
2. A technical study or etude.
3. One solo piece demonstrating technical ability,
tone quality, musicality, and sense of style.
4. Sight-reading.
Woodwind Instruments
Flute
1 . Major and minor scales, two octaves, with vari-
ous articulations.
2. A technical study or etude.
3. One solo piece demonstrating technical ability,
tone quality, musicality, and sense of style.
4. Sight-reading.
Oboe
1 . Major and minor scales, two octaves, with vari-
ous articulations.
2. A technical study or etude.
3. One solo piece demonstrating technical ability,
tone quality, musicality, and sense of style.
4. Sight-reading.
Clarinet
1 . Major and minor scales, two octaves, with vari-
ous articulations.
2. A technical study or etude (suggested: Close,
Cavellini, or Rose).
3. One solo piece demonstrating technical ability,
tone quality, musicality, and sense of style (sug-
gested: first and second movements of a con-
certo by Weber or Mozart).
4. Sight-reading.
Bassoon
1 . Major and minor scales, two octaves, with vari-
ous articulations.
2. A technical study or etude (suggested:
Wiessenborn Studies, 1-50).
3. One solo piece demonstrating technical ability,
tone quality, musicality, and sense of style (sug-
gested: one movement from both the Mozart
and Vivaldi Bassoon Concerti).
4. Sight-reading.
Saxophone
1 . Major and minor scales, two octaves, with vari-
ous articulations.
2. A technical study or etude (suggested: Labanchi
Concert Etudes).
3. One solo piece demonstrating technical ability,
tone quality, musicality, and sense of style (sug-
gested: Creston or Ibert).
4. Sight-reading.
Brass Instruments
Trumpet
1 . Major and minor scales, two octaves, with vari-
ous articulations.
2. A technical study or etude (suggested: Arban
Characteristic Studies).
3. One solo piece demonstrating technical ability,
tone quality, musicality, and sense of style (sug-
gested: Haydn or Hummel Concerti).
4. Sight-reading.
94
French Horn
1 . Major and minor scales, two octaves, with vari-
ous articulations.
2. A technical study or etude (suggested:
Kopprasch, Vol. 1, No. 15).
3. One solo piece demonstrating technical ability,
tone quality, musicality, and sense of style (sug-
gested: Mozart, Horn Concerto No. 3, or its
equivalent).
4. Sight-reading.
Trombone
1 . Major and minor scales, two octaves, with vari-
ous articulations.
2. A technical study or etude (suggested:
Kopprasch, Book I, or Rochut, Melodious
Etudes).
3. One solo piece demonstrating technical ability,
tone quality, musicality, and sense of style.
4. Sight-reading.
Tuba
1 . Major and minor scales, two octaves, with vari-
ous articulations.
2. A technical study or etude (suggested: Cimera,
Tuba Studies, 7 through 1 1 ).
3. One solo piece demonstrating technical ability,
tone quality, musicality, and sense of style.
4. Orchestral excerpt (suggested: Wagner, Over-
ture to Die Meistersinger.
5. Sight-reading.
Percussion
1. Snare drum: rudimental study or orchestra solo,
open and closed rolls.
2. Mallets: all major and minor scales and arpeg-
gios, two octaves; solo or etude from the solo
repertoire.
3. Timpani: tuning two drums; solo for two or more
drums.
4. Sight-reading.
Keyboard Instruments
Piano
1 . Major and minor scales and arpeggios in two
octaves.
2. One work of J.S. Bach: a Three-Part Invention or
a prelude and fugue from The Well-Tempered
Clavier.
3. Any sonata by Haydn (except C major H XVI:35);
Mozart (except C major, K 545); or Beethoven
(except Op. 49).
4. A solo piece from the Romantic period (sug-
gested: Chopin, Schumann, or Mendelssohn).
5. An impressionist or a twentieth-century work. If
a twentieth-century work is chosen, it is prefer-
able that it be by an American composer (ex-
cept the Gershwin Preludes).
6. All selections must be memorized.
Organ
1 . Piano: major and harmonic minor scales, major
and minor arpeggios, all in two or three oc-
taves; a study or etude; a Two- or Three-Part
Invention by Bach; a first or last movement of a
Classical or Romantic sonata, or a twentieth-
century piece.
2. Organ: two solo works for organ from two dif-
ferent periods.
3. Improvisation.
4. Sight-reading.
Voice and Opera
Voice
1. One art song in English.
2. One art song in Italian.
3. One art song in any other language.
4. Sight-reading.
5. All selections must be memorized.
Voice-Opera Emphasis
1 . One art song in English.
2. One art song in Italian.
3. One art song in any other language.
4. One operatic aria (optional).
5. Sight-reading.
6. All selections must be memorized.
Composition
1 . Applicants must submit a portfolio of original
compositions. Compositions should be for a
variety of instruments. Suggested: solo piano,
voice, chamber ensemble, large ensemble, tape
or computer pieces).
2. Some compositions may be presented in tape
recordings, but at least one composition must
be in fully notated manuscript form.
3. Theory and Musicianship placement at the
freshman level or higher.
4. Performance of one piece on an instrument or
vocally.
Note: Composition portfolios must be on file in the
Admissions Office no later than two weeks
prior to the scheduled audition date.
Theory
1 . Applicants must submit a portfolio of original
analyses, essays, exercises, and/or composi-
tions. Compositions should be for a variety of
instruments.
2. Performance of one piece on an instrument or
vocally.
3. Theory and Musicianship placement at the
freshman level or higher.
4. Applicants should understand that the main
thrust of the program is to prepare students to
continue their training and education in theory
or musicology at the graduate level.
Note: Theory portfolios must be on file in the Ad-
missions Office no later than two weeks prior
to the scheduled audition date.
Jazz/Commercial
Instrumental Performance
Except Guitar, Electric Bass and Percussion Jazz/
Commercial
1 . Major and harmonic minor scales, two octaves.
2. Major and minor arpeggios, two octaves.
3. A technical study, etude, or solo piece from the
classical repertoire (see the audition require-
ments for classical majors).
4. A prepared jazz solo or an improvisation over a
twelve-bar blues progression.
5. Sight-reading.
Guitar
1 . Major and harmonic minor scales, two octaces,
two fingerings.
2. Major and minor arpeggios, two octaves.
3. Melody and chord solo from the jazz or pop
repertoire.
4. Improvisation on a blues progression or stan-
dard tune.
5. Sight-reading.
Electric Bass
1 . Major and harmonic minor scales, one octave.
2. Major and minor arpeggios, one octave.
3. Demonstration of knowledge of basic rhythm
section style, i.e., a bass line to a blues, stan-
dard, or contemporary selection.
4. A prepared jazz melodic piece or solo, such as
the melody and improvised chorus of a jazz
standard or twelve-bar blues, (ex. So What,
Yardbird Suite, or tunes in The Real Book)
5. Sight-reading of a bass part from jazz ensemble
literature.
Percussion
1 . Snare drum: open and closed rolls, rudimental
or orchestral solo.
2. Mallets: (strongly recommended but not re-
quired) all major scales and arpeggios, two
octaves; solo or etude from the standard reper-
toire.
3. Timpani: (strongly recommended but not re-
quired) tune perfect 4th and 5th; solo for two
drums from standard repertoire.
4. Drum set: play a swing feel, latin (bossa nova
and samba), rock (slow-fund and moderate fast-
fusion), and ballad (swing with brushes and
rock with sticks); Optional-written out solo
(rock, latin, or swing) or play through drum part
with a tape or record.
5. Sight-reading.
Composition
1 . Applicants should submit a portfolio of original
compositions, arrangements, and/or transcrip-
tions in a jazz/commercial style. Compositions
should be arranged for a variety of instruments.
Suggested: small jazz ensemble, large jazz
ensemble such as stage band, solo piano,
voice, tape or computer pieces.
2. Compositions may be presented in tape record-
ings, but at least one composition must be in
fully notated manuscript form.
3. Performance of one piece on an instrument or
vocally.
4. Theory and Musicianship placement at the
freshman level or higher.
95
Graduate Audition
Requirements
Master of Music Degree Programs
Graduate Diploma Programs
Performance-Instrument
1. Applicants should prepare a full recital program
and submit the repertoire list to the Admissions
Office one month prior to the audition. The
repertoire for this program should exhibit a
diversity of styles, periods, and technical de-
mands. It is highly recommended that at least
one piece be from the last fifty years. All major
works should be learned in their entirety, and
must be performed with piano accompaniment
where indicated. Performance of solo orches-
tral excerpts is optional.
Percussion applicants should include pieces for
snare drum, timpani, and a mallet instrument.
Pieces for solo multiple percussion instruments
are optional.
2. Performance of all or a portion of the program
by memory is highly recommended but not
required. Pianists must present the entire pro-
gram by memory.
3. The Audition Committee will select various
pieces from the program for performance at the
audition.
3. Sight-reading.
4. Graduate interview.
Performance-Voice or Voice Opera
Emphasis
1 . Applicants should prepare a full recital program
and submit the repertoire list to the Admissions
Office two weeks prior to the audition. The
repertoire for this program should exhibit a
diversity of styles, periods, and technical de-
mands. It is highly recommended that at least
one piece be from the last fifty years. The pro-
gram must include one piece in English, one piece
in Italian, and one piece in either French or Ger-
man. Singing in other languages is optional.
2. While the applicant in Voice Opera Emphasis
may include several selections from song lit-
erature, the emphasis should be upon operatic
arias and scenes.
3. The program must be performed by memory.
4. The Audition Committee will select various
pieces from the program for performance at the
audition.
4. Sight-reading.
5. Graduate interview.
Performance-Accompanying/
Chamber Music Emphasis
1 . One representative piano solo work not to ex-
ceed ten minutes in length.
2. One movement from the violin or violoncello
sonatas of Beethoven, Brahms, Faure', Franck,
or Prokofieff.
3. Three contrasting art song accompaniments
chosen from the works of Schubert, Schumann,
Brahms, Richard Strauss, Wolf, Faure, Debussy,
Duparc, Rachmaninoff, Britten, and Barber.
These selections should show both lyrical and
dramatic qualities and include at least one of
advanced technical difficulty. Suggested:
Schumann: Fruhlingsnacht
Brahms: Meine Liebe ist grijn
Blinde Kuh
Wolf: Er ist's
Der Rattenfanger
Lied vom Winde
R. Strauss: Cacilie
Standchen
Wiegenlied
Rachmaninoff: Floods of Spring
Duparc: L'invitation au voyage
Faure: Toujours
Barber: Nocturne
4. Sight-reading: equivalent to the difficultly of a
Faure or Schubert song.
5. The applicant is expected to bring at least one
soloist to the audition if at all possible. Excep-
tions may be requested in the case of great
distance and/or financial burden.
Master of Music in Composition
1. Applicants should submit a portfolio of original
compositions to the Admissions Office one
month prior to the audition. These compositions
should be for a variety of solo instruments and/
or ensembles (suggested: solo piano, voice,
chamber ensemble, large ensemble, tape and
computer pieces). Scores or tapes should show
the date of composition.
2. Compositions may be presented in tape record-
ings, but at least one composition must be in
fully notated manuscript form.
3. Applicants are expected to be able to dis-
cuss their works and compositional style at
the audition.
4. Applicants must be able to meet the course
requirements for the undergraduate program as
outlined in the catalog. This includes orchestra-
tion, 20th-century music, electronic and/or
computer music, and new music performance.
Graduate Music Proficiency
Examinations - Master of Music Degree
and Graduate Diploma Programs
Graduate Proficiency Examinations are usually
given on the day of audition. All deficiencies must
be corrected before the Graduate Degree or Di-
ploma can be awarded.
Degree Programs
Musicianship and Functional Piano
All Master of Music students will be examined in
Musicianship to determine their level of profi-
ciency. Students are expected to show an achieve-
ment equivalent to second year levels in the
School of Music. In addition, applicants in Compo-
sition, Voice and Voice Opera Emphasis will be
examined in Functional Piano. If judged deficient,
students may satisfy the requirements by taking
recommended undergraduate courses, or by pass-
ing special examinations, available each semester
upon request through the Graduate Office.
Music Theory. History, and Literature
All students will be examined to determine their
competency in Music Theory and History/Litera-
ture. Students found to be deficient in any of these
areas may be required to do special work, to re-
move the deficiencies.
Languages
Graduate students majoring in Voice and Voice/
Opera Emphasis are required to demonstrate profi-
ciency in two languages: Italian and either French
or German. Those judged deficient will be advised
of a proper course of action which may include
taking appropriate course work.
Diploma Programs
Students are required to take Graduate Proficiency
Examinations as determined by the Director of
Graduate Studies.
96
Admissions Requirements: MAT in
Music Education
1. Successful completion* of an undergraduate
degree in musical performance, composition,
theory, or related applied field from a college or
university appropriately accredited by the Na-
tional Association of Schools of Music (NASM).
2. Successful completion* of co-requisite course
work and/or acquired competencies as follows:
a. an introductory course in Educational Psy-
chology, focus upon theoretical foundations.
b. a course in child growth and development,
focus upon contemporary theories and their
applications.
c. a knowledge of current issues, trends, and
methods in music teaching.
d. actual field experience (practicuum) involving
observation and teaching and the planning
of lessons.
e. functional knowledge and performance skills
on piano, guitar, and recorder.
f. a course in basic conducting and score read-
ing.
g. a course in orchestration/arranging.
Co-requisite requirements may be satisfied as
follows:
a. through completion of The University of the
Arts MAT in Music Education Preparatory
Program (MATPREP). Entering freshmen
wishing to work toward the MAT in Music
Education may enroll in the MATPREP pro-
gram upon acceptance to the institution.
Ongoing undergraduate music majors may
enter the MATPREP program at any time.
b. by examination based upon any of the crite-
ria in item No. 2, above. Examinations shall
be developed by Music Education Division
faculty and shall adhere strictly to current
course syllabi and program objectives. Ex-
aminations will cover cognitive as well as
psychomotor skills, where appropriate.
c. through professional experience of the can-
didate. Such experience must by docu-
mented to the satisfaction of the MAT in
Music Education Committee through the
submission of employment records and let-
ters of recommendation providing evidence
of the candidate's success in such requisite
professional experience.
d. through successful completion* of appro-
priate courses at an NASM accredited
institution other than The University of
the Arts. Course descriptions and relevant
transcripts from outside institutions must
be made available.
With the approval of the MAT in Music Education
Committee applicants who have completed most,
but not all, co-requisite requirements may be ad-
mitted to the MAT in Music Education degree
program. However, any additional work needed
must be completed outside of credit requirements
for the degree and may result in an increase in the
length of study for the degree.
3. Submission of all admissions forms, letters of
recommendation, and supporting data as re-
quired by the Division of Music Education, the
MAT in Music Education Committee, the School
of Music, and the Office of Admissions. Such
data shall include:
a. application form.
b. three letters of recommendation.
c. personal letter of interest and intent.
d. transcripts of all applicable post-secondary
study.
e. high school transcript
4. Satisfaction of placement testing requirements
in music theory, ear training, music history/
literature, and piano proficiency. Placement
tests may be waived for Bachelor of Music
graduates of The University of the Arts at the
discretion of the MAT in Music Education Com-
mittee. Deficiencies in the above areas may not
necessarily disqualify an applicant for admis-
sion to the MAT program, but additional studies
outside credit requirements for the degree may
be required and may result in an increase in the
length of time needed to complete the degree.
5. Successful performance audition as adjudi-
cated by the MAT in Music Education Com-
mittee. Such audition may be waved for
Bachelor of Music graduates of The Univer-
sity of the Arts, at the discretion of MAT in
Music Education Committee.
* Applicants must present a 2.75 or higher under-
graduate cumulative GPA (A=4.0), with a 3.0
GPA in co-requisite courses and/or any gradu-
ate work previously completed. These stan-
dards may be waived only by agreement of the
MAT in Music Education Committee.
Scholarships
Trustee Scholarship
Each year the School of Music awards a Trustee
Scholarship to an entering freshman. The Trustee
Scholarship totals half tuition for the four years
the student is enrolled. The award is made on the
basis of outstanding artistic and academic perfor-
mance, and for promise as a future musician. Re-
cipients must maintain a 3.0 cumulative grade
.point average as well as a minimum grade of B in
the major area. High School Seniors who wish to
be considered for the Trustee Scholarship should
make formal application by March 1 . Notification
of the award is made in April.
Talent Scholarships
Talent Scholarships are awards to matriculating
students who give evidence of outstanding artistic
ability. Recommendation for the Talent Scholarship
is based on the audition. To maintain eligibility, the
student must participate fully in rehearsals and
performances, have a "B" or better in the Major
area, and maintain a minimum 3.0 cumulative
grade point average (2.75 minimum for Freshmen)
in all Music courses. Scholarship students are
expected to provide service to the School as as-
signed by the School Director.
Students applying for Talent Scholarships must
file a Talent Scholarship Application as well as the
appropriate Financial Aid Form each year. These
are obtainable from the School of Music and the
Financial Aid Office.
New students should audition prior to March
15. Those auditioning after March 15 will be
considered for a talent scholarship if funds are
available.
Students applying for Talent Scholarships are
subject to the following evaluations:
1 . Vocal and instrumental majors are subject to a
jury examination.
2. Composition and theory majors are interviewed
and/or will have their work examined.
School of Music Scholarships and Prizes
The Joseph Cairns, Jr. and Ernestine Bacon
Cairns Memorial Scholarship
The Ezerman Piano Scholarship
The Jazz Department Scholarship
The John T. Mathis Saxophone Award
The Music Faculty Composition Prize
The Music Alumni Scholarships (two to five)
The Music Excellence in Teaching Award
The Music Education Scholarship
The Orchestra Soloist Prize
The Clement C. Petrillo Memorial Piano Prize
The Mary Luznicky-Poth Memorial Award
The Presser Scholarship Award
The Strine Graduate Piano Scholarship
97
Undergraduate Curricula
Woodwind, Brass, Percussion, String,
Harp Majors
Total Credits: 125
Freshman Year
MU19XA&B Major
MU 103A&B Musicianship HI
MU 1 07A&B Freshman Theory l-ll
MU131A&B Class Piano l-ll
MU 77X Ensemble
HU 1 1 0A Language & Expression
HU 1 03A&B Intro, to Modernism
HU — Humanities
MU 001 Recital Attendance
MU 002 Jury Examination
Semester
1st 2nd
3 3
Junior Year
MU39XA&B Major
MU301A&B Music History l-ll
MU 77X Ensemble
Humanities
Electives
Recital Attendance
Jury Examination
HU3XX
MU001
MU002
Senior Year
MU49XA&B Major
MU 401A&B Music History lll-IV
MU77X Ensemble
Humanities
Electives
Recital Attendance
Jury Examination
HU4XX
MU001
MU002
1 1
2 2
3 -
3 3
- 3
0 0
- 0
18 18
Sophomore Year
MU29XA&B Major
MU203A&B Musicianship lll-IV
MU207A&B Sophomore Theory lll-IV 3
MU 231A&B Class Piano lll-IV
MU 77X Ensemble
HU 2XX Humanities 6
MU 001 Recital Attendance 0
MU 002 Jury Examination
3
3
3
1 1
2 2
3
0
0
18 15
0 0
_- 0_
14 14
14 14
Ensemble must include four semesters
of Chorus and two semesters of New Music
Ensemble.
Guitar Major
Total Credits: 125
Freshman Year
MU191A&B Guitar Major
MU103A&B Musicianship l-ll
MU 1 07A&B Freshman Theory l-ll
MU131A&B Class Piano l-ll
MU 772 Chorus
HU 1 1 0A Language & Expression
HU 1 03A&B Intro, to Modernism
HU —
MU001
MU002
Humanities
Recital Attendance
Jury Examination
Sophomore Year
MU291A&B Guitar Major
MU 203A&B Musicianship lll-IV
MU 207A&B Sophomore Theory lll-IV
MU 231A&B Class Piano lll-IV
MU772
HU2XX
MU001
MU002
Chorus
Humanities
Electives
Recital Attendance
Jury Examination
Junior Year
MU391A&B Guitar Major
MU 301A&B Music History l-ll
MU 327A&B Fingerboard Harmony I
MU7XX Ensemble
Humanities
Electives
Recital Attendance
Jury Examination
HU3XX
MU001
MU002
Senior Year
MU491A&B Guitar Major
MU 401 Music History
MU 425A&B Guitar Hist. & Lit. l-ll
MU76 Guitar Ensemble
HU 4XX Humanities
Electives
Semester
1st 2nd
3 3
3 3
3 3
1 1
1 1
3 -
3 3
- 3
0 0
- 0
17 17
3 3
3 3
3 3
1 1
1 1
6 3
- 3
0 0
- 0
17 17
3 3
3 3
2 2
3 3
3 3
0 0
- 0
15 15
3 3
3 -
2 2
3 3
3 3
15 12
Piano Major
Total Credits: 123
Freshman Year
MU191A&B Piano Major
MU103A&B Musicianship l-ll
MU 07A&B FreshmanTheory l-ll
MU 772 Chorus
HU 1 1 0A Language & Expression
HU 1 03A&B Intro, to Modernism
HU- Humanities
MU 001 Recital Attendance
MU 002 Jury Examination
Sophomore Year
MU291A&B Piano Major
MU 203A&B Musicianship lll-IV
MU207A&B Sophomore Theory lll-IV
MU 237A&B Keyboard Harmony l-ll
MU 772 Chorus
HU 2XX Humanities
MU 001 Recital Attendance
MU 002 Jury Examination
Junior Year
MU391A&B Piano Major
MU 301A&B Music History l-l
Semester
1st 2nd
3 3
MU431
MU7XX
HU3XX
MU001
MU002
Piano Literature
Free Electives
Ensembles
Humanities
Recital Attendance
Jury Examination
Senior Year
MU 491A&B
MU401
MU432A&B
MU 773A&B
HU4XX
MU001
MU002
Piano Major
Music History
Piano Pedagogy l-ll
Accompanying
Electives
Humanities
Recital Attendance
Jury Examination
1 1
3 -
3 3
- 3
0 0
- 0
16 16
1 1
1 1
6 3
0 0
-_ 0_
17 17
1 1
3 3
0 0
_- 0_
15 15
3 3
3 -
2 2
1 1
3 3
3 3
0 0
_- 0_
15 12
98
Organ Major
Total Credits: 126
Freshman Year
MU191A&B Organ Major
MU 103A&B Musicianship Ml
MU 107A&B Freshman Theory Ml
MU 772 Chorus
HU 1 1 0A Language & Expression
HU 1 03A&B Intro, to Modernism
HU —
MU001
MU002
Humanities
Recital Attendance
Jury Examination
Sophomore Year
MU291A&B Organ Major
MU 203A&B Musicianship lll-IV
MU 207A&B Sophomore Theory lll-IV
MU 237 A&B Keyboard Harmony
MU 772 Chorus
Humanities
Electives
Recital Attendance
Jury Examination
HU2XX
MU001
MU002
Senior Year
MU 491 A&B
MU401
MU317
MU313A&B
MU772
HU4XX
MU001
MU002
Organ Major
Music History
Orchestration
Organ Literature
Chorus
Electives
Humanities
Recital Attendance
Jury Examination
Junior Year
MU 391 A&B Organ Major
MU 301 A&B Music History Ml
MU 254 Choral Conducting
MU 255 Instrumental Conducting 2
MU 772 Chorus
HU 3XX Humanities
Electives
MU 001 Recital Attendance
MU 002 Jury Examination
Semester
1st 2nd
3 3
3 3
3 3
3 -
3 3
- 3
0 0
- 0
16 16
3 3
3 3
3 3
1 1
1 1
6 3
0 3
0 0
- 0
17 17
3 3
3 3
- 2
2 -
3 3
3 3
0 0
- 0
15 15
3 3
3 -
3 -
2 2
3 3
3 3
0 0
- 0
18 12
Voice Major
Total Credits: 125
Freshman Year
MU191A&B Voice Major
MU103A&B Musicianship Ml
MU 107 A&B Freshman Theory Ml
MU 131 A&B Class Piano Ml
MU 772 Chorus
HU 1 1 0A Language & Expression
HU 1 03A&B Intro, to Modernism
HU —
MU001
MU002
Humantities
Recital Attendance
Jury Examination
Sophomore Year
MU291A&B Voice Major
MU203A&B Musicianship lll-IV
MU 207 A&B Sophomore Theory lll-IV
MU231A&B Class Piano lll-IV
MU 772 Chorus
Humanities
Electives
Recital Attendance
Jury Examination
HU2XX
MU001
MU002
Junior Year
MU 391 A&B
MU 301 A&B
MU 341 A&B
MU7XX
MU772
HU3XX
MU001
MU002
Senior Year
MU 491 A&B
MU401
MU 342A&B
MU7XX
HU4XX
MU772
MU001
MU002
Voice Major
Music History Ml
English Diction Ml
Ensemble
Electives
Chorus
Humanities
Recital Attendance
Jury Examination
Voice Major
Music History
Voice Pedagogy
Ensemble
Humanities
Chorus
Electives
Recital Attendance
Jury Examination
Humanities include one year of Italian,
French, and German.
Semester
1st 2nd
3 3
3 3
3 3
1 1
1 1
3 -
3 3
- 3
0 0
- 0
17 17
3 3
3 3
3 3
1 1
1 1
6 3
- 3
0 0
- 0
17 17
3 3
3 3
1 1
1 1
3 3
3 3
0 0
- 0
15 15
3 3
3 0
1 1
1 1
3 3
3 3
0 0
- 0
15 12
Opera Major
Total Credits: 131
Freshman Year
MU191A&B Voice Major
MU 103A&B Musicianship Ml
MU 107A&B Freshman Theory Ml
MU131A&B Piano Ml
MU 772 Chorus
HU 1 1 0A Language & Expression
HU 1 03A&B Intro, to Modernism
HU 1XX Humanities
MU 001 Recital Attendance
MU002 Jury Examination
Sophomore Year
MU291A&B Voice Major
MU203A&B Musicianship lll-IV
MU 207A&B Sophomore Theory lll-IV
MU231A&B Piano lll-IV
MU 772 Chorus
HU2XX Humanities ,
Electives
MU 001 Recital Attendance
MU 002 Jury Examination
Semester
1st 2nd
3 3
Junior Year
MU 391A&B
MU 301 A&B
MU 341A&B
MU 344A&B
HU3XX
MU772
MU001
MU002
Senior Year
MU491A&B
MU401
MU444A&B
MU446A&B
MU342A&B
HU4XX
MU772
MU001
MU002
Voice Major
Music History Ml
English Diction
Opera Staging Ml
Humanities
Chorus
Electives
Recital Attendance
Jury Examination
Voice Major
Music History
Opera Staging
Vocal Literature lll-IV
Voice Pedagogy
Humanities
Chorus
Electives
Recital Attendance
Jury Examination
1 1
1 1
3 -
3 3
- 3
0 0
■ 0_
17 17
1 1
1 1
17 17
1 1
2 2
3 3
1 1
16 16
3 3
3 -
2 2
1 1
1 1
3 3
1 1
3 3
17 14
Humanities include one year each of
Italian, French, and German.
99
Composition Major
Theory Major
Jazz Composition Major
Total Credits: 127
Total Credits: 127
Total Credits: 130
Semester
Semester
Semester
Freshman Year
1st 2nd
Freshman Year
1st 2nd
Freshman Year
1st 2nd
MU191A&B
Composition Major
3
3
MU 191A&B
History of Theory l-ll
3
3
MU191A&B
Composition Major
3
3
MU 103A&B
Musicianship Ml
3
3
MU 103A&B
Musicianship l-ll
3
3
MU103A&B
Musicianship l-ll
3
3
MU107A&B
Freshman Theory l-ll
3
3
MU 107A&B
Freshman Theory l-ll
3
3
MU107A&B
Freshman Theory l-ll
3
3
MU121
Calligraphy
1
0
MU 131A&B
Class Piano l-ll
1
1
MU131A&B
Piano l-ll
1
1
MU131A&B
Piano l-ll
1
1
MU77XX
Ensemble
1
1
MU772
Chorus
1
1
MU772
Chorus
1
1
HU110A
Language & Expression
3
HU110A
Language & Expression
3
HU110A
Language & Expression
3
HU103A&B
Intro, to Modernism
3
3
HU 103A&B
Intro, to Modernism
3
3
HU103A&B
Intro, to Modernism
3
3
HU1XX
Humanities
-
3
HU1XX
Humanities
0
3
HU1XX
Humanities
3
MU001
Recital Attendance
0
0
MU001
Recital Attendance
0
0
MU001
Becital Attendance
0
0
MU002
Jury Examination
-
0
MU002
Jury Examination
0
MU002
Jury Examination
0
17
17
17
17
18
17
Sophomore
(Tear
Sophomore
rear
Sophomore
/ear
MU291A&B
Adv. Tonal Analy. l-ll
3
3
MU 292A&B
Composition Major
3
3
MU291A&B
Composition Major
3
3
MU 203A&B
Musicianship lll-IV
3
3
MU 203A&B
Musicianship lll-IV
3
3
MU 203A&B
Musicianship lll-IV
3
3
MU207
Theory
0
3
MU 307A&B
Sophomore Theory lll-IV
3
3
MU 207A&B
Sophomore Theory HI-IV
3
3
MU231A&B
Class Piano lll-IV
1
1
MU 232A&B
Jazz Piano
1
1
MU231A&B
Piano lll-IV
1
1
MU317A&B
Orchestration
3
3
MU765
New Music Ensemble
1
0
MU317A&B
Orchestration
3
3
MU7XX
Ensemble
1
1
HU2XX
Humanities
6
3
MU772
Chorus
1
1
HU2XX
Humanities
6
3
Electives
0
3
HU2XX
Humanities
3
3
MU001
Recital Attendance
0
0
MU001
Recital Attendance
0
0
MU001
Recital Attendance
0
0
MU002
Jury Examination
-
0
MU002
Jury Examination
-
0
MU002
Jury Examination
17
0
17
Junior Year
17
17
Junior Year
17
16
Junior Year
MU391A&B
Reduction, Set Theory
3
3
MU 392A&B
Jazz Composition Major
3
3
MU391A&B
Composition Major
3
3
MU301A&B
Music History l-ll
3
3
MU315A&B
Jazz Arranging l-ll
2
2
MU301A&B
Music History l-ll
3
3
MU255
Basic Conducting
2
0
MU317A&B
Orchestration l-ll
3
3
MU415
Computer Composition
3
0
MU254
Choral Conducting
0
2
MU 405A&B
Jazz History
2
2
MU765
New Music Ensemble
1
1
MU7XX
Ensemble
1
1
MU415
Computer Composition
3
0
Electives
3
3
Electives
3
3
Electives
-
3
HU3XX
Humanities
3
6
HU3XX
Humanities
3
3
HU3XX
Humanities
3
3
MU001
Recital Attendance
0
0
MU001
Recital Attendanqe
0
0
MU001
Recital Attendance
0
0
MU002
Jury Examination
-
0
MU002
Jury Examination
-
0
MU002
Jury Examination
-
0
16
16
15
15
16
16
Senior Year
Senior Year
Senior Year
MU491A&B
Composition Major
3
3
MU491A
Serial Theory
3
MU 492A&B
Jazz Composition Major
3
3
MU401
Music History
3
0
MU491B
Theory Project
-
3
MU410A&B
Music History l-ll
3
3
MU255
Conducting
2
0
MU401
Music History
3
-
MU413A
Recording I
2
-
HU4XX
Humanities
3
3
MU415A
Computer Composition
3
MU 420A
Business of Music I
2
Electives
3
6
MU7XX
Ensemble
1
1
HU4XX
Humanities
3
3
MU001
Recital Attendance
0
0
HU4XX
Humanities
3
3
Electives
3
6
MU002
Jury Examination
0
Electives
3
6
MU001
Recital Attendance
0
0
14
12
MU001
Recital Attendance
0
0
MU002
Jury Examination
0
Ensemble must include one year of
MU002
Jury Examination
-
0
16
15
Chorus and one semester of New Music
16
13
Ensemble must include four semesters
of Chorus anr
one semester of New
Music Ensemble.
100
Jazz Composition/MIDI Major
Total Credits: 130
Freshman Year
ML) 1 91 A&B Composition Major
MU 103A&B Musicianship l-ll
Ml) 107A&B Freshman Theory l-ll
MU131A&B Piano l-ll
MU 7XX Ensemble
HI) 1 1 0A Language & Expression
HU 1 03A&B Intro, to Modernism
HU 1XX Humanities
MU 001 Recital Attendance
MU 002 Jury Examination
Sophomore Year
MU 292A&B Composition Major
MU203A&B Musicianship lll-IV
MU 207A&B Sophomore Theory lll-IV
MU232A&B Jazz Piano
MU7XX Ensemble
HU2XX Humanities
MU 001 Recital Attendance
MU 002 Jury Examination
Junior Year
MU392A&B
MU308A&B
MU315A&B
MU415A&B
MU405A&B
MU7XX
HU3XX
MU001
MU002
Senior Year
MU492A&B
MU 401 A&B
MU413A
MU416A&B
MU420A
HU4XX
MU001
MU002
Jazz Composition Major
Analysis & Composition
Jazz Arranging l-ll
Computer Composition
Jazz History
Ensemble
Humanities
Electives
Recital Attendance
Jury Examination
Jazz Composition Major
Music History l-ll
Recording I
MIDI Synthesis
Business of Music I
Humanities
Electives
Recital Attendance
Jury Examination
Ensemble must include two semesters
of Chorus and one semester of New
Music Ensemble.
Semester
1st 2nd
3 3
3 3
3 3
1 1
1 1
3 -
3 3
0 3
0 0
- 0
17 17
3 3
3 3
3 3
1 1
1 1
6 3
0 0
- 0
17 14
1.5 1.5
1.5 1.5
2 2
3 3
2 2
1 1
I I
3 3
3 3
0 0
- 0
17 17
1.5 1.5
3 3
2 -
1.5 1.5
2 -
3 3
3 6
0 0
- 0
16 15
Jazz Instrumental Major
Total Credits: 130 (Instrumental)
126 (Piano)
Freshman Year
MU192A&B Jazz Major
MU103A&B Musicianship l-ll
MU 1 07 A&B Freshman Theory l-ll
#MU 131A&B Piano
MU 7XX Ensemble
HU 1 1 0A Language & Expression
HU 1 03 A&B Intro, to Modernism
HU 1XX Humanities
MU 001 Recital Attendance
MU 002 Jury Examination
Sophomore Year
MU292A&B Jazz Major
MU203A&B Musicianship lll-IV
MU307A&B Jazz Theory
MU 21 3A&B Jazz Improvisation l-ll
*MU232A&B Piano
MU7XX Ensemble
HU2XX Humanities
MU 001 Recital Attendance
MU 002 Jury Examination
Junior Year
MU392A&B Jazz Major
MU405A&B Jazz History l-ll
MU7XX Ensemble
HU3XX
MU001
MU002
Humanities
Electives
Recital Attendance
Jury Examination
Senior Year
MU492A&B
MU410A&B
MU413A
MU420A
MU7XX
HU4XX
MU001
MU002
Jazz Major
Music History l-ll
Recording
Business of Music
Ensemble
Humanities
Electives
Recital Attendance
Jury Examination
Ensemble must include two semesters
of Chorus and one semester of New
Music Ensemble.
*Not required of Jazz Piano Majors.
