Yearbook, 1965

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Digitized by the Internet Archive

in 2010 with funding from

LYRASIS members and Sloan Foundation

http://www.archive.org/details/yearbook196500phil

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1965
PRESENTED BY
THE YEARBOOK STAFF OF

THE

PHILADELPHIA

MUSICAL

ACADEMY

FOUNDED

|s7Q

PHILADELPHIA
CONSERVinDRYofWSK;

i';„„.;X.,

1617 Spruce Street, Philadelphia, Pennsylvania

Member of National Association of Schools of Music

Associated Schools

Philadelphia Conservatory of Music • Philadelphia Dance Academy

All the different branches of art receive their inspiration from the same
root. What is -that root? I believe it is a passionately strong feeling for the poetry of
life - for the beautiful, the mysterious, the romantic, the ecstatic- the loveliness
of nature, the lovability of people, everything that excites us, everything that starts
our imagination working, laughter, gaiety, "pretending" in the way that children
do, strength, heroism, love, tenderness, every time we see - however dimly - the
god-like that is in everyone - and want to kneel in reverence."

LEOPOLD STOKOWSKI

From Music for All of Us, Copyright,
1943, by Leopold Stokowski. Published
by Simon and Schuster, Inc.

Dedication

DR. JANI SZANTO
President Emeritus

When Jani Szanto became President-Director of the Philadelphia Musical
Academy in 1942, he brought his vast experience and wealth of musical know-
ledge with him from Europe. Under his foresighted administration the Academy
achieved great prominence, receiving its accredication from the National As-
sociation of Schools of Music.

Born in Hungary, he received his musical education in Budapest and in
Vienna, where he graduated. In Europe he had a rich career as concert violin-
ist, chamber music player, and teacher, which culminated in a lifetime profes-
sorship for violin master classes at the German State Academy of Music in
Munich.

The European press praised him as a "matured, spirited artist; a born great
artist", considered "outside of Flesch perhaps the most style-perfect violinist
of contemporary times." The Munich String Quartet, which he founded in 1919,
was considered "one of Europe's best."

Since his retirement from the Presidency and Directorship of the Academy,
he has devoted his time, as head of the string department, exclusively to
teaching chamber music. He continues to be a source of inspiration andmusic-
al joy to all who know him. His keen wit and understanding, together with
undying interest and deep love of music, are qualities found during lessons,
chamber music sessions, and conversation.

And, so, to show in some small way our appreciation and thanks, and,
also, to express our admiration and affection, we dedicate our yearbook to our
beloved Dr. Jani Szanto.

A

1 65

J?

I

ft

Diploma

lee tative

Louis John Adelizi - Phi la., Penna -
Bach, of Music in piano - "Adelizi -
take it easy..." A bachelor type, but
is noted for his phenomenal geniality
and common sense. Plans to teach in
hi gh school.

Richard Bew — Ph i la., Penna. — Bach,
of Music in theory — A quiet, cool-
headed elucidator. Helps to clear up
problems in class. When he speaks
its worthwhile to listen. Always
comes through when class is at loss
for words.

Mary Elizabeth Bennett - Phila., Pa.

— Bach, of Music in piano.

Mary

- Be
Brill

Elizabeth Bourne - Phila., Pa.
ch. of Music Education - One of

ma|

aior contributors with h«

daily grilled cinnamon bun and coffee.
She also gripes about her lack of a
regular lunch hour. "Oh, sugarfoot!
She digs the "Wedding March" and
"Christmas Chopsticks." Activities:
MENC president and chorus.

John A. Dulik - Phila., Penna. -
Bach, of Music in piano — Many a
good piano has suffered injury at
John's hands. He's a quiet, serious,
hard working fellow, who, underneath
all that serenity, is a real tiger when
it comes to jazz.

Phyllis Ann Casner - Douglassvi lie,
Penna. - Bach, of Music Education -
Phyll hates to get home late. 'I ve_
got a headache..." " Stop that tap-
ping!" She's a dizzy daisy. Pet peev:
Eileen. Thrives on peppermint. Acti-
vities: Second vice-president of Delta
Omicron and chorus.

Janet Haines Diament

Bach, of Music.

Wayne, Pa.

La Deva Davis — Phila., Penna. -
Bach, of Music - Is one of PMA's
hippiest dressers, wants to go on
for her Masters, then go into show
business as a jazz singer. Calls her-
self a "speed demon." Favorite
sayings: "Oh yeah!" and "Cool it!

Frances Judith Fanelli - Upper Darby,
Penna. — Bach, of Music in piano -
"Diz" is PMA's own claim to fame.
"Did you hear Horowitz? Docsr
like steak. Activities: chorus, year-
book co-editor in '63-'64, musical
director of Delta Omicron, and secre-
tary of Student Organization.

