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ADMISSIONS BULLETIN TABLE OF CONTENTS

The College 1 Admissions 30 The Campus 4 Application Procedure 30 Board of Directors 5 Auditions 30 Administration and Staff 6 Audition Dates 31 Faculty 7 Graduate Studies 32 School of Music 10 Graduate Program in Music 33 Curriculum 12 Graduate Program in Opera 34 Degree Programs 12 Application Procedure 35 Music Education 12 General Information 38 Jazz/Commercial Music Studies 13 Student Life 39 Opera Emphasis 14 Student Housing 39 Admissions 15 Summer Session 39 Application Procedure 15 ACT 101 39 Auditions 16 Pre-College Training 39 Audition Dates 16 Early Admissions Program 40 Audition Repertoire 17 Part-Time Students 40 School of Dance 20 Transfer Students 40 Curriculum 21 Foreign Students 40 Degree Programs 22 Financial Aid 41 Dance Education 22 Scholarships 42 Admissions 23 Tuition and Fees 43 Application Procedure 23 Faculty Biographies 45 Auditions 23 Calendar 59 Audition Dates 24 PCPA Student Body 61 Facilities 25 Map 62 School of Theatre 28 Tips to the Applicant 63 Curriculum 29 Application for Admission 64 Degree Programs 30 H X m o o

in > n* cr O z c03 COLLEGE OF THE PEI^FOF^MEHG AI(TS

AN INVITATION TO ATTEND

The Philadelphia College of the Performing College officially changed its name to the Philadel-

Arts is dedicated to excellence in the training of phia College of the Performing Arts. This signified professional musicians, dancers, actors, music a new direction for the school, and in essence educators, and dance educators. The PCPA announced the College's intention to expand its curriculum combines the performance emphasis of curriculum to include all three of the performing a traditional conservatory approach, stressing arts —Music, Dance, and Theatre. individualized training, practice, and discipline, with In 1977, the College incorporated the School a liberal arts education. of Dance into its curriculum; the School of Theatre to Founded in 1870 as the Philadelphia Musical opened in 1983, thus adding new dimensions the Academy, the Philadelphia College of the Perform- College's program. The high standards of training ing Arts has long been regarded as one of and professionalism established by the School of America's foremost contributors of outstanding Music are an integral part of the dance and acting musicians. Many of the College's early graduates programs. and faculty became members and founders of the The Philadelphia College of the Performing is Philadelphia Orchestra when it was formed in 1900. Arts, long regarded as a leader and pioneer, The Philadelphia Orchestra continues to play a Pennsylvania's first and only independent college arts. significant role in the life of PCPA with many of its dedicated exclusively to the performing One members currently serving on the College faculty. of the first of its kind in the United States, the Located in Philadelphia's historic Shubert Building, College is recognized as a school which is serving is founded PCPA is adjacent to the Academy of Music, home present and future needs. Its philosophy of the world-famous orchestra. on the principle that performing artists, whatever

In 1976, still offering only a music program, the their discipline, have a common bond, and that they must reach out to each other for inspiration tory, Cleveland Institute of Music, Mannes School, and growth. Many of the College's students follow Manhattan School of Music, and Peabody interdisciplinary careers requiring familiarity with all C6nservatory. the performing arts. The Philadelphia College of the Performing The College is proud of its distinguished Arts offers the student the unique opportunity to faculty, most of whom are widely-recognized per- learn and grow creatively as an individual and as a forming artists. Because of this faculty, along with performing artist. The coeducational student body the College's philosophy that superior individual- is composed of students from across the United ized instruction is of the utmost importance, PCPA States and many foreign countries. All students has established a reputation for excellence in pro- receive personal attention, professional individual- fessional training. This reputation is strengthened ized training, and are regarded as unique individ- by the impressive and ever-growing list of PCPA uals possessing abilities and talents which must be alumni which includes pianists Andre Watts, guided, respected, and allowed to grow to full Eugene List and the late William Kapell, composer potential. Our goal is to assist each student to Vincent Persichetti, soprano Florence Quivar, realize the full attainment of his true potential. dancers Judith Jamison and Rodney Griffith, and Indeed, the Philadelphia College of the jazz artist Stanley Clarke. Performing Arts is a place where one can study The Philadelphia College of the Performing with a professional to become a professional, while Arts, a fully-accredited independent institution, is a earning a fully-accredited college degree. member of a unique consortium. The College The College looks forward to the future and shares membership with the Juilliard School, San invites young artists to consider becoming a part of Francisco Conservatory, New England Conserva- this exciting experience. THE PHILADELPHIA COLLEGE OF THE PERFORMING ARTS 250 S. Broad St., Philadelphia, PA 19102 • (215) 893-3174

Location: Philadelphia, Pennsylvania Founded: Philadelphia Musical Academy, 1870

Chartered by: The Commonwealth of Pennsylvania, 1915 Amalgamated with: The Philadelphia Conservatory of Music, 1962 The Philadelphia Dance Academy, 1977

Approved by: Pennsylvania Department of Education

Accredited by: Middle States Association of Colleges and Secondary Schools National Association of Schools of Music THE CAMPUS The Philadelphia College of the Performing manual Challis Harpsichord, an 8-track Moog

Arts is located in Center City Philadelphia, a Synthesizer, a complete computer laboratory for location highly advantageous for the young student use and research, two harps, complete sets performing artist. Its buildings are in the center of of percussion instruments, and more than 100 an area which serves as the focal point of the city's orchestral instruments which may be used on a loan major performing arts activities. Within one block basis for rehearsals and class instruction. of the College, one will find the permanent homes The Annex Building, located at 313 South of the Philadelphia Orchestra, the Pennsylvania Broad Street, houses the jazz, and opera programs Ballet, the Philadelphia Civic Ballet, the Phila- of PCPA. This building has spacious dance studios delphia College of Art, Philadelphia's High School and several smaller practice rooms. Studios are for the Creative and Performing Arts, and Phila- equipped with sturdy barres, mirrors, and resilient delphia International Records. Indeed, concen- wood floors. Dressing rooms are available with trated within this small area, one finds more individual lockers and showers. Several rooms are professional music, dance, and theatre represented available as rehearsal space for large ensembles than in any other part of the city. and other functions. The building also houses the The home of PCPA is the modern seven-story Performing Arts School, PCPA's own private Shubert Building at 250 South Broad Street. Phila- school for grades 5-12. delphia's historic Shubert Theatre, owned and Theatre 313 is located in the Annex and the College, is the ground operated by housed on serves students and faculty as a recital hall for the building, is today the floor of and major student and faculty concerts and productions. With performance hall for students and faculty. PCPA a seating capacity of approximately 200, this the time, it is the of the At same permanent home theatre provides an intimate setting for small Pennsylvania Ballet, and it is frequently a major productions. stop for pre-Broadway shows and national touring The School of Dance at 309 South Broad companies. The opera/concert theatre has a Street, is one of the College's two new facilities. seating capacity of 1800 persons and is considered The building houses three spacious studios with to be one of Philadelphia's finest. high ceilings, barres, mirrors, and resilient floors. On the third floor of the building is the Clara There are also dressing rooms, showers, office and and William S. Fishman Memorial Library. lounge areas. This library houses more than 14,500 volumes and scores and over 10,000 records and tapes. In addi- The Residence Hall (Furness Hall) is tion, the collection includes the Lattimore- located at 15th & Pine Streets, about two blocks Nahumck Library of Dance which is an exten from the Shubert Building. Students from both sive reference collection related to the art of dance. PCPA and the Philadelphia College of Art reside in