Semester
1st 2nd
3 3
3 3
3 3
1 1
1 1
3 -
3 3
0 3
0 0
- 0
17 17
3 3
3 3
3 3
2 2
1 1
1 1
3 3
0 0
- 0
16 16
3 3
2 2
2 2
6 3
3 3
0 0
- 0
16 13
3 3
3 3
2 -
2 -
2 2
3 3
3 6
0 0
- 0
18 17
Jazz Performance/MIDI Major
Total Credits: 130 (Instrumental)
126 (Piano)
Freshman Year
MU192A&B Jazz Major
MU103A&B Musicianship l-ll
MU 1 07A&B Freshman Theory l-ll
*MU 131A&B Piano
MU 772 Chorus
HU 1 1 0A Language & Expression
HU 1 03A&B Intro, to Modernism
HU 1XX Humanities
Recital Attendance
Jury Examination
MU001
MU002
Semester
1st 2nd
3 3
3 3
3 3
1 1
1 1
3 -
3 3
- 3
0 0
- 0
17 17
Sophomore Year
MU292A&B Jazz Major
MU 203A&B Musicianship lll-IV
MU307A&B Theory
*MU 232A&B Piano
MU 7XX Ensemble
HU2XX Humanities
MU 001 Recital Attendance
MU 002 Jury Examination
Junior Year
MU392A&B Jazz Major
MU 308A&B Analysis & Composition
MU313 Jazz Improvisation
MU 41 5A&B Computer Composition
MU405A&B Jazz History l-ll
MU 7XX Ensemble
Humanities
Electives
Recital Attendance
Jury Examination
HU3XX
MU001
MU002
Senior Year
MU492A&B
MU410A&B
MU413A
MU416A&B
MU420A
HU4XX
MU001
MU002
Jazz Major
Music History
Recording
MIDI Synthesis
Business of Music
Humanities
Electives
Recital Attendance
Jury Examination
1 1
1 1
6 3
0 0
- 0
17 14
1.5 1.5
1.5 1.5
2 2
3
2
1
3
3
0
- 0
17 17
1.5 1.5
3 3
2 -
1.5 1.5
2 -
3 3
3 6
0 0
_- 0_
16 15
Ensemble must include one year of
Chorus and one semester of New
Music Ensemble.
*Not required of Piano Majors.
101
Diploma in Music —
Performance Major (Classical)
This program is not available to Voice Majors or
Voice-Opera majors
Total Credits: 96
Semester
1st 2nd
3 3
Freshman Year
MU191A&B Major
MU103A&B Musicianship l-ll 3 3
MU107A&B Freshman Theory l-ll 3 3
*MU 131A&B Piano III
MU 77- Ensemble
MU 001 Recital Attendance
MU 002 Jury Examination
1 1
2 2
0 0
j 0_
12 12
Sophomore Year
MU291A&B Major 3 3
MU203A&B Musicianship lll-IV 3 3
MU207A&B Sophomore Theory lll-IV 3 3
*MU231A&B Piano lll-IV
MU 77- Large Ensemble
MU 001 Recital Attendance
MU 002 Jury Examination
1 1
2 2
0 0
j 0_
12 12
Junior Year
MU391A&B Major 3 3
MU301A&B Music History l-ll 3 3
MU303A&B Musicianship V-VI 3 3
MU76- Chamber Ensemble 1 1
MU77- Large Ensemble 2 2
12 12
Senior Year
MU491A&B Major 3 3
MU407 Senior Theory V 3 -
MU — Advanced Theory Elective - 3
MU401A&B Music History lll-IV 3 3
MU76- Chamber Ensemble 1 1
MU77- Large Ensemble 2 2
MU001 Recital Attendance 0 0
MU002 Jury Examination - 0
12 12
*Piano majors substitute Keyboard
Harmony MU 237A&B, MU 337A&B.
Diploma in Music —
Composition Major (Classical)
Total Credits: 102
Freshman Year
MU191A&B Composition Major l-ll
MU103A&B Musicianship l-ll
MU107A&B Theory l-ll
MU121A&B Calligraphy
MU131A&B Piano l-ll
MU 77- Ensemble
MU 001 Recital Attendance
MU 002 Jury Examination
Sophomore Year
MU 291 A&B Composition Major I
MU 203A&B Musicianship lll-IV
MU207A&B Theory lll-IV
MU 231 A&B Piano lll-IV
MU 77- Ensemble
MU 001 Recital Attendance
MU 002 Jury Examination
Junior Year
MU 391 A&B Composition Major V-IV
MU301A&B Music History l-ll
MU303A&B Musicianship V-VI
MU317A&B Orchestration l-ll
MU 77- Ensemble
MU 001 Recital Attendance
MU 002 Jury Examination
Senior Year
MU491A&B
MU415A
MU407
MU401A&B
MU254
MU255
MU001
MU002
Composition Major Vll-V
Computer Composition I
Senior Theory V
Music History lll-IV
Choral Conducting
Instrumental Conducting
Elective
Recital Attendance
Jury Examination
Semester
1st 2nd
3 3
3 3
3 3
1 1
1 1
2 2
0 0
- 0
13 13
3 3
3 3
3 3
1 1
2 2
0 0
- 0
12 12
3 3
3 3
3 3
3 3
2 -
0 0
- 0
14 12
1113 3
3 -
3 -
3 3
2 -
- 2
- 4
0 0
- 0
14 12
Diploma in Music — Performance Major
(Jazz/Commercial)
Total Credits: 104
Freshman Year
MU192A&B Jazz Major l-ll
MU103A&B Musicianship l-ll
MU107A&B Freshman Theory l-ll
"MU131A&B Class Piano l-ll
MU 77- Ensemble
MU 001 Recital Attendance
MU 002 Jury Examination
Semester
1st 2nd
3 3
Junior Year
MU392A&B Jazz Major V-VI
MU307A&B Jazz Theory &
Ear Training l-ll
MU 313A&B Jazz Improvisation lll-IV
MU315A&B Jazz Arranging l-ll
MU764 Small Jazz Ensemble
MU 77 — Large Ensemble
MU 001 Recital Attendance
MU 002 Jury Examination
Senior Year
MU492A&B Major VII-VIII
MU 403A&B4 Jazz History l-ll
MU410A&B Music History l-ll
MU413A Recording
MU 420A Business of Music
MU 76- Small Jazz Ensemble
MU 77- Large Ensemble
MU 001 Recital Attendance
MU 002 Jury Examination
1 1
2 2
0 0
- 0
12
12
Sophomore Year
MU292A&B Jazz Major lll-IV
MU 203A&B Musicianship lll-IV
MU 207A&B Sophomore Theory lll-IV
*MU 232A&B Jazz Piano lll-IV
3
3
3
1
3
3
3
1
MU 21 3A&B Jazz Improvisation l-ll
MU 77- Large Ensemble
MU 001 Recital Attendance
2
2
0
2
2
0
MU 002 Jury Examination
-
0
14 14
3 3
1 1
2 2
0 0
- 0_
13 13
3 3
2 2
3 3
2 -
2 0
1 1
2 2
0 0
_- 0_
15 11
*Piano majors will substitute MU 237A&B
and MU 337 A&B. Keyboard Harmony.
Ensemble must include one year of Chorus
and one semester of New Music.
102
Diploma in Music — Composition Major
(Jazz/Commercial)
Total Credits: 104
Freshman Year
MU191A&B Composition Class l-ll
MU103A&B Musicianship l-ll
MU107A&B Theory l-ll
MU121A&B Calligraphy l-ll
MU131A&B Piano l-ll
MU 77- Large Ensemble
MU 001 Recital Attendance
MU 002 Jury Examination
Sophomore Year
ML) 291A&B Composition Major lll-IV
MU203A&B Musicianship lll-IV
MU207A&B Theory lll-IV
MU 21 3A&B Jazz Improvisation l-ll
MU232A&B Jazz Piano lll-IV
MU 77- Large Ensemble
MU 001 Recital Attendance
MU 002 Jury Examination
Junior Year
MU 392A&B Jazz Comp. Major V-VI
MU307A&B Jazz Theory &
Ear Training l-ll
MU315A&B Jazz Arranging l-ll
MU 317A&B Orchestration l-ll
MU765
Semester
1st 2nd
3 3
3
3
3
1
3
1
1
2
1
2
0
0
0
13
13
3
3
3
3
3
3
2
2
2
2
0
0
0
MU001
MU002
New Music Ensemble
Elective
Recital Attendance
Jury Examination
14 14
3 3
3 3
2 2
3 3
1 -
- 1
0 0
j 0_
12 12
Senior Year
MU492A&B Jazz Comp. Major VII-VIII 3
MU405A&B Jazz History l-ll 2
MU407 Theory V
MU — Advanced Theory Elective 3
MU410A&B Music History l-ll
MU413A Recording I
MU 420A Business of Music I
MU 001 Recital Attendance
MU 002 Jury Examination
13 13
Ensemble must include one year of Chorus.
Certificate in Music —
Performance Major (Classical)
Total Credits: 52
First Year
MU191A&B Major
MU103A&B Musicianship l-ll
MU107A&B Theory l-ll
**MU 131 A&BCIass Piano III
*MU 76- Chamber Ensemble
MU 77- Large Ensemble
MU 001 Recital Attendance
MU 002 Jury Examination
Semester
1st 2nd
3 3
1 1
1 1
2 2
0 0
- 0
13
13
3
3
3
3
3
1
3
1
1
2
1
2
0
0
-
0
Second Year
MU291A&B Major
MU 203A&B Musicianship lll-IV
MU207A&B Theory lll-IV
**MU231A&BCIass Piano lll-IV
*MU 76- Chamber Ensemble
MU 77- Large Ensemble
MU 001 Recital Attendance
MU 002 Jury Examination
13 13
'Voice majors substitute Foreign Language, 3
credits per semester, Total credits required: 60.
"Keyboard Majors will substitute MU 237 A&B,
and MU 337 A&B Keyboard Harmony.
Certificate in Music —
Performance Major
(Jazz/Commercial)
Total Credits: 52
First Year
MU192A&B Jazz Major l-ll
MU103A&B Musicianship l-ll
MU107A&B Theory l-ll
*MU131A&B Class Piano l-ll
MU 77- Large Ensemble
MU 001 Recital Attendance
MU 002 Jury Examination
Second Year
MU 292A&B
MU 203A&B
MU 207A&B
MU213A&B
*MU 232A&B
MU77-
MU001
MU002
Jazz Major l-ll
Musicianship lll-IV
Theory lll-IV
Jazz Improvisation I-
Jazz Piano lll-IV
Large Ensemble
Recital Attendance
Jury Examination
'Keyboard Majors will substitute
MU 237A&B and MU 337A&B,
Keyboard Harmony.
Semester
1st 2nd
3 3
0 0
j 0_
12 12
0 0
_- 0_
14 14
Certificate in Music —
Composition Major
(Jazz/Commercial)
Total Credits: 54
First Year
MU191A&B Composition Major
MU103A&B Musicianship l-ll
MU107A&B Theory l-ll
MU 121 A&B Calligraphy l-ll
MU 131 A&B Piano l-ll
MU 77- Large Ensemble
MU 001 Recital Attendance
MU 002 Jury Examination
Second Year
MU 291A&B Composition Major
MU 203A&B Musicianship lll-IV
MU207A&B Theory lll-IV
MU 21 3A&B Jazz Improvisation l-ll
MU232A&B Jazz Piano lll-IV
MU 77- Large Ensemble
MU 001 Recital Attendance
MU 002 Jury Examination
Semester
1st 2nd
3 3
1 1
2 2
0 0
- 0
13 13
3
3
3
2
1
2
0
0
14 14
103
MAT in Music Education
Preparatory Program (MATPREP)
All undergraduate degree students in music at The
University of the Arts may enroll in and take ad-
vantage of the MAT in Music Education Prepara-
tory Program (MATPREP). Completion of this pro-
gram allows students to satisfy all co-requisite
requirements for admission to the MAT in Music
Program. MATPREP is also an important means for
maintaining continuity between undergraduate
and graduate experiences and for fostering com-
munication between students and faculty in Music
Education.
Admission to the University as a BM/MAT stu-
dent in Music indicates acceptance into the Bach-
elor of Music program and into the MATPREP
program. Full admission to the MAT in Music Edu-
cation program must be granted prior to the begin-
ning of graduate-level instruction on the same
bases as other MAT candidates.
MATPREP courses are to be offered each aca-
demic year. A suggested sequence for completing
the program is shown:
Total MATPREP Credits: 17
Sem/Yr
MU151A
Intro, to Music Educ. I
1
Fall/1
MU151B
Intro, to Music Educ. II
1
Spring/1
MU357A
Lab Teaching/
Practicuml
2
Fall/2
MU357B
Lab Teaching/
Practicumll
2
Spring/2
MU254
Basic Conducting
2
Fall/2
MU356A
Music Teh. Skills I*
1
Fall/3
MU3568
Music Teh. Skills II*
1
Spring/3
MU451A
Psych, of Music
Teaching I Theoretical
Foundations
2
Fall/4
MU451B
Psyc. of Music Teach-
ing II Child Growth and
Development
2
Spring/4
MU317A
Orchestration
3
Fall/
3or4
* Incorporates advanced skills in functional piano,
guitar, recorder, writing/arranging for elementary
classroom ensembles, operation of basic audio/visual
equipment establishment of classroom environment
Graduate Programs
Master of Music — Performance
Total Credits: 42
First Year
MU591A&B Major
MU 501 A&B Seminar in Bibliography
and Writing
MU521A&B Advanced Theory &
Analysis
MU7XX Ensemble
MU523A&B Graduate Humanities
Semester
1st 2nd
3 3
2 2
11
11
Second Year
MU691A&B Major
3
3
MU 601 A&B Seminar in Performance
Practice
3
3
MU 603 Master's Project
-
1
Electives
2
1
MU7XX Ensemble
2
2
10 10
At least one semester of Ensemble must be
fulfilled by the New Music Ensemble (MU 765).
Keyboard majors generally take two semesters
of Piano Accompanying (MU 773).
Master of Music — Piano Accompanying
and Chamber Music Performance
Total Credits: 42
First Year
MU 591 A&B Accompanying
Major
*MU501A&B Seminar in Bibliography
and Writing
MU 521 A&B Advanced Theory &
Analysis
MU 523A&B Graduate Humanities
MU 76- Ensemble
Semester
1st 2nd
2 2
2 2
1 1
10
10
Second Year
MU 691 A&B Accompanying Major
3
3
*MU601A&B Seminar in Performance
Practice
3
3
MU 765 New Music Ensemble
-
1
MU 76- Chamber Music
1
-
HU — Foreign Language
3
3
10 10
*May be interchanged.
Special Requirements:
1 st Semester — Accompanying for teachers'-
artist studios, and participation in school en-
sembles, as assigned. Performance in six repre-
sentative programs in remaining three semesters,
including vocal and instrumental accompanying,
and a minimum of three major chamber works.
Performances are subject to approval by the major
teacher and the Graduate Director.
104
Master of Music —
Voice/Opera Emphasis
Total Credits: 44
Semester
First Year 1st 2nd
MU591A&B Voice Major 3 3
MU517A&B Opera History & Literature 2 2
MU541A&B Repertory Coaching 1 1
MU544A&B Staging 2 2
HU — *Foreign Language 3 3
11 11
3 3
3 3
1 1
Second Year
MU691A&B Voice Major
MU 601 A&B Seminar in Performance
Practice**
MU 641 A&B Repertory Coaching
MU644A&B Staging III, IV 2 2
MU523A&B Graduate Humanities 2 2
11 11
'Students will take one year of a foreign language
(6 credits). Students who cannot pass the profi-
ciency examination in Italian will take Italian.
Those who pass out of Italian will substitute either
French or German. Students who are able to pass
out of all of these languages will take six credits
of electives to be approved by the Graduate Direc-
tor, or, if it is offered, a second year of Italian,
French, or German.
**MU 601 A&B is offered only in alternate years and
must be taken in the first available year it is given.
Master of Music — Composition
Total Credits: 42
Semester
First Year
1st
2nd
MU 591 A&B
Composition Major
3
3
MU 501 A&B
Seminar in Bibliography
and Writing
1
1
MU 521A&B
Advanced Theory &
Analysis
1
2
MU 531 A&B
Conducting
1
1
MU 523 A&B
Graduate Humanities
1
2
Second Year
MU 691 A&B Composition Major
MU 601 A&B Seminar in Performance
Practice
MU 765 New Music Ensemble
MU 61 5A&B Computer Composition
11 11
3 3
3 3
1 1
3 3
10 10
Master of Arts in Teaching in
Music Education
Total Credits: 36
Summer Session
MU 551 Education in American
Society
MU 560 Workshop/lnst.
Methods I
MU 552 Workshop in Vocal
Methods
MU 554B
MU550
MU557
MU 560B
Spring Semester
MU 553 Music and Special
Children
MU 555 Elementary Student
Teaching
MU 556 Secondary Student
Teaching
MU 558 Student Teaching Seminar
and Major Project
MU 559 Research, Evaluation and
Technology
Fall Semester
MU 554A Elementary Methods/ 3
Materials
Secondary Methods/ 3
Materials
Adv. Conducting-Choral 3
or Instrumental
Music Admin./Supervision 3
Workshop/Instrumental 2
Methods
14
Graduate Diploma —
Performance
Total Credits: 28
First Year 1)
MU 591 A&B Major
MU 7XX Ensemble
MU 765 New Music Ensemble
Second Year
MU 691 A&B Major
MU 7XX Ensemble
MU — Electives
Semester
1st 2nd
3 3
2 2
J 1_
6 6
3 3
2 2
3 3
8 8
Keyboard majors generally take two semesters of
Piano Accompanying (MU 773).
105
Regulations/Requirements
Attendance
Professional Standards and Behavior
It is expected that students of the Philadelphia
College of Performing Arts maintain high stan-
dards of professionalism with respect to stu-
dio, classroom, rehearsal, and performance
commitments. Regular and punctual atten-
dance and appropriate preparation for lessons,
classes, rehearsals, and performances are of
the utmost importance to the attainment of
professional artistic goals.
Excused Absence
An excused absence is one which has received
the prior consent of the instructor; and is due to
illness or emergency, appropriately documented
by medical certificate, etc.; or is caused by perfor-
mance at an official school function with the ap-
proval of the appropriate School Director or Dean.
Unexcused Absence
All other absences are "unexcused. "It is the re-
sponsibility of the student to arrange with his/her
instructors to make up all missed work. Failure to
do so will result in lowered grades. Students who
are excessively absent will receive an "F" in the
course. (Due to the nature of the work in acting
studio and musical ensemble courses, work in
these courses cannot be made up.)
Students must notify PCPA concerning ab-
sences involving private lessons and/or rehearsals
involving other participants. Messages should be
directed to the office of the School Director.
The number of hours of "Unexcused Absences"
permitted per semester in the School of Music
may not exceed the number of credits per course;
i.e., in a three-credit course no more than three
hours of unexcused absences are permitted, in a
two-credit course, no more that two hours of
unexcused absences are permitted, etc.
Attendance at Lessons
Students must attend all private lessons as sched-
uled except in the case of illness or emergency
(see "Excused Absence"). It is the student's re-
sponsibility to notify the teacher if he/she is un-
able to keep the appointment time. Failure to give
at least 24 hour prior notice may mean forfeiture
of the lesson. A maximum of three lessons per
semester will be made up in the case of excused
absences. Lessons missed because of unexcused
absences will not be made up.
Lessons missed due to the teacher's absence
will be rescheduled and made up by the teacher.
Unless circumstances render it impossible,
"make-up" lessons for the Fall semester are to be
completed prior to the Spring semester; "make-
up" lessons for the Spring should be complete by
June 15.
Normally, students are entitled to thirty, one-
hour lessons during the academic year (fifteen per
semester).
Class/Lesson Cancellations or Lateness of
Instructor
Students must check every morning for notices
regarding class or lesson changes. Such notices
are posted on the official bulletin board in the
lobby of the Shubert building. If none is posted for
the scheduled class or lesson and the instructor is
not present, students are expected to wait 10
minutes for an hour-long class/lesson and 15 min-
utes for those of longer duration. In the event the
instructor fails to appear within the 10-15 minute
waiting period, students are to report to the appro-
priate School Director's Office, and may then leave
without penalty.
Change of Major Teacher
Students who wish to petition for a change of
major teacher must:
1 . Secure "Request for Change of Major Teacher"
form from the Director of the School of Music
2. State reasons for requesting a change of
teacher
3. Obtain the approval of the present and the re-
quested teacher
4. Obtain the approval of the Director of the
School of Music
5. Return the completed form to the Registrar.
Such changes are not usually effected during the
semester, or in the final year of study.
Faculty Advisory
All students are assigned to a faculty advisor. Lists
are posted in the Shubert Lobby during the first
week of the academic year. Appointments can be
made at the mutual convenience of the student
and the faculty advisor.
Students should feel free to see their advisor
at any time concerning problems that they may
encounter.
Jury Examinations
Each student takes a jury examination in the major
area at the end of each academic year. Students
do not have to take a jury examination in the year
that they play their graduation recital.
Performance Attendance Requirement
Full-time, undergraduate music students are
required to attend twelve musical performances in
each year (except the year in which the student's
Senior Recital is performed when only six are
required). Performance Attendance credit will be
given for presence at recitals, concerts, studio
concerts, workshops, and lectures in which music
is performed. All attendance requirements must
be fulfilled in the year in which they are required.
Failure to meet requirements will result in a fail-
ing grade for Recital Attendance.
Part-time undergraduate music students are
responsible for attending a number of perfor-
mances in direct proportion to the number of cred-
its in which they are enrolled. The specific number
is assigned at the beginning of each semester.
Students are required to attend a maximum of 42
performances during their undergraduate years of
study. At the beginning of every semester, each stu-
dent will receive written notification of the number of
performances he/she is expected to attend.
Studio Concerts
Studio Concerts are designed to provide music
students the opportunity to gain experience in
public performance. All students are encouraged
to participate as often as possible, and to support
other students by their attendance. A minimum of
one performance per year is required of all sec-
ond-, third- and fourth-year students.
Written consent of the major teacher or en-
semble director is necessary in order to be sched-
uled for Studio Concert performance. The com-
pleted form must be returned to the Director of
the School of Music no later than one month prior
to the requested date of performance.
Jury Recital Requirements
Regulations regarding Jury Examinations, Junior
and Senior Recitals are available in the office of
the School of Music.
Performance Hour
Performance Hour is devoted to faculty and
guest recitals, lectures, master classes, and work-
shops, as well as student performances.
Music majors should not schedule other com-
mitments during the time designated as the Per-
formance Hour.
Students who are absent from the required
sessions (without special permission of the Direc-
tor of the School of Music) have an opportunity to
make up the absences by attending additional
recitals. If they are not made up, the student will
receive a grade of "F" on their transcript for Per-
formance Hour attendance. Others will receive a
grade of "P" A student may be excused from a
required Performance Hour program by the Direc-
tor of the School of Music. In such cases the ex-
cused Performance Hour will be added to the
number of required Recital attendances.
106
Graduation Requirements
In addition to the general PCPA requirements for
graduation, the following must be fulfilled:
Undergraduate Requirements
1 . Performance Majors must present a satisfactory
Graduation Recital before a Faculty Jury ("satis-
factory" performance to be determined by ma-
jority vote of the Jury), as well as a public re-
cital.
2. Theory Majors must submit a satisfactory major
project in the Senior year.
3. Composition Majors must submit a satisfactory
substantial work in the Senior year, to be
publically performed, and adjudicated by the
faculty of the Composition Department.
Graduate Requirements —
Master of Music Degree Programs
1 . Each student shall compete at least once in the
Annual Concerto Competition which is held
each year in the fall semester. Usually this is
done during the second year of study. It is the
student's responsibility to discuss this activity
with the major teacher.
2. Each student must perform a first-year juried
recital of 30-45 minutes duration before a Com-
mittee. This recital will be graded and the
grade entered on the student's transcript. The
program for this recital must be approved by
the Committee in September (for fall receitals)
or in February (for spring recitals), and will not
form part of the second-year Graduation Re-
cital. Compositions requiring accompaniment
must be performed with accompaniment and
the program should be presented from memory.
If student accompanists are not available, the
School of Music will assign the music to a staff
member or other qualified accompanist.
3. In consultation with the major teacher, each
student must submit a list of repertory to be
studied each semester. This list will be for-
warded to the Director of the Program for Mas-
ter of Music and Graduate Diploma Programs
after the third lesson (approximately the fourth
week of the semester) for review by the Gradu-
ate Committee for Master of Music and Gradu-
ate Diploma Programs.. Evaluation will be made
at the end of the semester.
Repertoire over the normal four semesters of
graduate study should exhibit a variety of
genres (concerti, sonatas, etudes, etc.), style
periods (Baroque to the present, if applicable),
and composers. It is expected that orchestral
excerpts will be included where appropriate,
and that sight-reading will receive stress in the
lesson context.
4. Students are expected to perform either as soloists
or in small ensembles as often as possible.
5. A full-length recital will be presented in the
final semester of residency. The content and
length of the recital will be determined in con-
sultation with the major teacher and must be
approved by the Director for Master of Music
and Graduate Diploma Programs. All recitals
will be judged on a Pass/Fail basis by a faculty
committee appointed by the Director of Gradu-
ate Studies and which includes the major
teacher. It is expected that the program will
demonstrate a balance of styles and periods,
including the twentieth century. The recital will
normally be presented from memory.
6. Each degree candidate must pass three reper-
tory listening examinations, one in each of the
first three semesters.
Graduate Voice/Opera Emphasis Major
1 . Students are expected to participate in opera
workshops and productions, as assigned.
2. Repertory for the recital (see preceding section
on "Graduation Recital") should display the
student's full vocal range and dramatic ability.
Three languages, in addition to English, must
be represented. The recital must include at
least four operatic arias or one extended solo
operatic scene of equivalent duration.
Graduate Composition Major
1 . Students are expected to explore various com-
positional media and techniques, and to com-
pose at least six works for various media, and
of various lengths. One of these compositions
should be for a large ensemble.
2. The student's progress will be evaluated at the
end of the second and fourth semester by a
faculty committee which includes the major
teacher (chair) and other faculty members ap-
pointed by the Chair of the Composition Divi-
sion. It is this committee's responsibility to
determine if the composition requirements have
been met in both quality and quantity.
3. The Graduate Division for Master of Music and
Graduate Diploma Programs desires that as
many student compositions as possible be
performed and will make every effort to help
composition majors in this regard. It is the
student's responsibility to assist performers in
preparing new works for performance.
Exit Requirements for the MAT in
Music Education
Successful completion of all course and related
requirements shall lead to the granting of the
Master of Arts in Teaching with a major in Music
Education, provided that an overall GPA of 3.0 or
higher is maintained. However, approval of the
MAT in Music Education Committee is required for
recommendation for teacher certification. It should
be noted also that the initial Instructional I Certifi-
cate cannot be issued by the Commonwealth of
Pennsylvania Department of Education unless PDE
testing requirements have been met.
107
The School of Music
Course Descriptions
Composition
MU 121 A&B
Calligraphy
1 credit per semester
This course is aimed at teaching students profes-
sional methods of musical score and parts prepa-
ration, both in the traditional way with paper and
pen, and with computer programs. It is required for
composition majors, and is an elective for all other
majors.
MU 191 A&B
Composition Class III
3 credits per semester
The four components of MU 191 are:
1 . An introduction to important twentieth-century
composers, their works, styles, and composi-
tional methods.
2. The investigation of twentieth-century writing
techniques and modes of thought such as mod-
ern modalism, new scale formulation,
polytonality, serial techniques, and contempo-
rary harmonic usage.
3. Composition in small forms.
4. Studies in contemporary aesthetic and philo-
sophic thought as they relate to composition.
Required of first-year Composition majors. Avail-
able as an elective for other Music majors with
permission of the instructor.
MU 291 A&B
Composition Major lll-VIII
3 credits per semester
Private composition lessons weekly throughout
course of study. General assignments and at least
one complete work in a variety of media are re-
quired in each semester. A minimum of three
works written during the last four semesters re-
ceive public performances. Scores of all works
written in fulfillment of Composition major re-
quirements are submitted to the Composition
faculty for review toward the end of the final se-
mester of residence. Jazz/Commercial Music ma-
jors are required to take only Composition Major
lll-IV.
MU 316 Composition
3 credits
Composition Class for music students who are not
Composition Majors. A study of formal organiza-
tions, musical materials, and compositional de-
vices as practiced in the twentieth-century,
MU415A
Computer Composition I
3 credits
A detailed "hands-on" examination of the use of
micro-computers in the present day composi-
tion environment. The course includes the uses
of a computer, the language of MIDI, sequenc-
ing, FM and other types of synthesis, and a
survey of currently available music software
packages. Students are strongly encouraged to
engage in independent work based on their
own compositional interests. No prior computer
or synthesis experience is needed. Required of
all Composition and Theory majors.
MU415B
Computer Composition II
3 credits
Continuation of MU 41 5A, focusing on the un-
derstanding and application of advanced tech-
niques using existing software and hardware.
There is a strong emphasis on composition.
Among the topics explored are integrating tape
and computer functions, advanced music tran-
scription, programming drum machines, and
advanced FM. Individual work is encouraged.
Prerequisite: MU 415 A or permission of the
instructor.
Music Theory
MU007
Introduction to Music Theory
3 credits
Fundamentals of music theory designed to pre-
pare students for entrance into regular college-
level music theory program. Credit is not appli-
cable to degree requirements.
MU 107 A&B
Theory III
3 credits per semester
An introduction to the principles of theory, includ-
ing scale structure, intervals, triads, and seventh
chords. A study of the basic principles of diatonic
harmony, including chordal spacing, chordal pro-
gression, voice-leading, modulation and an intro-
duction to chromatic harmony. Harmonic analysis
and the analysis of small forms. Required for all
Music majors.
MU207A
Theory III
3 credits
A study of chromatic harmony, including aug-
mented sixth, Neopolitan, altered and added-tone
chords, irregular resolutions, and modolation prac-
tices of the late nineteenth century. In addition, a
survey of the standard forms is covered (song
forms, variation, sonata. Rondo, Minuet, and
Scherzo). Students are taught rudiments of score
reading in this course (clefs, instrument names
and terms in French, Italian, and German, and
transpositions of the orchestral instruments).
Required of all music majors.
MU207B
Theory IV
3 credits ,
Beginning with the rudiments of melodic analysis,
the student proceeds to analyze and construct
examples. The course then proceeds by writing
and analysis through a study of sixteenth and
eighteenth century practices. Analysis includes
works by Paletrina, Lassus, Josquin, Buxtehode,
and Bach. Writing projects include 2-voice species
counterpoint in Fux style, canon, motet, invention,
and fugue exposition. The course ends with an
analytical survey of 20th-century contrpuntal ex-
amples. Required of all music majors.
MU 237 A&B
Keyboard Harmony III
1 credit per semester
Melody and figured bass harmonization; trans-
position; clef reading, and score reduction.
Required of Classical Piano Majors; open to
other majors as an elective.
MU317A
Orchestration I
3 credits
An introduction to instrumentation, designed to
acquaint the student with ranges, transpositions,
and characteristics of individual instruments. Four
orchestration projects are scored, performed, re-
corded, and critiqued: 1 ) four woodwinds, 2) four
woodwinds and seven brasses, 3) string en-
semble, and 4) small orchestra with winds in pairs.
Required of Composition and Theory majors; open
to other music majors as an elective.
MU317B
Orchestration II
3 credits
Primarily intended for composers and music theo-
rists, this course presents an analytical history of
orchestration centering on the works of Ravel,
Schonberg, Prokofieff, Wagner, Strauss, Debussy,
and Stravinsky. Coursework culminates in a large
project for full orchestra which is scored, per-
formed, recorded, and critiqued. Composers are
encouraged to orchestrate one of their own com-
positions. Required of Composition and Theory
majors; open to other Music majors as an elective.
MU 327 A&B
Fingerboard Harmony Ml
2 credits per semester
A survey of voice leading techniques through five
centuries of lute, vihuela, and guitar music. The
course examines sixteenth-century intabulations,
Baroque guitar accompaniment, figured bass and
the Baroque lute, harmonic and technical consider-
ations in nineteenth-century sonata forms, and
contemporary practices. The course includes both
writing and performance. Required of Classical
Guitar majors.
MU 337 A&B
Keyboard Harmony lll-IV
1 credit per semester
A continuation of MU 237 A&B.
MU407
Theory V
3 credits
A study of twentieth-century literature, including
harmony, counterpoint, form, and orchestration.
Techniques discussed include bitonality, atonality,
and pantonality; serial technique; and minimalism.
Both acoustic and electronic works are discussed
The sequence of courses MU 1 91 -491 B may be
rearranged according to background and interests
of students.
108
MU 191 A&B
History of Theory Ml
3 credits per semester
A survey of the history of music theory including
the Greeks, the Early Christian Era, Anonymous IV,
Boethius, Cassiadorus, Guido, Odo of Cluny,
Franco of Cologne, de Vitry, Apel, Waite, Zarlino,
Glareanus, the Camerata, Arnold, Rameau, Fux,
C.P.E. Bach, Riemann, Reti, Sachs, Yeston, Walker,
and Toch. Required of Theory majors.
MU 291 A&B
Advanced Tonal Analysis III
3 credits per semester
A study of analytical techniques related to the
form, harmony, thematic unity, melody, rhythm,
and tonal organization of music from the Baroque
to late nineteenth century. Special emphasis on
reinforcement and development of concepts intro-
duced in Theory lll-IV which is normally taken
concurrently. Required of Theory majors.
MU391A
Reduction Theory
3 credits
A survey of the principles, terminology, and appli-
cation of Reduction Theory, including those of
Forte, Hindemith, Katz, Reti, Salzer, Schenker, and
Warfield. Required of Theory majors.
MU391B
Set Theory
3 credits
A survey of the principles, terminology, and appli-
cation of Set Theory, including those of Babbitt,
Forte, Gauldin, Lewing, Martino, Morris, and
Teittlebaum. Required of Theory majors.
MU491A
Serial Theory
3 credits
A survey of the principles, terminology, and appli-
cation of Serial Theory, including the writings of
Babbitt, Smith-Brindle, Leibowitz, Perle, Rochberg,
Rufer, Searle, Schoenberg, and Spinner. Required
of Theory majors.
Mil 491 B
Theory Project
3 credits
A major research, compositional, or analytical
study undertaken during the senior year. Project
must be approved by department chairman and
supervising instructor. Required of Theory majors.
Musicianship Studies
MU 103 A&B
Musicianship Studies III
3 credits per semester
This course centers on tfie establishment of funda-
mental skills through the singing and recognition of
diatonic materials, i.e., scales, intervals, triads, and
seventh chords, both as isolated phenomena and in
musical contexts. Solfeggio performance of diatonic
melodies and rhythmic performance in all basic meters
is emphasized, as well as the dictation of these mate-
rials. Required of all Music majors.
MU 203 A&B
Musicianship Studies lll-IV
3 credits per semester
Continuation of MU 103 A&B to include compound
intervals, ninth chords, and chord progressions.
Performance and dictation materials include chro-
matic melodies with modulations and more ad-
vanced rhythmic exercises that include
polyrhythms. Required of all Music majors.
MU 303 A&B
Musicianship Studies V-VI
3 credits per semester
Continuation of MU 203 A&B. Performance mate-
rials progress from increasingly chromatic melo-
dies to nontonal ones in single and multivoice
contexts. Advanced rhythmic materials include
changing meters and beat values, as well as more
complex beat subdivisions. Dictation skills focus
on harmonic progressions with modulations and
altered chords, and two- and three-part melodic
textures. Materials from all musical perids includ-
ing Jazz. Also included are skills in vocal develop-
ment, improvisation and score reading.
MU 403 A&B
Musicianship Studies VII-VHI
3 credits per semester
An elective course designed to provide advanced
work in multivoice performance and dictation,
score-reading, pitch, and rhythmic performance of
all musical styles, with an emphasis on twentieth-
century materials.