Carolyn Hill - Phi I a., Penna. —

Bach, of Music Education.

Wilbert Davis Jerome - Ph i la.. Pa. -
"Hiya, baby!" Always there when
you least expect it. Famous puns and
witty anecdotes. "But Doctor (PEP),
who needs it?" Jerry holds up his
end of orchestra and the woodwind
ensemble. Intends to do graduate
study in musicology.

Sheldon Benjamin Kohan — Phila.,
Penna. — Bach, of Music Education
— Claims its either school or the
army. Majors in "draft dodging." He's
a very studious student, and seems
to get along with everybody. Likes to
say Frick 'n Frat to Sister Peter.

Robert W. Jones - Phila., Penna. -
Bach, of Music in organ.

George J. Latella - Phila., Penna. -
Bach, of Music Education — Mr.
"Common Sense" is never on time
for class, but always manages to ask
the best and most entertaining ques-
tions. He's got a terrific personality
with girls but he insists that it's
PMA that drove him to Marriage.

Yeh Kung Wu Lii — Phila., Penna. —
Bach, of Music in piano - A devoted
full-tim:' housewife and mother. Is a
fury at the piano. Enjoys good beef,
especially steak. No chop suey for
Lii. "Oh, my goodness!" is her
favorite exclamation. Activities: two-
piano ensemble.

Eileen Anna Loughrey - Havertown,
Penna. - Bach, of Music Education -
Always seen with Phyll.She'sa smart
senior because she did her student
teaching during the first semester.
Activities: chorus, Delta Omicron.

Julian David Meyer - Phi la . , Penna.
- Bach, of Music in violin — Hates
people who are late for rehearsals.
Doesn't care much for steak either.
(His joke.) Admits he practices too
much. Activities: orchestra, string
quartet.

Barbara Mager Mylett — Phi la., Penna.
- Bach, of Music — "I love people."
Known as "Smiley Mylett. Favorite
sayings: "Dahling"and "Oh, Honey."
Activities: student organization mem-
ber, Delta Omicron, part-time cheer-
leader.

Sister Peter - Phi la., Penna. - Bach,
of Music in composition - Sister
Peter is the 500 pound, fig newton-
terror of physics class. When you
hear: "Hey, did you hear the one
about...?" you know it's Sister Peter.

Carol Pownall - Ph i la . , Penna. -
Bach, of Music in piano — Quite a
gourmet, Carol loves to eat. "That
includes "anything gooey. Although
she's a procrastinator, Carol hates
inefficiency. Her favorite way to
begin a discussion is by saying
"Well, frankly." Activities: Delta
Omicron, and Student Senate.

Jeanette Wilson - Phi la., Penna. -
Bach, of Music in piano — Girl on the
go. Gigi is aggravated by lateness
and canceled early morning classes.
Acoustics, however, is a big excep-
tion. Favorite saying: "This is a
riot.

Kenneth Jay Wolfson - Ph i la., Penna.
- Bach. of Music - Ken also believes
school drove him to marriage. He s
the defender of his rights, and is
always pleasantly cool—even in his
mustache. Activities: Student Senate,
woodwind ensemble, and orchestra.

Sen or s in action:

<§

a I-

Martha Brons - Haddonfield, New
Jersey - Master of Music.

Cameron N. Ramsay - Phi la., Penna.
— Master of Music.

Vincent James Marinelli - Wilming-
ton, Delaware— Master of Music.

Richard Csomay - Pensauken, New

Jersey - Doctor of Music.

Michael Giamo - Norristown, Penna.

— Doctor of Music.

Edwin Heilakka - Hatboro, Penna. -

Doctor of Music.

Peter Lamanna - Ph i la., Penna. -

Doctor of Music.

Wallace Stephen - Warminster, Penna.

- Doctor of Music.

T ide graduates in action:

Brass

Absentees: David Curry,
Sheldon Ginsberg, Harris
Del Vishio.

First Row: Robert Ficoturo, Michael DiCicco, Robert Stewart. Second Rov
Steve Weiner, Evan Solot, Howard Smoyer.

Dance

MOTHER GOOSE ON PARADE, a ful I length ballet choreographed by Nadia Chilkovsky,
featuring Dance Majors Dianne Bullock (2nd from left) as Neighbor Lady, Marilyn
Schneider (standing on bridge) in the feature role of Mother Goose, and Gary Celain
(seated on bridge) in the role of Yankee Doodle. Photo credit - Nicholas Nahumck.

15

French Horn

Richard Gardner, Candy Bliss, Townsend Wentz.

Organ

Absentees : Jane Batchelder,
William Doyle, Ronald Stal-
ford, Roland Sheperd, Ronald
Rothermel.