The remainder of the building houses a full comple- Furness Hall and another building which is also ment of modern classrooms, chamber music about two blocks from the campus. The residences studios, student lounges, and administrative offices. feature two, three and four person apartments with In addition, there is an electronic music studio, separate kitchen and bathroom facilities. All class piano laboratory, and audio-visual equipment. campus residences are co-educational. College Practice rooms are carpeted, have full-length housing is supervised by Resident Advisors and a mirrors, and individual heat controls. Many are live-in director. equipped with grand pianos. Also available is a two- BOARD OF DIRECTORS

Jack R. Bershad, Esq. C. Graham Berwind, Jr. Lennox K. Black Joseph Castaldo, President Emeritus Herbert Cook Vincent C. Desiderio, M.D. Richard L. Freundlich Russell A. Glicksman Mrs. Helen P. Neuman Kaplan Phyllis C. Kaufman, Esq. Stephen J. Korn, Esq. Robert S. Lee, Sr. Harold T. MacCracken Mrs. Matthew T. Moore Mrs. Suzanne Morgan Ronald Naples Ms. Robyn F. Perlman Edwin P. Rome, Esq. Michael J. Rotko, Esq. Ira Brind, Chairman Adolph E. Sinkow The Hon. Faith Ryan Whittlesey Ira Brind, Chairman Harold L. Yoh, Jr. John W. Merriam, Chm. Exec. Comm. Jack F. Adler, Treasurer

Charles W. Raison, Executive Director ADMINISTRATION AND STAFF

Charles W. Raison Phoebe Law Executive Director Librarian

Fredrick Kaufman William P. Parrish, Jr. Dean of the College/Director, School of Music Admissions Counselor

Edward T. Brake Nancy Wright-Hamilton Dean of Admissions/Student Services Liaison Assistant Director of ACT 101/ Counselor Susan Glazer Director, School of Dance Edna Cohen Walter Dallas Assistant to the Director, Acting Director, School of Theatre School of Dance

Carlton Jones Lake Betty Reiser Director, Performing Arts School Director, Audience Development

Elaine Evans Barbara J. Silzle Director, New Studies Center Administrative Assistant to the Executive Director Dovie' R. Prather Director of Development Chris Blinebury Administrative Assistant to the Douglas Fitzgerald Dean of Admissions Director, ACT 101 Marilyn Roberts Rita DiRenzo Secretary, Dean of the College Registrar Joseph Castaldo Arthur M. Hoist President Emeritus Director of Financial Aid Ezerman Drake Nadine Senyk Maria Assistant Dean Emeritus Director, Student Residence Nadia Nahumck Dean Emeritus, School of Dance FACULTY KEYBOARD George Akerley (Piano) SCHOOL OF MUSIC Richard Alexander (Organ) Fredrick Kaufman, Director James Amadie (Piano) Behrend (Piano) Coordinator, Division of Applied Studies Jeanne Andrea Clearfield (College Accompanist) WOODWINDS Robert Elmore (Organ) *Adelchi Louis Angelucci (Bassoon) Frances Fanelli (Piano) **Robert Bloom (Oboe) Yoheved Kaplinsky (Piano) Shirley Curtiss (Bassoon) Robin Kissinger (Accompanist) Harold Karabell (Clarinet, Saxophone) Florenza D. Levengood (Piano) Pat Kendel (Flute) Ronald Marlowe (Piano) *Loren Lind (Flute) Michael Stairs (Organ) Lawrence McKenna (Saxophone) Susan Starr (Piano) Guido Mecoli (Clarinet) Benjamin Whitten (Piano) *Ronald Reuben (Clarinet) David Schneider (Oboe) HARP **John Shamlian (Bassoon) *Margarita Csonka Montanaro Fuller Joseph Smith (Saxophone, Clarinet) Karin Marshall Taylor (Saxophone) STRINGS Adeline Tomasone (Flute) Robert Cerulli (Double Bass) William P. Zaccagni (Saxophone) *Frank Costanzo (Violin) BRASS *Neil Courtney (Double Bass) *Tyrone Breuninger (Trombone) *Joseph dePasquale (Viola) Joseph DeAngelis (French Horn) *Julia dePasquale (Violin) dePasquale (Violin) Richard Genovese (Trombone) *Robert James Hala (Trumpet) *William dePasquale (Violin) Fiore (Double Bass) *Frank Kaderabek (Trumpet) Domenick Jay Paul Krush (Tuba) *George Harpham (Cello) Johns (Cello) *Paul Krzywicki (Tuba) *Gloria Anthony Marchione (Trumpet) *Joseph Lanza (Violin) Michael Natale (Trumpet) "Dr. Leonard Mogill (Viola) Calvin Price (Trumpet) "Deborah Reeder (Cello) (Double Bass) *Seymour Rosenfeld (Trumpet) *Henry G. Scott *Charles G. Vernon (Trombone) Carlos Villa (Violin) (Cello) *David Wetherill (French Horn) "Mihalay Virizlay PERCUSSION GUITAR *Michael Bookspan Robert DiNardo Nicholas D'Amico Ed Flanagan Joe Nero John Leonard Patrick Mercuri Peter Segal VOICE JAZZ/COMMERCIAL MUSIC Paula Brown Evan Solot, Coordinator Marianne Casiello George Akerley Deborah Cook James Amadie Franco Iglesias Robert DiNardo Harold Parker Frances Fanelli Alan Wagner Domenick Fiore Vivian Wagner Ed Flanagan OPERA Richard Genovese Kay Walker, Coordinator Gene Leone Lelia Calder (Vocal Pedagogy) Lawrence McKenna Larry Cannon (Make-Up) Patrick Mercuri Allison Green-Kelley (Acting) Michael Natale Gabriela Roepke (Opera, Theatre History) Joe Nero Danielle Smith-Orlando (Coach) David Schneider Leon Unger (Coach) Fred Scott THEORY/COMPOSITION Adeline Tomasone Dr. Donald Chittum, Coordinator William P. Zaccagni Joseph Castaldo +CONDUCTING Annette DiMedio Sean Deibler Lilburn Dunlap *Joseph Primavera Fredrick Kaufman ENSEMBLES Jan Krzywicki Fredrick Kaufman, Coordinator Yinam Leef Symphony Orchestra Andrew Rudin Joseph Primavera, Conductor Dr. Carl B. Schmidt Symphonic Wind Ensemble MUSICIANSHIP Douglas Fitzgerald Jan Krzywicki, Coordinator Chorus Sean Deibler Sean Deibler, Conductor Lilburn Dunlap Jazz Ensembles Janice Kestler Evan Solot, Director Nadine Senyk William P. Zaccagni, Director Michael Stairs Chamber Ensembles MUSIC EDUCATION Fredrick Kaufman, Coordinator Dr. Douglas S. Medlin, Coordinator Robert Bloom (Mixed Chamber) Nicholas D'Amico Sean Deibler (Vocal Chamber Ensemble) Douglas Fitzgerald Joseph dePasquale (String Chamber) Regina Gordon Robert dePasquale (String Chamber) Dr. Carlton J. Lake William dePasquale (String Chamber) S. Archye Leacock Nicholas DAmico (Percussion Ensemble) Sandra Levinson Robert DiNardo (Jazz Guitar Ensemble) *Joseph Primavera George Harpham (String Chamber) Jay Krush (Brass Ensemble) TAP DANCE Jan Krzywicki (Renaissance Ensemble and Lavaughn Robinson New Music Ensemble) Karen Vorkapich John Leonard (Classical Guitar) DANCE STUDIES Joseph Primavera (Mixed Chamber) Peter Bertini (Dance Notation) Michael Stairs (Piano Accompanying) Barbara Bourbon (Anatomy, Kinesiology) David Wetherill (Brass) Annette DiMedio (Functional Music/Intro to SECTIONALS Music) Manfred Fischbeck (Eurythmics) DePasquale String Quartet (Strings) Allison Green-Kelley (Acting) Joseph Primavera (Brass, Woodwinds and Percussion) Linda Haviland (Dance History) Gloria Lihotz (Voice) SCHOOL OF DANCE Dr. Carol Oatis (Anatomy, Kinesiology) Gabriela Roepke (Dance in Literature) Susan B. Glazer, Director Pearl Schaeffer (Dance Pedagogy) BALLET John Tacconelli (Mime) Susan Gottlieb Joanne Tulli (Effort, Shape) Andrew Pap SCHOOL OF THEATRE Barbara Sandonato Charles Conwell (Fencing) Carol Luppescu Sklaroff Walter Dallas (Acting Director) Alexei Yudenich Manfred Fischbeck (Movement) JAZZ/THEATRE DANCE Gary Flannery (Musical Theatre) Peter Bertini Allison Green-Kelley (Speech, Acting Studio) Gary Flannery Nancey Kantra (Movement) Nancey Berman Kantra Paul Kelley (Make-Up) Donald Lunsford Gabriela Roepke (Intro to Theatre) Jose Meier John Tacconelli (Mime) MODERN DANCE Paul Wagar (Speech) Jeffrey Duncan HUMANITIES Manfred Fischbeck Dr. John F. DeWitt, Coordinator JoAnn Fregalette-Jansen Janice Bryson Susan Glazer Kent Christensen Diane Grumet Clint Gould Naomi Mindlin Phoebe Law Faye Snow Dr. Camille Paglia Pat Thomas Dianne Perkins Joanne Tulli Gabriela Roepke