Music Education-
MATPREP Courses
MU 151 A&B
Introduction to Music Education
1 credit per semester
A two-semester sequence required of all candi-
dates for the BME degree, and open to any stu-
dent interested in exploring Music Education as a
career option. Introduction to Music Education is a
survey course designed to provide an overview of
music teaching — past, present, and future —
and to serve as an introduction to the philosophy,
methodology, and professional role of the music
teacher. MU 151 A is prerequisite to MU 151B.
MU254
Basic Conducting
2 credits
A study of fundamental conducting skills and tech-
niques with emphasis upon physical aspects of
conducting, score reading and preparation, and
rehearsal principles. Undergraduate co-requisite
for full acceptance into the MAT in Music Educa-
tion program. Open to all candidates for the Bach-
elor of Music degree.
MU 256 A&B
Music Teaching Skills I & II
1 credit per semester
Incorporates advanced skills in functional piano,
guitar, recorder, writing/arranging for elementary
classroom ensembles, operation of basic audio/
visual equipment, establishment of classroom
environment. Projects include arranging, perform-
ing, and simulated teaching.
MU317A
Orchestration
3 credits
Basic orchestration and arranging techniques with
special emphasis on their application within an
educational setting. Required of all Double Degree
candidates except Composition and Theory majors
who take MU 317 A&B.
MU 327 A&B
Lab Teaching/Practicum I— II
2 credits per semester
Observation and introduction toteaching in the
schools. Minimum of one field experience plus
one required seminar per week. Schedule to be
arranged between student and cooperating
teacher/institution.
MU 451 A
Psychology of Music Teaching I
2 credits
The first of a two-semester sequence required of
all students in the MATPREP Program and open by
elective to all Bachelor of Music Degree candi-
dates. Focus is upon behavioral, gestalt, and field
theories of learning, and associated concepts and
the application of theory to practice in the music
classroom.
MU 451 B
Psychology of Music Teaching II
2 credits
Emphasis is placed upon the application of learn-
ing theories to practical considerations of teach-
ing, including motivation, learning sequence, stu-
dent-teacher interaction, and classroom manage-
ment. Developmental theories, like those of Piaget
and Erikson, are explored with attention to select-
ing learning experiences in the music classroom.
Prerequisite: MU 451 A.
109
Jazz/Commercial
MU 131 A&B
Piano III
1 credit per semester
Introductory and elementary keyboard training
using basic theoretical, harmonic, and technical
concepts in practical keyboard application: trans-
position, melody harmonization, elementary jazz
improvisation, technique and repertoire. Required
of non-Keyboard Jazz/Commercial Music majors;
open to other majors as an elective.
MU 213 A&B
Jazz Improvisation Ml
2 credits per semester
The application of improvisational techniques
encompassing all standard forms and styles. Per-
formance practices are related to the individual
student's abilities, background, and experience.
Coursework includes solo transcription and analy-
sis, a comparison of improvisational methods, and
a survey of educational resources. Required of all
Jazz/Commercial Music majors.
MU 232 A&B
Jazz Piano lll-IV
1 credit per semester
Harmonic concepts in keyboard application for
jazz and popular music; chord voicings for popular
tunes, standards, and original harmonizations;
continuation of jazz improvisation. Requirements
include completion of juried Jazz Piano Proficiency
Examination. Required of non-Keyboard Jazz/
Commercial Music majors; open to other majors
as an elective.
MU 307 A&B
Jazz Theory and Ear Training III
3 credits per semester
A practical study of jazz and pop theory combined
with an advanced ear-training program, emphasiz-
ing instrumental application. Students are re-
quired to bring their instruments to class.
Coursework includes recognition, writing, dicta-
tion, and sight reading of: advanced chords, chord
additions and alterations, chord substitutions,
progressions, and rhythm. Required of all Jazz/
Commercial Music majors.
MU 308 A&B
Analysis and Composition of Commercial
Music
1.5 credits per semester
An examination of compositional techniques used
in pop songs, jingles, soundtracks, and under-
scores for radio, TV, records, films, shows and
industrials. Students will investigate the ways in
which music serves to enhance the overall goals
of the product or project. Musical analysis will
serve to demonstrate how each style is created.
Students produce their own musical compositions
in each media context.
MU 313 A&B
Jazz Improvisation lll-IV
2 credits per semester
Continuation of MU 213 A&B. Required of all
Jazz/Commercial Music majors.
MU 315 A&B
Jazz Arranging
2 credits per semester
A functional approach to ensemble scoring includ-
ing score analysis, combo arranging, arranging for
mixed instrumentation, musical settings for vocal-
ists, string writing, writing for pop recording, and
special techniques for multitrack recording. Re-
quired of all Jazz/Commercial Music majors.
MU 392 A&B
Jazz Composition Major l-IV
3 credits per semester
A two-year specialized course for Jazz/Commer-
cial Music Composition majors which follows a
two-year concentration in classical composition.
(See course descriptions for Composition Class
MU 1 91 A&B and MU 291 A&B.) MU 392 is an
applied course of study designed to familiarize the
student composer with the styles and techniques
of composition in the jazz idiom and related
genres. Included is an analysis of a broad spec-
trum of musical models illustrative of the develop-
mental roots through contemporary trends. Em-
phasis on writing for various combinations both for
acoustic and electronic (MIDI) use and as they
might be used in the recording studio.
MU 405 A&B
History of Jazz
(Refer to Music History and Literature section)
MU 413 A&B
Recording
2 credits per semester
A study of the recording process and the many
facets of the recording studio. Designed to famil-
iarize the student with conventional and creative
recording techniques through practical experience
in the studio. Required of all Jazz/Commercial
Music majors.
MU 416 A&B
MIDI Synthesis
1 .5 credits per semester
Students will become proficient at the skills nec-
essary to work creatively in the MIDI studio. Infor-
mation presented will include current synthesis
methods and programming of original sounds and
drum machines; sampling procedures; collecting
and editing original samples; MIDI studio record-
ing processes; the use of sync codes.
MU 420 A&B
Business of Music
2 credits per semester
An examination of the legal, practical, and proce-
dural problems encountered by the practicing
musician. Specific course content varies each year
according to the needs of the students and their
particular career goals. Required of all Jazz/Com-
mercial Music majors.
Music History
MU 301 A&B, MU 401 A&B
This four-semester Music History and Literature
sequence is designed to define the major style
periods from Greek times to the present in terms
of their philosophies, accomplishments, and inter-
relationships. Composers, performers, and theo-
rists are examined in the context of musical litera-
ture with emphasis upon styles, forms, and tech-
niques of composition as they evolve and change.
The sequence puts into historical perspective the
materials presented in the Music Theory courses.
Through listening assignments, students are ex-
pected to further develop their aural skills and
knowledge of musical literature. Required of all
music students, except Jazz/Commercial Majors.
Ml) 301 A
Music History I: Medieval — Renaissance
3 credits
MU301B
Music History II: Baroque — Classical
3 credits
MU401A
Music History III: Classical — Romantic
3 credits
MU402B
Music History IV: Post-Romantic — Twenti-
eth Century
3 credits
MU 403 A&B
History of Jazz
2 credits per semester
A two-semester study of jazz from its African and
European roots through its emergence at the turn
of the twentieth century as a unique and distinc-
tive American art form. The various styles of jazz
are studied (ragtime, New Orleans Dixieland, Chi-
cago style, swing, be-bop, cool, hard-bop, free-
form, third stream), including their effect on the
popular music with which jazz has coexisted. The
course includes in-depth study of the primary ex-
ponents of the various styles. Audio and video
materials are used to provide students with a
better understanding of jazz and its influences on
the music industry. Required of all Jazz/Commer-
cial Music majors.
MU 410 A&B
Music History
3 credits per semester
A one-year survey of music history designed for
Jazz/Commercial Music majors. The course en-
compasses music history and literature from antiq-
uity through the contemporary period with particu-
lar emphasis on history and literature since the
Classical period. Required of and limited to stu-
dents majoring in Jazz/Commercial Music.
MU 425 A&B
Guitar History and Literature
2 credits per semester
A study of the history of the guitar and music lit-
erature written for, or adaptable to, the classic
guitar. The development of the guitar is surveyed,
including the 4 course Renaissance guitar, the 5
course Baroque guitar of Corbetta, and Classical
guitar of Sor and Giuliani to the present. Required
of Guitar majors.
110
Music Literature
Mil 311
Masterpieces of Operatic Literaure
3 credits
An examination of operatic works, largely from the
standard repertory and a closer study of five great
operas. Three papers and attendance at specified
operatic performances are required.
MU318
Medieval Music
3 credits
An in-depth study of the vocal and instrumental
music of the Medieval Period. Special emphasis
will be given to the development of Plainsong and
the schools of Ars Antigua and Ars Nova. Students
will be expected to do outside listening, research,
and analysis.
Mil 319
Renaissance Music
3 credits
An in-depth study of the vocal and instrumental music
of the Renaissance Period. Special emphasis will be
given to the works of Dufay, Dunstable, Obrecht,
Ockeghem, Isaac, Josquin, Palestrina, G. Gabrieli,
Gesualdo, and Monteverdi. Students will be expected
to do outside listening, research and analysis.
Ml) 320
Chamber Music-Performance and Analysis
3 credits
A course open to all students who wish to both
perform and analyze works from the chamber
music literature. Students will elect to prepare
specific chamber works for performance, which
will also be analyzed and discussed in class.
MU321A&B
J. S. Bach I -II
3 credits each semester
Bach's works surveyed and analyzed, with particu-
lar attention to the organ works and cantatas.
Aspects of Bach scholarships are treated such as
source materials, reference tools, editions, prob-
lems of interpretation and performance. Papers
are required on instrumental work, organ chorale,
prelude and cantata.
MU323
Classical Music
3 credits
A course concerned with composers from the
Mannheim School through Haydn, Mozart,
Beethoven and Schubert. The literature covered
includes the dramatic, symphonic, chamber music
and solo works of these composers.
Mil 328
Beethoven
3 credits
An in-depth analysis of selected works from the
piano, vocal, chamber music, symphonic and dra-
matic literature.
MU411
Twentieth Century Music I
3 credits
A study and analysis of the music of the first half
of the twentieth century, such as Schonberg, Berg,
Webern, Stravinsky, Hindemith, Varese. Bartok,
Copland, and Messiaen.
MU412
Twentieth Century Music II
3 credits
Music since 1945. A study of musical literature
since Webern, which includes movements toward
tonal organization, chance and indeterminacy,
musique concrete, and electronic music, multi-
media, and the music of the avant garde.
MU421
Symphonic Literature
3 credits
A survey of symphonic literature from the 1 8th Century
to the present, dealing largely with the standard reper-
tory. Assignments in listening and analysis.
Mil 423
Late Romantic Music
3 credits
A survey of the works of Wagner, Richard Strauss,
Mahler, Bruckner, Brahms, Debussy, and early
Schoenberg, with special attention paid to stylistic
developments from the early Romantic Period to
the Twentieth Century as shown in the composi-
tions of these late Romantic composers.
MU424
Wagner and the Ring Cycle
3 credits
An in-depth study of Wagnerian Opera with spe-
cial emphasis on the four operas that constitute
the Ring Cycle. Lectures and discussions will cover
libretti, harmonic idiom, staging and symbolism.
MU426
The String Quartets
3 credits
Analysis of the quartets with emphasis on the compo-
sitional techniques used by Beethoven; harmony,
melody, form, rhythm and meter, and thematic unity
will be discussed in an integrated fashion.
MU427
Diaghilev and His Time
3 credits
This course will investigate the role of Serge
Diaghilev and his famous Ballet Russes in shaping
the course of music and dance from c. 1909-1929.
Special emphasis will be placed on the works of
Igor Stravinsky with reference to his music for the
stage. Time will also be devoted to the interrela-
tionships between various artists, dancers, and
writers such as Picasso, Cocteau, Nijinsky, Bakst,
Massine, and others who were active in Paris.
Works studied will be looked at from the perspec-
tive of the composer, the choreographer, the set
and costume designer, the dancers and the audi-
ence. Literature to be studied includes Stravinsky
(Firebird, Petrushka, Rite of Spring, Les Noces,
Pulcinella, Oedipus Rex), Debussy (Jeux), Ravel
(Daphnis and Chloe), Satie (Parade), De Falla (The
Three-Cornered Hat), Milhaud (Le Train Bleu, La
Creation du Monde), Poulenc (Les Biches) and
Prokofiev.
Piano Studies
MU 131 A&B
Piano Ml
1 credit per semester
Introductory and elementary keyboard training
using theoretical, harmonic, and technical con-
cepts in practical keyboard application: transposi-
tion, melody harmonization, elementary improvisa-
tion, technique, and repertoire. Required of non-
Keyboard Music majors; open to non-Music ma-
jors as an elective.
MU 231 A&B
Piano lll-IV
1 credit per semester
Continuation of MU 131 A&B from elementary to
intermediate level. Requirements include comple-
tion of the juried Piano Proficiency Examination.
MU 431 A&B
Piano Literature Ml
2 credits per semester
A survey of keyboard literature of various periods
and styles through performance and analysis.
Required of Piano majors.
MU 432 A&B
Piano Pedagogy Ml
2 credits per semester
A variety of methods and materials used in teach-
ing piano at the various levels of development
from beginner to artist. Discussion is based on
required texts, supplementary books, articles, and
magazines, including the major philosophies of
past and present pedagogical thought. In the sec-
ond semester, student teaching in class and in
private lessons is observed and evaluated provid-
ing practical experience in a constructive format.
Required of Piano majors; open as an elective for
other qualified students.
MU 773 A&B
Piano Accompanying
1 credit per semester
Designed to provide theoretical knowledge and
practical experience in vocal, instrumental, and
dance accompanying. The course includes histori-
cal information, stylistic guidelines, vocal diction
training, and coaching techniques, in addition to
regular class performances and studio accompany-
ing for major teachers. In addition, a sight-reading
lab is required to facilitate the learning and prepa-
ration of music for class and studio assignments.
The final project includes a public performance
demonstrating accompanying skills.
111
Voice
MU143A&B
Italian Diction
1 credit per semester
The objective of the course is fluency and a firm
grasp of the language in general with strong em-
phasis on mastery of a native speaker's diction in
particular. The International Phonetic Alphabet is
used to ensure proper pronunciation. Required of
Voice and Voice/Opera majors.
MU243A&B
German Diction
1 credit per semester
The objective of the course is fluency and a firm
grasp of the language in general with strong em-
phasis on mastery of a native speaker's diction in
particular. Oral drills based in part upon the texts
of lieder and arias. Required of Voice and Voice/
Opera majors.
MU 341 A&B
English Diction 111
1 credit per semester
The study and performance of English diction for
singers, emphasizing the correct formation and
projection of vowels and consonants in singing.
The International Phonetic Alphabet is utilized.
Required of Voice and Voice/Opera majors.
MU342A
Voice Pedagogy I
1 credit
An in-depth study of the anatomy and physiology
of the voice; its structure and function. Required
of Voice majors.
MU342B
Voice Pedagogy II
1 credit
A continuation of MV 361 . The study and evalua-
tion of various pedagogical theories of voice train-
ing based upon the knowledge gained in Voice
Pedagogy I. Required of Voice majors.
MU 343 A&B
French Diction
1 credit per semester
The course focuses mainly on diction, stressing
phonetics, fluent reading aloud, and translation of
aria and art song texts. Emphasis is placed upon
the literary vocabulary used in French vocal reper-
toire. Students are coached in correct pronuncia-
tion when singing, and taught proper interpreta-
tion of French vocal repertoire. Required of Voice
and Voice/Opera majors.
MU 346 A&B
Vocal Literature Ml
1 credit per semester
The purpose of the course is to develop a greater
knowledge of the vocal literature of all periods.
The course is arranged to complement both the
Music History and the Opera History courses.
Semester I is centered around early Italian and
Baroque literature. Semester II is focused on Clas-
sical Viennese literature.
MU 446 A&B
Vocal Literature lll-IV
1 credit per semester
A continuation of Vocal Literature l-ll. Semester
III is centered around middle and late Romantic
literature, and late 19th century French litera-
ture. Semester IV is centered around late 20th
century literature.
Opera
MU 344 A&B
Staging l-ll
2 credits per semester
The interpretation and performance of opera roles.
Technical and artistic preparation for public perfor-
mance from workshops to
major productions of full operas. Required of
Voice/Opera majors.
MU 417 A&B
Opera Literature l-ll
3 credits per semester
Survey of operatic styles and genres. Emphasis is
placed on the cultural and social contexts of a
wide diversity of operas, and
upon character analysis. Intensive examination of
complete operas. Required of Voice/Opera majors.
MU 444 A&B
Staging lll-IV
2 credits Der semester
Continuation of MU 344A&B. Required of Voice/
Opera majors.
Music Ensembles
MU 761 Chamber Ensemble 1 credit
MU 761 Classical Guitar Ensemble 1 credit
MU 761 Percussion Ensemble 1 credit
MU 762 Chamber Singers 1 credit
MU 764 Small Jazz Ensemble 1 credit
MU 764 Jazz Guitar Ensemble 1 credit
MU 765 New Music Ensemble 1 credit
MU771 *Orchestra 1 credit
MU772 Chorus 1 credit
MU 773 Piano Accompanying 1 credit
MU 774 Fusion Ensemble 1 credit
MU 774 Large Jazz Ensemble 1 credit
MU344A&B **Opera Staging 2 credits
MU444A&B **0pera Staging 2 credits
MU544A&B "Opera Staging 2 credits
MU644A&B "Opera Staging 2 credits
*ln conjunction with Orchestra, MU 771, Orchestra
Repertory Class 0.0 credit.
**ln conjunction with Staging, MU 344A&B, Aria
Class 0.0 credit.
Courses for Non-Music Majors
MU 123 A&B
Guitar Class for Non-Music Majors
1 credit per semester
This course is designed for non-music majors who
wish to learn how to play folk/pop guitar. The
course will deal with chords, single-line melody,
reading pitch and rhythmic notation and chord
symbols, and various strumming styles. Students
must have their own guitars.
MU 130 A&B
Piano Class for Non-Music Majors
1 credit per semester
This one semester course which meets one hour
weekly begins with the rudiments of piano play-
ing. The following areas will be covered: learning
the keyboard and the musical alphabet, rhythmic
notation, pitch notation; playing melodies harmo-
nized with chords as well as easy popular and
classical repertoire; scales, arpeggios, and chords.
MU 141 A&B
Voice Class for Non-Music Majors
1 credit per semester
One hour class of voice instruction in the classical
training of voice. Course will cover proper tech-
nique of breathing, support, focus of tone, produc-
tion of clear vocal line, and some musical interpre-
tation of literature.
MU 190 A&B
Applied Instruction for Non-Music Majors
1 .5 credits per semester
The primary purpose of this course is to provide
music instruction in the areas of instrumental,
vocal, and compositional studies for non-music
majors. However, it may also be taken by music
majors as well. Students receive fifteen half-hour
lessons per semester, given by members of the
School of Music faculty and/or advanced students
in the school's graduate program. The material
covered in these lessons is tailored to the level
and experience of the student. The course may be
continued for credit. An extra fee is required.
Rates may be obtained from the business office.
MU 306 A&B
History of Rock Music
3 credits per semester
This course investigates the History of Rock from
its inception in the 1950s to the present. It begins
with the important antecedents of Rock and Roll
and then historically traces the various styles that
evolved from that time to the present. There will
be live demonstrations and illustrations by guests
in class. May be taken for elective credit.
112
Graduate Course
Descriptions
Master of Music Degree and
Graduate Diploma Programs
MU 501 A&B
Seminar in Bibliography and Writing
1 credits per semester
Introduction to the elements of musical bibliogra-
phy. Basic bibliographic materials are stressed,
and a series of topics are investigated which are
designed to further the student's ability to use the
library at the graduate level. Topics include music
encyclopedias and dictionaries, collected editions
and editing, periodicals, general bibliography,
histories of music, introduction to biographies,
thematic catalogs, bibliographies of music theory
and analysis, discographies, and iconography.
Required of all Graduate Degree Music majors
except Voice Opera Emphasis.
MU 517 A&B
Opera History and Literature I— IB
2 credits per semester
The course explores the relationship of opera to
literature, visual art, and ballet, as well as to his-
tory, drama, psychology, and philosophy. Operas
for study are chosen from the standard repertory
of the world's leading opera houses; recorded
excerpts by great singers of the past are chosen
for comparison with today's singers; and more
obscure or neglected operas that deserve exami-
nation because of their cultural contribution are
studied. Required in Voice/Opera Emphasis.
MU 521 A&B
Advanced Theory and Analysis Ml
2 credits per semester
An intensive investigation of contemporary meth-
ods with emphasis on the study of recent compo-
sitional techniques. Required of all Graduate De-
gree Music majors except Voice/Opera Emphasis.
MU 523 A&B
Graduate Studies in Humanities Ml
2 credits per semester
This two-semester course may take several ap-
proaches depending on the needs and interests of
the class: 1 ) the survey of a particular period, em-
phasizing ideas, currents, and tendencies influenc-
ing the various arts of that period; 2) the study of a
particular artist, with attention to the oeuvre and
chief critical studies of that artist; and 3) the study
of a particular style or stylistic development and
its manifestation in several arts.
Individual projects are assigned in which stu-
dents study a single major artwork and the litera-
ture about it, working toward their own evaluative
analysis of the artwork. Required of all Graduate
Music majors.
The following are examples of the subjects
covered in recent years:
Stylistic Change in the Nineteenth-Century: Litera-
ture, Music, Visual Arts.
The Arts Before and After World War I
Twentieth-Century Opera Based on Significant
Literature
Wagner's Ring in His Time and Ours
Idea of the Artist in Renaissance, Nineteenth
Century, and Today
Decadence in Twentieth-Century Art
MU 531 A&B
Conducting Ml
2 credits per semester
The study of conducting and rehearsal techniques,
score analysis, and musical interpretation of works
from the Classical, Romantic, and contemporary
periods. Required of Graduate Composition ma-
jors.
MU 541 A&B
Repertory Coaching Ml
1 credit per semester
The course deals with role preparation and score
analysis, as well as aspects of diction and inter-
pretation. It involves independent study, coaching,
and ensemble work. Required in Voice/Opera
Emphasis.
MU 544 A&B
Staging Ml
2 credits per semester
A study of the practical aspects of stagecraft
(make-up, acting, movement, and projection of
theatrical meaning) as they apply to operatic per-
formance. Audition techniques are developed. The
course includes numerous performances. Required
in Voice/Opera Emphasis.
MU 601 A&B
Seminar in Performance Practice
3 credits per semester
Focuses on performance practice for the contem-
porary performer. Emphasizes the study of Ba-
roque, Classical, Romantic, and Twenthieth-Cen-
tury performance practice. In the first semester,
selected major works are studied in detail. In the
second semester, students prepare performing
editions and perform some of the music studied.
Period writings are read in translation, with stress
on theories of ornamentation. Required of all
Graduate Degree Music majors.
MU603
Graduate Project
1 credit
This course is usually taken in the semester in
which the student performs the Graduate recital. It
provides an opportunity for the student to investi-
gate the musicological and cultural aspects of
repertoire in his or her major performance area,
especially that which has been chosen for perfor-
mance in the recital. The results of this study are
customarily presented in the form of an essay or
program notes on the recital program. The course
also assists the student in preparing for the Gradu-
ate Comprehensive Examination. Required of
Graduate Performance majors.
MU 615 A&B
Computer Composition
3 credits per semester
Computer application to musical composition. The first
semester concentrates on the basic principles of com-
puter operation, tape recording, and digital sound
synthesis. The second semester is devoted to creative
work in the computer/tape idioms. Students are ex-
pected to complete one large compositional project
Required of Graduate Composition majors
MU 641 A&B
Repertory Coaching lll-IV
1 credit per semester
Continuation of ML) 545A&B. Required in Voice/
Opera Emphasis.
MU 644 A&B
Staging lll-IV
2 credits per semester
Continuation of MU 544A&B. Required in Voice/
Opera Emphasis.
Master of Arts in Teaching in
Music Education
MU550
Advanced Conducting -
Choral or Instrumental
3 credits
Advanced conducting techniques and applications
of these techniques to instrumental or choral mu-
sic teaching at the secondary school level. Empha-
sis will include the selections of appropriate litera-
ture, style and interpretation, rehearsal planning
and implementation, evaluating performance out-
comes, and special considerations relative to the
teaching of music through the vehicle of perfor-
mance. Students will select either instrumental or
choral emphasis. Required of all candidates for the
MAT in Music Education. Prerequisite: A course in
Basic Conducting; full admission to the MAT pro-
gram or consent of the Director of Music Educa-
tion.
MU551
Education in American Society
3 credits
The course utilizes lecture/discussion, seminar,
field and research presentation experiences to
address historical, philosophical, and contempo-
rary issues in American Education. Students are
required to complete four major papers dedicated
to the aforementioned issues and present them
during seminar sessions. Assigned readings and
the keeping of a notebook devoted to current
events in education are required. Students are
granted released time from class to complete
research papers and are counselled individually to
facilitate their projects. The class meets once per
week in a three-hour block. Guest speakers typi-
cally include a school administrator, counsellor/
social worker, a supervisor or teacher from another
curricuiar area other than music, and related
school personnel.
Required of all candidates for the MAT in Music
Education degree. Prerequisites: full admission to
the MAT program or consent of the Director of the
Music Education Division.
113
MU552
Workshop in Vocal Methods
2 credits
Class instruction and participatory experiences in
voice theory, vocal production, teaching methods,
and instructional materials for use in elementary
and secondary schools. The physiology of the
voice is studied with reference to principles of
choral singing. Special problems of the child and
adolescent voice are considered. Required of all
candidates for the MAT in Music Education. Pre-
requisite: full admission to the MAT program or
consent of the Director of Music Education.
MU553
Music and Special Children
2 credits
The course meets for one two-hour session each
week for one semester.
Through readings, discussions, guest speakers,
classroom observations and simulated teaching,
the goals of the course are:
1 . to define and examine various types of dis-
abilities.
2. to offer a background on special education
practices and laws in America.
3. to aid students in developing an appreciation
of the needs of handicapped persons in gen-
eral society, in education, and in music edu-
cation.
4. to guide music education students in devel-
oping goals and objectives, adapting lessons
and preparing meaningful lesson plans for
special students in the music classroom.
Participation in class discussion based on as-
signed reading, a written/verbal presentation on a
specific disability, field observations, and two
written examinations provide bases for evaluating
student achievement.
Required of all MAT in Music Education degree
candidates. Prerequisites: full acceptance into the
MAT program or consent of the Director of the
Division of Music Education.
MU554A
Elementary Methods and Materials
3 credits
A concentrated study of methods and materials
involved in planning, implementing, and evaluat-
ing instructional programs in elementary music
education. Lecture, workshop, and simulated
teaching sessions. Required of all candidates for
the MAT in Music. Prerequisite: full admission to
the MAT program.
MU554B
Secondary Methods and Materials
3 credits
A concentrated study of methods and materials
involved in planning, implementing, and evaluat-
ing instructional programs in secondary music
education. Lecture, workshop, and simulated
teaching sessions. Required of all candidates to
the MAT in Music. Prerequisite: full admission to
the MAT program.
MU555
Elementary Student Teaching
4 credits
Taken concurrently with ML) 556 and MU 558.
Offered only during the spring semester to stu-
dents in their final semester of study. The equiva-
lent of six weeks experience at the elementary
level is required. Placement in schools is deter-
mined by the Director of Music Education.
MUS56
Secondary Student Teaching
4 credits
Taken concurrently with MU 556 and MU 558.
Offered only during the spring semester to stu-
dents in their final semester of study. The equiva-
lent of six weeks experience at the secondary
level is required. Placement in schools is deter-
mined by the Director of Music Education.
MU557
Music Administration and Supervision
3 credits
Course addresses issues and concerns of adminis-
tering school music programs — program planning
and development, budget and finance, facilities,
equipment, public relations, scheduling, concert
planning, and related matters. Principles and
methods of effective supervision of programs and
personnel constitute a second focus of the course.
Required of all candidates for the MAT in Music
Education. Prerequisite: full admission to the MAT
program.
MU558
Student Teaching Seminar and Major Project
2 credits
Taken concurrently with MU 555 and MU 556.
Required of and limited to students who are prac-
tice teaching. Discussion and analysis of filed
experiences, special workshops and field trips.
Major paper comprises a thorough status study
and evaluation of the programs in which each
student in interning.
MUS59
Research, Evaluation, and Technology in
Music Education
3 credits
The course has three primary foci:
1 . Examination of the role of research in music
education, sources of research, analysis of
research types and methods, and the criti-
cism of research in terms of internal and
external criteria.
2. Principles of effective evaluational strategies
in music education; standardized and
teacher-constructed approaches to evaluat-
ing music teaching and learning in the cogni-
tive, psychomotor, and affective domains.
3. Study of computer applications and related
technological advances relative to the teach-
ing and administration of programs in music
education. Required of candidates for the
MAT in Music Education. Prerequisite: Ac-
ceptance into the MAT program.
MU560A
Workshop in Instrumental Methods I
2 credits
Class instruction and participatory experiences in
performing on woodwind and string instruments
and teaching woodwinds and strings in elemen-
tary and secondary schools. The class will consti-
tute a lab ensemble for exploring methods and
materials. Full class sessions will be supple-
mented with small-group instruction, and clinics
will focus on instrument care and repair, instru-
ment selection, developing beginning instrumental
programs in schools, and related issues. Required
of all candidates for the MAT in Music. Prerequi-
site: full admission to the MAT program or consent
of the Director of Music Education.
MUS60B
Workshop in Instrumental Methods II
2 credits
Class instruction and participatory experiences in
performing on brass and percussion instruments
and teaching brass and percussion in elementary
and secondary schools. The class will constitute a
lab ensemble for exploring methods and materials.
Full class sessions will be supplemented with
small-group instruction, and clinics will focus on
instrument care and repair, instrument selection,
developing beginning instrumental programs in
schools, and related issues. Required of all candi-
dates for the MAT in Music. Prerequisite: full ad-
mission to the MAT program or consent of the
Director of Music Education.
114
The School of Theater Arts Faculty
Walter Dallas
Director
Barbara Washington-Grant
Managing Director
313 South Broad Street
215-875-2232
The School of Theater Arts of The University of the
Arts is committed to developing the skills, craft,
and attitudes of its students to prepare them for
careers in the professional theater. The training of
the actor is different from most other professional
training in that the instrument of the training is the
human being itself - the body and soul of the actor
- and that the work is done from the inside out
rather than from the outside in. An actor has to be
trained in a variety of disciplines, each vital in
itself and intimately related to all the others. The
curricula acknowledges that the focal point of the
training is the Acting Studio; that voice and body
training are the principal support areas; that all
other curricular programs address themselves to
the basic knowledge of techniques necessary to
produce the craft. The training is based on the
conservatory approach combining studio training
with rehearsal and performance in varying kinds of
productions which challenge the actor's ability to
perform demanding roles. The highly focused and
demanding training is enhanced by appropriate
courses in the humanities.
Acting Studio
Irene Baird
James Cunningham
Johnnie Hobbs, Jr.
Drucie McDaniel
Alexandra Toussaint
H.German Wilson
Directing Studio
Walter Dallas - Tutorial
Charles Conwell - Studio
Don Auspitz - Studio
Voice Production/Speech
Susanne Case
Deborah Stern
Paul Wagar
Stage Combat/Fencing
Charles Conwell
James Murray
Performance Coaching/Audition Techniques
Irene Baird
Walter Dallas
Johnnie Hobbs
Alexandra Toussaint
Don Auspitz
Rehearsal/Performance (1991-92 Season)
Don Auspitz
Irene Baird
Deborah Block
Daniel Burke
Charles Conwell
Walter Dallas
Manfred Fischbeck
Scott Hitz '91
Johnnie Hobbs, Jr.
Louise Langford
Vladimir Prahcharor
Paul Wagar
Jacquelyn Yancy
Mask Characterization
Walter Dallas
Make-up
Chris Whelen - Make-up
Theater Studies
Barbara Leiland - Script Analysis
Gabriela Roepke - Dramatic Literature
- Currents in Contemporary Theater
Jane Marie Glodek - Theater History
Staff - Dramatic Criticism and Theory
Dance/Movement
Nancy Kantra - Modern Dance/Ballet
Manfred Fischbeck - Movement
Vema Leslie - Movement
Rachel Mausner - Alexander Technique
Phuoc Phan - Tan Vo Dao
LaVaughn Robinson - Tap Dance
Lisa White -Jan Dance
Music/Voice
Annette DiMedio - Introduction to Music
Barbara Washington-Grant - Voice
Musical Theater
Charles Gilbert
Tonda Hannum DiPasquale
Terry Boyle Greenland
Mary Ellen Grant Kennedy
Advisory Board of the School of Theater Arts
John Allen
Artistic Director
New Freedom Theatre
Philadelphia
Irene Baird
Actress/Director/Professor of Theater
Villanova
Earle Gister
Associate Dean
Yale School of Drama
New Haven
Bernard Havard
Executive Director
Walnut Street Theater
Philadelphia
Leslie Lee
Playwright
New York City
Stephanie Powers
Actress/Producer
Los Angeles
Mary B. Robinson
Artistic Director
Philadlephia Drama Guild
Marjorie Samoff
Producing Director
American Music Theater Festival
Barbara Silzle
Artistic Associate
Philadelphia Drama Guild
Ellen Stewart
Artistic Director
La Mama Theater
New York
Robert Wagner
Actor/Producer
Los Angeles
115
Facilities
The School of Theater Arts is located in the 31 3 South
Broad Street building. Facilities include classrooms for
Acting Studio classes and Stage Combat classes.
Large dance studios and music facilities are also used
by acting students. Two theaters in the 313 South
Broad Street building are available for School of The-
ater performances. The first is the Black Box theater,
an exciting, flexible space that allows for theater- in-
the-round, 3/4 thrust, environmental, and many other
possible arrangements. The second is an intimate 200-
seat proscenium theater. In addition, and truly the
most attractive facility available for student produc-
tions, is the University's newly renovated historic
Shubert Theater, located at 250 South Broad Street.
Visiting Artists
Each year, various professionals are guests, lectur-
ers, or performers at the School of Theater Arts.
Some of these artists have participated formally
with the program; others have visited informally
and shared experiences with the students and
faculty. Some of the visiting artists in the recent
past have been:
Joseph Papp-producer of the New York
Shakespeare Festival and the Public Theatre
James Baldwin-the novelist, playwright
Laurie Anderson-performance artist — Home of
the Brave
David Henry Hwang-playwright, M. Butterfly; WOO
Airplanes on the Hoof
Tommy Hicks-star of Spike Lee's She's Gotta Have It
Elizabeth Ashley-actress in theater, television, film
Maryann Plunkett-Agnes in Agnes of God
Greg Poggi-directorof the Philadelphia Drama Guild
Mercedes McCambridge-internationally renowned
Broadway star
Bernard Havard-producing director of The Walnut
Street Theater
Blanka Ziska-director of the Wilma Theater
Erika Alexander-actress in theater, television, film
Clarice Taylor-actress in theater, television, film
These professionals have been able to share with
our students an insider's viewpoint of what the
acting field is really like.
Programs of Study
Bachelor of Fine Arts (BFA)
Acting Program
The four-year BFA Acting Program prepares stu-
dents for careers in the professional theater or for
continued study in graduate school. In the first
year, students concentrate on finding the "core of
the actor" through the study of improvisation,
mask characterization, speech, and movement.
The first year of training in the acting program is
designed to encourage in-depth self-analysis of
the student's commitment to the craft as well as
foster the development of particular acting skills.