First Row: Jerry Wright, Cecelia Merritt, Lois Geurin, Howard Martin, Willi
Smith. Second Row: Karl Toth, Dennis Elwell, Gainor Shoemaker.

Piano

Absentees: James Amadie, Diane Bew,
Bennett Browne, Astrida Brunaus, Ray-
mond Costanzo, Martha Dobkin, Helen
Esposito, Herbert Heffner, Stanley John-
son, Virginia Kreszwick, Lawrence
Lacovara, Madalyn Okolowski, Caroline
Sutkus, James Tuturice, Anita Yeich.

Percussion

First Row: Elsie Lewis, Mary Henkel, Norma Weintraub, Barbara Ray,
Carole Smythe, Theresa Shepanski, Carol Sexton, Maria Simion. Second
Row: Russell Meyer, Taylor Redden, William Parker, Henry Mamet,
Edward Kalehoff, Theodore Didden, Paul Haines.

Absentees: Raymond Bruckno, Lc
Hines, James Paxson, James Valeri

Vincent Pierisante, Fr
,, Bob Ludwick.

Oltman. Second Row: Ted

Strings

Absentees: Roy Lightfoot, Theodore
Procaccini, Carole Reitenbaugh.

First Row: Francine Hopman, Mary Mullison, Nancy Shear, Carole Rietenbaugh,
Carol Redfield. Second Row: Janet McCabe, Joyce Irons, Fredrika Motz,
Theresa Vi Hani. Third row: Kenneth Dockray, Igor Swezc, James Scarpa.. Wi I liam
Moorehouse.

Theory and Composition

Absentees: Anthony DeCarolis,
Richard Furiato,James Gug I ielmo,
Howard Lipman, Ira Tucker,
Joseph Zaccone.

First Row: Vincent Trombetta, Manford Abramhamson, Paul Comb, Jack Heller
Edward Etkms. Second Row: Evan Solot, Allan Halber, Pete Nocella, Henr
Vorlack.

oic e

Absentees: Linda Adams, B
Currington, Catherine Dere
Ellen Dunmore,. Alice Eyler,
Bonita Glenn, Maria Murrowany,
Euginia Turianska, Bart

Vaughn.

First Row: Mary Ann Gallas, Florence Zuivar, Irmeen Rosenberg, Asciola
Davis, Bonita Glenn, Shelia Weinstein. Second Row: Barbara Kavolowski,
Barbara Youngblood, Andrew Foster, Theresa Lynch, Michael Freeman.

Wo odwinds

Absentees: Gary Anderson, Tay-
lor Bell, Margaret Bloch, Charles
Elliot, Martin Fumo, Richard
Gigliotti, Edward Golaszewski,
Jay Magidman, Michael Pedicin,
Paulette Rush.

IIU liliWII ■IIIMIHWIIMIIIII

First Row: Kenneth Wolfson, Ellen Rettew, Henrietta Mustokoff, James Fay,
Mike Pedicin, Brian Riffert. Second Row: Vincent Trombetta, Jay Hassan,
Kenneth Weiner, Steve Wilensky. Third Row: Walter DunlaD, Nickolas, Cazzissi,
Dimitri Kauriga, William Turner.

20

c
m

Faculty

"lied Music

David Arben-violin

Kenneth Amada-piano

Joseph Arcaro-piano

Edward Arian-double bass

Winifred Atkinson-piano

Doris Bawden-piano

William Bless-violin

Michael Bookspan-percussion

Mignon Bozorth — piano

Vincent Bredice-classical guitar

Robert Browne-organ

Mary Ann Castaldo-harp

Wayne Conaway— voice

Henry C. Cook — organ and piano

Frank Costanzp— violin

Richard Csomay-c larinet

Nicholas De Colli bus— vi o I in

Ferdinand Del Negro-bassoon

Caroline Diller Dengler— voice

Allison R. Drake-head of applied music

Sara Jane Drake — piano

Lilburn Dunlap — piano

Robert Elmore-head of organ dept.

Ward Fearn — French horn

Lilajane Frascarelli-strings

Charles Gangemi-piano

Paul Ganser— piano

Margaret Garwood-piano

Richard Genovese— trombone

Joseph Gigliotti— clarinet

Robert S. Harper-trombone

Marion Bradley Harvey-voice

Dorothy Hawkesworth-organ

Elsa Hilger-head of cell dept.
Natalie Hinderas-piano

Glen Jansen-French horn

Gilbert Johnson— trumpet

Maurice Kaplow-head of Orchestra Dept.
instructor in conducting and viola

Florenza Decimo Levengood — piano

David Lodge — piano

Florence Manning— voice

Anthony Marchione-trumpet

Clarence Mayer-French horn

Charles McCabe-violin

Guido Mecoli-clarinet

Edith Ulmer Mi leham-piano

Leonard Mogill— viola

Donald Montanaro-head of clarinet dept.