*Member, The Philadelphia Orchestra **Former Member. The Philadelphia Orchestr, ***Member, Baltimore Symphony Graduate Composition Students Only C/5 N S o o ro o 2 C on O

10 The School of Music of the Philadelphia ing groups is an important part of the curriculum of College of the Performing Arts is concerned with the School of Music. The College makes available a the preparation and training of young artists for variety of ensembles and performance opportun- careers as professional musicians and music ities. They include: educators. Moreover, PCPA is dedicated to the Symphony Orchestra total education of its students. The College's goal is PCPA Chorus to produce individuals who possess the means to Symphonic Wind Ensemble function as musicians and as productive citizens. Jazz Ensemble I The traditional conservatory approach, that Jazz Ensemble II which stresses the importance of individualized Guitar Ensemble

training, is a strong influence in the curriculum of Piano Accompanying the School of Music. The College also places great String Chamber Ensembles emphasis on performance. Mixed Chamber Ensembles All music majors at PCPA receive intensive Percussion Ensemble training in theory and musicianship as well as back- New Music Group ground in the humanities. The PCPA theory Opera Productions program utilizes a unique approach to theoretical Studio Concerts studies, ensuring each student a solid foundation in Student Composition Concerts basic skills, analysis, literature and music history. The Troubadour Program Musicianship (ear-training) studies foster an aural Occasionally, students have the privilege of awareness of pitch and rhythmic materials. Funda- participating in very special performances. For mentals of music theory are correlated with aural example, the PCPA Chorus performs periodically materials so that both intellectual and aural skills with the Philadelphia Orchestra. The Troubadour develop simultaneously and reinforce each other. Program affords students the opportunity to repre- The importance of individualized training is sent the College and to perform throughout the reinforced by the College's on-going Master Class Philadelphia area. Each spring, the College Series. Recent artists who have conducted Master sponsors a celebration of the performing arts in its Classes include pianists Andre Watts, Claude "IN CONCERT" performance series. This culmina- Frank, Philippe Entremont, and composers George tion of each year's performance efforts is a series Crumb and Robert Suderberg. of concerts, recitals and special programs stressing From time to time, guest conductors rehearse all aspects of music and dance. the PCPA orchestra. Maestros Riccardo Muti, Ra- Since 1870, the School of Music has been pre- phael Fruhbeck de Burgos, Stanislaw Skrowaczew- paring and training young artists for professional ski, and Klaus Tennestedt have been recent guests. careers as musicians and music educators. PCPA's Coupled with the importance of individualized comprehensive music training program is geared to student's instruction, the College is strongly performance- assist in the fullest development of each oriented. Performance and involvement in perform- potential.

11 CURRICULUM DEGREE AND CERTIFICATE PROGRAMS The PCPA curriculum stresses individualized Bachelor of Music training with a performance emphasis and includes The four-year Bachelor of Music program is required courses in the Humanities. Each semester, designed for those students who wish to prepare students in the BM and the BM/BME programs for professional careers in performance, composi- take one Humanities course, with the remainder tion, or who desire a thorough background in being in music. The Humanities courses, whenever anticipation of graduate study, studio teaching, or possible, are taught with regard to how they relate further work in specialized fields. to the performing arts. The College curriculum does not include any courses in mathematics or Double Degree: Bachelor of Music/ science. Students in the Certificate in Performance Bachelor of Music Education program do not have a Humanities requirement. The five-year Double Degree Program prepares Major Fields of Study—Undergraduate students for careers in school music teaching. The Bassoon Piano College takes the position that teachers of music Cello Percussion must be of the same general level of musical Clarinet Saxophone accomplishment as students graduating with a BM degree. Students are granted two degrees: Classical Guitar Theory Composition Trombone the Bachelor of Music degree in either perform- Double Bass Trumpet ance or composition and the Bachelor of Music Education degree. One-third of the College's music Flute Tuba French Horn Viola majors are enrolled in this double degree program. to Harp Violin In addition the requirements for the Oboe Voice Bachelor of Music degree, double degree Organ Voice/Opera Emphasis candidates complete courses in instrumental and vocal methods, functional piano, psychology, social foundations of education, conducting, lab teaching, professional methods, and student teaching. Methods classes begin in the sophomore year, following the traditional freshman year of core requirements.