Progress from one semester to the next is by
faculty invitation and is based not only on the
successful completion of the course work, but also
on the faculty's assessment of the student's poten-
tial for a career in the professional theater.
The second and third years are devoted to addi-
tional study to establish depth of characterization
and to refine physical and vocal technique. The
focus of the fourth year is on performance, testing
the student's ability to achieve the full dimension
of a characterization and to sustain that character
over the length of a play.
Bachelor of Fine Arts (BFA)
Directing Program
Each year a few exceptionally talented students
will be admitted to the School of Theater Arts as
candidates for the Bachelor of Fine Arts in Theater
Arts in Directing. The goal of the Directing Pro-
gram is three-fold: to prepare students for careers
as director in the professional theater, to prepare
students for graduate level professional training in
directing, and to enhance the School of Theater's
concept of the performing ensemble by incorporat-
ing directing students into the acting ensemble
represented by each first-year class.
The training of directors is closely related to
the training of actors. In the first year, directing
students participate in all courses required of first-
year acting students. In the second, third, and
fourth years, directing students study other disci-
plines necessary for the development of the craft.
Courses in directing, theater history, movement
and dramatic literature are reinforced with studies
in sociology, philosophy, psychology and solid
practical directing experience.
Bachelor of Fine Arts (BFA)
Stage Combat Program
The Stage Combat Program at the University
includes instruction for all theater arts students in
unarmed combat, knife, nineteenth-century saber,
samurai sword, rapier and dagger, and two-
handed broadsword. These styles of fighting are
taught in two mandatory semesters of combat.
All theater students may choose to take the
certification test in stage combat-sponsored and
adjudicated by the Society of American Fight
Directors that results in a nationally-recognized
certificate of competency. This certification can be
helpful in getting acting and/or choreographing
jobs involving staged violence. The student may
select to continue studies in stage combat by
choosing the stage combat program. The pre-
requisite for this program is Certification as an
Actor-Combatant by the Society of American Fight
Directors (SAFD). The certification test is given at
the end of the sophomore year. Students are
strongly encouraged to attend the National Stage
Combat Workshop in the summer following their
sophomore year and the SAFD Advanced Teacher
Training in the summer following their junior year.
These experiences will expose the student to the
varying fighting and teaching styles of the leader-
ship of the SAFD. The Advanced Teacher Training
provides an opportunity to be certified as stage
combat instructors.
Bachelor of Fine Arts (BFA)
Musical Theater Program
The four-year BFA Musical Theater Program
prepares students for professional careers as
performers in the musical theater or for continued
study in graduate school. The program defines the
term "musical theater" in a way that embraces the
richness and diversity of this challenging interdis-
ciplinary art form, which includes musical comedy,
musical drama, "Broadway opera," cabaret and
revue. Students receive the same "core" of tech-
nique training as other Theater Arts students; this
training is complemented by training in vocal tech-
nique, musicianship and dance, and the study of
the repertoire of the musical theater in print, in
recordings, and in rehearsal and performance.
The Musical Theater Program features a part-
nership with Philadelphia's acclaimed American
Music Theater Festival, which has earned interna-
tional praise for its productions of works by artists
such as Philip Glass, William Bolcom, and Anthony
Davis. Opportunities for master classes, guest
speakers, internships, apprenticeships and
observerships are among the professional experi-
ence open to students in this program.
The Bachelor of Fine Arts in Theater Arts nor-
mally takes four years of full-time study to be
completed and carries a total graduation require-
ment of 124-133 credits.
116
Admissions Requirements
Students are admitted to the School of Theater
Arts in the Fall Semester only. Admission to the
School of Theater Arts is highly competitive and
based on talent.
Due to the strenuous physical demands of the
program, general fitness is a prime requisite for
successful completion of the programs in theater
arts. Applicants should be physically able to par-
ticipate in all aspects of the training.
In addition to the general PCPA application
requirements, applicants to the School of Theater
Arts should submit the following:
1 . A statement of purpose: a one-page description
of the student's ambitions, goals, motivations,
and commitments to training for the profes-
sional theater.
2. A letter of recommendation concerning dra-
matic ability. This letter may be written by a
high school acting coach, or by a theater
director or producer.
3. A one-page resume of previous theater train-
ing, including the names of teachers, studios,
length of study, and performance experience.
4. A recent photograph.
Auditions
An audition is required of all applicants to the
School of Theater Arts. The audition may be taken
in Philadelphia or at designated regional audition
locations (contact the Admissions Office for dates
and locations). Video-taped auditions may be
submitted instead of a live audition.
The audition evaluates applicants on technique,
quality of expression, imagination, motivation,
talent, and physical agility.
The Philadelphia and regional auditions are
identical in content and consist of two parts.
1. Applicants must prepare and perform two con-
trasting monologs from memory, each lasting
no more than two minutes. Scenes must be
selected from published plays and should be
contrasting in character, style, or tone (e.g., a
comedy and a drama; a contemporary piece
and a classical piece). Each scene must not
exceed two minutes in performance time.
2. For the second part of the audition, applicants
participate in a personal interview with the
Theater faculty.
3. In addition, students applying to the Musical
Theater Program will be required to present
two musical theater songs in contrasting
styles. One may be an operatic aria. At least
one of the songs must have a strong emotional
content. Auditioners should be prepared to
discuss their choice of material and their inter-
pretation. Combined performance time for the
two songs is not to exceed five minutes. An
accompanist will be provided for Philadelphia
auditions; students auditioning out of town
should provide a pre-recorded accompaniment.
Students auditioning in Philadelphia will par-
ticipate in a group dance audition which will
focus on fundamental technical skills. Students
auditioning out of town or on videotape are
asked to present a prepared dance solo demon-
strating their level of proficiency in dance and
movement. This solo, which may be choreo-
graphed by the applicant or someone else, must
not exceed two minutes in length. Students
auditioning in Philadelphia also have the option
of presenting such a solo in addition to their
group audition.
If a video tape is submitted, clearly state your
name at both the beginning and end of the taped
audition. Combine full body and close-up shots.
Perform two solo scenes as described above.
During the interview portion of a taped audition,
applicants should speak to the camera regarding
current and past theater activities, future aspira-
tions, and career goals in theater. Tapes must be
submitted on VHS format video tape and should
be clearly labeled with name, address, and reper-
toire being performed.
Scholarships
Trustee Scholarship
Each year the School of Theater Arts awards a
Trustee Scholarship to one returning sophomore.
The Trustee Scholarship totals $1 2,000 over the
three years the student is enrolled. The award is
made on the basis of outstanding artistic and
academic performance and forpromise as a future
actor. Recipients must maintain a 3.0 cumulative
grade point average.
Director's Scholarship
Each year the School of Theater Arts will award a
Directors Scholarship to a newly entering student.
The Director's Scholarship totals $10,000.00 over
the four years. The scholarship winner will be
selected on the basis of outstanding audition re-
view and academic achievement. Recipients must
maintain a 3.0 cumulative average.
Talent Scholarships
Talent Scholarships are awards to matriculating
students who give evidence of outstanding artistic
ability. Recommendation for the Talent Scholarship
is based on the audition. To maintain eligibility, the
student must participate fully in rehearsals and
performances, have a "B" or better in the Major
area, and maintain a minimum 3.0 cumulative
grade point average (2.75 minimum for Freshmen)
in all Theater Arts courses.
Students applying for Talent Scholarships must
file a Talent Scholarship Application as well as the
appropriate Financial Aid Form, obtainable from
the Financial Aid Office.
New students should audition prior to March
1 5. Those auditioning after March 1 5 will be con-
sidered as funds become available.
Returning students applying for Talent Scholar-
ships are subject to yearly review by the School of
Theater Arts Scholarship Committee.
The Curriculum
An actor must be well versed in a variety of disci-
plines, each vital in itself and intimately related to
the others. Training in voice, movement, dance,
speech, improvisation, masks, combat, music,
mime, history, and literature supports work done in
the acting studio, the heart of the curriculum. Stu-
dents are exposed to a variety of methods and
approaches to acting, and encouraged to utilize
that which works best for them. Two semesters of
stage combat are required. Combined skills are
tested through the rehearsal and performance of
productions that challenge the student's ability to
perform a variety of demanding roles. Electives are
offered that emphasize directing and dramatic
criticism, and appropriate courses in the humani-
ties provide a sense of the history of the craft and
its impact on other disciplines.
117
Theater Arts Major,
Acting Program
Total Credits: 133
Freshman Year Semester
1st 2nd
TH 101 A&B Dramatic Literature l-ll 2 2
TH103A&B Acting Studio l-ll 3 3
TH103L Crew 0 0
TH105A&B Stage Combat l-ll 2 2
TH107A&B Modern Dance l-ll 1 1
TH109A&B Voice Production
for Actors l-ll 3 3
TH 114 Mask Work - 2
TH115A&B Movement for Actors l-ll 1 1
TH119A&B Business of the Arts 0 0
HU110A Language & Expression 3 -
HU103A&B Intro, to Modernism 3 3_
18 17
Sophomore Year
TH241A&B Voice (Singing) l-ll 1 1
TH203A&B Acting Studio lll-IV 3 3
TH207A&B Jazz Dance l-ll 1 1
TH 209A&B Voice Production
for Actors lll-IV 3 3
TH211 Make-up 1 -
TH213A&B Script Analysis l-ll 2 2
TH215A&B Movement for Actors lll-IV 1 1
TH208A&B Intro, to Music l-ll 2 2
TH219A&B Business of the Arts 0 0
HU2— Humanities 3 3
Junior Year
TH 303A&B Acting Studio V-VI
TH 307A&B Tap Dance l-ll
TH 309A&B Voice Production (Lab)
TH 311 A&B Theater History l-ll
TH313A&B Behearsaland
Performance l-ll
17 16
2 2
1 1
1 1
3 3
5 5
TH315A&B Movement for Actors V-VI 1
TH316 Mime - 1
TH319A&B Business of the Arts 0 0
HU 3 — Humanities 3 3
HU — Shakespeare 3 -
Senior Year
TH413A&B Rehearsal and
Performance lll-IV
TH415A&B Movement for
Actors VII-VIII
TH 41 1 A&B Currents in Contemp.
Theater l-ll
TH419 Business of the Arts
TH 420 Auditioning Techniques
Electives
HU 4 — Humanities
19 17
6 6
1 1
2 2
0 0
3 3
3 -
15 13
Theater Arts Major,
Stage Combat Program
Total Credits: 133
Freshman Year
TH 1 01 A&B Dramatic Literature l-ll
TH103A&B Acting Studio l-ll
TH 103L Crew
TH105A&B Stage Combat l-ll
TH107A&B Modern Dance l-ll
TH109A&B Voice Production
for Actors l-ll
TH 114 Mask Work
TH 1 1 5A&B Movement for Actors I
TH119A&B Business of the Arts
HU 1 1 0A Language & Expression
HU 1 03A&B Intro, to Modernism
Semester
1st 2nd
2 2
3 3
0 0
2 2
1 1
18 17
Sophomore Year
TH 241 A&B Voice (Singing) l-ll 1 1
TH203A&B Acting Studio lll-IV or 3 3
TH217A&B Directing Studio
TH205A&B Stage Combat lll-IV 2 2
TH207A&B Jazz Dance l-ll 1 1
TH 209A&B Voice Production
for Actors lll-IV 3 3
TH211 Make-up 1 -
TH213A&B Script Analysis l-ll 2 2
TH215A&B Movement for Actors lll-IV 1 1
TH219A&B Business of the Arts 0 0
HU2— Humanities 3 3
17 16
Junior Year
TH303A&B Acting Studio or 2 2
TH317A&B Directing Studio
TH305A&B Competitive Fencing 2 2
TH 307 A&B Tap Dance l-ll 1 1
TH309A&B Voice Production (Lab) 1 1
TH 311 A&B Theater History l-ll 3 3
TH313A&B Combat Rehears. & Pert. 3 3
TH315A&B Movement for Actors V-VI 1 1
TH316 Mime - 2
TH319A&B Business of the Arts 0 0
HU3— Humanities 3 3
HU — Shakespeare _3 ^_
19 18
Senior Year
TH414A&B Combat Thesis l-ll
TH415A&B Movement for
Actors VII-VIII
TH 41 1 A&B Currents in Contemp.
Theater l-ll
TH419 Business of the Arts
TH 420 Auditioning Techniques
Electives
HU 4 — Humanities
6 6
1 1
15 13
Theater Arts Major,
Directing Program
Total Credits: 137
Freshman Year
TH101A&B Dramatic Literature
TH103A&B ActingStudiol.il
TH105A&B Stage Combat I, II
TH107A&B Modern Dance
TH109A&B SpeechfortheActorl.il
TH 1 1 4B Mask Characterization
TH115A&B Movement
TH119A&B Business of the Arts
HU1 1 0A Language & Expression
HU1 03A&B Intro, to Modernism
Sophomore Year
TH205A&B Stage Combat
Semester
1st 2nd
2 2
1 1
3 3
- 2
1 1
0 0
3 -
3 3
18 17
TH211A
TH213A&B
TH217A&B
TH219A&B
TH220A&B
HU274B
HU315B
HU2—
Makeup
ScriptAnalysisl.il
Directing Studio
Business of the Arts
Dramatic Criticism
Intro, to Philosophy
Contemporary Drama
Humanities
0 0
3 3
3 -
- 3
3 3
17 16
Junior Year
TH311A&B Theater History 3 3
Rehearsal & Performance 5 5
TH313A&B
TH317A&B
TH319A&B
HU316B
HU —
HU —
HU —
Directing Studio
Business of the Arts
American Playwright
Sociology Elective
Psychology Elective
Electives
Senior Year
TH417A&B
TH419A&B
TH420A&B
TH411A&B
Directing Studio
Business of the Arts
Audition Techniques
Currents in Contemp.
Drama
TH 421 A&B Directing Thesis
Electives
HU 4 — Humanities
3 3
0 0
- 3
3 -
- 3
3 -
17 17
3 3
0 0
0 1
17 18
118
Theater Arts Major,
Musical Theater Program
Total Credits: 142
Freshman Year Semester
1st 2nd
TH101A&B DramaticLiteraturel.il 2 2
TH103A&B ActingStudiol.il 3 3
TH109A&B SpeechforActorsl.il 3 3
TH115A&B Movement for Actors 1 1
TH118A&B Musical Theater Dance 1 1
TH140A&B Voice for Musical Theater 2 2
HU110A Language & Expression 3 -
HU103A&B Intro, to Modernism 3 3
HU — Humanities Elective - 3
18 18
Sophomore Year
TH203A&B ActingStudiolll.lV 3 3
TH209A&B SpeechforActorslll.lV 3 3
TH211 Makeup - 1
TH218A&B Musical Theater Dance 2 2
TH215A&B Movement for Actors 1 1
TH222A&B Theory & Ear Training 3 3
TH240A&B Voice for Musical Theater 2 2
HU2— Humanities 3 3
17 18
Junior Year
TH312A&B Musical Theater History 3 3
TH313A&B Rehearsal & Performance 5 5
TH318A&B Musical Theater
Dance Rep 2 2
TH322A&B Theory & Ear Training 3 3
TH340A&B Voice for Musical Theater 2 2
HU3 — Humanities 3 3
18 18
Senior Year
TH413A&B Rehearsal & Performance 6 6
TH419 Business of the Arts 0 0
TH420 Audition Techniques - 1
TH411A&B Curr. in Contemp. Theater 2 2
MU — Music Elective - 3
Electives 3 3
HU4 — Humanities 6 3
17 18
Performance Requirements
The School of Theater Arts restricts student per-
formance in the first year, permits outside perfor-
mances in the second year by faculty approval,
and carefully governs third and fourth-year student
involvement in University-based and outside pro-
fessional productions.
Theater students in the Acting Program are
expected to participate in solo and ensemble pro-
ductions in the third- and fourth-year Rehearsal
and Performance sequence.
Prerequisites for participation in Rehearsal and
Performance sequences are minimum grades of "B"
in the previous semester's Acting Studio, Speech, and
Movement, and/or special permission of the faculty
and Director of the School of Theater Arts.
Each third-year acting student is required to
successfully produce and perform a 45 minute
theatrical solo performance. Under the close
supervision of the faculty and staff, and with the
assistance of a fourth-year student advisor, this
rite of passage into the fourth-year ensemble
reflects the synthesis of theory, technique, and
individual growth.
Each production in the Rehearsal and Perfor-
mance sequence is followed by an open critique of
the production.
Certain professional work outside the School of
Theater Arts can be directed toward completion of
the Rehearsal and Performance sequence through
special permission of the Faculty and the Director
of the School of Theater Arts. Students must
secure written permission to participate for credit
in work outside the School of Theater Arts prior to
committing to the outside project. The faculty's
decision is based on two factors:
1 . the project must contribute to the student's
continued growth;
2. the project must be supervised by a responsible
person who has been approved by the School of
Theater and who will report on the student's work.
First year students in good academic and depart-
mental standing may, in the Spring Semester, with
faculty approval, audition for and perform in
University of the Arts productions.
Master Class Productions
Each year, members of the theater faculty, profes-
sional directors, cast major productions from the
entire student body of the School of Theater.
These productions, in addition to being valuable
learning experiences, allow students from each
year to form ensembles outside of the normal
third- and fourth-year Rehearsal and Performance
sequences.
In some cases, third- and fourth-year students
may receive Rehearsal and Performance credit for
participation in Master Class Productions. First-
and second-year students receive no grade for
participation.
Directing Studio
Advanced students in the Directing Program are
required to direct at least one short play each
semester. The process is supervised by the faculty
and the plays are cast from students in the School
of Theater Arts and are performed before an audi-
ence. A critique which focuses on the director's
craft and process follows each production. Third
and fourth year directing students earn Rehearsal
and Performance credits through directing pro-
jects, stage management and, in the fourth year,
thesis production. The Director of the School of
Theater Arts supervises thesis projects.
School of Theater Arts Regulations
Absences
Students in the School of Theater Arts are ex-
pected to attend all classes, studios, workshops,
rehearsals and crews for which they are regis-
tered or otherwise committed. The school does
not permit lateness except for unavoidable and
unforeseeable emergencies.
In case of emergencies, the Director, Assistant
to the Director, Technical Director, or the faculty
member should be contacted immediately.
On the occasion of the second absence, the
student will receive a verbal warning from the
instructor and a letter of warning from the Assis-
tant to the Director of the School of Theater Arts.
On the occasion of the third absence, the stu-
dent will receive a deficiency notice and will be
asked to meet with the Director. At this time the
student will be placed on departmental probation.
A student who is absent a fourth time may be
dropped from the course with a grade of "F" and
placed on academic probation. If the course is in
one of the major areas (Studio, Speech, or Move-
ment) the student, if on academic probation, may
be asked to leave the program.
Advisors
Students are assigned advisors when they enter
the School of Theater Arts. Advisory lists are
posted in the theater lounge during the first week
of the academic year. The advisor conveys infor-
mation from the faculty to the students and coun-
sels the student in artistic and academic matters.
The student, however, is fully responsible for ful-
filling his or her artistic and academic obligations
and for meeting the requirements for graduation.
Call Boards
Call boards are located in the theater lounge on
the first floor of 313 South Broad Street, next to
the Theater Offices, and near the Production Office
just outside the Black Box Theater. The call boards
are used for the posting of all rehearsal and crew
notices, as well as School and professional audi-
tion notices.
All Theater students must check the call boards
daily and will be responsible for all official notices
posted there within 24 hours.
119
Crew Assignments
All first-year students are required to serve on produc-
tion crews. Crew assignments and calls are scheduled
and monitored by the Technical Director.
All crew persons are expected to be prompt for
crew calls. Lateness will not be tolerated and
action may be taken against anyone who misses
an assigned call. A student who misses a crew
call without prior permission from the Technical
Director may be dropped from crew and required
to serve on crew in the second year.
Extra-Curricular Activities
Students in the School of Theater Arts sometimes
accept jobs or roles in extra-curricular projects. At no
time should a student accept an activity which con-
flicts with a class, rehearsal, crew assignment, etc., or
which prevents the student from being fully prepared
for class, rehearsal, and/or performance.
Observation of Classes and Rehearsals
Some classes in the School of Theater Arts are
open for observation only by prior arrangement
with the instructor and/or the Director of the
School of Theater.
All rehearsals are open unless otherwise an-
nounced and/or posted, although a director may
declare a rehearsal closed at any time.
It is expected that all visitors to classes or re-
hearsals will appear prior to the beginning of that
activity and will remain quietly in place until a
break is called.
Physical Demands of the Program
The Theater Arts program is physically demanding.
Good health and its maintenance are of para-
mount importance to an actor.
No smoking will be allowed in any classroom or
rehearsal space.
Students should be in good health and have no
medical or psychological problems which impair or
jeopardize his or her safety, performance, or the
safety of others.
If a students physical condition changes in any
significant way, he or she must immediately inform the
Director of the School of Theater Arts in writing so that
the student's participation in the program may be re-
evaluated by the Theater Arts faculty.
Occassional illness or injuries are, of course,
justification for short-term absences. Specific
chronic physical or emotional disorders which
impair attendance or ability to function within the
program over a longer period of time should be
covered by a formal leave-of-absence.
In either case, the student should confer with
his or her advisor as soon as a potential health
problem arises.
Professional Standards and Behavior
It is expected that students maintain high standards
of professionalism with respect to studio, classroom,
rehearsal, crew, and performance commitments.
It is important that each student realize that he
or she represents the School of Theater Arts at all
times, on stage and off. Students are expected to
maintain and cultivate their unique individuality
while exhibiting the highest standards of charac-
ter, behavior, and personal hygiene.
Student Evaluations: Warnings,
Probations, Dismissals
Each student is evaluated twice each semester by
the School of Theater Arts faculty and the Director.
The School of Theater Arts recognizes that in this
art form it is possible for a student to receive an
adequate grade for a specific course, but not show
promise for a future career in the theater as an
actor. The School's obligation to its students,
therefore, is to keep them abreast of their pro-
gress by personal contact and review.
In addition to demonstrated ability and progress
in the Major areas- Studio, Speech, and Move-
ment-the student's attitude and seriousness of
purpose are also evaluated. Progress from one
semester to the next is by invitation only.
There are three academic/artistic reasons why
a student in the School of Theater Arts might be
placed on probation or not invited to return for
additional study:
1 . receiving a grade of "B-" or lower in one or
more of the Major area courses (Studio,
Speech, Movement);
2. conduct which proves disruptive to the educa-
tional process and/or the overall well-being of
the ensemble;
3. the realization that the program offered by the
School of Theater Arts does not or cannot ad-
dress the specific needs of the student. In this
instance, the faculty will work with students
and parents to find an appropriate alternative
theater or related training.
It is expected that the student's commitment
to professional training will be clearly reflected in
the quality of work in each studio and class.
Warnings — In addition to cases of absences, a
student will be verbally warned if his or her perfor-
mance in class is below par as defined by the
instructor's expectations expressed in the class
syllabus, rules, etc. More specifically, a student
will receive a verbal warning, followed by a defi-
ciency notice from the Director's Office if he or she
is not demonstrating ability, lacks seriousness of
purpose, demonstrates attitudinal behavior which
proves disruptive to the ensemble or educational
process, is excessively tardy, is not prepared to
work in class, or who is not seriously committed to
professional training.
Evaluations — Students who receive unfavor-
able evaluations (i.e. recommendation for proba-
tion) will meet with the full-time and major faculty
(Studio, Speech, and Movement) to clarify and
discuss problem areas and strategies for improve-
ment. At the conclusion of the session, the student
will be given two copies of a letter from the Direc-
tor detailing the reasons and the conditions of the
probationary status. The student will be asked to
sign both copies of the letter indicating that he or
she understands the reasons, conditions, and
possible consequences of the probationary status.
The student will keep one copy; the other will be
placed in the student's file.
Except in unusual circumstances, a student who
receives an unfavorable evaluation should have
received at least one verbal warning from the
instructor and a copy or copies of the instructor's
deficiency notice(s).
The probationary period shall last from the date
of the meeting until the next evaluation meeting
(approximately 6 or 7 weeks).
A senior placed on probation during the Spring
semester who fails to successfully address his or
her deficiency by the end of the semester will not
be allowed to graduate.
Counseling — The instructor will meet formally
with the student at least twice before the next
evaluation to apprise the student of his or her
progress. These meetings are documented and
copied to the Assistant to the Director.
Final Evaluation Session — At the next evaluation
session, approximately six weeks later, the major and
full-time faculty will again discuss the pro-gress of
each student Those students who are to be placed or
continued on probation, or asked to leave the program,
will come before the committee.
A student who has shown improvement in rela-
tion to the terms of the probation by the next
evaluation, but who has violated another rule
which could result in probationary status, may be
asked to leave the program.
In each case, the student will receive a letter
which explains the faculty's decision and their
recommendation to the Dean of the Philadlephia
College of Performing Arts.
120
The School of Theater Arts
Course Descriptions
THUD
Acting for Non-Majors
3 credits
TH101A&B
Dramatic Literature Ml
2 credits per semester
An introductory course that places emphasis on
the rale of the actor at the center of artistic move-
ments throughout the centuries, from the Greek to
the modern playwrights; on the importance, under-
standing, and assimilation of a given text; on
learning how to read and what to look for in a play
and the means of communicating this knowledge
to an audience through character portrayal.
TH103A&B
Acting Studio Ml
3 credits per semester
An introductory studio focusing on the fundamen-
tals of acting, basic skills for stage communica-
tion, voice and movement exercises, centering
techniques, and exercises designed to increase
physical and emotional stamina, identify and
strengthen poor technique, develop focus and
concentration, and to introduce the student to the
demands of the theater. In the process of demysti-
fying the craft, the student discovers the energy,
power, and vulnerability of self.
TH106A&B
Stage Combat Ml
2 credits per semester
An introductory course focusing on the basic skills
of stage combat. Introduces exercises designed to
strengthen concentration, stamina, economy of
movement, flexibility, and coordination. Physical
and mental agility are strengthened and the
student masters skills in unarmed combat, knife
fighting, and dueling with quarterstaffs,
courtsword, and nineteenth-century saber.
Students are expected to perform safe, credible,
and exciting stage combat.
TH107A&B
Modern/Ballet
1 credit per semester
Introduction to modern and ballet dance tech-
niques and improvisation to develop the skills,
kinetic perception, stamina, agility, and flexibility
of the actor. Includes isolations, center floor, falls
and recoveries, leaps, and other exercises de-
signed to make the actor aware of his/her power
and beauty of movement through time and space.
TH109A&B
Speech for Actors Ml
3 credits per semester
The first year will be devoted to creating an
awareness of the vocal instrument and exploring
its operation, as well as developing ways of
communication through application of technique
forwarded by Kristin Linklater. These would in-
clude: standing awareness, physical relaxation,
breathing awareness, touching sound, amplifica-
tion, facial awareness, channeling sound, the jaw,
the tongue, soft palate, resonance, range breath
power, resonators, articulation, text work, floor
work exercises, and standing exercises.
TH114
Mask Characterization
2 credits
Introductory course in character development
focuses on a process designed to release and
open the student's emotional and physical range,
stimulate the imagination, place great emphasis
on physical actions, acting with the whole body,
and ridding the student of self-conscious manner-
isms. Through the use of oversized masks (and a
series of challenging exercises), the student is
allowed the freedom to become someone else.
The work aims to integrate the student's skills
with his/her instincts, allowing impulses and the
imagination to flow in conjunction with a flexible
and vulnerable body. The work culminates with
the presentation of a fully realized character; a
synthesis of the entire semester's work.
TH115A&B
Movement for Actors Ml
1 credit per semester
Introduces basic movement vocabulary in Modem
Dance using, primarily, basic improvisational tech-
nique. Course designed to provide the student with
awareness of his/her body and the basic skills of
movement and dance, such as stretching, breathing,
posture, coordination, balancing, etc. Course also
allows student the experience of creative application
of movement and movement expression through vari-
ous forms and structures of improvisation. Each
semester concludes with a presentation of a creative
project which emphasizes movement in conjunction
witfi other theatrical forms.
TH118A&B
Dance for Musical Theater Ml
2 credits
Dance technique training oriented to the specific
needs of the musical theater performer. Classes in
jazz, tap, movement, improvisation and related
subjects build strength and awareness and extend
the student dancer's physical and expressive
range. Required of all musical theater majors.
TH 119 A&B, 219 A&B. 319 A&B, 419 A&B
Business of the Arts
0 credit
Exploration of the business and legal aspects of
theater and the actor's career: the roles of agents,
managers, producers, and managing directors are
explored. Guest lecturers from the field conduct
seminars on various topics such as unions, con-
tracts, and starting theater companies.
TH 140 A&B
Voice for Musical Theater Ml
2 credits
Vocal technique training for musical theater stu-
dents. Individual coaching sessions are combined
with group sessions in which students rehearse
and perform solo and ensemble musical theater
repertoire. Each student will develop a working
understanding of vocal anatomy, breathing, sup-
port, placement, resonance and diction and a regi-
men for out-of-class practice. Students work with
cassettes outside of class. Required for all musical
theater students.
TH 203 A&B
Acting Studio IIMV
3 credits per semester
This course continues the work started in TH 103
A&B. Sensory work and its relationship to charac-
ter work is further explored, leading to an in-depth
study of motivation and subtext through sensory
and adaptation exercises. Monologues and,
finally, two-character scenes are used to deepen
the actor's ability to execute honest and purpose-
ful stage action and communication. Actor's logs
are maintained on a daily basis, and extensive
outside rehearsals on scenes are expected. All
scene work is directed by the instructor.
TH205A
Stage Combat III
2 credits
This course continues the work started in TH 105
A&B. Introduces the student to stage fighting with
broadswords and rapiers.
TH205B
Stage Combat IV
2 credits
This course specifically prepares the student for
the certification test of the American Society of
Fight Directors. Fights are choreographed and
perfected using several weapons and unarmed
techniques in a credible, clear, and exciting stage
fight in the context of a theatrical scene using
dialog. Students admitted by invitation. Prerequi-
site: minimum grade of B in TH 205 A.
TH 207 A&B
Jazz Dance Ml
1 credit per semester
Introduction to jazz movements and vocabulary, em-
phasizing basic improvisational technique. Movement
patterns, combinations of varying difficulty, and exer-
cises to develop strength and coordination lead to
structured improvisations which unite the skills of jazz
with those of character development, exploring given
and specific circumstances, objectives, and playing
actions and intentions. Semester culminates with a
showcase performance.
TH 208 A&B
Introduction to Music Ml
2 credits per semester
An introductory course focusing on developing under-
standing of rhythm, note values and meter, tempi and
dynamics, and the development of the student's ability
to read and play songs on the piano. The course also
involves listening, and surveys the history of music.
Musical rhythms and structures are studied in the one-
hour laboratory section.
TH 209 A&B
Speech for Actors 111—1 V
3 credits per semester
The first semester is spent restrengthening muscles,
correcting pronunciation and placement, and redevel-
oping range. Strict attention is paid to Standard En-
glish pronunciation. The student is also drilled in and
expected to be proficient in General American pronun-
ciation both Polished and Common. The second se-
mester continues the work of the first and begins the
study of vocal interpretation from scripted material,
both poetry and prose. Using unfamiliar texts, the
actor is asked to interpret vocal character and develop
vocal emotional line. The final step in the process is to
train the actor to add the physical character without
undermining vocal placement or creating strain.
TH211
Make-up
1 credit
The course focuses on the theory and execution of
make-up techniques including aging, thinning, pros-
thetics, facial analysis, and character study. At
semester's end, the student should be able to execute
character make-up in a consistent and effective way.
The student will develop a professional make-up kit
and will maintain a make-up log.
TH213A&B
Script Analysis Ml
2 credits per semester
Introduces the student to practical analysis of
texts/scripts for enhancing the move from script to
performance. The course explores the concepts of
conflict, human action, character, action/reaction
cycle, objective, dramatic structure, translations,
and resources external to the script (historical
perspective). At course's end, the student should
possess a firm understanding of the process in-
volved in script analysis, be thoroughly familiar
with the composite types of dramatic literature,
begin to understand the nature of an informed
aesthetic, and to understand the consequences of
each element of performance on its audience.
TH215A&B
Movement for Actors lll-IV
1 credit per semester
Movement for actors utilizing intensive physical-
emotional improvisation work, including exercises in
calisthenics, aerobics, rhythmic movement, combina-
tions, center floor work, stretches, and the use of
physical impulse to expand emotional range.
TH217A&B
Directing Studio Ml
3 credits per semester
An introduction to the basic fundamentals of di-
recting including a thorough investigation of the
directing vocabulary, exercises in space and com-
position, exploration of scripts from the director's
pofnt of view, and practical experience with
ground plans. Finally the student will be asked to
demonstrate his/her understanding of blocking
values and textual analysis by conceptualizing and
then staging simple scenes. The second semester
introduces the basics of acting coaching and is
coordinated with the script analysis and dramatic
criticism. Semester culminates with student stag-
ing and coaching a medium-length scene from a
modern play.
TH218A&B
Dance for Musical Theater lll-IV
2 credits per semester
Prerequisite: Dance for Musical Theater l-ll. A
continuation of the previous year's dance training.
Technique training in jazz, tap, ballet and related
subjects is continued, with focus on the technical
needs of the musical theater performer. Required
of all musical theater majors.
TH219A&B
Dramatic Criticism and Theory
3 credits per semester
A systematic introduction to the scope and range
of thinking about the nature of theater through
readings, discussions, and reports on major theo-
rists and playwrights. Students will attempt to
discover the underlying assumptions about life
and art that affect each theorist in his time, and to
note the major controversies, yet essential unity,
of dramatic thought through the centuries. Major
concepts considered for all periods include: the
purpose of art; the test of good art; the nature of
audiences and artists; and the proper language,
setting, costumes, acting style, etc., for the drama.
TH222A&B
Theory and Ear Training
3 credits per semester
Skill training in sight reading, ear training, key-
board and music theory, oriented to the needs of
the musical theater performer. First year focuses
on rudiments of notation, pitches, intervals,
rhythms and simple chords. Students learn to read
from "lead sheet" notation. Examples are drawn
from the musical theater repertoire. In-class exer-
cises and drills are supplemented with computer-
based instruction. Required of all musical theater
students.
TH240A&B
Voice for Musical Theater lll-IV
2 credits per semester
Prerequisite: Voice for Musical Theater l-ll. Indi-
vidualized coaching session are used to solve
individual vocal problems and continue develop-
ment of the student's unique instrument. Students
also meet weekly in group sessions to rehearse
and present solo and ensemble musical theater
repertoire. Listening assignments introduce stu-
dents to the artistry of significant musical theater
performers, past and present. Required of all mu-
sical theater students.
TH241A&B
Voice Ml
1 credit per semester
Vocal training for theater students. Introduction to
singing technique. Course designed to enable the
student to demonstrate by performance that he/
she is able to produce vocal tones that are
pointed, developed, and supported by a singing
technique that is consistent. The student will dem-
onstrate his/her capability by applying the tech-
nique to standard vocal repertoire. Student works
with cassettes outside of class.
TH303A&B
Acting Studio V-VI
2 credits per semester
This studio advances the work begun in TH 203
A&B through more challenging exploration of
technique leading to consistent open and honest
communication on stage. Special emphasis is
placed on physical actions and their attendant
psychological actions, imagination cultivation and
development, adjustment, inner objects, objec-
tives, and communion. Acting Studio V will en-
gage the student in an investigation of his/her
acting instrument, both internally and externally
through a variety of acting exercises and tech-
niques based on Western, Eastern, and European
theories of the art of acting. These techniques will
then be researched and performed by the student
through the use of monologues and scene work.
Incorporates advanced scene work and problem
solving using selected texts.