J. Earl Ness — organ

Adele Newfield— voice

Jacob C. Neupauer-accordion

Temple Painter-harpsichord

Murray W. Panitz-head of flute dept.

Harold Parker-voice

Clement C. Petri I lo-piano

Edna Phillips-head of harp dept.

Claire Polin-flute

Evelyn Christman Quick-piano

Lewis Raho— oboe

Mr. Petri llo

Dr. Chittum

Mr. Drake

Faculty

Applied Music

Wayne Raper — head of oboe dept.

Deborah Reeder-cello

Newell Robinson-organ

Toby Rotman-flute

George D. Rowe-clarinet

Frederick Roye — organ

Antin Rudnytsky— piano

Carol Schoen-piano

Herbert E. Siegel-piano and organ

Maria Sokil— voice

Susan Starr — piano

Jani Szanto-head of string dept.

Abe Torchinsky— tuba

Francis Welsh-piano

Dr . Szanto

Music Theory

Joseph Castaldo— Theory and Literature,

Composition
Donald Chittum-Theory and Literature, Ear

Training
Lilburn Dunlap— Ear Training
Mildred Parker-Music History
Clement C. Petri I lo — Ear Training
Claire Polin— Composition
Evelyn Christman Quick-Music History
Herbert Siegel-Theory
Robert Suderburg-Theory and Literature,

Composition

Education

Bruce C. Beach — Band and Orchestra Lab
Donald Chittum-Theory Pedagogy
Henry C. Cook — Liturgical Literature
Richard Csomay— Woodwind Methods
Natalie Hinderas-Piano Pedagogy
Carlton Lake-Choral Conducting
Harold Parker — Techn ique of Voice, Voice

Pedagogy
Jani Szanto-Violin Pedagogy
Dorothy Weir-Elementary and Secondary School

Methods, Student Teaching

Mrs. Drake

General Studies

Harold Bernhardt-Biology

Joseph Butterweck— Society and Education

Oscar Corn — Kinesiology

Patricia Cruser-English

Anthony J. D'Angelo-Economics and Political

Science
Albert Fontrier-French

Richard Hoge-English, Psychology, Sociology
Charles R. Kent-American History
Abe Pepinsky-Psychology, General Physical

Science, Acoustics, Aesthetics, Anthropology
Claire Polin— A I lied Arts
Thomas Cooper Tatman — Ita I ian and German

Mr . Monantaro

L orary

It has been said that a man's library is a mirror to his
mind. More and more it is being proven that a school s
library is a mirror to that institution's value to its students.
In fact, the condition of a school library has become a major
factor in the final success or failure of a college to become
accreditted.

During the past four years, at a cost of over $42,000,
library facilities at PMA have tripled in space and acquisi-
tions. New books, requested by teachers and students, en-
larged the collection to the point where it now fills shelves
covering the walls of two large rooms on the second and
third floors of 1613 Spruce St. The room on the lower level
houses books dealing with general subjects and the humani-
ties. It is here that the music student may expand his know-
ledge and interests into many diverse fields.

The upper level room deals only with music. Books on
a 1 1 phases of music are available for enjoyment and research.

An entire wall is lined with phonograph recordings of
both new releases and old historic records. Three new listen-
ing booths, equipped with record players and tape recorders,
are now in use. A large collection of orchestral scores are
also available. In every way, PMA students have opportuni-
ties for complete musical study, within the walls of the
school.

At PMA, the key word is PROGRESS, and we can easily
see how much this applies to the library, for while much has
been done, much is yet to be accomplished. There is much
truth in these words: "The true university of today is a
collection of books."

Staff:

Mr. Yashur — Head Librarian

Mrs. Yashur — Ass istant Librari

Lorretta Williams-Secretary

Liberal Arts Library

Proper use of
library
materials

VI r. andMrs.Yashur

A

Library
Shindig

pec ial Effects:

5
c

Chorus

CHORUS MEMBERS

First Row: Mr. Suderburg, Carolyn Hill, Sheila Weinstein, Florence Quivar, Mary Bennett, Linda Adams,
Frances Fanelli, Oscela Davis, Bonita Glen, Helen Young, Mr. Cook. Second Row: Barbara Vaughn,
Barbara Ray, La Deva Davis, Terry Shepanski, Elsie Lewis, Barbara Mylet, Barbara Youngblood, Barbara
Kowaleski, Ellen Dunmore, Michael Freeman. Third Row: Virginia Kreszwick, Anita Yeich, Eileen Cohen,
Ronald Rothermel, Manford Abrahamson, Henry Varlack, Ted Didden, Alexander Ragsdale, Alice Eyler,
Gai-ner Shoemaker. Fourth Row: Barry Currington, Ira Tucker, Fred Brown, Howard Martin, Edward Kalehoff,
Chuck Elliot, Jack Heller, Raymond Costanzo, Dimitri Kauriga, Mary Bourne.