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

12 post-baccalaureate instruction. In this sense, PCPA Students receive performance opportunities offers a most effective program for those who through the College's award-winning performing recognize the desirability of teaching and the jazz ensembles, including three big bands and attractiveness of an applied career. numerous small ensembles. For its Music Education majors, the College Jazz scholarship auditions are scheduled for offers excellent physical facilities, up-to-date April 1, 1985. Jazz auditions after that date are curriculum laboratory, closely-supervised lab school considered non-scholarship and may be scheduled and student-teaching experiences, a curriculum according to the audition calendar on page 16. emphasizing practical as well as theoretical approaches to the basics of accepted educational techniques, a faculty widely-experienced in public school and private teaching, and a policy of close individual career and college counseling. Certificate in Performance

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

Jazz Commercial Music Studies

This four year program resulting in the

Bachelor of Music Degree is intended to provide a direct and pragmatic educational approach for those students who wish to pursue careers as performers, arrangers, and composers in the jazz and commercial music areas. The program carries a total graduation requirement of 128 credits as well as a Senior Recital of which half must be traditional repertoire. The curriculum includes courses in jazz piano, jazz improvisation, jazz theory and ear training, jazz arranging and film scoring, history of jazz, business of music, jazz lab, and recording, using the 48-track facilities of Sigma Sound Studios, as well as a firm foundation in classical studies. Opera Emphasis The Opera emphasis program exposes the undergraduate student to the rigors and literature of the operatic world before they continue with advanced work in this field. Voice majors may elect this program during the final two-years of a four- 'year degree program at the College. Courses include acting, staging, acting Improvisation, opera literature and special musical coachings with the opera department faculty.

14 ADMISSIONS Admission to the College's degree and Submission of letters of recommendation is

certificate programs is determined by a competitive desirable but not mandatory unless specifically entrance audition and a review of the applicant's requested. secondary school record and SAT or ACT scores. When feasible, personal interviews are The admissions program seeks to determine the encouraged. This provides the opportunity for the applicant's technical and intuitive grasp of his major applicant and College staff members to become performance medium and of music fundamentals as personally acquainted and to discuss the a whole, his ability to function in a college environ- curriculum and facilities. However, because of ment, and his overall commitment to music as a distance and other factors, the interview is only

career and as an art. recommended. It is not mandatory. Secondary School Requirements Because College enrollment quotas may be filled early, applications should be filed as soon as Applicants must complete requirements for the possible, in order to avoid the possibility of being high school diploma, GED, or the foreign equival- placed on a waiting list. ent prior to actual enrollment in the College, with the exception of those accepted under the Early Admissions Program. Proof of completion of the \ be submitted secondary school requirements must 1 ™*ft «Wiv to the Office of Admissions before enrollment. J Application Procedure f$M . I All applicants must submit: Wl tH 1. A completed Application for Admission and %*'*' a check or money order to cover the non- refundable $30 application fee. i 2. Official transcripts from all secondary schools or colleges attended. 3. SAT or ACT test results. (Requests for waiver will be given consideration.)

4. A brief biographical narrative of your musical experience and activities. In special cases, the SAT or ACT require- ment may be waived by the Dean of Admissions. The college has no minimum cutoff score for SAT

or ACT. Oboist Robert Bloom, faculty A tear-out Application for Admission is in the back of this Bulletin.

15 UNDERGRADUATE MUSIC AUDITIONS Music Scholarship Auditions

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

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

Chicago New York City Cincinnati Pittsburgh Dallas San Francisco Houston St. Louis Los Angeles Washington, D.C.

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

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

(Piano, Percussion *February 6, 1985 (Jazz Auditions) *April 1, 1985 (Strings, Guitar, Harp, Composition, Theory) (All Majors) *April 3, 1985 February 20, 1985 (All Majors) April 17, 1985

(Voice, Opera, Organ) *March 6, 1985 (All Majors) May 1, 1985 (Brass, Woodwinds) *March 27, 1985 (All Majors) May 22, 1985

1986-87 ACADEMIC YEAR

November 6, 1985 *March 5, 1986 April 23, 1986 December 4, 1985 *March 19, 1986 May 7, 1986 'February 5, 1986 *March 31, 1986 May 28, 1986 'February 19, 1986 *April 2, 1986

SCHOLARSHIP AUDITIONS 16 AUDITION REPERTOIRE The repertoire listed below is recommended French Horn—Major and minor scales; for the audition, although equivalent literature may Kopprasch, Vol. 1, No. 15; composition compar- be substituted where necessary. Performance of able to Mozart Third Horn Concerto. segments from any or all of the selections may be Classical Guitar— Diatonic major and minor requested. The candidate may also be asked to scales (Segovia Fingering); one of the following sight-read, if time permits. An accompanist will be studies of Sor (Segovia Edition): Studies No. 1, 6, provided, although applicants may bring their own 9, 10 or Carcassi Op 60, Studies No. 20 and 23, or if desired. If there are any questions or you desire any of the Villa Lobos Etudes; Pieces representing more specific information, please contact the the 16th and 17th Centuries and the 20th Century. Admissions Office. Jazz Guitar— Diatonic major and minor scales, Bassoon— Major and minor scales; one study arpeggios, and chord inversions. A jazz solo from Wiessenborn Studies (1-50), Op. 8; one move- selected by the applicant. ment of the Mozart Concerto; and the first or third movement of a Vivaldi Bassoon Concerto. Harp—Demonstrate general musicianship and sight reading; two or sonatinas Cello — Major and minor scales and arpeggios; a ability to etudes to Bochsa or Nademan; a solo selected Popper etude; any movement from the first three comparable Bach Suites; any sonata comparable to Sam- by the candidate. martini's Sonata in G Major; any standard concerto. Oboe—Major and minor scales; a movement from any concerto or sonata for the oboe. Clarinet —Major and minor scales; first and following second movements from of the Organ— J. S. Bach Major Prelude and Fugue,' concertos: Weber, First or Second Concerto; Toccata and Fugue, or Fantasy and Fugue; Bach Mozart, Concerto in A Major, Op. 107, K. 622; Trio Sonata movement; a movement from a Weber Concertino, Op. 26; any advanced study French organ symphony or suite. On piano: any from H. Klose, Cavellini, or C. Rose. Bach Prelude and Fugue from the Well-Tempered Composition—Applicants will submit a portfolio Clavier; Chopin Prelude. of original scores and will be interviewed by Piano—Major and minor scales and arpeggios; a members of the composition faculty. work of J. S. Bach (three-part inventions, Preludes Double Bass—Major and minor scales; Simandl and Fugues, W. T. C); any sonata by Haydn Exercises, Book No. 1, pp. 74-75, 104-105; solo (except C major, H XVI:35), Mozart (except C selected by the candidate. Major, K. 545) or Beethoven (except Op. 49); a Flute—Major and minor scales; J. S. Bach, slow composition from the Romantic period (Chopin, movement from one of the Six Sonatas, and a Schumann, etc.); an Impressionist or piece demonstrating technical proficiency. Contemporary composition chosen by the

17 candidate (preferably a work by an American Violin—Major and minor scales (preferably in composer other than the Gershwin Preludes) to be three octaves); selection from the Kreutzer Etudes; performed from memory. a sonata by Handel or Mozart, or a concerto by Mozart or Haydn. Saxophone—Major and minor scales and arpeggios; one study from Labanchi Concert Voice—Three classical songs; one early Italian Etudes, Book 1; a solo selected by the candidate. song, and two in English.