TH 305 A&B
Competitive Fencing
2 credits per semester
TH306
Competitive Fencing-Foil
2 credits per semester
TH 307 A&B
Tap Dance l-ll
1 credit per semester
An introduction to the basic vocabulary and tech-
niques of tap dance. Exercises designed to de-
velop rhythmically accurate footwork and accom-
panying body and arm movements lead to mastery
of simple combinations and time-steps.
TH 309 A&B
Speech for Actors (Lab) V-VI
1 credit per semester
The purpose of this course is to give the student a
thorough and practical understanding of the voice
and how it works as applied to Acting. Starting
with physical awareness, the aim is, through tech-
niques of self-sensing, to uncover and dismantle
tensions which prohibit primary impulses. As the
main element in the function of support, much
emphasis is placed on spinal alignment and
lengthening of the vertebral structure so the
breathing is able to operate with more efficiency
and economy. The goal is to undo blocks so that
each area-jaw, tongue, soft palate-are systemati-
cally examined and specific exercises are done
which are designed to create a full awareness and
understanding of how these muscles function.
TH 311 A&B
Theater History l-ll
3 credits per semester
A two-semester survey of the history of theater —
its dramatic literature, theater structures and
production methods, styles of acting, and histori-
cal trends — through readings, discussions, and
lectures. The course will explore the history of
theater through its artistic, spiritual, political and
cultural sources of empowerment. Students are
provided with the historical background to apply
acting, directing, and designing techniques to
theater of other periods of history.
122
TH312A&B
Musical Theater History Ml
3 credits per semester
A two-semester survey of the history of the
American musical theater in the nineteenth and
twentieth centuries. Students develop insight into
the writers, performers and theater artists who
created the legacy of the musical theater in
America, and examine representative works from
a variety of periods. Students will undertake re-
search projects focusing on major performers,
writers, directors and choreographers. Artists and
their work will be studied in print and on audio
and video recordings. Work in this class is
complemented by rehearsal and performance of
repertoire in a variety of periods and styles.
TH313A&B
Rehearsal and Performance Ml
5 credits per semester
Preparation and presentation of three faculty-
directed works-in-progress acting projects. In
addition, each student will prepare and present a
solo performance.
TH 313 A&B (Combat Program)
Stage Combat Rehearsal and Performance
Ml
3 credits per semester
An advanced course for combat majors including a
review of fighting styles taught in the freshman
and sophomore years. Training in sword and
bockler, samurai sword, and quarterstaff. Students
will publically perform at least two major fights
each semester.
TH 315 A&B
Movement for Actors V-VI
1 credit per semester
A course sequence designed to aid the student in
developing ease and flexibility of movement
through increased awareness of habitual move-
ment patterns. The student is guided through the
process of substituting useful movement patterns
for those that interfere with comfort and freedom
of expression. A vocabulary and a consistent tech-
nique is developed which the student can apply to
stage movement, vocal work, dance, etc., and a
greater kinesthetic sense enhances expressive
movement and relaxed, controlled speech.
TH316
Mime
2 credits
Course designed to help the student become more
aware of his/her body, how it works, how to con-
trol its parts, and ultimately, how to express
thoughts, feelings, and intentions with the body.
Uses basic mime techniques such as isolations,
rotations, resistance, and juggling to develop
coordination, eye-hand flexibility, concentration,
kinesthetic sense, and the ability to express physi-
cally the essence of reality as well as reality.
TH 317 A&B
Directing Studio lll-IV
3 credits per semester
This studio advances the work of TH 21 7 A&B.
The Stanislavski method is examined further and
the student continues to explore the world of
dramatic literature by extensive readings and by
directing several scenes in the course of the year.
Students cast and rehearse members of the acting
ensemble for in-class scene presentations. In
second semester, each student will direct at least
one production, guided by a faculty advisor, as a
work-in-progress presented before an audience.
TH 318 A&B
Musical Theater Dance Repertory
2 credits per semester
Prerequisite: Dance for Musical Theater lll-IV.
Continued warm-ups and barre work offer the
student the opportunity to develop strength and
range and avoid injury. Combinations are drawn
from the diverse styles of the musical theater
repertory, enabling the student to develop versatil-
ity and a sense of style. Required of all musical
theater majors.
TH320
Musical Theater Performance
2 credits
An elective course for actors, singers and dancers
in which students can explore the craft of the
singing actor through exercises, improvisations
and repertoire study. Students will learn and re-
hearse solos, scenes and ensembles from the
musical theater repertoire. Emphasis is on devel-
oping honesty, ease and expressiveness in musi-
cal theater performance. Prerequisite: one year of
voice training, one year of acting training.
TH 322 A&B
Theory and Ear Training
3 credits per semester
Prerequisite: Music Skills for Musical Theater l-ll.
Continued skill training in sight reading, ear train-
ing, keyboard and music theory, oriented to the
needs of the musical theater performer. Second
year focuses on the ability to read more complex
melodies, harmonies and rhythms at sight. Stu-
dents learn to transpose melodies and chords.
Theory studies include concepts of harmonic ten-
sion and repose and elements of traditional song
structure. Examples are drawn from the musical
theater repertoire. In-class exercises and drills are
supplemented with computer-based instruction.
Required of all musical theater students.
TH 340 A&B
Voice for Musical Theater V-VI
2 credits per semester
Prerequisite: Voice for Musical Theater lll-IV A
continuation of the musical theater vocal training
sequence. Students work on more demanding and
diverse literature in individual and group sessions.
Students are coached on vocal skills pertinent to
repertoire being represented in productions. Re-
quired of all musical theater students.
TH405A
Competitive Fencing — Saber
2 credits
TH405B
Competitive Fencing — Epee
2 credits
Each course provides the technique and tactics for
the particular weapon. Training stresses coordina-
tion, subtlety, speed, and quick decision making.
Prerequisites: TH 105-106-205.
TH 406 A&B
Competitive Fencing-Elective
2 credits per semster
TH408
Combat Review and Choreography
2 credits
Prerequisite: TH 206.
TH 411 A&B
Currents in Contemporary Theater l-ll
2 credits per semester
This course explores dramatic literature that re-
flects the current trends in contemporary produc-
tion. The plays read are selected from those writ-
ers whose plays are being produced on Broadway,
Off-Broadway, and/or at major regional theaters.
The course is designed to give the student a prac-
tical and intellectual knowledge of the works of
contemporary playwrights representing and ad-
dressing important issues, themes, and characters
and ideas of the seventies and eighties.
TH 413 A&B
Rehearsal and Performance lll-IV
6 credits per semester
Preparation and public performances of faculty-
and guest-directed theater productions. Faculty
coach works with students on an individual basis
in problem solving and strengthening technique
related to the work in production.
TH 414 A&B
Senior Combat Thesis Ml
6 credits per semester
An advanced course in fight direction and stage com-
bat instruction for senior combat majors. Each student
will research, notate, and choreograph at leaset two,
related, major fights per semester. These fights will
be publically performed. Students will teach School of
Theater Arts freshman and sophomore combat
courses with appropriate lesson plans.
TH 415 A&B
Movement for Actors VII-VIII
1 credit per semester
Continuation of TH 31 5 A&B.
TH420
Auditioning Techniques
1 credit
Techniques of relaxation, resume preparation, and
cold readings. Practice sessions with casting
directors, producers, and agents give the student
the necessary experience and technique to handle
the challenge, stress, and fear of auditioning for
the professional theater.
123
Philadelphia College of
Performing Arts Faculty
George Akerley
Adjunct Assistant Professor
Computer/Electronic Music
BM, Philadelphia Musical Academy
MM, Philadelphia College of the Performing Arts
Studied composition with Joseph Castaldo and
Andrew Rudin. Has worked as synthesist-
performer, studio musician, and conductor with
many entertainers, including singers Gloria Loring
and Silvi Vartan, and Milton Berle and Henny
Youngman; and in productions such as Cats, Evita,
and Do Black Patent Leather Shoes Really Reflect
Up? Composer of electronic scores for dance
companies, including Group Motion, and commer-
cials. As member of Small Computers for the Arts
Network (SCAN), presents workshops in use of
computers in the recording studio.
Operates Independent Sound East, which special-
izes in commercial and noncommercial music. As
harpsichordist, has frequently performed with
Spectra Musica.
David Arfaen
Adjunct Professor
Violin
Graduate, Curtis Institute of Music
Early musical education at Chopin Academy of
Music, Warsaw, Poland; continued studies at
Mozarteum in Salzburg, Austria and Geneva Con-
servatory of Music, Switzerland. Studied violin
with Efrem Zimbalist. Former member of Detroit
Symphony Orchestra and Cleveland Orchestra.
Presently Associate Concertmaster of Philadelphia
Orchestra. Solo career in Europe, Far East, Mexico,
South America. Solo appearances with Philadel-
phia Orchestra, Cleveland Orchestra, the Orchestre
de la Suisse Romande, Hong Kong Philharmonic,
Philadelphia Chamber Orchestra. Premiered with
Philadelphia Orchestra the violin concerto by
Andrzej Panufnik. Recorded for Hellenic Broad-
casting Corporation in Athens and was soloist at
Athens Festival. Inaugurated the First International
Music Festival at Santorini, Greece.
Don AuspHz
Lecturer
Directing Studio/Solo Advisor
BFA, Brandeis University
Since playing Ben in the 1962 Society Hill
Playhouse American premiere of Harold Pinter's
The Dumbwaiter, he has split his time between
theater and a variety of other activities such as the
Peace Corps and criminal justice reform. At
Brandeis he studied with Morris Carnovsky and
Charley Moore. Directed thirty-five professional
productions including Pinter's Old Times at Society
Hill Playhouse. He has acted at most of the profes-
sional theaters in the Philadelphia area and was
Jacob Kahn in Chaim Potok's Sins of the Father, at
the Festival Theatre for New Plays. Don is the
co-author With Albert Einstein, which he also
performed at Princeton University and the Walnut
Street Theater.
Irene G. Baird
Adjunct Associate Professor
Acting Studio
BFA, Carnegie-Mellon
MFA, New York University
Recipient of Ford Foundation acting fellowship. As
Fulbright scholar, acted with the Bristol Old Vic
Theatre in England. Performed with the American
Shakespeare Festival in Connecticut, New York's
Institute for Advanced Studies in Theatre Arts, and
Circle in the Square Theatre; and in repertory with
the Cleveland Playhouse, New York's Province-
town Playhouse, and the Oregon Shakespeare
Festival. Studied ballet with Leon Fokine and act-
ing with Allan Miller, Lee Strasberg, and Allen
Fletcher. Studied in Paris at the International Cen-
ter for Theater Research under the supervision of
director Peter Brook. Serves on the advisory board
of The Philadelphia Company. Associate Professor,
graduate theater department of Vlllanova Univer-
sity, and directs for Vlllanova Theater.
Julius Baker
Adjunct Professor
Flute
Graduate, Curtis Institute of Music
Former member, Cleveland Orchestra under Artur
Rodzinski; former member, Pittsburgh Symphony
under Fritz Reiner; solo flutist of the Columbia
Broadcasting Symphony Orchestra, New York City.
Former member, for eighteen years, of Bach Aria
Group; former solo flutist with the Chicago
Symphony Orchestra; principal flute position with
the New York Philharmonic until September 1983.
Peter Bertini
Assistant Professor
Jazz Dance, Notation
Coordinator: Jazz/Theater Dance
BS, State University College at Brockport, NY
MFA, Philadelphia College of the Performing Arts
Studied in New York with JoJo Smith, Frank
Hatchet, and Ligia Baretto. Performed with Garth
Fagan's Bucket Dance Theatre in Rochester, NY,
the Great Chazy Dance Company in Philadelphia,
and as soloist and choreographer for Consort
(PCPA). Has performed in Sydney, Australia,
Buenos Aires, Paris, and Rio de Janeiro.
John Blake, Jr.
Adjunct Associate Professor
Jazz Violin
BM, West Virginia State University.
Studied at the Institute for Advanced Musical
Studies in Switzerland. Recipient of grant from the
National Endowment for the Arts to study the
Southern Camatic violin style of India. Awarded
special scholarship for study with violinist Zino
Francescatti. Recordings with saxophonist Archie
Shepp. Has toured nationally and abroad with
Graver Washington, Jr., and McCoy Tyner.
Member of ASCARBMI.
124
Alice Bloch
Lecturer
Dance History
BA, University of Florida
MA, UCLA
Doctoral Candidate, Temple University
Ed.D Dissertation: The Art of Duncan and Nijinsky.
Lecturer and performer; presented "Isadora
Duncan: Art of Embracing Life" throughout Penn-
sylvania and the Midwest.
Jonathan Blumenfeld
Adjunct Associate Professor
Oboe
BM, Curtis Institute of Music
BA, Haverford College
Studied with John DeLancie, John Mack, and
Richard Woodhaus. Member of the Philadelphia
Orchestra. Former principal oboe of the Savannah
Symphony and member of the Concerto Soloists
of Philadelphia. Has performed in numerous festi-
vals, including Tanglewood, Spoleto, Blossom,
Colorado, and Chautauqua.
Ulrich Boeckheler
Adjunct Assistant Professor
Violoncello
Post-graduate Diploma, Juilliard;
Concert Exam, Detmold Academie, Germany
Honorary degree, Accademia Chigiana, Siena/Italy
Studied with Andre Navarra and Leonard Rose.
Has appeared as soloist at the Florence (Italy)
Maggio Musicale and toured with conductor
Helmuth Rilling and the Bach Collegium of
Stuttgart. Served as principal cellist of the Royal
Philharmonic Orchestra of Flanders. Has received
numerous awards including those bestowed by
the International Tchaikovsky Competition in
Moscow and the Gaspar Cassado Competition of
Florence. In the United States, has performed at
the Marlboro Music Festival and the Grand Teton
Music Festival. Presently a member of the
Concerto Soloists of Philadelphia.
Michael Bookspan
Adjunct Professor
Percussion
BS, Juilliard School of Music
Studied with Morris Goldberg, Saul Goodman, and
Fred Albright. Principal percussionist and associ-
ate principal timpanist of the Philadelphia Orches-
tra. Former xylophone soloist with the U.S. Air
Force Band; former member of the Little Orchestra
Society of New York, the New York City Ballet
Orchestra, and the Goldman Band.
Recipient of the C. Hartman Kuhn Award of the
Philadelphia Orchestra.
Tyrone Breuninger
Adjunct Associate Professor
Trombone
BS, West Chester State College
MM, Temple University
Studied with Henry C. Smith III. Associate princi-
pal trombone with the Philadelphia Orchestra.
Paula Brown
Adjunct Assistant Professor
Voice
Diploma, Curtis Institute of Music
BM, Peabody Conservatory
Studied with Raquel Adonaylo. Soloist with the Phila-
delphia Singers, Pennsylvania Pro Musica, Music
Group of Philadelphia, Choral Arts Society of Philadel-
phia, The Pennsylvania Opera Theater, as well as the
Concerto Soloists, Kennett Square Symphony, and the
Los Angeles Master Chorale. Performed on National
Public Radio and Television. Has presented recitals
throughout the United States.
Lelia Calder
Adjunct Assistant Professor
Vocal Pedagogy/English Diction
BA, Harvard University
MM, Temple University
Certified teacher of the Alexander Technique. Re-
citalist; former soloist with Singing City, Philomel Trio.
Former member of the Philadelphia Singers. Has
taught at Swarthmore and Haverford Colleges.
Susanne Case
Lecturer
Speech Lab
BFA, University of the Arts
Cum laude graduate of the University of the Arts
in the spring of 1988, with an emphasis in acting.
While attending, spent two years as a teaching
assistant in Speech for the Actor I & II. Since
receiving degree, performing member as well as
vocal coach for the Philadelphia Area Repertory
Theatre (PART.) Has taught for the Freedom The-
ater as well as the University of the Arts.
Marianne Casiello
Adjunct Associate Professor
Voice
Graduate, Curtis Institute of Music
Professional engagements include operatic roles
of Mimi, Violetta, Micaela, Nedda, and Marguerite
(Faust). Has taught at Curtis Institute of Music and
Settlement Music School.
Joseph Castaldo
Professor
Composition
BM, MM, Philadelphia Conservatory of Music
Studied at St. Cecilia Academy in Rome, and the
Manhattan School of Music. Student of Vittorio
Giannini and Vincent Persichetti. Numerous com-
positions performed throughout the United States
and abroad. Former founder and president of the
Philadelphia Composers Forum. President Emeritus
of the Philadelphia College of Performing Arts;
served as president from 1966 to 1983.
Donald Chittum
Professor
Theory
BM, MM, DM, Philadelphia Conservatory of Music
Studied with Boris Koutzen and Vincent
Persichetti. Liberal Arts studies at Temple Univer-
sity. Articles on music theory and analysis and
criticisms and reviews appear in the British Music
Review, The Musical Quarterly, Current Musicol-
ogy, MLA Notes, The MENC Journal, and The
American Music Teacher. Article on Berg's
Wozzeck was cited and reprinted in Zur Musik-
alischen Analyse by Der Wissenschaftliche
Buchgesellschaft of Darmstadt. Past president of
the Pennsylvania Music Teachers Association;
president. Eastern Division, MTNA; National
Theory-Composition Chair, MTNA; Task Force on
Technology in Education, MENC; Fine Arts Advisor
and Civil Service Examiner, State of Pennsylvania;
State Arts Council Music Panel; Music Advisory
Board Archdiocese of Philadelphia; recipient of
Pennsylvania's Distinguished Service Award and
Teacher of the Year, and awards from the
Pennsylvania Music Teachers Association and the
Alumnus of the Year Award from the Alumni
Association of the Philadelphia Colleges of the
Arts. Serves as chair of the Music Department of
the Pennsylvania Governors School.
Kent Christensen
Associate Professor
Humanities
BA, Columbia University
MA, University of Connecticut
Doctoral studies, University of Pennsylvania and
New York University
Authority on opera and recorded vocal music.
Andrea Clearfield
Staff Accompanist
BA, Muhlenberg College
MM, Philadelphia College of Performing Arts
Was awarded first prize in performance and
musicianship from Muhlenberg College. Studied
with Susan Staff and Margaret Garwood. In
addition to being the Staff Accompanist at The
University of the Arts, School of Music, teaches at
Drexel University and is the Master Class Coordi-
nator and Accompanist for the Sarasota Music
Festival. Performer of classical and contemporary
music, has worked in the Philadelphia area with
Relache, Philadelphia Singers, Group Motion
Multi-Media Theater, Philadelphia Festival Chorus,
American Music Theater Festival, Philadelphia
Improvisational Music Collective, West Jersey
Chamber Chorus, Wilma Theater and the Susan
Hess Dance Studio.
125
Charles Conwell
Associate Professor
Stage Combat/Competitive Fencing/Rehearsal and
Performance
BS, Northwestern University
MFA, Brandeis University
Certified recommended actor-combatant of the
Society of American Fight Directors. Directed the
wrestling match in As You Like It for the Hartford
Stage Company, and the violence in Geniuses for
the Philadelphia Company. Directed Hamlet,
Macbeth, Twelfth Night, The Taming of the Shrew,
The Cherry Orchard, Treasure Island, and A Lesson
for Aloes for the People's Light and Theatre Com-
pany; and God's Attic for the Philadelphia Festival
Theatre for New Plays. Has taught stage combat
at Temple University.
Frank Costanzo
Adjunct Associate Professor
Violin
BM, University of Pennsylvania
Member of the Philadelphia Orchestra, retired.
Founder of the American String Orchestra. Recipient of
the C. Hartman Kuhn Award from the Philadelphia
Orchestra. Has taught at Bryn Mawr Conservatory.
Neil Courtney
Adjunct Associate Professor
Double Bass
BM and Performer's Certificate, Eastman School of
Music
Studied with Oscar Zimmerman and Roger M.
Scott. Member of the Philadelphia Orchestra.
Former member of the U.S. Marine Corps Band
and the Rochester Philharmonic under Erich
Leinsdorf; former principal bass with the National
Symphony Orchestra.
Walter Dallas
Associate Professor
Director, School of Theater Arts
BA, Morehouse College
MFA, Yale Drama School
Additional studies at Harvard University,
University of Ghana at Legon
Has directed regionally, including Baltimore's
Center Stage, San Francisco's Lorraine Hansberry
Theater, Philadelphia Festival Theater for New
Plays, The Philadelphia Drama Guild and New
Freedom Theatre, and Atlanta's Alliance Theatre;
Off-Broadway, including New Federal Theater,
Negro Ensemble Company, Hudson Guild Theatre,
New York Shakespeare Festival, and Astor Place
Theatre. Founder of Atlanta's Proposition Theatre
Company and Drama School, and Yale's Black
Ensemble Theatre Company. Member, National
Endowment for the Arts Expansion Arts Panel;
Pennsylvania Council for the Arts Theatre Panel;
American Theatre Wing Panel; consultant, South-
ern Arts Federation. Former National Endowment
for the Arts Director Fellow. Recipient of Atlanta
Critics Award for "Best Director" and "Creative
Genius"; two Bronze Jubilee Awards for Theatre
Excellence; an Atlanta Mayoral Proclamation,
"Walter Dallas Day"; and a California Emmy nomi-
nation. Taught theater at Antioch College, OH, and
University of California, Berkeley. Member of the
Society of Stage Directors and Choreographers.
Wayne St. David
Lecturer
Jazz Dance Technique
Choreographic credits include extensive musical
theater work including Nunsense, Philadelphia's
longest running musical, Washington Ballet
Company, Maryland Youth Ballet, Society Hill
Playhouse. Has taught in Paris, France and Wash-
ington, DC at the Capitol Ballet. Currently Director
of the Jazz Dance Department of Community
College of Philadelphia.
Sean Deibler
Associate Professor
Head, Classical Music Division
Orchestra Conductor
BS, Susquehanna University
Graduate diploma, Kodaly Musical Training
Institute
Graduate certificate, Franz Liszt Academy,
Budapest
Founder and director of the Music Group of
Philadelphia; artistic director of Choral Arts Soci-
ety of Philadelphia. Prepares choruses for the
Philadelphia Orchestra. Guest conductor of Euro-
pean orchestras, including the Budapest Philhar-
monic and Warsaw Symphony.
Robert de Pasquale
Adjunct Associate Professor
Violin
Graduate, New School of Music
Studied with Jascha Brodsky. Assistant principal sec-
ond violin of the Philadelphia Orchestra. Violinist with
the dePasquale String Quartet. Former member. New
York Philharmonic and U.S. Navy Band.
William de Pasquale
Adjunct Professor
Violin
Studied with Veda Reynolds at the Curtis Institute
of Music. Associate concertmaster of the Philadel-
phia Orchestra. Received Fulbright Scholarship to
study in Salzburg, Austria. Former concertmaster
of the New Orleans Philharmonic; former concert-
master and violin soloist with the St. Louis
Sinfonietta. Violinist with the dePasquale String
Quartet. Author of "Preparation of Orchestral and
Concertmaster Auditions." Has taught at
Haverford College and New York State School of
Orchestral Studies.
Ruben del Pilar Andino
Lecturer
Musicianship
BM in Piano, University of the Arts
MM in Voice, University of the Arts
Vocal soloist with the Choral Arts Society of Phila-
delphia. Regular accompanist, The Music Group of
Philadelphia. Active voice/operatic and instrumen-
tal accompanist. Major operatic roles include:
Guglielmo, Bob (The Old Maid and the Thief),
Marco (Gianni Schicchi), Bartalo (The Marriage of
Figaro), Masetto (Don Giovanni), Sang world pre-
miere of Boyle's Sonata for Singer.
Marc Dicciani
Director, School of Music
Adjunct Assistant Professor
Business of Music
BM, Philadelphia Musical Academy
Music and record producer, conductor, arranger,
composer, performer for albums, commercials, and
soundtracks in California, New York, Philadelphia,
Canada and Europe. Has conducted and performed
internationally with Ben Vereen, Dionne Warwick,
Joel Grey. Owns a record production and publish-
ing company and operates a computer-based MIDI
digital audio production facility. Drummer with
numerous jazz and fusion bands, and house drum-
mer at Caesar's Hotel and Casino in Atlantic City.
Annette DiMedio
Assistant Professor
Musicianship for Dance, Theater
Assistant Dean, Philadelphia College of
Performing Arts
BA, Swarthmore College
MM, Temple University
PhD, Bryn Mawr College
Studied with Clement C. Petrillo, Philippe
Entremont, Claudette Sorel. First to win all three
Philadelphia Orchestra Student Division Competi-
tions, performing with the orchestra on each
occasion. Concert pianist experience includes
performances in recital and soloist with orchestra
nationally and internationally. As piano-duo with
sister Regina has performed and directed the
Department of Defense Overseas Tour in Germany
and Egypt. Grand Prize winner of International
Piano Recording Competition. Two piano record-
ings and book "France McCollin" published by
Scarecrow Press.
Robert DiNardo
Adjunct Assistant Professor
Jazz Guitar
Active studio musician; has performed with such
artists as Tony Bennett, Ella Fitzgerald, Vic
Damone, Joel Grey, and Shirley MacLaine.
Frequent performances with Atlantic City casino show
orchestras. Former staff guitarist of 'The Mike Dou-
glas Show." Has performed with the Philadelphia
Chamber Orchestra under Anshel Brusilow.
Manfred Fischbeck
Associate Professor
Coordinator: Modern Dance; Artistic Director:
Consort
Studied at Freie University, Berlin
Codirector, dancer, and choreographer of Phila-
delphia's Group Motion Multi Media Dance Theatre
Company and School, which has toured nationally and
internationally, and has received grants from the
Pennsylvania Council on the Arts and the National
Endowment for the Arts. Teaches and directs in the
School of Theater Arts, University of the Arts, and in
the Theater Department, University of Pennsylvania.
Served as a dance panel member for the Pennsylvania
Council on the Arts.
126
Ed Flanagan
Lecturer
Jazz Guitar
MA, Temple University
BA, La Salle University
Studied guitar with Robert DiNardo and Dennis
Sandoli; solfege with Evelyn Crochet and Annie
Petit. Has performed with the Philadelphia
Orchestra, and with Peter Nero and the Philly
Pops, as well as numerous Broadway shows. Has
worked with leading entertainers including, Liza
Minnelli, Joel Grey, Steve Lawrence, Eydie Gorme,
and Vic Damone. Numerous television and radio
performances. Recorded album with Mike Dou-
glas. Has taught at Temple University and Bucks
County Community College.
James Gallagher
Adjunct Assistant Professor
Recording Studio Techniques
BA, Temple University
Studio manager and chief engineer-Philadelphia Inter-
national Records Studio 309. Producer and director of
numerous films and videos; "Mainstream," winner of
I.A.F grant from WHYY-TV1 2 aired on local cable and
public TV. Audio engineer in Los Angeles, New York
and Sigma Sounds, Philadelphia working with Stevie
Wonder, Dionne Warwick, Teddy Pendergrass, the
Spinners, Lou Rawls, O'Jays.
Richard Genovese
Senior Lecturer
Trombone
Graduate, Curtis Institute of Music
Studied with Glen Dodson, Charles Gusikoff, and
Gordon Pulis. Freelance musician in Philadelphia
and New York areas. Substitute trombone, Phila-
delphia Orchestra. Has performed with orchestras
of the Opera Company of Philadelphia, Marlboro
Festival, Forrest Theatre, and Stuttgart Ballet.
Mark Germer
Senior Lecturer
World Music
Music Librarian
Thomas Giacabetti
Lecturer
Jazz Guitar
Anthony M. Gigliotti
Adjunct Professor
Clarinet
Graduate, Curtis Institute of Music
Studied with Daniel Bonade at The Curtis Institute
of Music. Principal Clarinet of the Philadelphia
Orchestra since 1949. Member of the Philadelphia
Woodwind Quintet. Former member of the Ballet
Russe de Monte Carlo Orchestra and the Little
Orchestra Society of New York. Soloist with the
Philadelphia Orchestra. Well-known recitalistand
clinician. Designer and manufacturer of patented
clarinet mouthpiece and ligature. Consultant for
the Selmer Instrument Company. Faculty member
of The Curtis Institute and Temple University.
Mark Gigliotti
Adjunct Assistant Professor
Bassoon
Charles Gilbert
Program Head, Musical Theater Program,
School of Theater Arts
MFA, Carnegie-Mellon University
BA, University of Delaware
Additional studies: Wilma Theater Playwrights
Workshop, BMI Musical Theater Workshop
Has directed productions for American Music Theater
Festival, OperaDelaware, Delaware Theater Company,
Theatre Express, Pittsburgh Park Players. Original
musical theater works include Assassins (rights to the
idea from this 1979 musical obtained by Stephen
Sondheim as the basis for his new musical), A Is For
Anything (commissioned by the Delaware Institute for
the Arts in Education), Goosefeatos(Comrnissioned
by the Reho-both Summer Childrens Theater), B.G.D.F.
(New York showcase, Douglas Fairbanks Studio,
1983). Has served as musical director and/or pianist
synthesist for the Walnut Street Theater, Society Hill
Playhouse, American Music Theater Festival, Opera
Delaware, Theater Express. Formerly Associate
Professor and Head of Musical Theater Program, Syra-
cuse University; formerly Assistant Professor of The-
atre, University of Delaware; visiting faculty member
at Temple and Villanova Universities.
Susan B. Glazer
Adjunct Associate Professor
Director, School of Dance
BA, American University
MA, Temple University
Additional studies at the Sorbonne, University of
Pennsylvania, and UCLA
Dance studies with Virginia Freeman, Paul
Sanasardo, Pearl Lang, and Dan Waggoner. Mem-
ber of the Pennsylvania Council on the Arts advi-
sory panel. Has performed in and choreographed
for companies in Philadelphia, Washington, DC,
Los Angeles, Germany.and France. Founder and
Artistic Director of Mosaic Repertory Dance Com-
pany. Former editor of Dance Dialogue and autnor
of articles on contemporary issues in dance. Has
taught at Drexel University and Harcum Junior
College; past president Philadelphia Dance Alli-
ance. Current Editor of American Dance, publica-
tion of the American Dance Guild.
Janice K. Goltz
Assistant Professor
Music Education/Musicianship
BM, BME, cum laude, Philadelphia College of the
Performing Arts
Kodaly studies with Erzebet Hegyi, and at the
Kodaly Musical Training Institute. Solfege instruc-
tor, Choral Arts Society. Composer of children's
musicals. Former general music teacher, director
of Concert Choir and Chamber Singers, and direc-
tor of Theater Ensemble at Myers Elementary
School, Cheltenham Township School District.
General music teacher, St. Barnabas Episcopal
School, Philadelphia.
Sherry Goodill
Lecturer
Dance Therapy
BA, Theater Arts/Dance and Psychology, Hollins
College, VA
MCAT, Hahnemann University
ADTR, Academy of Dance Therapists, Registered
Director of Movement Therapy Education,
Hahnemann University.
Marina Gusak-Grin
Adjunct Associate Professor
Piano
Graduate of Moscow State Conservatory
Piano studies with Lev Oborin, Ensemble training
with David Oistrakh, Leonid Kogan and Yuri
Yankelevitch. Recipient of Special Diploma at the
1970 International Tchaikovsky Competition.
Extensive solo chamber music and orchestral per-
formances throughout the United States, Canada,
Europe, Central and South America. Former faculty
member of Moscow State Conservatory.
James W. Hala
Senior Lecturer
Trumpet
BME, Temple University.
Studied trumpet with Seymour Rosenfeld, Gerard
Schwarz, and Frank Kaderabek; conducting with
Gerard Schwarz. Member of Pottstown, Delaware,
and Reading Symphony Orchestras. Has per-
formed with the Brass Quintet in residence at the
University of Delaware. Former member of the
U.S. Army Band, Concerto Soloists, and Pennsylva-
nia Pro Musica. Member of the Performance
Organization. Has taught at Immaculata College
and University of Delaware.
David Haiti
Lecturer
Piano
Yoko Hashimoto-Sinclair
Lecturer
Makeup
MA, PhD, University of Michigan
BA, MA, Aoyama Gakuin University, Tokyo, Japan
Holds two theater certificates from Oxford
University (Exeter College) and London University.
Makeup designer for more than one hundred-fifty
plays, musicals, operas and operettas including A
Mid-Summer Night's Dream, The Threepenny
Opera, Man ofLaMancha, Carmen, and Madam
Butterfly. Artist-in-Education with Delaware State
Arts Council from its inception to present. Visited
more than twenty schools in Delaware presenting
workshops on stage makeup, mask and Japanese
folk dance and/or performing Japanese traditional
dance. As president of RICE-Repertory of Interna-
tional Cultural Exchange, organized two perform-
ing tours to Japan. Also organized several East
Coast tours. Worked several productions with
Opera North and Opera Delaware.
127
Linda Haviland
Dance History
BA, Adelphi University
fvl Ed, Temple University
Doctoral candidate in aesthetics. Temple
University
Performs with Zero Moving Company. Has taught
at BrynMawr College.
Beth Hirshhaut-lguchi
Adjunct Associate Professor
Jazz Technique, Jazz Ensemble
BFA, MA University of Massachusetts
Taught at Baltimore School for the Arts, Towson
State University, and Dean Junior College. Assis-
tant Artistic Director of the Danny Sloan Dance
Company. Founder and Artistic Director of
"Paradign Dance" and performed nationally with
the Impulse Dance Company and Danny Sloan.
Johnnie Hobbs, Jr.
Assistant Professor
Acting Studio
Director and teacher of Philadelphia's New Freedom
Theatres training program. Performance credits in-
clude frequent key roles in New Freedom productions,
including Zooman and the Sign, the Philadelphia pre-
miere of Langston Hughes' Simply Heavenly, Julius
Caesarax the Philadelphia Drama Guild, and Black
Picture Show, directed by Walter Dallas. Guest-artist
roles at Temple University and the Philadelphia Drama
Guilds "POP. Festival of New Plays." Selected for
1 987-88 Artist in Education Residency Program of the
Pennsylvania Council on the Arts.
Susan Hudson
Lecturer
Vocal Coaching
Judith Jamison
Distinguished Visiting Professor of Dance
Modern Dance Technique/Guest Choreographer
Studied at the Philadelphia Dance Academy (now
the School of Dance of The University of the Arts)
and the American Ballet Theatre. Made her debut
with the American Ballet Theatre in 1965 and
subsequently joined the Alvin Ailey American
Dance Theatre where she became internationally
acclaimed. Ms. Jamison inspired some of Alvin
Ailey's most enduring choreography, including his
seminal tribute to black women, "Cry." She has
danced with two of today's leading male dancers
in works specially created for them by Mr. Ailey:
Mikhail Baryshnikov in "Pas de Duke" and
Alexander Godonov in "Spell." Has made numer-
ous appearances with ballet companies, including
American Ballet Theatre, Harkness Ballet, San
Francisco Ballet, and Maurice Bejart's Ballet of the
20th Century. Has choreographed work for the
Alvin Ailey American Dance Theatre, Washington
Ballet, Ballet Nuevo de Caracas, and Maurice
Bejart. Recipient of three honorary doctorates,
including one from the Philadelphia Colleges of
the Arts. She has served as presidential appointee
to the National Endowment for the Arts.
Stephen Jay
Professor
Dean, Philadelphia College of Performing Arts
Musicianship
BM, MM, Manhattan School of Music
Former president of the St. Louis Conservatory and
Schools for the Arts and the Wisconsin Conserva-
tory of Music; former dean of Cleveland Institute
of Music. Former dean and chairman of Depart-
ments of Theory and Composition of Manhattan
School of Music and associate professor and
chairman of the Music Department of University
College of Arts and Science of New York Univer-
sity. Former evaluator and member of the Expan-
sion Arts Panel of the National Endowment for the
Arts; evaluator for the National Association of
Schools of Music; member of the NASM Commis-
sion on Non-Degree Granting Institutions. Trustee
of the National Guild of Community Schools for
the Arts. Member of Advisory Board of Young
Audiences of Eastern Pennsylvania. First president
of the Organization of American Kodaly Educators.