CHORUS CONCERTS

October 7, 1964 Convention Hall

December 6, 1964 .... Grace Lutheran Church,

Broomall
December 10, 1964 First Baptist Church.

Phi ladelphia

February 13, 1965 Cheltenham, Penna.

March 18, 1965 . . . Germantown Friends School
March 21, 1965 First Baptist Church,

Phi ladelphia
April 8, 1965 Fleisher Auditorium,

Phi ladelphia
April 25, 1965 St. Paul's Church,

Ardmore, Pa.
May 13, 1965 Fleisher Auditorium,

Phi ladelphia

MAJOR WORKS PERFORMED

The Passion According to St. Mathew . . .

J. S. Bach

Mass in E Minor Bruckner

The Betrayal Kraehenbuehl

In Hora Ultima Orlando deLasso

A Christmas History Schutz

Mass for Unaccompanied Choir Suderburg

Mr. Robert Suderburg, Director

They possess far more vitality than H Swingle
Singers, they sound almost as good as .rmon

Tabernacle Choir, and their direction is equal to that
received by the Robert Shaw Chorale. Who might I
illustrious people be? None other than the talented
Performance Chorus of PMA' of course.

This year, under the expert direction of Mr. Robert
Suderburg and his assistant director, Mr. Henry Cook,
the forty-three selected voices of this group have
attained a degree of excellence never before exhibited
in the history of the chorus. An even blend of trained
voices has been achieved which produces a full, vi-
brant sound. capable of retaining its quality from the
softest pianissimo to the most earth-shaking triple
forte.

Mr. Suderburg selected material for the chorus to
perform which demands a display of versatility, and
this small but efficient group was equal to the chal-
lenge. The works successfully sung in public include
two Philadelphia firsts and a number of different,
rarely heard classics. Having performed twenty-three
times this year, PMA's ambassadors have achieved
the status of troubadors, and they re all ready to go
on tour. The pleasing response that the chorus has
made to the training given them proves that they
possess much potential. Excellence brings fame, and
the Academy's hopes are high.

.saltus, jocus, cantus.

Mr. Henry Cook, Assistant Director

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ORCHESTRA MEMBERS

VIOLINS: Julian Meyer, Igor Szwec, Ken Dockray,
Janet McCabe, Gela Hopman, Mary Mullison.

VIOLA: Peter Nocella

CELLO: Martha Brons, Carol Reitenbaugh, Carole
Redfield, Rtcki Motz, Theresa Villani, Joyce
Irons, Nancy Shear.

FRENCH HORN: Townsend Wentz, Richard Gardiner,
Candy Bliss.

BASSOON: Kenneth Wolfson, Brian Riffert, Henrietta
Mustokoff.

FLUTE: Jay Magidman, Stephen Wilensky,
Kaurig.a, Ellen Rettew, William Turner.

OBOE: Margaret Bloch, Gary Anderson

CLARINETS: Nicholas Cassizzi, Kenneth
James Fay, Jay Hasson, Allen Halber.

TRUMPET: David Curry, Robert Ficoturo.

TROMBONE: Sheldon Ginsberg, Norris Kinit

TUBA: Jonathon Dornblum.

Dimitr

PERCUSSION:
Ludwia. V

James Valerio,
icent Piersante.

Fred Kahn, Robert

Mr. Allen Halber
Assistant Conductor

ORCHESTRA CONCERTS

October 7, 1964 Convention Hall

January 24, 1964 Philadelphia Museum of Art

February 21, 1965 First Baptist Church, Philadelphia

April 8, 1965 Fleisher Auditorium

April 27, 1965 Bellevue Stratford Hotel

May 13, 1965 Fleisher Auditorium, Philadelphia

MAJOR WORKS PERFORMED

Grosse Fube Beethoven

Symphony No. 9 Beethoven

Concerto in F Major Brixi

Concerto in G Minor Poulenc

Symphony No. 3 in C Minor Suirt-Saens

Symphony No. 5 Schubert

Symphony, Opus 21 Webern

Orchestra in concert

Maurice Kaplow, Conductor

SYMPHONY ORCHESTRA

During the past year, many different types of music echoed throughout the halls of PMA, and the most
impressive sounds came from the PMA Symphony Orchestra.

In an attempt to broaden the musician's repertoire and appreciation, the music played by the orchestra
was not limited to one style or period. Instead, music ranging from the pre-classics to the avant-garde
was represented. Also, student composers were given the thrill of hearing their own friends and colleagues
breathe life into art they had created.