Theory—Applicants will be interviewed by members of the theory faculty and are encouraged A NOTE ABOUT THE JAZZ/ to bring any supporting materials such as original analytic essays. COMMERCIAL MUSIC AUDITION The Jazz/Commercial Music Audition requires Trombone—Major and minor scales; Kopprasch, the applicant to demonstrate proficiency in both Book I; Rochut, Melodious Etudes; and a solo the classics and in jazz/commercial music. selected by the candidate. The Jazz/Commercial Music Audition is in two parts: Trumpet—Major and minor scales; any one of the Arban Characteristic Studies; a solo selected 1. Perform the regular entrance audition de- by the candidate. scribed (by instrument) on pages 17 and/or 18. 2. After performing the above audition appli- Tuba— Major and minor scales; Cimera, Tuba cants are required to demonstrate proficiency Studies, exercises 7 through 11; Wagner, Overture in the jazz/commercial area of music. This to "Die Meistersinger" and a solo to be selected by part of the audition includes: jazz solo or the candidate. A improvisation on a 12-bar blues progression.

Percussion— Snare Drum: Loud roll, soft roll; Demonstration of improvisation ability is prepared solo and sight-reading. Mallets: Marimba, recommended, but not mandatory. Xylophone or Vibraphone prepared solo; major There is only one exception to the information and minor scales and arpeggios. Timpani: tuning of listed above. Those applicants applying as a "Jazz timpani at several intervals; prepared solo or etude. Guitar Major" are not required to follow the above procedure. Instead, Jazz Guitars majors are to Viola—Major and minor scales and arpeggios; one follow only the audition instruction listed for Jazz of the Kreutzer Etudes or Mazas Special and Guitar on page 17. Brilliant Etudes; one of the following: Handel, Concerto in B Minor; Telemann, G Major; or Stamitz, A Major; or Hoffmeister Concerto.

18 PLACEMENT TESTING PROGRAM Following admission to the college, a series of

placement tests is administered. These tests are given to allow a realistic assessment of the applicant's strengths and weaknesses and are not factors affecting admission to the college. The following tests are part of the Placement Testing Program:

1. The Ear Training Placement Exam deals with the ability to match pitches, identify intervals and triads, and to sight- sing melodies and tap rhythms. The DePasquale String Quartet, in residence, faculty (Robert 2. The Theory Placement Exam dePasquale, William dePasquale, George Harpham, and Joseph reviews the applicant's conversance with dePasquale) major and minor (natural, harmonic, melodic) scales, intervals, chords, and basic music terminology. 3. The Basic Piano Placement Exam (for non-keyboard majors only) reviews the

applicant's ability (if any) to play the piano. Placement Exam results are used as a general index of musical accomplishment, and as a specific mechanism for class assignments. The tests allow us to place students in class sections with students of similar ability.

Maestro Riccardo Muti, Music Director and Conductor of the Philadelphia Orchestra, conducts the PCPA Orchestra during feu 19 rehearsal. Pianist Susan Starr, faculty, coaches student ~-"*fc

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20 The School of Dance of the Philadelphia September. All dance students are eligible to audition. College of the Performing Arts is dedicated to the Other performance opportunities include the training of young artists for careers as professional Troubadour Program, a community outreach dancers, dance educators and choreographers. The program, which enables students to perform in School is founded on the belief that today's profes- schools and institutions throughout the Delaware sional dancers must have extensive knowledge and Valley. The School's affiliation with cultural experience in their chosen field as well as skills in institutions throughout the city provides students related disciplines. With this in mind, the College with the opportunity to participate in professional offers a broad-based curriculum which prepares productions. students to enter the professional world of dance Performance opportunities involve students in all with confidence. facets of production, including lighting, costuming, Daily technique classes in ballet, modern make-up, and set design. Through this process, dance, and jazz dance are basic to all courses of students gain an understanding of dance as a study. Additional offerings course include tap, performing art. improvisation, repertory, and partnering, as well as The large faculty of professional artists brings electives such as Spanish dance, character, and with it a wide range of experience and tradition. mime. In courses such as dance history and score Small classes and individualized instruction provide reconstruction, students gain a historical a creative and exciting atmosphere where students perspective of different dance traditions. Music, are challenged and guided. voice, and drama classes provide dancers with the Former students have achieved success in necessary links to the allied performing arts. many different companies throughout the world. Practical experience in aspects of production is an They have been performers with such renowned essential part of the program. Various courses in companies as Alvin Ailey, Bejart, Joffrey, Jose the humanities and social science are offered, with Limon, and Pearl Lang, and teachers in such special emphasis given to their relation to the arts. institutions as the North Carolina School of the Performance is an essential and enjoyable part Arts. For these students, the high level of technical of the curriculum and serves to integrate class- and artistic training acquired in the PCPA School room work with stage experience. Students are of Dance contributed to their subsequent success. encouraged to organize their own studio work- shops and concerts in addition to participating in CURRICULUM the regularly-scheduled performances. Each spring, the year-long efforts culminate in a celebration of The demands of today's professional dance the arts —the "IN CONCERT" performance series. world require that dancers be familiar with more Students perform a wide range of classical and than one style of dance. For this reason, the College modern repertory in addition to original works has created a core program including all basic dance choreographed for them by the faculty. The styles for all students.

College also has its own modern dance/jazz The intensive training in dance is comple- company, CONSORT, which performs throughout mented by performance opportunities and required the year. Auditions for the Company are held each elective courses in the humanities. 21 Core Curriculum Bachelor of Fine Arts in Dance Education Freshman Year Sophomore Year (BFA in Dance Ed.)

Ballet Ballet The BFA in Dance Education degree program Modern Dance Modern Dance is a five-year program specifically designed for Jazz and Tap Jazz and Tap those students whose primary intention is to enter Eurythmics/ Anatomy/ the dance profession as a teacher of dance. The Improvisation Kinesiology College takes the position that teachers of dance Dance Elective* Dance Elective* must be of the same high level of accomplishment Introduction to Music Notation as students graduating from the four-year BFA Piano Dance History program. For this reason, the course of study for Humanities Courses Composition for Dancers the first four years is the same as that followed by Ensemble/Dance Lab Humanities Courses non-education majors. The fifth year of study offers Ensemble/Dance Lab students the opportunity to obtain practical and theoretical training in teaching methods and styles while strengthening their foundation in dance *Dance electives: Spanish, Ethnic, Mime, techniques. in Literature, Character Dance, Dance Yoga, Voice Although there is currently no Pennsylvania certification for dance teachers, this program of study does include a semester of supervised In the third and fourth years of study, students student teaching in schools and/or private studios major in Ballet, Modern Dance, or Jazz Dance located in the Philadelphia area. The total require- while maintaining a nominal amount of study in the ment for graduation from this program is 165-168 related styles. credits. DEGREE PROGRAMS Fifth Year Curriculum (Dance Education) Semester IX Semester X Bachelor of Fine Arts (BFA) Ballet Ballet The BFA degree program is designed for those Jazz Dance Jazz Dance students who desire to prepare for a professional Modern Dance Modern Dance performing career in dance. The program is Dance Education Dance Education normally completed in four years of full-time study Seminar Seminar and carries a total graduation requirement of 130- Methods of Teaching Student Teaching 133 credits, depending on the major field of study. Dance in Secondary 24 of these credits are in liberal arts courses and Schools 13 are in music courses. Graduation requirements Social/Folk/Square for all dance majors include the successful Dance completion of performance requirement. Society & Education

22 a

Certificate in Dance will be given consideration.)