Author of Theory for Children; coauthor of Chro-
matic Harmony and Sight Sound.
Nancy Berman Kantra
Adjunct Associate Professor
Modern/Jazz Dance
BA, University of Colorado
MFA, Philadelphia College of the Performing Arts
MEd Candidate, La Salle
Principal dancer with the Philadelphia Dance
Company (Philadanco) since 1978. Scholarship
recipient Pennsylvania Ballet Dance Theatre of
Harlem and Harkness Ballet. Former director of the
Powelton Mantner Educational Fund. Honored by
Girl Scouts of Greater Philadelphia for her contri-
bution to dance. Fellowship recipient from Penn-
sylvania Council on the Arts. Teaches extensively
throughout the tri-state area.
Fredrick Kaufman
Professor
Theory/Composition
BM, MM, Manhattan School of Music
Compositions performed by orchestras including
the Israel Philharmonic under Zubin Mehta,
Pittsburgh Symphony under William Steinberg,
Jerusalem Symphony, St. Paul Chamber Orchestra,
and the Los Angeles Philharmonic. Ballet scores
performed by the Royal Swedish Ballet, Royal
Winnipeg Ballet, and Bat Sheva Dance Company.
Author of The African Roots of Jazz and Diatonic
Harmony. Music recorded by Orion Masterpiece
Records. Awards from the National Endowment
for the Arts; University of London; National Asso-
ciation of Jazz Educators; California, Montana, and
Pennsylvania Arts Councils; Norwegian Govern-
ment; and Wisconsin Composers League. Recipi-
ent of Fulbright Fellowship, and Darius Milhaud
Award in Composition from the Aspen Music Fes-
tival. Former resident composer. University of
Wisconsin; formerly on faculty of the Rubin Acad-
emy of Music in Israel, and resident composer and
chairman of Music Department, Eastern Montana
College. Former dean, Philadelphia College of the
Performing Arts.
Richard Kerber
Lecturer
Jazz Trumpet
BM Ed, Temple
Active freelance trumpet player in the
Philadelphia-Atlantic City area. Has performed
with Tony Bennett, Burt Bacharach, Crystal Gayle,
Dionne Warwick, and Maureen McGovem on
stages in Philadelphia, Atlantic City, and Las Ve-
gas. Performs in productions at the Walnut Street
Theater since 1 984. Jazz work includes participa-
tion with the group Trumpets East at the New York
Brass Conference and performances at the Mellon
Jazz Festival. Has recorded on the Philadelphia
International, Atlantic, MCA, and Columbia labels.
His musical arrangements have been recorded by
Kool and the Gang, Stephanie Mills, and Phyllis
Hyman. Has appeared in numerous television
productions including the Philadelphia Freedom
Festival (1989) and the Mel Torme Special (1989).
Was formerly on the faculty of the University of
Nevada, Las Vegas.
Ron Kerber
Senior Lecturer
Jazz Saxophone
BM, Philadelphia Colleges of Arts
Studied with Vince Trombetta and Marshall Taylor.
Has performed in orchestras of the Forrest and
Walnut Street Theatres, and in touring bands and
orchestras in Philadelphia, Atlantic City, and other
cities throughout the USA and Canada.
Recordings and commercial work include jingles,
films, and television programs. Featured rock and
jazz performer with his own and other bands. A
former member of the Philadelphia Saxophone
Quartet, frequently performs with chamber groups.
Jeffrey Kem
Lecturer
Musicianship
Choral Conductor
Jeffrey Khaner
Adjunct Professor
Flute
BM.Julliard
Principal flute of Philadelphia Orchestra beginning
1990-91 season. Has been principal flute and has
appeared as soloist with the Cleveland Orchestra
(1982-1990), Pittsburgh Symphony, Mostly Mozart
Festival, Atlantic Symphony in Nova Scotia. Past
head of flute department of Cleveland Institute of
Music. Faculty member of Curtis Institute.
Chin Kim
Adjunct Assistant Professor
Violin
128
Leland Kimball
Adjunct Assistant Professor
Opera Staging
BA, Pomona College
MA, University of Pennsylvania
Opera director and director of development, Opera
Delaware. Has stage directed and designed numerous
productions for Opera Delaware, including Aida. and
Help, Help, The Globolinksas assistant to Gian Carlo
Menotti. Designed and directed for Kentucky Opera,
Providence Opera, Opera on the Sound, and Virginia
Opera. During the 1987-88 season, directed A Masked
fia//for Opera Delaware and La Boheme for the Dela-
ware Valley Lyric Opera. Has sung with the Washing-
ton Opera, the Opera Company of Philadelphia, and
the Philadelphia Singers.
Ronen Koresh
Adjunct Assistant Professor
Jazz/Theater Dance
Studied at the Bat Sheva Dance School in Israel. Has
performed with companies in Israel on stage and
television. Soloist with Waves Jazz Dance Company
and performs with the Evening Magazine Dancers.
Has taught at the Pennsylvania Ballet School, Jazz
Unlimited, and the Jazz Dance Center.
Jay Paul Krush
Senior Lecturer
Tuba
BM, Eastman School of Music
MM, Northwestern University
Studied tuba with Arnold Jacobs, Abe Torchinsky,
and Cherry Beauregard; composition with Joseph
Schwanter, Samuel Adler. Warren Benson, and
Alan Stout. Member of Chestnut Brass Company.
Performs with Concerto Soloists and the orchestra
of the Pennsylvania and Milwaukee Ballet. Direc-
tor of Wind Ensemble, Haverford College. Former
principal tuba of Eastman Wind Ensemble and
Yale/Norfolk Brass Quintet. Recipient of composi-
tion awards from National Society of Arts and
Letters, National Endowment for the Arts, Nation-
al Association of College Wind and Percussion
Instructors, and the Bicentennial Anthem Prize.
Has taught at Temple University.
Paul Krzywicki
Adjunct Professor
Tuba
BM, MM, Performer's Certificate, Indiana
University
Teaching assistant to William Bell; studied with
Joseph Novotny, Lloyd Geisler, Abe Torchinsky,
and Leo Romano. Member of Philadelphia Orches-
tra. Member of Philadelphia Brass Soloists.Former
member of the Buffalo Philharmonic, Portland
Symphony, Youngstown Symphony, Boston Ballet,
Boston Opera Company, and the U.S. Military
Academy Band. Has performed in the Tanglewood
and Aspen Music Festival orchestras. Has taught
at Curtis Institute of Music and Temple University.
Joan Lanning
Tap Dance
Tap training with Michael I. Lanning, Charles Kelly,
Phil Black, and Bob Audi of New York.
Certified member of Dance Educators of America,
Inc., Dance Masters of America, and International
Teachers of Dance, Inc. Taught at various conven-
tions along the east coast and various dance
studios in the tri-state area.
Michael Lanning
Senior Lecturer
Tap Dance
Performer in and choreographer of numerous
productions in the Atlantic City and Philadelphia
area. Among his students are Frankie Avalon and
Joey Lawrence.
Joseph Lanza
Adjunct Associate Professor
Violin
BS, Juilliard School of Music
Violin studies with Joseph Fuchs and Frank
Costanzo; chamber music with Hans Letz, Edouard
Dethier, and members of the Juilliard String Quar-
tet. Member of Philadelphia Orchestra. Former
member of U.S. Navy Band and Orchestra.
Barbara Leiland
Adjunct Assistant Professor
Script Analysis
BA, Beaver College
MA, Villanova University
Professional experience in areas of dramaturgy,
directing, acting, stage management, as well as
teaching of drama, including the Wilma Theatre,
Villanova University's Contemporary Shakespeare
Company and Michael Bennett's Dreamgirls.
John Leonard
Adjunct Assistant Professor
Classical Guitar
BM, MM, Philadelphia Musical Academy
Studied with of Robert DiNardo; student of plec-
trum guitar with Joseph Sgro and Dennis Sandole.
Vema Leslie
Lecturer
Movement for Actors
Studied dance, voice, and acting at New Freedom
Theatre where she frequently performs and
teaches movement and jazz dance. Directs work-
shops and lecture demonstrations in dance pro-
duction and theater movement. Formerly instructor
in Philadelphia Summer Youth Program.
Loren Lind
Adjunct Associate Professor
Flute
BM, Temple University
Graduate studies, University of Hawaii
Student of Murray Panitz. Member of the
Philadelphia Orchestra. Former member of the
Lyric Opera Orchestra and Honolulu Symphony.
Amadeo William Liva
Adjunct Assistant Professor
Violin
BS, Juilliard School of Music
MA, Columbia University
Studied with Theodore Pashkus, Mischa
Mischakoff, Edouard Dethier, and Vladimir
Blumberg. Recipient of the NDEA Scholarship,
University of Florence, Italy; and Ford Foundation
Scholarship in Chamber Music, Oberlin Conserva-
tory. Former concertmaster of Binghamton Sym-
phony, Huntington Philharmonic, and first violin of
the Long Island String Quartet. Former member of
National Orchestra Association, Baltimore Sym-
phony, and Ars Musica Trio. Served on faculties of
Peabody Conservatory and Man/wood College.
Julia Lopez
Lecturer
Spanish Dance
Julia Lopez of Madrid, Spain, received her training
in traditional flamenco dance from such notables
as Antonio Marin, La Quica and Ciro. She has
danced in the Spanish cinema and in cabarets in
Madrid, Paris, Haiti and throughout the Americas.
She has performed as dance partner with Jose
Greco and as a featured dancer in the Boston
Flamenco Ballet, the Philadelphia Academy of
Music's Carmen and various presentations of
Pennsylvania Civic Ballet.
Jay Madara
Senior Lecturer
Technical Director, Theater Functions
BFA, SUNY Purchase, Theater Design Technology
In addition to lighting design and technical direction
for all University of the Arts productions, Mr. Madara
is a free-lance lighting designer and consultant in the
tri-state area. Past projects include designs for the
Wilma Theater, Painted Bride Center, Opera Delaware,
Westchester Lyric Opera and the Rutgers Fine Arts
Center in Camden, New Jersey.
Gary John Magby
Adjunct Assistant Professor
Vocal Literature
BM, Boston Conservatory (Voice and Piano)
MM, New England Conservatory (Vocal Coaching)
Musical Director. Chautanqua Opera. Former
Coach/Assistant Conductor of Washington Opera,
St. Louis Opera; former Principal Coach, Wolf Trap
Opera, The Juilliard School.
129
Anthony Marchione
Adjunct Assistant Professor
Trumpet
Graduate, Curtis Institute of Music
Musical director, conductor, and principal trumpet,
Valley Forge Music Fair. Former principal trumpet
with the CBS Symphony Orchestra, Philadelphia
Lyric and Grand Operas, and Philadelphia Little
Symphony. Has performed and recorded with the
Metropolitan Opera and Stuttgart Chamber Sym-
phony. Performed as principal trumpet under Bruno
Walter, Leonard Bernstein, and Josef Krips. Former
principal trumpet at many theaters, including the
Shubert, Forrest, and Walnut Street theaters. Has
taught at Temple University.
Rachel Mausner
Lecturer
Alexander Technique
BA, Swarthmore College
MFA, Temple University
Studied the Alexander Technique with Mi.
Barstow and the Alexander School in Philadelphia.
Has taught dance and movement at Community
College of Philadelphia.
Guido Mecoli
Adjunct Assistant Professor
Clarinet
Graduate, Curtis Institute of Music
Studied with Ralph MacLean, Jules Serpentine,
Ignatius Gennusa, and Anthony Gigliotti. Member
of the Pennsylvania Ballet Orchestra. Former prin-
cipal clarinetist with the Philadelphia Lyric and
Grand Opera companies; former member of Read-
ing Symphony and Trenton Symphony Orchestra;
guest soloist with Curtis String Quartet.
Douglas S. Medlin
Associate Professor
Head, Music Education Division
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 teacher
in Connecticut and Virginia.
Pat Mercuri
Adjunct Assistant Professor
Jazz Guitar
BM, BME, Philadelphia Musical Academy
Student of Robert DiNardo and Dennis Sandole.
Performer on fretted instruments with the Phila-
delphia Orchestra, Opera Company of Philadel-
phia, The Pennsylvania Opera Theater, and the
Forrest Theatre. Has taught at Cabrini College and
Eastern College.
Naomi Mindlin
Adjunct Associate Professor
Modern Dance Technique
BA, Brandeis University
MA, New York University
Performed with the Boston Ballet Company, New
England Dance Theatre, Bridgeport Ballet, and
Jose Limon Dance Company; has choreographed
solo work.
Paula Jean Mlinar
Costumer
Costume design, construction and coordination for
productions at York Little Theater, Ephrata Play-
house in the Park, Columbia Little Theater, and
opera programs in Shubert Theater. Does free-
lance costume design and construction; maintains
personal costume inventory and rental business.
Leonard Mogill
Adjunct Associate Professor
Viola
BM, Philadelphia Musical Academy
Graduate, Curtis Institute of Music
Studied with Louis Bailly. Member of the Philadel-
phia Orchestra for 48 years (assistant solo viola for
25 years), retired. Soloist with the Philadelphia
Orchestra in Bach Brandenburg Concerto. Former
member of Musical Fund Quartet. Publications by
G. Schirmer include Orchestral Studies of 20th
Century Composers, Mogill Scale Studies, and
many transcriptions. Recipient of Honorary Doctor
of Music degree from Philadelphia College of the
Performing Arts. Has taught at Temple University.
Margarita Csonka Montanaro
Adjunct Associate Professor
Harp
Graduate, Curtis Institute of Music
Graduate studies at Vienna Music Conservatory
Studied with Carlos Selzedo and Marilyn Costello.
Member of the Philadelphia Orchestra. Has per-
formed in the Marlboro Festival.
Janee Munroe
Adjunct Assistant Professor
Viola
Studied viola with William Primrose at the Curtis
Institute of Music and with Boris Kroyt of the
Budapest String Quartet. First deskviolist, Na-
tional Symphony, Washington, DC; first violist and
soloist, European tour, Juilliard String Ensemble;
principal violist and soloist, North Carolina Sym-
phony. Violist Masters Festival of Chamber Music,
Hidden Valley Music Seminars, Monterey and
Carmel Valley, CA, June 1982-84. Member of
Goffriller Piano Quartet. Has taught at Juilliard
School precollege division.
Lome Munroe
Adjunct Professor
Cello
Student of Ivor James at Royal College of Music
in London. Studied with Felix Salmond and Gregor
Piatigorsky at the Curtis Institute of Music. Princi-
pal cello, New York Philharmonic. Has made over
85 solo appearances with the New York Philhar-
monic, and has appeared as soloist with many
other orchestras, including the Philadelphia
Orchestra, Winnipeg Symphony, Kansas City Sym-
phony Orchestra, and Long Island Symphony.
Has performed with chamber music groups and in
recitals throughout the United States, Canada, and
Europe. Has toured Europe as conductor-soloist
with the America String Ensemble. Has taught at
Julliard School.
James Murray
Adjunct Associate Professor
Competitive Fencing
BA, lona College
Diploma, American Fencing Academy, Cornell
University
Fencing Master certified by the International
Academy of Arms, was exchange student in
fencing at the Institute National de Sport in Paris.
Certified by the U.S. Fencing Coach's Association,
is a member of the United States Fencing Asso-
ciation Olympic coaching staff. Former instructor
at the Academy of Fencing in Boston. Assistant of
Maestro Lajo Csiszar, University of Pennsylvania.
Head fencing coach at Haverford College.
Edward Myers
Adjunct Associate Professor
Ballet, Repertory
Principal dancer with the National Ballet of
Washington, DC and the Pennsylvania Ballet from
1974-87. His repertory includes major roles from
Swan Lake. Sleeping Beauty, Giselle and most of
the great classics. Has guest taught, performed
and choreographed throughout the United States.
Milton Myers
Adjunct Associate Professor
Modern Technique, Repertory
Artistic director and choreographer of the Joyce
Trisler Company for six years and company
teacher and choreographer for the Alvin Ailey
American Dance Theater. Former faculty member
of NYU Tisch School of the Arts. Co-Director of
the Modern Department at Jacob's Pillow. Inter-
nationally recognized master teacher who is reg-
ularly invited to teach in Europe, South America
and Canada.
Joseph Nero
Adjunct Assistant Professor
Jazz Percussion
Graduate, Curtis Institute of Music
House drummer/percussionist, Forrest Theatre and
Trump Plaza Hotel-Casino in Atlantic City. Freelance
studio musician in commercial and jazz music. Has
toured nationally with Burt Bacharach, Anthony
Newley, Bette Midler; internationally with Bobby
Rydell. Played many New York City jazz nightclubs
and theaters; former house drummer, Waldorf
Astoria. Has performed with Pennsylvania Ballet and
Philly Pops orchestras.
130
Maria Carmela Novielli Stea
Senior Lecturer
Italian Diction
BA, Temple University
MA, Umversita di Bari, Italy
Diploma, Institute Sacro Cuore Bari, Italy
Has taught elementary and intermediate courses
in Italian at Temple University, Chestnut Hill
College and Villanova University; currently
teaches elementary, intermediate and advanced
courses in Italian at the America-Italy Society.
Served as interpreter/translator for the Institute
for the Achievement of Human Potential, Nation-
alities Service Center, Council for International
Visitors, and the Opera Company of Philadelphia.
Is a member of the America-Italy Society and
American Association of Teachers of Italian.
Anthony C. Orlando
Adjunct Associate Professor
Percussion
BM, Philadelphia Musical Academy.
Studied with Michael Bookspan, Fred Hinger.
Member of the Philadelphia Orchestra. Former
Principal Percussion and/or Timpanist with Grand
Teton Music Festival, Pennsylvania Ballet Orches-
tra, Greater Trenton Symphony Orchestra. Active
clinician and recitalist, featuring ragtime xylo-
phone and avant-garde music for marimba and
solo percussion. Former Associate Fellow at
Tanglewood.
Andrew Pap
Associate Professor
Ballet
Studied at Scoala de Coreografie in Romania.
Former member of the Romanian State Opera and
Ballet; taught at Scoala de Coreografie, the Italian
Dancers Union, Saratoga Ballet Center, Interna-
tional Dance Center in Rome, and The Alvin Ailey
American Dance Theatre and Ballet Companies.
Has choreographed for opera and ballet compa-
nies. Faculty of Pennsylvania Ballet School and
Artistic Director of the Volshky Dance Company.
Phuoc Phan
Lecturer
Than Vo Dao
BFA, University of the Arts
Certificate, Nguyen Lahn Martial Arts School,
Viet Nam
Martial arts studies at the Hong Van Studio in
Bahat. Has studied fine arts, graphics, illustration,
and interior design at Saigon's National University
of Art. Taught calligraphy at Temple University,
and arts and crafts in Hong Kong. Founder and di-
rector of the only Than Vo Dao martial arts school
in the United States.
James Pugb
Adjunct Assistant Professor
Trombone
BM, Eastman School of Music
New York recording and jazz artist. Five-time
recipient of the National Academy of Recording
Arts and Sciences' Most Valuable Player Award.
Has been featured soloist on tours and recordings
with Woody Herman, Chick Corea, Don Sebesky,
Barbara Cook, William Galison, Dave Matthews
and Eileen Farrell. Featured on two Grammy
Award winning albums with Woody Herman,
Giant Steps and Thundering Herd. Soundtrack
credits include such films as Brighton Beach
Memoires, The Morning After, Biloxi Blues, and
Family Business.
Trudy Pitts
Adjunct Assistant Professor
Jazz Piano
Richard A Raub
Adjunct Assistant Professor
Vocal Coach/Accompanist
BS, MM, West Chester University
Studied with Benjamin Whitten and Martin Katz.
Frequently performs with singers in recitals in the
USA, Canada, and Europe. Has worked with many
area opera companies, including The Hollybush
Festival in New Jersey. Has taught at Academy of
Vocal Arts, Temple University; opera workshop
music director, Blossom Festival School at Kent
State University.
Therese Casadesus Rawson
Senior Lecturer
French Language and Diction
MA, Sorbonne, Paris
Ph 0, University of Pennsylvania
Language coach for professional singing organiza-
tions, including the Opera Chorus of Philadelphia
and the Philadelphia Singers. Active church solo-
ist. Has taught at Haverford College and Bryn
Mawr College. Has taught at Curtis Institute of
Music and Academy of Vocal Arts.
Deborah Reeder
Adjunct Associate Professor
Cello
BM, MM, Philadelphia Musical Academy
Studied with Lome Munroe and Luigi Salva.
Principal cello, The Opera Company of Philadel-
phia, Trenton Symphony, Mozart Society of Phila-
delphia. Member of Pennsylvania and Milwaukee
Ballet company orchestra; cellist of The Philadel-
phia Trio and Amadio String Quartet. Former
member of the Philadelphia Orchestra, Princeton
Chamber Orchestra, Concerto Soloists, Pennsylva-
nia Contemporary Players, Cheltenham Trio, and
American Society of Ancient Instruments (viola da
gamba). Cofounder of Music in the Mountains.
Concert Artist Guild Award winner. Has taught at
Haverford College and Temple University.
Ronald Reuben
Adjunct Associate Professor
Clarinet
Graduate, Curtis Institute of Music; Temple
University
Studied with Joseph Gigliotti and Anthony Gigliotti.
Member of the Philadelphia Orchestra (bass clarinet).
Former member of the Stan Kenton Band, Chicago
Little Symphony, and Chamber Symphony of Philadel-
phia. Has taught at Temple University.
LaVaughn Robinson
Adjunct Professor
Tap Dance
Performed in Apollo Theatre in New York City and
Frank Palumbo's clubs in Philadelphia. Performed
with the Dancing Jets and South Sydney League
in Australia, and with Wayne Newton's show for
several years. Now performing internationally as a
representative of the State Department.
Recipient of the 1989 National Heritage Award.
Gabriela Roepke
Senior Lecturer
Literature/Opera Literature/Dramatic Literature
and Contemporary Theater
Studied in Santiago, Paris, and at the University of
North Carolina. Author and producer of over fifteen
original plays in Latin America, the United States, and
Spain. Numerous articles in publications, including:
San Diego Opera Magazine, Opera News, New York
City Opera Spotlight and The Opera Magazine. Lec-
tures for New York City Opera Guild. Former faculty
member of the Juilliard American Opera Center;
former visiting lecturer at New York's New School for
Social Research, and the Society for Ethical Culture.
Recipient of two Fulbright Fellowships, The Roland
Holt Playwright Award, and a Guggenheim Fellowship.
Louis Rosenblatt
Adjunct Associate Professor
Oboe, English Horn
Graduate, Curtis Institute of Music
Joined the Philadelphia Orchestra in 1959 when
his former teacher John Minsker retired as English
Homist. Studied oboe at Curtis under Marcel
Tabuteau. Was first oboist in the U.S. Army Field
Band, English Hornist in the Houston Symphony,
and the New Orleans Philharmonic. Has made
numerous solo appearances with the Philadelphia
Orchestra and three recordings as soloist: Sibelius'
The Swan of Tuonela, Honeggar's Concerto da
Camera for Flute, English Horn, and String Orches-
tra, Skrowaczewski's English Horn Concerto,
Persichetti's English Horn Concerto, and Diamond's
Elegies for Flute, English Horn, and Strings. Soloist
with the Philadelphia Orchestra in Fiala's English
Horn Concerto during 1 989-90 season.
131
Seymour Rosenfeld
Adjunct Associate Professor
Trumpet
Graduate, Curtis Institute of Music
Studied with Saul Caston. Member of the Philadelphia
Orchestra; founding member of the Philadelphia Brass
Ensemble. Former first trumpet St Louis Symphony,
and member of the Ballet Russe de Monte Carlo.
Winner of three Grammy nominations and the
Grammy for Best Classical Music Record of 1 969 in
the Antiphonal Music of Gabrielli. Author of Thirty-Six
Elementary Studies for Trumpet
Henry Roy
Jazz Dance
BFA, Temple University
An apprentice with The Alvin Ailey Dance Com-
pany and has performed with Joan Kerr Dance
Company, Sybil Dance Company and Civic Ballet.
Is on the faculties of Glassboro State College and
Bryn Mawr College.
Andrew Rudin
Professor
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 the film
Fellini Satyricorr, has composed for the Pennsylva-
nia Ballet, Murray Louis, and the Alwin Nikolais
Dance Theatre; musical contributions to Tennes-
see William's play Outcry.
Barbara Sandonato
Assistant Professor
Ballet
Studied with George Balanchine at the School of
American Ballet. Former principal dancer and as-
sociate founder of the Pennsylvania Ballet Com-
pany. Former principal dancer with the National
Ballet of Canada. Featured guest artist with the
Boston Ballet Company, the Wisconsin Ballet with
Rudolph Nureyev, and the New York City Opera
Company. Has taught at the Pittsburgh Ballet The-
atre and the Pennsylvania Governor's School for
the Arts. Teaches at the Pennsylvania Ballet, Alvin
Ailey American Dance Center and Philadanco. Has
choreographed for opera ballet and ballet compa-
nies here and abroad. Recipient of bronze medal
senior division-1970 International Ballet Competi-
tion, Varna, Bulgaria.
Pearl B. Schaeffer
Adjunct Associate Professor
Dance Pedagogy
BS, Drexel University
MFA, Philadelphia College of the Performing Arts
Executive director of the Philadelphia Dance
Alliance. Has performed with the Opera Company
of Philadelphia, the Duncan Centenary Ensemble;
has performed and worked with Mudra, the
School of Maurice Berait, Opera Ballet of Lyon,
France, the Academy of Vocal Arts, the Performing
Arts School of Philadelphia.
Carl B. Schmidt
Professor
Chair, Classical Performance Graduate Studies
Theory and History
BA, Stanford University
MA, PhD, Harvard University
Studied with Nadia Boulanger. Scholar of
seventeenth-century Italian and French opera and
ballet; recipient of research awards from the
American Philosophical Society, the American
Council of Learned Societies, and the National
Endowment for the Humanities; general editor of
the New Lully Edition. Articles and editions pub-
lished in Journal of the American Musicological
Society, Hivista Italiana di musicologia, Current
Musicology, Recherches, The New Grove Dictio-
nary, A-R Editions, Dix-septiem Steele, and Music
Library Association Notes.
Henry Scott
Adjunct Associate Professor
Double Bass
BM, University of Rochester, Eastman School of
Music
Student of Ferdinand Maresh, Oscar G.
Zimmerman, and Roger M. Scott. Member of the
Philadelphia Orchestra. Former member of the
Rochester Philharmonic, the Chamber Symphony
of Philadelphia, the Baltimore Symphony, and the
New York Philharmonic. Conductor of Main Line
Symphony. Director of Psychoanalysis, Heed
University. Has taught at Temple University.
Peter Segal
Adjunct Associate Professor
Classical Guitar
BA, MM, Temple University
Studied with Jose Tomes, Alirio Diaz, and Oscar
Ghiglia. Affiliate artist performances throughout the
USA and Europe as chamber music recitalist, and
soloist with orchestra. Wnner of 2nd Prize, 1 971 ,
International Competition for Guitarists, Italy.
Jon Sherman
Ballet-Dance Extension
BS, Temple University
Studied at the Pennsylvania Ballet, American Bal-
let Theatre, and the Philadelphia College of the
Performing Arts. Performed with the Opera Com-
pany of Philadelphia, Danceteller, and Ballet Klos.
Lee Silvan
Adjunct Associate Professor
Theory
BM in Composition, Summa cum laude,
Philadelphia Musical Academy
MA in Composition, University of Pennsylvania
Student of George Rochberg. Associate Professor
of Music and former Chairman, Community Col-
lege of Philadelphia. Former Vice Chairman for
Theory and Composition, Music Teachers National
Association.
Carole Luppescu Sklaroff
Adjunct Associate Professor
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, dancing roles in
Coppelia and Giselle; principal dancer with the
Pennsylvania Ballet Company, dancing leading
roles in Lilac Garden, Sleeping Beauty, Mignon
pas de deux, Le Corsaire pas de deux. Donizetti
Variations and Concerto Barocco. Taught ballet
classes at the Pennsylvania Ballet School and the
Ballet Studio. Has taught at the School of the
Pennsylvania Ballet Company.
Suzanne Slenn
Adjunct Assistant Professor
Ballet
Early ballet training with Ballet des Jeunes and at
the Interlochen Arts Academy. Studied with
Rosella Hightower. Also studied at the Harkness
Ballet; trainee with the Joffrey Ballet Company.
Former member of the Indiana Ballet Company and
the Pennsylvania Ballet; former principal dancer
for NBC Entertainment Corporation. Has per-
formed as guest artist with the New Jersey Ballet.
Toured extensively throughout the USA, Canada,
Mexico, Europe, Australia, and the Orient.
Faye B. Snow
Adjunct Associate Professor
Jazz and Modern Dance Technique/Composition
BS, West Chester State College
MA, George Washington University
Studied Horton Technique with Joan Kerr and ballet
with Marion Cuyjet; 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 Copper-
tone Review Worked with Duke Ellington and Count
Basie bands.
Evan Solot
Professor
Head, Jazz/Commercial Music Division
BM, MM, Philadelphia Musical Academy
Composer/arranger for bands, orchestras, record-
ings, and artists-including Stan Kenton, Bette
Midler, Sister Sledge, Clark Terry, Ben Vereen-as
well as jingles, commercials, and special material
for shows. On trumpet, toured with Burt
Bacharach, Henry Mancini, Bette Midler, and Lou
Rawls. Has performed with Count Basie, Tony
Bennett, Woody Herman. Lena Home, Frank
Sinatra, Diana Ross, and Dionne Warwick. Free-
lance performer in theaters and recording studios.
Former chairman of the National Association of
Jazz Educators Composition Contest editor of Billy
Taylor's Improvisation Videotape: special mention
in Duke Ellington's book Music Is My Mistress,
honored by downbeat magazine for "making PCPA
one of the best sources of jazz education in the
country." Voting member of the National Academv
of Recording Arts and Sciences (Grammys).
132
Michael Stairs
Adjunct Assistant Professor
Organ
Artist Diploma, Curtis Institute of Music
BM, Westminister Choir College
Studied organ with Alexander McCurdy; piano
with Mathilde McKinney and Vladimir Sokoloff;
composition with Warren Martin and Matthew
Colucci. Associate organist of the John
Wanamaker court organ; organist/choirmaster at
the Church of the Redeemer, Bryn Mawr.
Susan Starr
Professor
Piano
Graduate, Curtis Institute of Music
Studied with Eleanor Sokoloff and Rudolf Serkin. Con-
cert pianist experience includes performances in re-
cital and as soloist with orchestras throughout the
USA and abroad. Over forty performances with the
Philadelphia Orchestra with which she made her debut
at the age of six. Numerous recordings on RCA and
Orion Labels. Winner of 1 962 second prize Silver
Medal in Second Tchaikovsky Competition in Moscow.
Appeared in command performance at the White
House for President Jimmy Carter.
Patricia Stasis
Adjunct Assistant Professor
Certificate, Curtis Institute of Music
Certificate, Conservatory of Music, Munich,
Germany
Has performed with the Tanglewood and Marlboro
Music Festivals singing under Eugene Ormandy,
Leonard Bernstein, Pablo Casals, Maurice
Abravanel, Joseph Primavera, Max Rudolf, and
Seigi Ozawa. Has participated in master classes
with Martial Singher, Phyllis Curtin, Pierre Bernac,
Sir Richard Lewis, and Maria Callas. Received the
Lotte Lehmann Award for outstanding achieve-
ment at the Music Academy of the West, Santa
Barbara, CA. Winner of the International Music
Competition of the German Radio, Munich.
Marshall Taylor
Senior Lecturer
Saxophone
BME, Wheaton College
MM, Northwestern University
Additional studies at Conservatoire National
Superieur de Musique, Paris; and Universite de
Paris on a Fulbright Fellowship
Studied with Theodore Varges, Russell H. Platz,
Fred Hempke, Marcel Mule, and Henry Schumann.
Has performed in recital throughout the USA and
Europe. Former member of U.S. Military Academy
Band; formerly on faculty of Ithaca College. Has
taught at Temple University.
Craig Thomas
Adjunct Assistant Professor
Jazz Contrabass, Electric Bass
BM, Philadelphia Musical Academy
Studied with Robert Cerulli, Roger Scott, Eddie
Gomez, Rufus Reid, Dennis Sandole (composition).
Accompanist to many artists including Buddy Rich,
Mel Lewis, and "Philly" Joe Jones, Freddie
Hubbard, Lee Koenitz, Ted Curson, Bobby Watson,
Anita O'Day, Mose Allison and Billy Eckstine. Has
recorded on Acoustical Concepts, Inner City and
Optimism labels with "Abstract Truth," "52nd
Street," and Michael Pedicin, Jr. Studio musician
for Music Minus One, Inc. Contributing bassist for
"Standing in the Shadows of Motown, the Life
and Music of James Jamerson."
Pat Thomas
Assistant Professor
Instructor
Modern Dance Technique
Trained with Martha Graham. Taught and per-
formed with Alvin Ailey; performed with Yuriko
Dance Company and the Swedish Modern Dance
Company. Has performed and taught in Japan,
Hong Kong, Malaysia; taught in Spain and in
Israel where she performed with the Bat Sheva
Dance Company. Visited China in 1987 as dance
consultant.
Adeline Tomasone
Adjunct Associate Professor
Flute
BM, Curtis Institute of Music
Studied with Murray Panitz, Kenton F. Terry, and
Julius Baker. Solo flutist of Opera Company of
Philadelphia, Davidsbund Chamber Players, The
Performance Organization, Bach Chamber Consort,
and Mozart Society of Philadelphia; member of
Fairmount Woodwind Quintet with Young Audi-
ences, Inc. Regular substitute with the Philadel-
phia Orchestra. Theater and studio work in Phila-
delphia and New York. Solo appearances with the
Philadelphia Orchestra, Lansdowne Philharmonic,
and Bricktown Philharmonic. Conducts clinics and
workshops throughout region. Former member of
Philly Pops and Delaware Symphony.
Dan Tomasone
Lecturer
Trombone
Alexandra Toussaint
Assistant Professor
Acting Studio/Audition Techniques/Rehearsal and
Performance
BS, Temple University
MA, California State University
Extensive experience in acting, directing, and
teaching theater in California and Philadelphia.
Performances include the roles of Simmone in
Marat/Sade at the Wilma Theatre; Holga in After
the Fall at the Walnut Street Theatre; as Bobbie in
Bern Here Tonight at the Theatre Center Philadel-
phia, and as the title role in Sister Mary Ignatius
Explains It All for Youal the Blushing Zebra.
Joanne Tulli
Adjunct Associate Professor
Modern Dance, Labanotation, Effort/Shape
BA,SUNYatBrockport,
MFA, Philadelphia College of the Performing Arts
Performed with Garth Fagan's Bucket Dance
Theatre, Ann Vachon's Dance Conduit, Philadel-
phia Dance Company, Great Chazy and the Ballet
des Jeunes of Philadelphia. Reconstructed Doris
Humphrey's Life of the Bee and Air for the G String
for Consort, the Dance Company of PCPA. Has
performed Sydney, Australia, Buenos Aires, Paris,
and Rio de Janeiro.
Mark Valenti
Senior Lecturer
Jazz Piano
BM, Philadelphia College of the Performing Arts
Studied with Benjamin Whitten. Appears in area
clubs. Recipient of the 1 982 PCPA Jazz Award.
Performed at the White House for Mrs. Bush.