The first concert of the orchestra was a guest appearance at Convention Hall at a civil rights program
where an inspiring performance of the last movement of the Beethoven Symphony No. Nine was heard by
several thousand people.

Another recent concert was given by the orchestra and several student organists at the First Baptist
Church. The organ-orchestra works included the Brixi, Poulenc concerti, and the Saint-Saens Symphony
No. Three. The main concert of the 1964-65 school year will be held at the YMHA on May 13.

The success of the ensemble was far greater than anyone, including conductor Maurice Kaplow s
expectations. Future plans included the formation of two groups: a training orchestra that would not per-
publicly; and a large symphony orchestra granting membership to those having a high level of playinc
ability. An operatic performance, combining the talents of several departments in PMA, as well as cc
certs at other colleges, is now being planned.

Snser.bles

Dr. Jani Szanto

String Quartet

Chamber music, especially; in its purest state,
the string quartet, is regarded as the highestform
of music. It has been said that "a quartet has a
great soul in a small body."

Chamber music does not become a mere vehicle
for soloists, lending itself to the personal vanity
of virtuosi or prima donna conductors, but in-
stead is an ensemble requiring cooperative team-
work, not personal displays. The members are
not soloists and accompanists, but four equals,
each commenting on the common subject-his
own voice, his own character.

The great masters created immortal works for
string quartet. They are a great treasure-house of
beauty, and as Bruno Walter said are the
"simplest part of our art."

No progressive music college could eliminate
intensive chamber music courses from its curric-
ulum. I am pleased to state that the Philadelphia
Musical Academy recognizes the importance of
chamber music and provides ample opportunities
for its students to become acquainted with the
wealth and beauty of chamber music literature.
JANI SZANTO

String Quartet Members: Julian Meyer, First vioiin; Igor
Sweczt, Second violin; Mark Mostovy, viola; Martha Brauns,
violoncello.

Woodwind Ensemble

Woodwind ensemble is one of PMA's
largest chamber music ensembles. It is
under the capable direction of Mr.
Csomay. Since the literature for wood-
wind ensemble is diverse, the size of a
specific ensemble is dictated by the
instrumentation of the piece to be
studied. While performing in concert is
eventually intended, the main pedagog-
ical goal of the ensemble is to acquaint
the ensemble members with a large area
of literature. Thus, PMA's woodwind
ensemble is a vital force in this school's
educational life.

The Woodwind Quintet plays "Lacheminee Du Roi
Rene" by Milhaud.

Woodwind Ensemble Members: Gary Anderson, Margaret Bloch, Nick
Cassizzi, Martin Fumo, Edward Golaszenski, Henrietta Mustokoff,
Ellen Rettew, Brian Riffert, Ken Weiner, Ted Wentz, Steve Wilensky,
Ken Wolfson.

Organ Seminar

Members of Organ Seminar: William Doyle, Dennis Elwell,
Robert Jones, Howard Martin, Cecelia Merritt, Ronald Stalford,'
Gainor Shoemaker, Roland Shepard, William Smith, Karl Toth,'
and Jerry Wright.

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PMA s Organ Seminar is an important
and integral part in an organist s educa-
tion at the Academy. The seminar serves
as a performance class, providing valu-
able performing experience for the student
organists. The seminar is a forum for
discussion of the latest trends in church
music and organ design. This year the
seminar sponsored a series of lectures
that dealt with various phases of church
music. Mr. Wesley Day lectured on plain-
song and boy choirs, Miss Anita Greenley
demonstrated various techniques of im-
provisation, and a representative of Mo I ler
Organ Company lectured on pipe organ
design. Another phase of the seminar s
activities is centered around field trips.
During the fall we made a trip down to
the Moller factory in Hagerstown, Mary-
land. And during June the seminar is
going to make a three day trip to Wash-
ington, D.C., to see some of the outstand-
ing organ installations in that area. Dr.
Earl Ness is the challenging instructor
of the seminar. Under his direction the
seminar is fulfi Ming an important need in
an organist s education. Thus, the semi-
nar is providing a needed atmosphere of
challenge for PMA s organists.

Dr. Ness

33

Delta

Omicron

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I'lul.klt Ipliu Musical Aadcmv

Officers of Omicron Rho: Ellen Dunmore, President; Carolyn Sutkus, First Vice-President; Phyllis
Casner, Second Vice-President; Alice Eyler, Treasurer; Gainor Shoemaker. Secretary; Janet McCabe,
Historian; Mary Eliabeth Bennett, Warden; Frances Fanelli, Director of Music; Members of Omicron
Rho: Mary Bourne, Carolyn Hill, Joyce Irons, Elisie Lewis, Barbara Mylett, Carol Redfield, Irmeen
Rosenburg, Paulette Rush, Sheila Weinstein, Norma Weintraub, Barbara Youngblood, Faculty Mem-
bers: Dr. Maria Ezerman Drake, Advi sor; Dr. Claire Pol in, Mrs. Sylvia Szanto, Mrs. Margaret Garwood.