The two-year Certificate program is designed 4. A one-page resume of previous dance train- specifically for those students who wish to concen- ing including the names of teachers, studios, trate on dance studies without a liberal arts length of study, and performance experience. requirement. This program gives students concen- This should be attached to the application,

trated study in the broad spectrum of dance styles and a photo is helpful but not required. and develops students' familiarity, proficiency, and DANCE AUDITIONS performing ability in these areas. Graduation The dance audition is of major importance in requirements include the successful completion of the admissions process. Selection is based upon the performance requirement as well as the the applicant's current level of technical proficiency prescribed course of study. and potential for professional development. The ADMISSIONS audition consists of one-half hour class each in Ballet,

Admission to the College's degree and certifi- Modern Dance, and Jazz Dance. Applicants must

cate programs is determined by a review of the also perform a dance composition limited to two applicant's secondary school record, SAT or ACT minutes which may be the applicant's own choreog- scores, and audition results. The admissions raphy. Musical accompaniment must be provided on program seeks to determine the applicant's tech- a cassette tape or record. nical and artistic grasp of his or her major perform- VIDEO-TAPED AUDITIONS of as a ance medium and dance fundamentals If distance makes a personal audition whole. It also evaluates the applicant's ability to impossible, two letters of recommendation from function in a college environment and overall dance teachers with whom the applicant has to as a career an art. commitment dance and as studied and a video tape of performance will be In special cases the SAT or ACT requirement acceptable. We request that video tapes submitted may be waived by the Director of Admissions. No be either in Beta-I Format or VHS Format. specific SAT or ACT cut-off is employed by the College. All video-taped dance auditions must show: Applicants must complete requirements for the 1. Ballet and either modern or jazz. high school diploma, GED, or the foreign 2. Warm-up including both floor work and equivalent prior to actual enrollment in the College, barre. Barre to be taped sideways and with the exception of those accepted under the frontwards and should include: plies-demi Early Admissions Program. Official transcripts of and grand, tendues, degages (battement secondary school credits earned must be submitted jetes), ronds-de-jambes, grands battements, to the Admissions Office before enrollment. developpes (extensions) —en croix. Application Procedures 3. Center work should include small and large All applicants must submit: jumps, pirouettes, adagio and a modern or

1. A completed Application for Admission and jazz combination. a check or money order to cover the non- 4. Locomotor in jazz or modern dance — refundable $30 application fee. combination of at least 8 measures which

2. Official transcripts from all secondary includes leaps and turns. r,o schools or colleges attended. 5. A short work of your own, not longer than 3. SAT or ACT scores. (Requests for waiver two minutes. DANCE AUDITIONS Dance Scholarship Auditions

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

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

Chicago New York City Cincinnati Pittsburgh Dallas San Francisco Houston St. Louis Los Angeles Washington, D.C.

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

Philadelphia Audition Dates

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

1985-86 ACADEMIC YEAR

*February 6, 1985 "April 3, 1985 *February 20, 1985 April 17, 1985

*March 6, 1985 May 1, 1985 *March 27, 1985 May 22, 1985

1986-87 ACADEMIC YEAR

November 6, 1985 *February 19, 1986 *April 2, 1986 December 4, 1985 *March 5, 1986 April 23, 1986 *February 5, 1986 *March 19, 1986 May 7, 1986 May 28, 1986

*SCHOLARSHIP AUDITIONS 24 Facilities

The School of Dance is housed at 309 South Broad Street and in the Annex Building at 313 S. Broad. These buildings house six spacious studios equipped with barres, mirrors and resilient floors. Dance administrative offices, dressing rooms, lockers, showers, and lounges are also located in these buildings. In addition to the main PCPA Library, students have available to them one of the largest and most diversified collections devoted to dance in the United States. Books, films, records, and journals are available to students for research Barbara Sandonato, faculty studies and coursework.

25 CAMPUS VISITS

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

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

Barbara Sandonato and Alexei Yudenich. faculty

26 Manfred Fischbeck. faculty 27 CDo o o r

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'?/' 50 i&://A m ft\~l% Actor training at PCPA is designed to provide Curriculum practical education in the craft of acting, reinforced Freshman Year by courses in literature and the arts, to create an Acting Studio Acting Studio intelligent actor. Our purpose is to educate for the Speech for the Actor Speech for the Actor profession of acting. Intro, to Theatre Intro, to Theatre By involving the student in a professional Movement Movement training atmosphere, PCPA faculty encourage the Fencing acting student's emotional, physical and intellectual Mime English Composition Dramatic Literature capacities and focus them on the process of acting. Musical Theatre Musical Theatre The curriculum is designed to develop the actor's basic tools: the voice, the body and the mind. Each course addresses a specific need in the Sophomore Year development of an actor and stresses the actor's Acting Studio Acting Studio ability to find artistic individuality, relaxation and Speech for the Actor Speech for the Actor concentration in performance and to make Make-up/Costume Make-up/Costume intelligent decisions in the growth of a character. Movement Movement

Performance before an audience is not Arts in History I Arts in History II

required until each of the actor's tasks is under- Musical Theatre Musical Theatre stood and fulfilled. Junior Year Acting Studio Acting Studio Speech for the Actor Speech for the Actor Movement Movement Personality & Creativity Science and the Arts Rehearsal & Rehearsal & Performance Performance

Senior Year Acting Studio Acting Studio Rehearsal & Rehearsal & Performance Peformance Musical Theatre Musical Theatre

The late composer Richard Rodgers and actress Liu Ullmann congratulate each other upon receiving honorary doctorates from PCPA. 29 DEGREE PROGRAM Application Procedures Bachelor of Fine Arts (BFA) All applicants must submit: 1. A completed Application for Admission with The BFA degree program is designed for those $30 Application Fee. students who desire to prepare for a professional 2. Copies of all transcripts from colleges and/ or acting career. The program is normally completed high schools. in four years of full-time study and carries a total 3. SAT or ACT scores. (Requests for waiver graduation requirement of 123-126 credits, of which will be given consideration.) 24 are in the liberal arts. Graduation requirements 4. A one-page resume of previous theatre include successful completion of performance training including the names of teachers, requirements. studios, length of study and performance ADMISSIONS experience.