Connie Vandarakis
Senior Lecturer
Anatomy, Kinesiology
BS, Exercise Physiology, Northern Illinois
University
M.ED., Exercise Physiology
Candidate Ed.D., Temple University, Sports
Medicine and Dance.
Has researched areas of sports medicine,
curriculum, and dance. Performed with indepen-
dent artists in Philadelphia and Chicago.
Paul Wagar
Adjunct Associate Professor
Speech for Actors/Acting for Dancers and Opera
Singers
Studied at the University of Toronto and the Weber-
Douglas Academy of Dramatic Art, London. Private
study with Vivian Matalon. Coartistic director of the
Philadelphia Area Repertory Theatre. Former company
member of the Royal Shakespeare Company and the
New Shakespeare Company, London; and the Strat-
ford Festival, Canada. Founding member of the Ameri-
can Repertory Theatre, London. Past artistic director of
the Toronto Repertory Theatre.
Vivian Wagner
Assistant Professor
BM, Curtis Institute of Music
Studied with Richard Bonelli and Euphemia Giannini
Gregory; coached with Leo Rosenek, Vladimir Sokoloff,
and Martial Singher. Extensive solo performances in
USA and abroad. Has been master-teacher of operatic
principals of opera companies in Germany. Recipient
of the Whitney Award for Excellence of the Boston
Conservatory of Music.
133
Dennis Wasco
Senior Lecturer
Jazz Trumpet
BM, Philadelphia College of the Performing Arts
Studied trumpet with Vincent Penzarella, Seymour
Rosenfeld, Roger Blackburn, Carmine Caruso and
Donald S. Reinhardt; studied jazz improvisation
with Al Stouffer, Denis Sandole, Michael Pedicin,
Jr. and Vincent Trombetta. He toured nationally
with the orchestras of Henry Mancini, Thad Jones-
Mel Lewis, Burt Bacharach, and Si Zentnor. Has
performed in numerous showroom orchestras,
theater orchestras, and musicals. Recordings in-
clude I Am In Love Again. Patti Labelle; All Things
in Time, Lou Rawls; 1982, The Stylistics; My Favor-
ite Person, The Ojays; Life Is A Song Worth Sing-
ing, Teddy Pendegrast; City Song, Michael Pedicin,
Jr., Heavy Vibes, Vince Montana, and the
soundtrack for the Prime Time television show.
Barbara Washington-Grant
Adjunct Associate Professor
Voice for Actors
BS, MS, Juilliard School
Performances with the New York Philharmonic
under Bernstein, the San Francisco Orchestra un-
der Ozawa, and the Symphony of the New World.
Recordings for the Strada East label. Formerly
soprano staff soloist at New York's Riverside
Church; featured staff soloist for Radio City Music
Hall. Has taught at Delaware State College.
Kariamu Welsh-Asante
Adjunct Assistant Professor
African Dance
BA, MA, SUNY Buffalo
DA, NYU
Author of African Culture: Rhythms of Unity, two
volumes of poetry, numerous articles on the African
aesthetic and various short stories. Senior Fulbright
Scholar at the University of Zimbabwe. Presently,
Director of the Institute of African Dance, Research
and Performance and Temple University.
David Wetherill
Adjunct Professor
French Horn
Graduate, Curtis Institute of Music
Studied with Mason Jones. Co-principal horn of
the Philadelphia Orchestra. Frequent soloist with
area symphonies, and active clinician and per-
former in horn workshops throughout the USA.
Guest artist at festivals, including Marlboro, Saco
River, and Les Arcs in France. Former principal
horn, Teatro alia Scala in Milan; former solo horn,
Ensemble Intercontemporain in Paris, directed by
Pierre Boulez.
Christopher Whelan
Senior Lecturer
Make-up
BA, Allentown College
MFA, Pennsylvania State University
Extensive experience in make-up for theater, film,
and television; credits include design and execu-
tion of make-up for KYW's "Evening Magazine,"
taking the show's host, Ray Murray, through differ-
ent stages of aging, from age thirty to eighty. Has
acted in over sixty stage productions, twelve films,
and numerous television shows, including the
mini-series "George Washington." Scenic design
credits include works for Glassboro State College
Opera Company and the Curtis Institute Opera
Department; and world premiere of the opera
Rappaccini's Daughter by Sam Dennison and the
musical Philly's Best.
Lisa Denise White
Senior Lecturer
Jazz Dance
BFA, Philadelphia College of Performing Arts
Dance studies with the Dance Theatre of Harlem,
Philadelphia Dance School, and the Faye Snow
Dance Studio of Philadelphia. Has performed at
the New Freedom Theatre of Philadelphia. Has
taught the Graham technique of Modern dance at
the New Freedom Theatre.
Benjamin Whitten
Adjunct Associate Professor
Piano
BM, MM, Peabody Conservatory of Music
Studied with Austin Conradi, Leon Fleisher, and
Emerson Meyers. Has appeared with orchestras
throughout the USA, 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
Wilmington Music School and West Chester
University. Named Teacher of the Year by the
Pennsylvania Music Teachers Association in 1970
and 1 979. Serves on the executive board of the
Music Teachers National Association and National
Scholarship Foundation.
H. German Wilson
Adjunct Assistant Professor
Acting Studio/Rehearsal and Performance
Actor, singer, dancer, teacher; was the first Black
Director for the Berkshire Theater Festival, the first
director for the Eakins Workshop (an outreach
program of the Philadelphia Museum of Art),
drama teacher at the Yale University International
High School. Mr. Wilson has performed locally, as
well as in New York. New Jersey, Tennessee, and
toured with the Fisk Jubilee Singers throughout
Europe. In 1986, Mr. Wilson directed to critical
acclaim Do Lord Remember Me at the Black Play
Festival. He was Artistic Director for the Kopia
Theater and presently teaches a drama workshop
at Community College of Philadelphia. He recently
co-founded Venture Theater with Black to Play or
Othello's Occupation as its first production, featur-
ing Mr. Wilson as Ira Aldridge and directed by
Walter Dallas.
William P. Zaccagni
Adjunct Associate Professor
Jazz Saxophone/Jazz Ensemble
Studied at Temple University with Ron Reuben and
privately with vince Trombetta and Harold Karabell.
Active performer and arranger in the Philadelphia and
Atlantic City areas. Recordings on CBS, Atlantic, and
Philly International labels. Has toured with Burt
Bacharach and Anthony Newley.
134
I UNIVERSITY
OF THE ARTS
DIVISION OF HUMANITIES
n n
Division of Humanities
Robert Ackerman
Director
215-875-1077
The Humanities Division at The University of the
Arts is responsible for approximately one-third of
each student's requirement for graduation, reflect-
ing the University's conviction that the Humanities
are essential for the education of artists, design-
ers, and performers. The aims of the division are
to develop students' powers of critical thinking
and their understanding of the history and criti-
cism of the creative arts, to introduce them to
philosophic and scientific modes of thought, and
to the study of human cultures and societies-in
sum, to refine students' perceptions of both their
inner world and the outer world and to help make
them both intellectually responsible and creative.
The Humanities Division represents a common
ground in the curriculum where students from both
colleges meet. It thus offers a unique forum for
artistic and academic exchanges.
Faculty
Robert Ackerman, Director
Stephen Berg, Professor
Yongming Cai, Senior Lecturer
Kent Christensen, Associate Professor
Cathryn Coate, Senior Lecturer
Robert Crites, Senior Lecturer
Lawrence Curry, Associate Professor
Nancy Davenport, Associate Professor
Francis Devlin, Senior Lecturer
John DeWitt, Associate Professor
Mary Ellen Didier, Senior Lecturer
Richard Farnum, Assistant Professor
Katherine Finney, Senior Lecturer
Anne Marie Flanagan, Senior Lecturer
Ronald Hays, Senior Lecturer
Nancy Heller, Assistant Professor
Dorine S. Houston, Senior Lecturer
Linnet Jones, Senior Lecturer
Anne Karmatz, Adjunct Associate Professor
Leonard Kress, Senior Lecturer
Sharon Lefevre, Senior Lecturer
Sherry Lyons, Adjunct Professor
Mary Martin, Adjunct Assistant Professor
Martin Novelli, Adjunct Professor
Camille Paglia, Associate Professor
Diane Perkins, Adjunct Assistant Professor
Ruth Perlmutter, Adjunct Professor
Gabriela Roepke, Senior Lecturer
Ward Stanley, Professor
Patricia Stewart, Adjunct Assistant Professor
David Taf ler, Associate Professor
Anita Tiambeng, Senior Lecturer
Fabian Ulitsky, Associate Professor
Susan Viguers, Associate Professor
Joanne Walsh, Senior Lecturer
Stanley Ward, Adjunct Assistant Professor
William Webster, Associate Professor
Carla Weinberg, Adjunct Associate Professor
Burton Weiss, Adjunct Professor
Lily Yeh, Professor
Toby Silverman Zinman, Professor
Humanities Requirements
Please note that humanities requirements differ
between the two colleges and that the curriculum is
now being reviewed. Students are expected to meet
with their advisors regularly and are responsible for
knowing and fulfilling their humanities requirements.
Currently, all students at The University of the
Arts must take Language and Expression and
Introduction to Modernism.
Freshmen at PCAD take two semesters of
English composition (HU 110A, HU HOB); fresh-
men at PCPA take one semester of English compo-
sition (HU 1 10A). Based on transcripts, SAT score,
TSWE score on the verbal text of TOEFL (Test of
English as a Foreign Language), and initial essay
assignments, students may be placed in HU 008 or
HU 009. These courses do not satisfy the Lang-
uage and Expression requirements. Students will
be given Language and Expression credit for HU
109B, an English composition course offered in the
second semester for all HU 009 students.
Freshmen from both colleges take two semes-
ters of Introduction to Modernism (HU 103A & B).
Students in HU 008 (English as a Foreign Lang-
uage) and HU 009 begin the Introduction to
Modernism sequence in the second semester of
their program at the University.
Studies in the Humanities are divided into four
categories: Language and Literature, History and
Social Studies, Art History, and Philosophy and
Science. Students must satisfy the credit total for
each college as indicated below. In addition to the
required and elected humanities courses, students
will also be taking discipline history courses in
their majors.
HU110A&B
Language and Expression (PCAD) 6 credits
HU110A
Language and Expression (PCPA) 3 credits
HU103A&B
Intro, to Modernism (PCAD, PCPA) 6 credits
HU151
Language of Art History (PCAD) 3 credits
Art History (PCAD) 6 credits
History and Social Studies (PCAD) 6 credits
Language and Literature (PCAD) 6 credits
Philosophy and Science (PCAD) 6 credits
Humanities Electives (PCAD) 6 credits
Sophomore level courses (PCPA) 6 credits
Junior level courses (PCPA) 6 credits
Senior level courses (PCPA) 9 credits
Electives
Approximately one-third of the credit hours
required in the Humanities Division for all students
are electives, to be chosen from among the offer-
ings in any of the categories. This furthers the op-
portunity for visual and performing arts students to
study common interests, fostering the exchange of
ideas for collaboration and growth. There is also
an independent study program to permit upper-
class students to work with a faculty member on a
special project.
Normal Progress
To make normal progress toward graduation,
PCAD students should register for 6 Humanities
credits per semester; PCPA students should
register for 3 Humanities credits, excepting spring
semester of freshman year and one semester of
senior year when 6 credits are required. Students
may register for more credits provided they have
received permission from their department chair or
school director.
Transfer Requirements
The University of the Arts will accept transfer
credit for Humanities courses completed else-
where, after review, provided that the course
work completed is determined to be equivalent
to University of the Arts offerings, is from an
accredited college or university, and a grade of
"C" or better is earned. Students are required
to present official transcripts of courses taken
at other institutions as well as course bulletins
in order for evaluation of transfer credits to
take place. Contact the Office of the Registrar
for further information.
Once they have matriculated, students in PCAD
may transfer up to 15 credits in the Humanities;
students in PCPA may transfer up to 9 credits.
Students who wish to take Humanities credits at
other colleges must secure prior written approval
from the Director of the Division of Humanities.
Such courses may not duplicate courses already
taken for credit at The University of the Arts.
137
Humanities
Course Descriptions
HU008
Language and Expression
3 credits/semester: fall or spring
Note: Credits do not count toward graduation
This course prepares students for whom
English is not a native language to produce the
kinds of writing expected of them on the col-
lege level, and to improve their reading, study,
and test-taking skills. The concepts of para-
graph unity, coherence, and outlining are
introduced through the chief methods of com-
position development. Further, the course
provides a review of those principles of English
grammar that present the greatest difficulty to
non-native speakers. Standard English punctu-
ation practice is also stressed. Five essays and
a series of shorter written assignments are
required. Attendance is mandatory. Grades in
Hll 008 will be assigned on a pass/no grade
basis. A student who successfully completes
the course enters HU IIOA.
HU009&HU109B
Language and Expression
3 credits/semester: fall and spring
Note: HU 009 credits do not count toward
graduation; HU 109B credits count toward gradu-
ation. These courses are designed to help stu-
dents improve reading, writing, and study skills.
The emphasis is on the technical aspects of
writing, specifically grammar, punctuation,
spelling, and paragraph construction along with
reading comprehension, vocabulary, sentence
structure, logical relationships, and usage.
Students may work on particular problem areas in
the Learning Resource Center. Grades in HU 009
will be assigned on a pass/no grade basis.
Students completing HU 009 enter HU 109B, credit
for which counts toward graduation. PCAD
students successfully completing HU 109B will
enter HU 1 10B in the following semester.
HU110A&B
Language and Expression
3 credits/semester: fall and spring
These courses offer concentrated training and
practice in expository and argumentative writing.
HU 1 10A (for all PCAD and PCPA students)
concentrates on critical thinking and writing about
literature. HU 1 10B (for PCAD students) is an
introduction to literature combined with further
work in composition. A research paper completes
the spring semester's work. Students who are
required to register for these courses must satis-
factorily complete HU 1 10A or HU 109B before
registering for HU 11 0B. All PCAD students must
satisfactorily complete HU 1 1 0B before gradu-
ation. HU 1 10B must be taken in the semester
following completion of HU 1 10A.
HU101&102
Art and Civilization of the Western World
3 credits/semester
This course sequence offers a historical survey of
western culture, organized as a sequence of
discrete "Golden Ages." For each "Golden Age,"
e.g., Classical Greece, Renaissance Florence,
culture is presented as a coherent whole, empha-
sizing interrelationships among visual art, archi-
tecture, music, drama, literature, science, philo-
sophy, social thought, and religion. Students are
encouraged to see art in the context of the culture
in which it was produced, as an expression of the
distinctive "world view" of the age. Materials
include literary and philosophical texts, slides of
visual arts, and recorded music.
HU103A&B
Introduction to Modernism
3 credits/semester
A course with an explicitly multi-arts viewpoint
that explores the historical and cultural inher-
itance of the West over the last two centuries.
The first semester concentrates on the period
1776-1914 and examines the complex movements
known as romanticism and realism; the second
semester covers the next half century of high
modernism and its consequences.
Required of all freshmen.
Language and Literature
HU130A&B
French I
3 credits
Students study the basic elements of French
grammar through conversation and drills derived
from readings of easy modern prose and from a
cultural reader.
HU131A&B
German I
3 credits
HU132A&B
Italian I
3 credits
This course covers conversation about everyday
Italian life and culture and basic grammar through
reading of Italian prose.
HU151
Language of Art History
3 credits
This course provides an introduction to the
language of art history, emphasizing concepts of
style, iconography, and historical context. A basic
vocabulary is developed to permit students to
describe and analyze works of art. Required of all
students in PCAD.
HU201
Lyric Poetry
3 credits
A survey of lyric poetry from medieval times to the
twentieth century.
HU210A&B
American Writers
3 credits
The first semester examines the major ideas and
trends in nineteenth-century American literature,
including works by Poe, Hawthorne, Melville,
Dickinson, and James. The second semester
focuses on twentieth-century American writers
and includes works by Wharton, Lewis,
Hemingway, Fitzgerald, and Steinbeck.
HU212
Introduction to Mythology
3 credits
This course begins by defining mythmaking
(a creative process essential to all societies, past
and present) and by analyzing the different
approaches to myth. It moves on to examine
creation myths from around the world and, finally,
a selection of myths from three different cultures:
Greek, Norse, and Native American.
HU216
The Short Story
3 credits
A study of the short story from Poe to the present
Samplings from the British, the American, and the
European, with particular attention to the major
authors who reinvented the genre. At the end of the
semester, students will look at developments in
contemporary fiction, the antistory, the new wave, the
surreal, the minimal, the funny, the mythic.
HU218
Superheroes: From Beowulf to Spiderman
3 credits
This course examines the most important heroes
of popular culture in the Middle Ages — Beowulf,
Roland, Siegfried, and King Arthur. What do these
heroes and the epics in which they appear reveal
about their culture? How do they compare to
modern popular superheroes?
HU219
Children's Literature
3 credits
This course investigates the anonymous oral
traditions of world literature, which continue to
nurture the imagination and sense of identity of
children today, and the modern tradition of child-
ren's literature. The course focuses on children's
literature as an introduction to the principles and
forms of art and to the rule of the imagination in
child development.
HU230A&B
French II
3 credits
Open to students who have completed French I
or have had two or more years of high school
French. Students read modern French short stories
and a novel, La Princesse de Cleves, by the
eighteenth-century writer Mme. de la Fayette.
138
HU232A&B
Italian II
3 credits
Open to students who have completed Italian I or
have had two or more years of high school Italian.
HU310
The Stories of Chekhov
3 credits
Anton Chekhov is among the world's greatest
writer of short stories. His presentation of human
relationships is profoundly humane and revealing.
The readings will include most of Chekhov's best
stories, excerpts from his letters, some critical
interpretations, and supplementary material on
family life. We will consider the literary merits of
his stories and explore what goes on between the
people in them.
HU311
Greek Drama
3 credits
Plays by Aeschylus, Sophocles, Euripides, and
Aristophanes are examined to understand their
own integrity as works of art and to develop an
appreciation of the extraordinary accomplishment
of Greek drama.
HU312
British and American Modernist Literature
3 credits
The poet Ezra Pound declared to the writers of
his time that they should "make it new." This
course will examine the success of modernist
literary innovation by reading selected works by
such writers as Joyce, Eliot, Lawrence, Woolf,
Hemingway, Stein, and W.C. Williams. Attention
will also be given to the broader social and cul-
tural influences on modernist thought.
HU313
Poetry Writing Workshop: Composition and
Theory
3 credits
Students write poems that are brought into class,
discussed, criticized, and put through some of the
stages of revision that would improve the poems
and help the students to bring them to a further
degree of excellence. Principles governing the de-
cision to change a poem in various ways, the
study of poems by American and English poets,
the reading of some criticism, concentration on the
nature of and on some of the basic principles of
craft. Theory involves, primarily, sound, content,
meaning, and purpose of student poems and of
poetry in general. The poet's sense of an audience
also figures in the discussion.
HU314
Literature and Film: Images of Vietnam
1950-1980
3 credits
Using a combination of films (documentary and
entertainment) and readings (fiction, memoirs,
history), this course explores the involvement of
the United States in Vietnam from the early 1950's
tothelate 1970's.
HU315A
Modern Drama
3 credits
A study of the modern theater from the end of
the nineteenth century to the present. Students
will read some of the world's most famous play-
wrights: Ibsen, Strindberg, Chekhov, Shaw,
Pirandello, Lorca, Brecht, and Beckett. Three
theater trips.
HU315B
Contemporary Drama
3 credits
A study of the experimental developments in
today's theater, both on Broadway and off, from
Waiting for Godot Xo the present moment.
Students will read some of the most famous
playwrights of our time: Genet, Beckett, lonesco,
Albee, Pinter, and Shepard, as well as some not so
famous. Theater trips.
HU316
American Playwrights
3 credits
A study of the American theater in the past fifty
years, looking at the works of such authors as
O'Neill, Miller, Williams, Albee, and Shepard.
Theater trips as well as showings of filmed plays.
HU317A
Romanticism
3 credits
A study of the Romantic movement in England,
including the major poets (Blake, Wordsworth,
Coleridge, Byron, Shelley, and Keats), several novelists
(including Bronte's Wuthering Heights and Mary
Shelley's Frankenstein), and samplings from the letters
and essays. Some of the predominant Romantic
themes — the artist as outcast, revolution, man's
relation to nature — will be addressed.
HU320A
Western Literary Masterpieces I: Ancient
through Renaissance
3 credits
A selection of the greatest literary works of
ancient Greece through the Renaissance. The
course focuses on the perspectives and values
those works reveal: what questions the different
cultures asked; how they approached and defined
human potential, fate, reality; and, finally, how
they defined art and the artist's role — enter-
tainer, recorder, shaper, conscience, or hero.
HU320B
Western Literary Masterpieces II:
Neoclassic, Romantic, and Modern
3 credits
A continuation of Humanities 320A, focusing on
the same issues but from the seventeenth through
the twentieth centuries. Readings include works
by such writers as Moliere, Voltaire, Austen,
Goethe, and others, and end with two twentieth-
century writers, D. H. Lawrence and James Joyce,
who represent two significantly different modern
traditions.
HU411A
Renaissance Literature Exclusive of
Shakespeare
3 credits
Works by Boccaccio, Machiavelli, Erasmus,
Rabelais, Cervantes, Jonson, Calderon, and others
are read to explore the remarkable contribution
of these writers and to develop an understanding
and appreciation of the Renaissance.
HU411B
Shakespeare
3 credits
This course examines the dramatic works of the
supreme writer of the English Renaissance —
Shakespeare. A selection of his comedies,
histories, tragedies, and romances are read. The
course focuses on the plays not only as literary
accomplishments but also as theatrical ones —
performances existing in three-dimensional space.
Thus the course is concerned both with the
parameters of the original Renaissance stage and
with modern translations and transformations
of the plays. Required of all students in the School
of Theater Arts.
HU412
American Modernism
3 credits
In reading and discussing key works of three
American novelists- Fitzgerald, Hemingway, and
Faulkner-the student considers to what extent and
how they reflect such modernist concerns as style,
language, narrative point of view, myth, psych-
ology, and history. In addition, students will lead
discussions of selected short fiction by
Hemingway and Faulkner supported by research
into criticism conducted at a major research
library, and will finish the course with an essay on
one additional major work by the writers studied.
HU414A
Contemporary Fiction
3 credits
A study of the contemporary novel as represented by
an international selection of authors from North and
South America, Eastern and Western Europe.
Students will read some of the newest, best, and most
exciting fiction written in recent years; these novels
are often experimental, often difficult, never dull. This
is the course for people who like to read.
HU414B
Studies in the Novel: The Big, Fat Famous
Novel
3 credits
We will read three of the world's best and most
important novels: Tolstoy's War and Peace.
Melville's Moby Dick, and Joyce's Ulysses. Each
provides great pleasure to the serious reader and
much material for intense discussion. Each novel
will have the equivalent of its own little course,
about one month long and requiring one paper.
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HU415A&B
Contemporary Poetry
3 credits
This course consists of the reading and
interpretation of major poets — Eliot, Stevens,
Williams, Whitman, Bishop, for example — and
some important contemporary poets such as
Kinnell, Levertov, and Wright. Foreign poets in
translation are also part of the course: Milosz,
Pavese, Hikmet, Akhmatova, to name four. Prose
by most of the poets concerning poetry is included
as an important part of understanding and inter-
preting the readings. Several of the poets have
written important criticism. Analysis of each poet's
style and why the poet has developed it form part
of the course. Aesthetic theory and the function of
poetry as a social force will also be considered.
HU417
Lyric
3 credits
A study of how contemporary song lyrics
developed from the tradition of lyric poetry and
folk ballads. Line-by-line analysis of famous lyric
poems from literary history. Popular songs of the
past fifty years are used in the discussion of the
problems and challenges of putting words to
music, with special attention paid to Bob Dylan.
Other artists include Billie Holiday, Simon and
Garfunkel, the Mamas and the Papas, the Rolling
Stones, Led Zeppelin, and Stevie Wonder. There is
a substantial writing requirement: students may
elect to study poetry, librettos, or song lyrics or to
write original song lyrics of their own.
HU418
Literature and Opera: 20th Century
3 credits
A study of twentieth-century opera's treatment of
major literature.
HU419
James Joyce
3 credits
A seminar on the works of James Joyce (1 882-
1 941 ), a key figure in literary modernism, and
generally on the subject of modernism in all the
arts. Close attention will be paid to Dublinersand
A Portrait of the Artist as a Young Man, with brief
consideration given to Joyce's play Exiles and to
his poetry. Most of the seminar will be devoted to
a study of Ulysses.
HU420
On the Nature of Poetry and Art
3 credits
An exploratory course on the nature of poetry
and art in which a variety of texts will be used —
literature, philosophy, art, letters, criticism. We
will contend with some major figures, including
Wallace Stevens, Rilke, Eliot, Giacometti, Monet,
and van Gogh. Contemporary artists such as
Sidney Goodman, Warren Rohrer, Ray Metzger,
and Tom Chimes will be discussed; some may
themselves join in our discussion.
Ait History
HU240
Ancient Art
3 credits
An investigation of the art and architecture of the
ancient world, concentrating on the classical art of
Greece and Rome, but also considering the arts of
Mesopotamia and Egypt.
HU241
Medieval Art
3 credits
The sculpture, architecture, painting, and decor-
ative arts of Europe from the early Christian period
in the third century A.D. to the proto-Renaissance
in Italy in the fourteenth century, observing the
emergence and flowering of a northern European
mystical Christian vision separate from the
monumental classical vision of Greece and Rome.
HU242A
Northern Renaissance Art
3 credits
The painting of the late Gothic illuminators
and the fourteenth-century German and Flemish
Mannerists such as Cranach, Brueghel, and Bosch.
Students investigate the complex symbolism of
northern iconography, the new techniques de-
veloped, and the historical background of a style
often called Northern Realism.
HU242B
Italian Renaissance Art
3 credits
The major figures in the artistic centers of Italy
from Giotto in the fourteenth century to the early
work of Michelangelo at the end of the fifteenth
century. The architects, sculptors, and painters of
Florence are the focus, but artists in Venice,
Padua, and Rome are discussed as well.
HU243
Baroque Art
3 credits
The works of the major European artists of the
seventeenth century: Bernini, Rubens, Velasquez,
Rembrandt, Poussin, and Vermeer. Through the
genres of landscape, still life, and portraiture, all
mature by the seventeenth century, other artists
such as Hobbema, Ruisdael, Zurbaran, and Hals
are also studied.
HU244
Mythology in Oriental Art
3 credits
An introduction to the symbolism of mythology in
Oriental art. The course investigates myths in the
major Oriental cultures, their basic patterns,
functions, and meanings.
HU245A&B
History of Western Architecture
3 credits
In the first semester, this course surveys the de-
velopment of Western architecture from the
ancient world of the Greeks and the Romans
through the Renaissance and from the Renais-
sance to the post-modern architecture of today.
In the second semester, emphasis is on the
twentieth century. This course should be taken in
sequence, as the second semester is dependent
upon knowledge of the first semester's work.
HU246
Nineteenth-Century Painting and Sculpture:
1776-1900
3 credits
Painting and sculpture made in the modern age
in the West are examined in an international
context. Emphasis is on the works of the major
French, English, German, and American artists.
The variety of subjects these artists explored and
the new styles they developed as they responded
to the world of the nineteenth century will be
among the topics discussed.
HU247
Modern Art
3 credits
At the beginning of the twentieth century, artists
responded to new technological forces and the
pressures of mass culture in styles such as cubism,
constructivism, and surrealism — styles that are still
being explored by ourcontem-poraries. The course
surveys the period 1880-1980, emphasizing the
continuity of the modem artist's situation and role.
HU248A
Film History
3 credits
A survey of the history of film. Films to be shown
will be selected from the following categories:
early film forms (Lumiere, Griffith, and De Mille);
Dada and Surrealist influences (Leger, Bunuel,
Marx Brothers, and Resnais); the impact of
Constructivism and the Machine Aesthetic
(Eisenstein, Vertov, and Chaplin); German
Expressionists' influence on Hollywood (Ford,
Welles, Wyler, and Hitchcock); modern European
and American films (Bergman, Godard, Kubrick,
and Altman); and avant-garde art influences on
new American cinema (Deren and Brakhage).
HU248B
Issues in National Cinemas: Political and
Critical
3 credits
The course selects films from modern European
and emerging national cultures that demonstrate
both their interaction with postmodern politics,
theory and culture, and the development of an
alternative discourse to Hollywood commercial
filmmaking. Films are selected from the following:
1920s Soviet cinema; Italian Neo-Realism;
anthropological documentaries; French New
Wave; postwar/holocaustal cinema in Europe;
other national cinemas (Spain, Hungary, Japan,
etc.); colonialist struggles in films from India,
Egypt, Argentina, Chile, Brazil, Senegal, Cuba;
and new women filmmakers.
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HU2S1A&B
History of Design
3 credits
This course sequence investigates the develop-
ment of design in the nineteenth century (first
semester) and its growth and development in the
twentieth century (second semester). All areas of
design — architecture, fine art, applied and indus-
trial art, the crafts, and graphic art — will be
covered. This course should be taken in sequence,
as the second semester is dependent upon
knowledge of the first semester's work.
HU2S6A&B
History of Nineteenth- and Twentieth-
Century Photography
3 credits
Objectives: to provide an introduction to the sig-
nificant photographers and their work in the
history of the medium, to describe technical de-
velopments and their impact, to discuss the major
visual and aesthetic trends in the development of
photography and their relationship to art in gen-
eral, and to describe the larger social context in
which photography has developed.
HU342
Art of China
3 credits
Painting, sculpture, architecture, and decorative
arts from the Neolithic period (sixteenth century
B.C.) to the Ching dynasty (eighteenth century
A.D.). Special em-phasis is placed upon Shang
bronze ware, H'an and T'ang sculpture, and Sung
and Ching pottery. The various art styles are
related to their historical, religious, and social
background, with particular emphasis on the
impact of Confucianism, Taoism, and Buddhism
on Chinese art and architecture. From time to time,
Eastern and Western cultures will be compared
to understand better the similarities and differ-
ences between the two.
HU343
Art of Venice
3 credits
An emphasis on light an apparent spontaneity of
organization, and a delight in richness and sensuality
guided the development of painting in Venice from
Bellini through Tiepolo. The course presents Venetian
painting from the mid-1 5th to the later 1 8th century,
pausing to focus especially on the art of Titian,
Veronese, and Tintoretto, and themes peculiar to
Venetian art the female figure poesia; Venetian light
and landscape; portraiture; courtiers, humanists, and
beauties; the confraternity narratives; and the fresco
decoration of the Venetian villas.
HU345
Modern Architecture
3 credits
The course investigates modem architecture, its
theoretical premises and the social context that gener-
ated it Students will also inquire into modem archi-
tecture's legacy; post-modem architecture.
HU347
African, Pre-Columbian, and Native
American Art
3 credits
Artistic, religious.sociological, and geographic
aspects of societies in sub-Saharan Africa will
be studied in order to establish continuity as well
as distinction between their art forms. Black
American folk art, an extension and transform-
ation of African art, will also be analyzed. The
several aspects of pre-Columbian and Native
American art that emphasize stylistic distinctions
and trends will be studied chronologically.
HU348
American Art from the Colonial Period to
World War II
3 credits
A survey of American art, architecture, and
design, emphasizing the nineteenth and twentieth
centuries. The material covered is divided into a
series of sections or themes and is considered in
relation to tradition. Each section or theme is
studied through the work of the major artists who
best represent it.
HU351
The History and Aesthetics of Electronic
Cinema
3 credits
The course traces the history of video as an art
form from the early 1 960s to the present. Basic
film concepts are reviewed in their application to
emerging new electronic formats. Video art is
examined in all of its aspects as computer art,
installation, and sculpture. The survey will explore
the variety of styles, genres and forms which
constitute the distinctive achievement of Amer-
ican video art. The videotapes and documentation
of artists' projects will be examined and placed
within the social and cultural context in which
they were produced. The market forces and the
political/psychological systems shaping the
audience and creating an increasingly problematic
role for artists will be an important consideration.
HU353A
Impressionism
3 credits
The nineteenth-century style known as Impres-
sionism is often considered to be the foundation of
European modern art. The course chronologically
investigates Impressionism in its historical and
cultural context. The technical and conceptual
philosophies that underlie its development will
also be considered.
HU353B
Post-Impressionism
3 credits
Post-Impressionism will be chronologically inves-
tigated with respect to its historical, cultural, and
aesthetic context. The technical and philosophical
concepts that underlie Post-Impressionism's
development will also be explored. Although it is
not a prerequisite, the student would do well to
take HU 353A first.
HU355
Dada and Surrealism
3 credits
The history of the post-World War I antirational
movements Dada and Surrealism. Since these
were literary and political as well as artistic
movements, attention is given to texts by such
authors as Artaud, Breton, Freud, Jarry, Rimbaud,
and Tzara, as well as to works of art.
HU358
Romanticism
3 credits
Painting, sculpture, and architecture from the late
eighteenth to the mid-nineteenth centuries in France,
England, Germany, Spain, and the United States. The
concepts of Romanticism are discussed as they apply
to this art and to the contemporary environment of
social and political revolution.
HU448
American Art since 1945
3 credits
In 1945, World War II ended and the focus of
modern art shifted from Paris to New York City.
The course begins with Abstract Expressionism;
studies other major American styles, such as pop
art and minimalism; and concludes with post-
modernist development such as performance
and decoration by artists.
HU450
Art of India
3 credits
Painting, sculpture, and architecture from the
Indus Valley civilization of the second millennium
B.C. through the different periods of Buddhist,
Hindu, and Islamic dominance to the Rajput
painting of the eighteenth century A.D. The
different art styles are related to their historical,
religious, and social background.
HU452
Topics in Design
3 credits
A seminar in the history of design. Each semester
the course is taught, a different aspect of design
history is studied. Individual designers under con-
sideration have been Wright, Le Corbusier, and
Aalto; other topics have been particular design
histories: crafts history, graphic design history,
industrial design history; and particular styles of
design: the Arts and Crafts movement Art
Nouveau, Bauhaus, de Stijl and Constructivism,
Art Deco, and Post-Modemism.
141
HU453
Ait of Japan
3 credits
Painting, sculpture, architecture, and minor arts of
Japan from the Neolithic period to the eighteenth
century A.D. The emergence and the development
of a unique national style from an art world domin-
ated by Chinese influence. The development of
painting from the medieval Yamoto-e narrative
scrolls through the fifteenth century. The evolution
of various architectural styles from the great
Buddhist temples of the seventh century to the
majestic castles of the seventeenth century. In
sculpture and pottery, the technical improvements
and the change of aesthetic values from the
Jomon and Yayoi phases to the porcelains of the
seventeenth century are analyzed. A brief histor-
ical and social background of Japan accompanies
the study of the various art styles. Special atten-
tion is given to the influence of Zen Buddhism on
Japanese culture.
HU456
Major Artists
3 credits
The course concentrates on a single artist and
his work. Among the artists who have come under
this intense investigation have been Donatello,
Michelangelo, Rembrandt, and Picasso. Others
may be chosen by the faculty for future classes.
The course has been designed to give students an
in-depth knowledge of one artist's life and art.
HU457
Cubism and Twentieth-Century Art
3 credits
Cubism is one of the most important, if not the most
important, of the foundations of twentieth-century art.
This course surveys the development of the style from
its beginnings in the work of Picasso and Braque to
the dissemination of the style in the later twentieth
century. Cubism's impact on abstract art, sculpture,
architecture, design, and, to a certain extent, literature
is explored.
History and Social Studies
HU162
Individual and Society
3 credits
An introduction to the sociological perspective
that views the "social" as a distinctive aspect of
the human condition, through an examination of
patterns of human interaction in modern societies.