Delta Omicron is an important extracurricular activity at
PMA. Since the installation of the Academy's chapter early last year,
the student body has observed a dynamic organization in action. This
is apparent in the excellent concert series the chapter sponsored this
year featuring members of PMA's faculty. Among the artist- teachers
that performed were: Allison R. Drake, Margaret Garwood, and
Sylvia Szanto. Delta Omicron is dedicated to the ideal of excellence
is music, not only in its own members, but also in the student body at
large. Delta Omicron is also deeply committed to the promoting of
greater social interaction among all factions of the student body, the
faculty, and the administration.

Phi Mu
Alpha

Dr. Pep, his secretary, and Phi Mu Alpha
their picture taken for the yearbook.

nembers having

Officers of Phi Mu Alpha: James Fay, President; Jack Hellers, Vice-President; Walter Dunlap,
Secretary-Treasurer; Historian, Henry Varlack; Executive Alumni Secretary, Robert Stewart, Henri
Mamet, Warden; Chapter Members: Donald Chittum, Hendrik Drake, Walter Dunlap, Edward Etkins,
James Fay, Allen Halber, Henri Mamet, Kenneth McDougald, Carl Mortellite, William Parker,
Alexander Ragsdale, Howard Smoyer, William Stewart, William Turner, Henry Varlack, Kenneth
Weiner, Stephen Wilensky. Dr. Abe Pepinsky, Advisor.

Phi Mu Alpha is a very recent addition to the Academy's
extracurricular activities. Phi Mu Alpha evolved at the New England
Conservatory of Music in 1898. The fraternity is dedicated to four
goals: the advancement of music in America, the fostering of mutual
welfare and brotherhood among students of music, the development of
the truest fraternal spirit among its members, and the encouragement
of loyalty to the Alma Mater. Phi Mu Alpha promises to be a vi
force in the Academy's musical life by sponsoring concerts and s*
events.

M E N C

MENC Officers: Mary Bourne, President, Alexander Ragsdale, Vice President, Dimitri Kauriga, Sec-
retary; Henry Mamet, Treasurer. MENC Members: Phyllis Casner, Barry Currington, La Deva Davis,
Walter Dunlap, Ellen Dunmore, Mary Ann Gallas, Allen Halber, Carolyn Hill, Sheldon Kohan, Eileen
Loughrey, Janet McCabe, Kenneth McDougald, Irmeen Rosenburg, Terry Shepanski, Howard Smoyer,
Bob Stewart, Ira Tucker, William Turner, Kenneth Weiner, Shei la Weinstein, Barbara Youngblood, Ted
Zimmerman.

MENC is an important professional
organization that is dedicated to the
advancement of music education. Here
at PMA students are the core of the
chapter. These students are members of
MENC because they plan to become
teachers. MENC offers them a splendid
opportunity to keep abreast of the latest
events in the field of music education.
The goals of PMA and MENC are close-
ly correlated because each is fostering
the training of music teachers and
educators. Da capo strongly supports
this fruitful collaboration between PMA
and MENC.

36

Student Senate

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First Row: Ted Didden, Bonita Glenn, Norma Weintraub, Gainor
Shoemaker, Peter Nocella. Second Row: Townsend Wentz, Vincent
Trombetta, Allen Halber, Ken Wolfson, James Fay.

Those not shown: Carol Pownall,
Senior representative; Ted Zimmer-
man, Junior representative.

With the steady e> ion of enroll-

ment and facilities at -., an increas-

ingly important need aro; or an active
and responsible organize n to repre-
sent the student body in dire: :ng inno-
vations in all areas relevanr *udent
activity. The administration recognized
this need and encouraged student election
of individuals capable of handling a
responsibility as extensive and vita.
this.

On February 8, 1965, four officers
and eight class representatives were
elected to form the governing body of
the Student Senate of the Philadelphia
Musical Academy. Committees were then
formed including non-Senate students
who were willing to co-operate in Senate
activities. Immediately thereafter, the
organization's constitution and by-laws
were completed and ratified. A long list
of problems awaiting action were tackled
and solved as well as possible. There
is yet much to be done. However, the
members of the Student Senate feel that
some interest has been stirred among the
students which is vitally important to
the effective functioning of this body.

The aims of the Student Senate rest
upon its desire to act as an efficient
force in- improving the well-being of
PMA as it affects its students. Students,
faculty, and administration are hopeful,
and theStudent Senate, with co-operation,
is confident in its success.