Admission to the College's acting program is 5. A letter of recommendation concerning determined by a review of the applicant's secon- dramatic ability. This letter can be written dary school record, SAT or ACT scores, and by a high school or college acting coach or audition results. The admissions program seeks to by a theatre director or producer with determine the applicant's grasp of the fundamen- whom the applicant has worked. tals of acting and technical and artistic potential. It also evaluates the applicant's ability to function in a THEATRE AUDITIONS college environment and overall commitment to Each applicant must perform two scenes from acting as a career and as an art. memory. These scenes are to be selected from In special cases the SAT and ACT require- published plays, one from comedy and one from ment may be waived by the Dean of Admissions. drama. Each scene is not to exceed three minutes No specific SAT or ACT cut-off is employed by in performance time. After the scenes the College. performance, the applicant will participate in an Applicants must complete requirements for the interview which will be considered a part of the high school diploma, GED, or the foreign equivalent audition process. Auditions will be held at PCPA, prior to actual enrollment in the College, with the or when appropriate, in the cities listed under exception of those accepted under the Early Regional Auditions on page 31. Admissions Program. Official transcripts of secon- dary school credits earned must be submitted to the Admissions Office. THEATRE AUDITIONS

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

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

Chicago New York City Cincinnati Pittsburgh Dallas San Francisco Houston St. Louis Los Angeles Washington, D.C.

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

Philadelphia Theatre Audition Dates

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

February 6, 1985 *April 3, 1985 February 20, 1985 April 17, 1985 *March 6, 1985 May 1, 1985 *March 27, 1985 May 22, 1985

1986'87 ACADEMIC YEAR

November 6, 1985 *February 19, 1986 *April 2, 1986 December 4, 1985 *March 5, 1986 April 23, 1986 February 5, 1986 *March 19, 1986 May 7, 1986 May 28, 1986

31 SCHOLARSHIP AUDITIONS o c m CDH G O m C/> The Graduate Program in Music is an The Master of Music in Performance intensive two-year course of study leading to the Degree program is based on three broad

Master of Music degree. It is intended for the objectives: gifted student unusually music who has 1. To advance the student's performing skill in demonstrated excellence on the undergraduate the major area. level and who can benefit from advanced study in 2. To acquaint the student with basic skills of music and the humanities. PCPA affords the research and to assist him in furthering his opportunity to study with an outstanding faculty knowledge of music theory and music including many members of the Philadelphia history/literature through the application of Orchestra, artists of national and international these basic research skills. acclaim and recognized teachers in music and the 3. To develop effective skills in writing and humanities. A full range of performance critical inquiry such that the student's is into each program. opportunities incorporated perspective of music is broadened through Degree programs offered include: Composition, studies in the humanities. Performance, and Opera Singing. The Master of Music in Composition Degree program is based on four broad objectives:

1. To broaden the student's compositional skills with reference to compositions written for voice, acoustical instruments, and the electronic idiom. 2. To acquaint the student with basic skills of research and to assist him in furthering his knowledge of music theory and music history/literature through the application of these basic research skills. 3. To develop the student's ability to conduct, coach, and to prepare a composition for performance. 4. To develop effective skills in writing and critical inquiry such that the student's

perspective of music is broadened through studies in the humanities.

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

1. To train singers in a professionally oriented program to be more complete performers in the areas of singing, acting, and movement.

It is intended to enable them to reach a high level of theatrical and musical com- munication. 2. To acquaint students with operatic literature and to afford them the opportunity to participate in productions.

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

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

1. Level of performance or compositional ability. 2. Breadth of general musical knowledge, measured in four areas: theory, musician- ship, music history, and music literature. 3. Facility in written and oral organization and expression of ideas. 4. Personal commitment to a career goal. 5. Keyboard proficiency at a basic level. 6. Academic record as viewed through transcript(s).

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

34 Application Procedure Audition Repertoire

1. Complete and submit the Graduate Graduate auditions are one half hour in length Application for Admission, available from the and should be performed from memory. Instru- Office of Admissions, along with the $30. mentalists may choose their own repertoire which application fee. must reflect different style periods and include at

~2. Submit a list of all repertoire studied and least one Twentieth Century Work. Vocalists, performed or compositions completed. including opera applicants, should prepare

Performers will also list the repertoire to be selections in English, German, French, and Italian. performed at the audition and composers Composers should come prepared to discuss their will indicate which compositions will be compositions, compositional style, previous train- submitted in a portfolio. ing and compositional goals. All instrumentalists 3. Official transcripts from all post-secondary and vocalists will be expected to sightread a piece schools attended must be sent directly to selected by the Graduate Committee. A competent the Office of Admissions. accompanist will be available at each audition.

4. Three letters of recommendation from Taped auditions will be accepted only at the current or past teachers, school officials, or discretion of the Graduate Policy Committee and prominent musicians must be submitted on by prior arrangement. Any acceptance by tape will the appropriate forms. be tentative pending a live audition upon arrival at 5. An essay (1000 word minimum) explaining the College. how study at PCPA will help the applicant achieve his or her career goals must be submitted with the application. Graduate Audition Dates 6. Foreign students must take the TOEFL Please indicate on your application the date on examination (Test of English as a Foreign which you prefer to audition: Language). February 27, 1985 Following the completion of the application March 13, 1985 procedure outlined above, the applicant will be March 27, 1985 auditioned by the Graduate Committee and April 24, 1985 appropriate members of the applied faculty. Applicants will have a fifteen-minute interview with Scholarship dates are indicated in black bold members of the Graduate Policy Committee. The print. However, applicants applying after those

Committee will then review all of the application dates may be considered for scholarship if funds materials and a decision will be made. are still available.

35 —

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

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--48*^ Student Life Commonwealth of Pennsylvania Office of Equal Opportunity, ACT 101 is geared to assisting The focal point of most student life at PCPA is educationally and economically disadvantaged involvement in the various ensembles and students to the completion of the certificate or productions. In addition, students maintain the bachelor's degree. Student Government Association, electing student The Program provides for specialized tutoring officers annually. An active student chapter of and counseling in select courses in music, dance, Music Educators National Conference is an integral and the humanities. In addition, if enrollment merits part of student life for many at PCPA, while it, a six-week pre-college summer preparatory additional student organizations are available. session is offered. All services offered by ACT 101 The Center City location offers a variety of are free of charge, and every effort is made to restaurants, movies, professional touring company distribute available financial aid in such a way as to productions, all types of shopping, museums, arrange adequate aid packages to all ACT 101 libraries, historical areas of interest, and other students. Those who qualify for participation in the forms of entertainment. All of these are within program must be residents of the Commonwealth walking distance of the College. of Pennsylvania and must demonstrate economic Student Housing and educational need within the regulations The RESIDENCE HALL (Furness Hall) is specified in the program guidelines. Interested located about two blocks from the main campus. persons are encouraged to contact the ACT 101 Rooms are available for two, three and/or four Coordinator. persons. Each room is equipped with a small

kitchen, therefore no food service is available. Pre-College Training All freshmen are expected to reside in the The College has found that the applicants who dormitory, however those requesting space after are best prepared for its programs of study are June 1st cannot be assured of a room, since a those who have had a minimum of two to five limited number are available. years of serious study prior to matriculation. The Summer Session PCPA offers pre-college level training in music and dance to persons of all ages on a non-credit The College offers a three-week and a six- basis in the Music Conservatory and Dance week Summer Session. Students may register for Extension Divisions of the school. Instruction is the courses on a regular credit basis. A list of available on all instruments, voice, theory, course offerings may be obtained from the composition, ballet, modern dance, and jazz dance. Registrar after May 1st. PCPA applicants are not required to study in ACT 101 one of the School's pre-college divisions, however