The course seeks to develop a sensitivity to the
ways in which group norms and roles shape indi-
vidual behavior and thought as well as an under-
standing of the structure and function of some of
the basic institutions of society. Topics will be
drawn from the following: social solidarity, norms
and values, socialization, deviant behavior, family
and kinship, social class, morality, ethnicity,
religion, and education.
HU260A
Human Origins
3 credits
An introduction to the history of ideas with
emphasis on the theory of evolution; an intro-
duction to the order Primate; and a survey of living
nonhuman primate species from prosimians to the
great apes, stressing general characteristics and
evolutionary trends of the order.
HU260B
Human Origins
3 credits
An introduction to human biological and cultural
evolution, a survey of the major evolutionary
stages in hominid evolution, an introduction to
Paleolithic technologies, and a discussion of and
comparison of contemporary Stone Age societies
with Paleolithic populations.
HU262A&B
History of China, History of Japan
3 credits
The history of China (first semester) and the
history of Japan (second semester). In each case,
the time span is from the earliest days to the
present, but special emphasis is placed on the
modern period and relations with the United
States and other Western powers. Intellectual and
cultural developments will take precedence over
political and economic history.
HU266A
The Classical World
3 credits
A survey of the history of ancient civilization in the
near East and Europe. The focus is on Greek and
Roman history, mythology and culture.
HU26GB
Medieval Europe
3 credits
A survey of the leading themes in the history of
medieval Europe: the classical inheritance, the
primacy of the Church, feudalism.
HU267
Introduction to Cultural Anthropology
3 credits
The nature and variation in human culture and
various explanations of these differences (i.e.,
symbolic, functional, and historical). This survey
of culture in Western and non-Western societies
considers religion, mythology, and art; marriage,
kinship, and group organization; ecological
adaptation, economic and political organization;
and the relationship of culture to personality.
Readings and films will be chosen to illustrate the
effect of variations of size, environment and
subsistence and social complexity on cultural
expression within groups.
HU268
Introduction to the Bible
3 credits
The main themes of the Bible are explored from
a modern, critical, nondenominational point of
view. No knowledge of the Bible is assumed.
Using historical and literary analysis, continuities
as well as differences between the Hebrew and
Christian testaments are examined.
HU359
Sociology of Politics
3 credits
Interaction of political and social forces with the
American community and the resultant impact on
government structure and process are analyzed.
Factors such as population profiles, "suburbanites,"
elite groups, public opinion, party organization,
elections, and reform movements are studied.
HU360A
Renaissance and Reformation: 1400-1648
3 credits
The intellectual and cultural explosion that
heralded the modern era in Western civilization.
Political, economic, philosophical, religious, and
cultural developments will be stressed.
HU360B
Age of Science and Enlightenment 1600-1815
3 credits
The dramatic intellectual revolution of the age of
science and the applications of the revolution to every
province of human experience. The Enlightenment
and the French Revolution, which are also part of the
transformation of Europe, are studied from the per-
spective of their consequences for the modem world.
HU361A&B
Criminology
3 credits
This course divides the major sociological disci-pline
of criminology into its major areas. An in-depth study
of the general causes of crime and the methods of
studying the offender. Students in the second
semester study the correctional system, focusing on
penology and alternatives to incarceration.
HU362A&B
American Civilization: 1608-1815
3 credits
An in-depth study of the origins of American
society with an emphasis on the particular poli-
tical, social, and cultural patterns that shaped
the course of American development. The first
semester surveys the process of settlement,
colonial societies, independence, the growth of
the egalitarian spirit, and the Civil War. The
second semester studies American society in
the modern period. From the perspective of
today, the course examines the legacy of
Reconstruction, the Industrial Revolution, the
Reform Movements, the World Wars, and the
Cold War. The factors in the past that have
shaped contemporary society will be stressed.
142
HU363
Modem Culture
3 credits
An exploration of various aspects of the condition
of culture in modern society. Topics include the
nature and rise of mass or popular culture and its
relationship to high culture, advertising and the
cultural critique of capitalism, modernism and the
avant-garde in the arts, the intellectual's role in
society, and the relationship between culture and
politics. As this is a course in sociology, the con-
nections between culture and society are empha-
sized in every instance.
HU364
Sociology of Art
3 credits
An examination of the relationships that exist
between art and society. The course will focus on the
social influences that shape the creation and recep-
tion of artistic works. Topics include the social role of
the artist art as a socially organized form of work; the
social institutions of artistic production, transmission,
and audience reception; and the understanding of art
in terms of its social context.
HU365A&B
History and Culture of Latin America
3 credits
The history and culture of Latin America, including
indigenous as well as European cultural sources.
National distinctions and the origins of modern
society in the area will be developed.
HU369
Cultural Ecology
3 credits
A review of the various cultural adaptations found
in different environments such as deserts, grass-
lands, circumpolar regions, tropical and temperate
forests, islands, and high altitude and urban
areas. These adaptations include hunting and
gathering, fishing, and agriculture (shifting, irri-
gated, and industrial). The attitude toward the
environment, population growth, and the use of
labor, technology, energy, and other resources will
be considered.
HU373A&B
Comparative Religion
3 credits
A study of the world's major religions through
their historical development, beliefs, sacred
literature, and the works of contemporary writers.
The first semester is concerned with Eastern
religions such as Hinduism, Buddhism, and
Taoism; the second semester deals with Judaism,
Christianity, and Islam.
HU393
African-American Culture
3 credits
An examination of the distinctive qualities of
African-American culture; the effects of slavery on
family life; contribution of African-Americans in
the arts and culture.
HU462
American Social Values
3 credits
The cultural values of any society provide the
fundamental principles around which it is organized
and patterned; at the same time they justify the so-
ciety by investing it with meaning and purpose toward
which its members orient their actions. This course
attempts to understand the nature and meaning of
American society at the highest level of generality
through an examination of some of its central value
orientations. These include individualism, equality,
achievement, activism, practicality, progress, materia-
lism, freedom, democracy, and secular rationalism.
The origin and meaning of some of these orientations
are developed as well as their consequences both for
the quality of American society as a whole and for the
character of individuals trying to live their lives in it
today.
HU464
The Holocaust
3 credits
The Holocaust is a watershed event in modem history.
This traumatic episode left indelible marks on Western
society, probably for generations to come. It was
caused by factors that still exist in the world. This
course examines the history that led to the Holocaust,
and will attempt to understand what happened and
what meaning it has for us today.
HU493
Middle Eastern Art and Culture
3 credits
An introduction to the art and culture of the Middle
East through the perspective of anthropology and art
history. The course examines design, symbol, and
techniques of Middle Eastern art, particularly painting,
architecture, ceramics, glassware, textiles, and metal
work. These arts are examined in their social, cultural,
and historical context, which will include: the role of
the artist and craftsman in Middle Eastern society, the
influence of Islam on ritual and symbol, the influence
of environment on materials and architecture, urban-
rural traditions, trade patterns and market organiza-
tion, diffusion of design and materials.
Philosophy and Science
HU 181 A
Child and Adolescent Psychology
3 credits
This course is developmentally oriented and
focuses upon Erikson's psychosocial stages of life
from birth to adolescence. Major topics include
pregnancy, the birth process, and the physical,
intellectual, emotional, and social development of
the child. Family life and parent-child relationships
are also examined, with particular attention given
to the impact of our social institutions upon
parents and children.
HU181B
Adult Psychology
3 credits
This course is developmentally oriented and focuses
upon Erikson's psychosocial crises from adolescence to
death. Major topics include career choice, human
sexuality, love, marriage, values, mental health and
mental illness, aging, and death.
HU270A
Introduction to Aesthetics
3 credits
An introduction to the philosophy of art After
a brief examination of analytic philosophical methods
and the history of aesthetics, we consider some of
the fundamental problems in aesthetics, such as the
intention of the artist, the physical object/aesthetic
object distinction, and the nature and comparison of
different kinds of media. The relationship between
language and art will be central to the course.
HU274A
Introduction to Philosophy
3 credits
A course specifically tailored to students with no
experience in reading philosophy. Several basic
issues in philosophy are considered, including
freedom, God, morality, death, mind, appearance,
and reality. In addition to brief readings of primary
sources, we read discussions of these issues plus
innovative fiction illustrating salient points.
HU282A
Fundamentals of College Mathematics
3 credits
An introduction to the fundamental mathematical
principles and operations used in undergraduate
courses in the physical and social sciences. Topics
include sets, logic, probability, statistics, number
theory, algebra, and geometry.
HU282B
Calculus
3 credits
An introduction to calculus with emphasis on the
applications of differential and integral calculus
to the physical and social sciences. Prerequisite:
HU 282A, equivalent college-level mathematics, or
precollege advanced algebra and geometry.
143
HU285A
Life Science
3 credits
The study of life as it evolved from unicellular
organisms to humans. Special emphasis on
behavior, instinct and learning, aggression and
human nature, and ecology.
HU285B
Physical Science
3 credits
An investigation of astronomy, geology, and other
physical sciences, including the origin of the universe
and solar system and the nature of physical science,
matter, and energy. This course provides a background
for understanding the problems of the impact of
science on human values.
mi 3io
Greek Philosophy: Thales through Aristotle
3 credits
We examine fragments from pre-Socratic philos-
ophers, following which we consider the writings of
Rata, including three or four dialogues and the
Republic. Finally, we read selections from Aristotle's
writings on physics, the soul, and aesthetics.
Ml 372
Continental Philosophy and Existentialism
3 credits
Continental philosophy examined as a Western
alternative to the analytic method. Following some
historical background, the concentration is on the
works of Jean-Paul Sartre; readings from both his
philosophic works as well as his literary works.
HU374
Personality and Creativity
3 credits
Through readings of works of major theorists on the
nature of personality and on creativity, the course
poses two major questions: "What do major theorists
have to say about the human personality?" and "What
do major theorists have to say about what it means to
be a creative person?" There are a number of ways of
answering these questions and it is not the purpose
of the course to choose the "best" answer, but rather,
to put the student in a better position to make his/her
own decisions.
HU382
Social Psychology
3 credits
A survey of major social problems today and an
analysis of society's resistance to implementing
the necessary painful solutions. Students will
study the current status of major social institu-
tions and their increasing failure to meet and
satisfy human needs. Some of the other areas that
will be studied are mental health and mental
illness, human values, love and marriage, dreams,
and preventive programs.
HU383
Personality and Adjustment
3 credits
The study of personality, the patterns of behavior
and predispositions that determine how a person
will perceive, think, feel, and act. The inner life of
men and women, the quality of their character,
their adjustment to their social milieu, and their
potentialities for self-fulfillment are all explored.
Special attention is given to adjustment problems
of artists in work and in love.
HU384
Abnormal Psychology
3 credits
Human development and abnormal psychology:
ego defenses, emotional disorders, therapeutic
theories, and treatment techniques. Clinical
diagnosis and classification of mental disorders.
Prerequisite: HU 1 81 A or HU1 81 B.
Ml 388
Perception
3 credits
The structure and function of the senses of vision,
audition, olfaction, gustation, touch, temperature,
kinesthesis, time, and the brain and nervous system
are considered as they relate to perception.
HU478
Aesthetics Seminar
3 credits
An advanced course in the philosophic problems
related to works of art and discourse about works
of art. Students will review the analytic method of
philosophic inquiry and will discuss the philosophy
of Wittgenstein and other twentieth-century
philosophers interested in the philosophy of
language. A central text will be Languages of Art
by Nelson Goodman.
Ml 480
Psychology of Creativity
3 credits
This course examines the problems involved in
defining and attempting to measure creativity. The
course is developmentally oriented, focusing on
relationships between creativity and normal
growth and development, and intelligence and
personality. Problems that the artist encounters
with productivity are explored, as well as the
values of society toward creativity and the artist.
HU481A&B
Physics
3 credits
An introductory college physics course. The first
semester covers kinematics, dynamics, energy,
structural analysis, and waves; the second semes-
ter concentrates on a study of light, electricity, and
magnetism. Both semesters will include frequent
references to architecture, design, and the fine
arts. A background in algebra is required.
Related Arts
Ml 293
Dance and Expressive Culture
3 credits
Dance is woven into the mythology, theater,
music, poetry, and literature of many cultures.
The course considers dance as it has influenced
and has been influenced by these forms of
creative expression in the Western world.
HU342
Mass Media and the Arts
3 credits
The purpose of this course is to develop an
understanding of mass media and popular culture,
primarily in the United States since the 1890s. Various
forms of mass media will be defined and the shared
techniques by which these forms seek to communi-
cate will be analyzed. Finally, the values, both
aesthetic and social, embodied in both these media
and popular culture will be examined in relation to
social and economic change.
Ml 432
Vienna and Berlin: 1900-1925
3 credits
At the beginning of the twentieth century, Vienna
and Berlin were important centers during one of
the richest periods in cultural and artistic history
of the Western world. Much of the science and art
of this century was given its focus and thrust by
the men of genius working in these two cities. In
this course, students study the works of Einstein,
Freud, Mahler, Schoenberg, Wittgenstein, Kafka,
and the German Expressionists. This is an inter-
disciplinary course involving the visual, musical,
and literary arts, as well as philosophy.
HU494
Aestheticism and Decadence
3 credits
A study of the rise and fall of decadent late romantic
literature and art in the nineteenth century. The
readings are from the Marquis de Sade, Poe,
Baudelaire, Balzac, Gautier, Huysmans, Swinburne,
Pater, and Wide. Slide lectures on Romantic, Pre-
Raphaelite, and Symbolist art from Delacroix to Klimt
Course restricted to juniors and seniors and requires
permission of the Director of Humanities.
HU497
Women and Sex Roles
3 credits
An interdisciplinary course combining history,
psychology, literature, and art which investigates
the connection between theories of gender and
the arts. Uses material from high art to Hollywood.
HU999
Independent Study
3 credits
3 hours
An independent course of study is offered that
considers a particular issue of interest to student
and one or more faculty that is not covered in a
regular course. Prior approval by the Director of
Humanities is required.
144
Graduate Courses in the
Humanities
PCAD students in the graduate program are required
to complete the graduate seminar sequence. These
courses permit discussion of contemporary issues in
the arts on an interdisciplinary graduate level.
GR691A
University Graduate Seminar Structure and
Metaphor
3 credits
GR691B
University Graduate Seminar Art and
Society
3 credits
GR791A&B
University Graduate Seminar Criticism
3 credits
PCPA students in the graduate program are required to
complete the graduate humanities sequence.
MU523A&B
Graduate Studies in Humanities
2 credits
This two-semester course may take several
approaches depending on the needs and interests
of the class: 1 ) the survey of a particular period,
emphasizing ideas, currents, and tendencies
influencing the various arts of that period; 2) the
study of a particular artist, with attention to the
oeuvre and chief critical studies of that artist; and
3) the study of a particular style or stylistic
development and its manifestation in several arts.
Required of all graduate music majors.
145
Humanities Faculty
Robert Ackerman
Director: Humanities
BA, College of the City of New York
MA, PhD, Columbia University
Awards: ACLS Fellowship; NEH Fellowship;
Fellow, Institute for Advanced Study
Publications: J.G.Frazer: His Life and l/IM(1987);
numerous articles and reviews on the history of
classical scholarship, the history of anthropology,
and mythology.
Stephen Berg
Professor
Language and Literature
BA, State University of Iowa
Awards: Guggenheim Fellowship in Poetry, Frank
O'Hara Memorial Prize, NEA Fellowship in Poetry,
Rockefeller Fellowship, PCA Venture Fund
Publications: The Daughters: Nothing in the Word,
Clouded Sky by Miklos Radnoti (trans.); Grief.
Poems and Versions of Poems; Oedipus the King
by Sophocles (trans, with Diskin Clay); With
Akhmatova at the Black Gates: Variations Founder
and coeditor of The American Poetry Review.
Yongming Cai
Senior Lecturer
Philosphy and Science
PhD, University of Pennsylvania
Kent Christensen
Associate Professor
BA, Columbia University
MA, University of Connecticut
Authority on opera and recorded vocal music.
Karen Ciark-Schock
Senior Lecturer
Art Therapy
BA, Rosemont College
MS, Hahnemann University
Registered art therapist; program coordinator,
Paoli Memorial Hospital, 1977-89; teaching facul-
ty, Hahnemann University; cofounder Intraspect, a
personal and professional development company.
Cathryn Coate
Senior Lecturer
Language and Expression
BA, University of Denver
MSW, University of Pennsylvania
Douglas Collins
Senior Lecturer
Language and Expression
BA, SUNY
MA, University of North Carolina
Robert Crites
Senior Lecturer
Art History
BFA, The Ohio State University
MFA, University of Delaware
Lawrence Curry
Associate Professor
History and Social Studies
BA, MA, University of Pennsylvania
Editor: The Bulletin of the Montgomery County
Historical Society, The Valley Forge Journal
Publications: "Disruption of the New Deal Coali-
tion"; "Political Consequences of the Canadian
Campaign, 1775"; "Early Anti-Slavery Movement
in Pennsylvania"; "Keeping the Poor: A History of
the Montgomery County Institution District";
Mirror of the Republic.
Nancy Davenport
Associate Professor
Art History
BA, MA, Bryn Mawr College
PhD, University of Pennsylvania
Publications: "Armand Desforges, a 19th C. Art
Dealer," Gazette des Beaux Arts, 1982; "Theroigne
de Mericourt as Liberty, the Person and the
Symbol," The Valley Forge Journal, 1982; "Notes
on Gericault's Portraits of the Insane," Source,
1983; "Le Dernier Appel des Condamnes: History
Painting at Mid-Century," Gazette des Beaux Arts,
1987; "At Work for the Company: CI. Muller's
Projects for the Louvre," Bulletin de la societe de
I'histoire de I'art Francais, 1987; "Napoleonic
Allegory, CI. Muller's Vive L'Empereur, 30 mars,
1814," Consortium on Revolutionary Europe
Proceedings, 1987.
Francis Devlin
Senior Lecturer
Language and Expression
BA, LaSalle University
MA, UCLA
John F. DeWitt
Associate Professor
BA, Northeastern University
MA, PhD, University of Connecticut
Three collections of poems: Designs For/On Ahti,
Animals, and Finger Food, poems have also
appeared in numerous magazines. Winner of
Wallace Stevens Poetry Prize. Invited to two NEH
summer seminars; served as a consultant to the
Pennsylvania Department of Higher Education.
Mary Ellen Didier
Senior Lecturer
History and Social Studies
BA, University of Wisconsin
MA, University of Chicago
Professional interests: archaeologist with research
in cultural process in eastern United States and
Near East, lithic technology, and interdisciplinary
research between the sciences and archaeology.
146
Richard Farnum
Assistant Professor
History and Social Studies
AB, Princeton University
PhD, University of Pennsylvania
Publications: "The American Upper Class and Higher
Education, 1880-1970," in Harold Bershady, ed.,
Studies in American Democracy, 1 987; "Prestige in the
Ivy League: Democratization and Discrimination at
Penn and Columbia," in Paul Kingston and Uonel
Lewis, eds.] The High Status Track Studies of Elite
Schools and Stratification, 1987.
Katherine Finney
Senior Lecturer
Language and Expression
BA, Smith College
M Ed, Harvard University
MA, Temple University
Anne Marie Flanagan
Senior Lecturer
Language and Expression
BA, MA, Temple University
Ronald E. Hays
Senior Lecturer
Art Therapy
MS, Hahnemann Medical College
Experience: assistant professor and director,
Creative Arts in Therapy Education, Hahnemann
University; consultant, Arts in Special Education
Project of Pennsylvania; past president, Associ-
ation for Care of Children's Health.
Nancy Heller
Assistant Professor
Art History
AB, Middlebury College
MA, PhD, Rutgers University
Assistant professor, University of Maryland;
Smithsonian Fellow, Hirshhorn Museum and
Sculpture Garden.
Publications: Women Artists: An Illustrated History
(1988); The Regionalists, with Julia Williams (1 982).
Dorine S. Houston
Senior Lecturer
Language and Expression
BA, MA, Temple University
Linnet Jones
Senior Lecturer
Language and Expression
BA, University of London
Anne Karmatz
Adjunct Associate Professor
Language and Literature
BA, University of Pittsburgh
MS, University of Pennsylvania
MA, Villanova University
Dean of women, Penn State University,
Delaware County Campus
Leonard Kress
Senior Lecturer
History and Social Studies
MA, University of Illinois
Sharon Lefevre
Senior Lecturer
Language and Expression
BA, Princeton University
MA, MPhil, Columbia University
Sherry J. Lyons
Adjunct Professor
Director: Art Therapy
BA, University of Pennsylvania
MS, Hahnemann Medical College
Assistant professor, Hahnemann University and
Hospital; registered art therapist, Ashbourne
Day School, 1 967-72; lecturer and author on art
therapy with children; consultant for Arts in
Special Education Project of Pennsylvania.
Mary Martin
Adjunct Assistant Professor
History and Social Studies
BA, Macalester College
MA, Washington University
Experience: coordinator of Middle East Center,
University of Pennsylvania
Publications: articles on pastoral and agricultural
strategies in Turan, Iran, for UNESCO Man and the
Biosphere Project #1 1 : The Ecology of Settlement,
Heresies, 1978; "Ecological Consequences of
Sedentarization of Nomads," (with F Darling in The
Careless Technology); "Conservation at the Local
Level," in Desertification and Deue/opmenf (Academic
Press); "Case Studies of Traditional Marketing," in
Proceedings of 3rd International Conference on Goat
Production and Disease; "City and Country Rural
Textile Production," catalog for the Safavid-Qujar
Exhibit, Textile Museum, Washington, DC; "Peasants
and Revolution in Class, Faith and Ideology in Revo-
lutionary Iran and the Middle-East"; "Smallholder
Management of Mixed Agricultural Resources in
Desert Regions — Problems and Prospects," in
Proceedings of the Second International Conference
Martin Novelli
Adjunct Professor
Language and Literature
BS, St. Joseph's University
MA, Purdue University
PhD, JD, Temple University
Former associate dean of academic affairs at PCA;
editorial board, The American Poetry Review, fiction
reviewer, Philadelphia Inquirer, author, "Re-Visions,"
radio documentary series on American history.
Camille A. Paglia
Professor
BA, Harpur College, SUNY Binghamton
M Phil, PhD, Yale University
Woodrow Wilson Fellowship Designate; Yale
University graduate fellowship. Taught at
Bennington College, Wesleyan University, and
Yale University.
Publications: Sexual Personae, 1989; numerous
essays, reviews, and encyclopedia articles on
literature, psychology, art history, and popular
culture from Renaissance to the present.
Diane D. Perkins
Adjunct Assistant Professor
Language and Literature
BA, MA, Temple University
Supervisor of composition program.
Temple University
Ruth Perlmutter
Adjunct Professor
Art History
BA, New York University
MA, PhD, University of Pennsylvania
Publications: "Hollywood and the Jew," Film
Reader 5, 1982; "West German Women's Films,"
Film Criticism, 1984-85; "Hitchcock's Rear Win-
dow," Journal of Film and Video, 1985; "Bette
Gordon's Working Girls," Postscript, 1986; "Woody
Allen's Zelig According to Bakhtin," Quarterly
Review of Film Studies, 1987; "Edgar Reitz's
Heimat," Wide Angle, 1987; "Fassbinder's Bitter
Tears," Cinema Journal.
Gabriela Roepke
Senior Lecturer
Literature/Opera Literature/Introduction and
Contemporary Theater
Studied in Santiago, Paris, and at the University of
North Carolina. Author and producer of over fifteen
original plays in Latin America, the United States, and
Spain. Numerous articles in publications, including:
San Diego Opera Magazine, Opera News, New York
City Opera Spotlight, and The Opera Magazine.
Lectures for New York City Opera Guild. Former faculty
member of the Juilliard American Opera Center
former visiting lecturer at New York's New School for
Social Research, and the Society for Ethical Culture.
Recipient of two Fulbright fellowships, the Roland Holt
Playwright Award, and a Guggenheim fellowship.
Ward M. Stanley
Professor
Art History
BA, University of Hawaii
MA, University of Pennsylvania
Past president, PCA Faculty Council, 1980-81;
founder of Design History Forum, 1 983
Awards: Fulbright Exchange Professor in England,
1973-74; UICA Grant, 1968; PCAD Venture Fund,
1985.
147
Patricia Stewart
Adjunct Assistant Professor
Art History
BA, University of Pennsylvania
Graduate study at Columbia University, University
of Pennsylvania
Curator, Museum of Contemporary Art, Chicago;
editor, Arts Exchange.
Publications: articles and reviews in Art Express,
Art in America, Arts, Art Exchange.
David Tafler
Associate Professor
Art History, Photography/Film/Animation, Art
Education
BA.Harpur College, SUNY
MFA, Columbia University
MA, University of Wisconsin
PhD, Columbia University
Anita Tiambeng
Senior Lecturer
Language and Expression
BA, Beaver College
MA, Temple University
Fabian Ulitsky
Associate Professor
Philosophy and Science
BA, M Ed, Temple University
Licensed clinical psychologist in private practice;
director, group process and group psychotherapy
Master of Science program. Graduate School of
Hahnemann University.
Publications: "Interfaces of Creativity," Art
Psychotherapy, an international journal, 1979.
Susan T. Viguers
Associate Professor
Language and Literature
BA, BrynMawr College
MA, University of North Carolina at Chapel Hill
PhD, Bryn Mawr College
Publications: With Child, Harcourt Brace
Jovanovich, 1986. Articles include "Nonsense and
the Language of Poetry," Signal 42, 1983; 'The
Presenter of the Battle of Alcazar," The Explicator,
1985; "Fairytales, Authorship and Aesthetic Res-
ponse," The Journal of Aesthetic Education, 1986;
"Cornelia Meigs," Writers for Children, ed. Jane
Bingham, 1987; "Staging as a Key to Meaning in
The Alchemist," Theatre Survey, 1987; "The
Separation of Art and Reality in George Peele's
Araygnement of Paris and David and Bethsabe,"
CIA Journal, 1 987, book reviews in The Journal of
Aesthetics and Art Criticism, 1983, and Philosophy
and Literature, 1984.
Awards: Katharine E. McBride Fellow, 1971;
Whiting National Foundation Fellow in the
Humanities, 1974-75; Lilly Pennsylvania Fellow,
1977-80; University of Pennsylvania, 1977-80;
Philadelphia College of Art Venture Fund Award,
1983,1987.
Joanne E. Walsh
Senior Lecturer
Language and Expression
BA, College of Mt. St. Vincent
MA, Marquette University
Editor, Pappas Visiting Fellow publications, 1984,
1985, 1986 (Penn Publications).
Stanley Ward
Adjunct Assistant Professor
Language and Literature
BA, Duke University
MA, PhD, Harvard University
Editor, Philadelphia Gay News.
Publications: work in journalism and two volumes of
poetry, Crookshank, 1981, and Virgil's Lovers, 1983.
William Webster
Associate Professor
Philosophy and Science
BM, Curtis Institute of Music
BA, University of Iowa
PhD, University of Pennsylvania
Designer and builder of fine houses, one of which
was featured in Fine Homebuilding Annual, 1988.
Publications: reviews in Journal of Aesthetics and
Art Criticism, referee for above journal.
Carla Weinberg
Adjunct Associate Professor
Language and Literature
Doctorate in Foreign Language and Literature,
University of Pisa, Fulbright Grantee, 1964-65
Publications: "Guido Gozzana a cent'anni, dalla sua
nascita," Atti del Convegno, Florence, 1985; "Due
Autografi di G. Mazzini," The Italian Quartedy, 1987
Translations: "The Falling Tower," artists'
statement by Anne and Patrick Poirer, PCA Gallery,
1979; "Art-sound," essay by Germano Celant,
published by Soundings, Neuberger Museum, NY,
1981.
Awards: Lilly Fellow in Medieval History, 1982-83
Burton Weiss
Adjunct Associate Professor
Philosophy and Science
BA, MA, PhD, Princeton University
Associate professor of psychology, Drexel University.
Interests and research primarily in the areas of physi-
ological and comparative psychology.
Lily Yen
Professor: Painting, Foundation, Humanities
BA, National Taiwan University
MFA, University of Pennsylvania
Lecturer: "Contemporary American Art," Beijing,
Central Institute of Fine Arts, and Zhejiang Insti-
tute of Art. China; Rutgers University; University of
Pennsylvania; Walpack Center, NJ
Exhibitions: Please Touch Museum, University City
Science Center, Marian Locks Gallery, Philadel-
phia; J.B. Speed Art Museum, Louisville, KY;
Reading Museum, Reading, PA
Awards: "Response Competition," Please Touch
Museum, 1982; PCA Venture Fund
Coordinator: art exchange program between PCA
and the Tianjin Fine Art College, Tianjin, China
Toby Silverman Zinman
Professor
Language and Literature
BA, MA, PhD, Temple University
Publications: articles primarily on contemporary
drama and fiction in Modem Drama, Modem
Fiction Studies, American Theater, and others on
the works of Samuel Beckett, Harold Pinter, Sam
Shepard, among others
Lectures: papers presented at professional
conferences on topics in contemporary drama of Sam
Shepard, Tom Stoppard, Iris Murdoch, Samuel Beckett,
and Ernest Hemingway
Series of public lectures for the Philadelphia
Drama Guild
Grants and Awards: director, NEH summer
seminar for high school teachers, 1989. 1991; NEH
Summer Seminar, Columbia University, 1987,
1984; NEH Panel on the Arts, Washington, DC,
1986; Professor of the Year, Rutgers University,
1974; Doctoral Fellowship, Temple University,
1967-70; scholarship, University of London, 1969
148
I UNIVERSITY
OF THE ARTS
ADMINISTRATION AND
BOARD OF TRUSTEES
n n
The University of the Arts
Administration
Peter Solmssen, AB. JD
Virginia Red, BA MA, M Mus.
Patricia M. Woldar. BA. MPA
Stephen Jay, BM, MM
Stephen Tarantal, BFA, MFA
Robert Ackerman, BA, MA, Phd.
Barbara Elliott
John Musto, BA
John Klinzing, BS, MA Ed.D.
Janet B. DeVries, BA
Marcia Atcheson
Louis J. Mayer, BS.CPA
Stephen Bloom. MA, MSLS
President
Provost
Assistant Provost.
Acting Registrar
Dean. Philadelphia College
of Performing Arts
Dean, Philadelphia College of
Art and Design
Director, Division
of Humanities
Director of Admissions
Director of Financial Aid
Dean of Students
Director of Planning
Director of Development
Director of Finance
Director of University Libraries
The University of the Arts
Board of Trustees
Dorrance H. Hamilton, Chairman
Peter Solmssen, President
I. Gary Bard
Mary Louise Beitzel
Irvin J. Borowsky
Nathaniel R. Bowditch
Ira Brind
Edward Cantor
W. HerbertCrowder.lll
Eleanor Davis
Philip J. Eitzen
Anne F. Elder
John C. Goodchild, Jr.
Frederick S. Hammer
Marvin D. Heaps
Stephen R. Holstad
Judith Jamison
Barbara J. Kaplan
The Honorable Bruce W. Kauffman
Raymond Klein
Harold E. Kohn, Esq.
Berton E. Korman
Irving S. Kosloff
William G. Krebs
Thomas V. Lef evre
Al Paul Lefton, Jr.
Elaine Levitt
Seymour G. Mandell
Noel Mayo
Francis J. Mirabello. Esq.
Ronald J. Naples
Adolf A. Paier
John C. Pemberton, Jr.
Ronald Rubin
Dr. Hubert J. P. Schoemaker
Jay T. Snider
Ambassador Daniel J. Terra
Harry Waldman
Harriet G. Weiss
George A. Weymouth
Albert E. Wolf
Life Trustees
H. Ober Hess, Esq.
Sam S. McKeel
John W. Merriam
Emeritus Trustees
Schuyler G. Chapin
Bodine Lamont
Sondra Myers
Ronald K. Porter
William L Rafsky
Roger L. Stevens
PhilipH.Ward.lll
Dorothy Shipley White
Ex Officio Trustees
The Honorable Augusta A Clark
The Honorable Vincent J. Fumo
The Honorable Joan L. Specter
151
Location
Travel Directions
The Office of Admissions of the University is
located in Haviland Hall on the Northwest corner of
Broad and Pine Streets. If you have any questions,
please feel free to call the Office of Admissions for
assistance at 21 5-875-4808.
By Bus
Greyhound/Trailways Bus Terminal — see map.
By Train
From Amtrak 30th Street Station — Transfer to
Commuter Train to the Penn Center/Suburban
Station — see map. Taxi service is available from
30th Street Station to Center City.
From New Jersey — PATCO Hi-Speed Line to
15th & Locust Streets — see map.
By Airplane
From Philadelphia International Airport — Follow
signs to concourse to Airport Express Train. Trains
leave every 30 minutes. Depart train at Penn
Center/Suburban — see map.
Limousine or Taxi service ($20-30) from airport is
available from the baggage claim area to the Hilton
Hotel, Center City — see map.
By Car
From North travel south on the NJ Turnpike to
Exit 4 Camden/Philadelphia, follow signs to
Ben Franklin Bridge Philadelphia — see map.
From South travel north on 1-95 to Philadelphia's
Broad Street exit (Rt 291 N). Travel north on Broad
Street for about 2.5 miles — see map.
From East travel to the Ben Franklin Bridge
Philadelphia, take I-676 west to Broad Street
exit — see map.
Travel to the Walt Whitman Bridge Philadelphia,
take I-76 west to South Street exit — see map.
From West travel east on the PA Turnpike to exit
24 (1-76 east Schuykill Expressway) travel east on
Expressway (approx. 30 minutes) to South Street
exit Make a left and cross the South Street Bridge.
Travel to Broad Street — see map.
1 Fairmount Park
2 Philadelphia Museum of Art
3 Rodin Museum
4 Logan Circle
5 Please Touch Museum
6 Franklin Institute/Science Museum
7 Academy of Natural Sciences
8 Philadelphia Visitors Center
9 Pennsylvania Academy of the Fine Arts
10 Penn Center/Suburban Station
11 Amtrak 30th Street Station
12 City Hall
13 Greyhound/Trailways Bus Terminal
14 Reading Terminal Market
15 The Gallery Mall/Market East Station
16 Franklin Square
17 Liberty Bell
18 Rittenhouse Square
19 Philadelphia Art Alliance
20 Patco Hi-Speed Line to NJ
21 Hilton Hotel
22 Academy of Music
23 Shubert Theater
24 Proposed site of new Philadelphia Orchestra Hall
25YMAVHA
26 Philadelphia International Airport
27 Thomas Jefferson University Hospital
28 Forrest Theater
29 Walnut Street Theater
30 Washington Square
31 Independence Hall
32 South Street Scene
152
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The University of the Arts
Campus Map
1 Furness Hall
2 Haviland Hall
3 Anderson Hall
4 31 3 South Broad
5 Wagman Hall
6 309 South Broad
7 Merriam Theater
8 Arco Park
9 Delancey House
10 Fifteen Hundred Pine
11 Drake Theater
Race
Cherry
Arch
Market
Chestnut
Walnut
Locust
Spruce
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The University of the Arts
Office of Admissions
320 South Broad Street
Philadelphia, PA 19102
215-875-4808
The University of the Arts is accredited by the
Middle States Association of Colleges and Schools,
the Commonwealth of Pennsylvania, the National
Association of Schools of Art and Design, and the
National Association of Schools of Music.
The University of the Arts gives equal consideration
to all applicants for admission and financial aid
regardless of race, color, sex, religion, national or
ethnic origin, or handicap. Direct inquiries to the
Office of Personnel, The University of the Arts,
320 South Broad Street, Philadelphia, PA 19102
215-875-4838.
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