Student Senate Members:

President Gainer Shoemaker

Vice President Townsend Wentz

Secretary James Fay

Treasurer Allen Halber

Senior Class Representatives Carol Pownall

Kenneth Wolfson
Junior Class Representatives. ..Vince Trombetta

Ted Zimmerman
Sophomore Class Representatives.. ..Ted Didden

Peter Nocel la
Freshman Class Representatives. ..Bonita Glenn

Norma Weintraub

Gainor Shoemaker, president, has iust settled
dispute between Student Senate members and
making her alternative solution.

cr

pecial Events

Members of the quintet: John Dulik, piano; Vince
Trombetta, saxophone; Armand Santorelli, drums;
Mike Natale, trumpet; Austin Wallace, bass.

The Field House of Villanova Uni-
versity was the scene of another PMA
First on the night of March 20, 1965,
when Vince Trombetta s Jazz Quintet
gave a performance that placed the
Academy's name among the greats in
jazz annals across the country. They
played "Alfa", "Softly as in a Morning
Sunrise", and "Kloveedsedsteene".

In close competition with combos,
small groups, and big bands represent-
ing many colleges and universities of
America, the quintet made the finals
and placed second in the small group
category. Additional fortune came to
the quintet in Villanova's invitation to
accompany its group on a summer road
show to other universities, and in the
State Department's request of them to
do a tour of Africa.

Vince and the other members of the
quintet hope, as does the rest of the
student body, that activities of this
nature will be encouraged and sup-
ported by PMA in the future. There's
no way to predict what heights of fame
PMA and its students will reach.

This year PMA has sponsored a stimulating
series of lectures. David Kraehenbuhl lectured
on the stylistic development of modern Spanish
music by comparing early twentieth century music
to later mid-twentieth century music. Mr. Kraehen-
buhl s lecture can be summarized as follows:
Modern Spanish music is in a state of transition
away from romantic nationalism to international
atonalism.

Temple Painter gave a very informative and
satisfying lecture-recital on the history and
design of the harpsichord. Mr. Painter's lecture
emphasized the need and desirability of making
the harpsichord a living instrument of the twenti-
eth century. He advocates the use of modern ma-
terials need for pitch stability, and he is en-
couraging the composition of new works for the
harpsichord.

Lament of Elektra, by William Sydeman, was
the subject of a lecture given by the composer
himself. William Sydeman's piece uses theatrical
techniques as the main devices to achieve an
eerie feeling of mournful vengeance, and con-
trolled chaos. Five choruses contributed to those
effects, with the main chorus on stage and the
smaller choruses located on the periphery of the
auditorium. Much credit must go to the choruses
and the conductors for doing an excellent job in
combining all the diverse elements of Sydeman s
difficult and imaginative work.

Mr. Castaldo conducting the Woodwind Quintet.

Student Concerts

Norma Weintraub plays "Tocatta for
Piano" by K hatchaturian.

Elsie Lewis plays
E" by Schubert.

PMA's Student Concert Series has
proved to be a highly successful venture
because it has the support of the student
body, the faculty and the administration.
These concerts have given student per-
formers needed experience in solo and
ensemble playing. The general excel-
lence of individual and group per-
formances should be a matter of pride
for the whole school. The memory of
this year s excellent performances will
be a model for next year s performers
to emulate. Let us continue to en-
courage this fine radition of excellence
in performance, and thus make PMA
more widely known throughout America s
rich musical scene.

The String
Beethoven.

plays "Trio in B flat" by

JV

Allen Halber conducts "Prologue for Speaker and
Ensemble" by Jerry Margolis

Da capo

Da capo is the mirror of the Academy s spirit.
In a year of significant events, embodying
progress, Da capo's staff has striven to improve
the quality of the Academy's yearbook. The
experienced staff has achieved this. In the pro-
duction of this yearbook, everyone on the staff
has foregone his own goals that conflicted
against a more important goal; the creation of a
fine yearbook. This year Da capo has centered
its attention on student activities. The staff
feels Da capo is a yearbook that the whole
school can be proud of, since it embodies PMA's
spirit of progress and challenge.

Two happy but TIRED Co-Editc

"Let's look at that thirty-seventh revised layout
sheet again".

Da capo Staff:
Co-Editors:

Production:

Photographs

Gainor Shoemaker
Wil liam Smith

Mary Mullison
Ellen Rettew
Nancy Shear
Teresa Shepanski
Teresa Vi Hani
Norma Weintraub

Dimitri Kauriga

Faculty Contributor: Jani Szanto

Senior Contributors:

Frances Fanell
Phyllis Casner
Mary Bourne

Advisors:
Special thanks to Leopold Stokowski.

Patricia Cruser
Richard Hoge

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