Made possible through a grant from the many have found it to be an excellent preparation for the college bound student. Additional informa- majors, pages 23-24 for dance majors and pages 30- tion is available from the Conservatory Division, or 31 for theatre majors. the Dance Office. Any credits earned at another institution other than in the applicant's major area will be evaluated Early Admissions Program and validated by the PCPA Applied Music, Theoretical Studies, General Studies/Humanities, The Early Admissions Program is available to Music Education and/or Dance Division before those who have completed the sophomore year of they will be accepted for credit toward a PCPA high school with at least a B average. This special degree. Advanced standing in the major area is program allows the student of exceptional talent determined as a result of the audition. The and ability to complete high school and begin applicant may be asked to take tests which will aid college simultaneously. Those accepted into the in the evaluation of skill and knowledge. In no case program are not eligible for college graduation until will credit earned with a grade below "C" be which time all high school graduation requirements accepted. Transfer students may receive no more have been completed and a diploma awarded. than four semesters advanced standing in the This program is available ONLY to those who major area. have exceptional talent, ability, and potential in an area of performance as well as high academic Foreign Students achievement and the full cooperation and approval Foreign students who wish to enter PCPA of the College, the applicant's high school and must comply with all provisions of the Immigration parents. Act and will be admitted only on a full-time basis. Those interested should arrange for a personal Immigration information is available from U.S. interview with the Dean of Admissions. Embassy offices in foreign countries. Foreign students are required to take the TEST Part-Time Students OF ENGLISH AS A FOREIGN LANGUAGE Part-time study is available to degree and non- (TOEFL) or provide proof of English proficiency. degree students each semester. Interested persons The College requires a TOEFL score of 450 or should contact the Dean of Admissions for higher. TOEFL information is available from the information regarding registration procedures and Educational Testing Service, Box 899, Princeton, instructions. New Jersey, 08541, USA. The 1-20 Form, issued by the College for Transfer Students immigration purposes, will not be forwarded until Students wishing to transfer to PCPA from the applicant has been fully admitted, provided an another college should follow the same application acceptable TOEFL score or the equivalent, and procedures as outlined on pages 15-16 for music submitted the required advance tuition deposit.

40 FINANCIAL AID

PCPA offers financial aid to qualified students 2. The PCPA Financial Aid Application to the to help defray educational expenses. Some of the Director of Financial Aid.

awards may be offered singly or in various 3. The appropriate federal or state applications "package" combinations. Last year, over 85% of for individual programs. the PCPA Student Body received aid through PCPA institutional grants and employment, state NOTE: Those who wish to be considered for and federal need-based programs (grants, loans, a Tuition Remission Grant and/or employment), private grants and scholarships, or a private scholarships and awards must combination of all types of aid. apply for admission and complete the required audition prior to April 3. The standard FEDERALLY-SPONSORED PROGRAMS at PCPA are: *Basic Educational Opportunity Grant ALL QUESTIONS OR PROBLEMS (BEOG/PELL Grants) PERTAINING TO FINANCIAL AID OR *Supplemental Educational Opportunity Grant APPLICATION PROCESSES SHOULD BE (SEOG) ADDRESSED TO THE DIRECTOR OF *College Work-Study Program (CWSP) FINANCIAL AID. *National Direct Student Loan (NDSL) *Federally-Insured Loans The following STATE PROGRAMS are available at PCPA: *PHEAA (Pennsylvania residents only) *Guaranteed Student Loan (GSL) The following INSTITUTIONAL PROGRAMS are available at PCPA: Tuition Remission Grants (TRG) *Private scholarships and awards To be considered for any or all of the above types of student aid, applicants must submit:

1. The Financial Aid Form (FAF) published by the College Scholarship Service. FAF'sare available at any secondary guidance office or by writing to the PCPA Financial Aid Maestro Stanislaw Skrowaczewski conducts the PCPA session office. Orchestra during a rehearsal

41 SCHOLARSHIPS

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

The Lisa Caserta Memorial Scholar- The PCPA Alumni Scholarships— ship— awarded annually to a piano major. awarded annually to outstanding students in music, dance and theatre. The D. Hendrick Ezerman Piano Scholarship— awarded annually to an The Clement C. Petrillo Piano accomplished musician majoring in piano studies. Scholarship— awarded annually to a deserving piano major. The Edwin B. Garrigues Scholarship— awarded annually to an outstanding undergraduate The Presser Scholarship— awarded student. music annually to a qualified music student at conclusion of the junior year. The John T. Mathis II Saxophone Scholarship—awarded annually to a saxophone The Elizabeth Ann Pulaski Memorial student whose performance orientation is in Scholarship—awarded annually to a major in modern music. jazz dance studies.

The Edmund J. Parks Memorial The Elizabeth M. Strine Piano Scholarship— awarded annually to a foreign Scholarship—awarded annually to a qualified student of string instruments. piano student at the graduate level.

42 1984-85 TUITION AND FEES TUITION Undergraduate Full-Time Schools of Dance and Theatre Per Semester $3045.00 Full-Time School of Music Per Semester $3045.00-$3355.00*

Part-Time Rates Individual Major Instruction Per Hour Class Instruction Per Credit Hour $260.00 Graduate Full-Time School of Music Per Semester $3255.00-$3525.00

Part-Time Rates Individual Major Instruction Per Hour

Class Instruction Music, Opera Per Credit Hour $350.00

COLLEGE HOUSING (Room Only), 1984-85 Double-room occupancy Per Semester $1000.00 FEES AND CHARGES, 1984-85 Application Fee $ 30 Registration Fee (Per Semester, Part-Time Only) $ 25 Tuition Deposit (Not refundable after July 1) $ 100 Health Fee $ 15 Examination for Advanced Standing $ 50 Late Registration Fee $ 50 Late Tuition Payment Fee $ 50 Special or Make-Up Examination $ 25 Returned Checks $ 5 Graduation Fee $ 60 Transcripts (each) $ 2 Instrumental Rental Fee (Per Semester) $ 25 For Double Degree Students Only) Instrument Deposit (Per Semester) $ 50 (For Double Degree Students Only) Ensemble Library Deposit (Per Semester) $ 10 Course Overload Fee — Undergraduate (Per Credit Hour) $ 250 ** Course Overload Fee — Graduate (Per Credit Hour) $

*A variable rate, dependent upon Individual Major Instruction. **A variable rate, dependent upon specific Graduate Program. 43 TUITION DEPOSIT students withdraw from the College, vacancies are created which cannot be filled and the College's A tuition deposit is required of all new financial commitment must still students when accepted and is credited to the first be honored. refund policy at applies only to semester's tuition. It is not refundable after July 1 The PCPA a for students entering in the Fall Semester or complete withdrawal from all courses for which full-time is December 1 for students entering in the Spring either a or part-time student registered. Semester. Any partial withdrawal (i.e. from individual courses) will A tuition deposit is also required of all return- not result in a partial refund of tuition. A ing students in November for the spring semester change in tuition assessment status from full-time

and prior to registration in April for the fall to part-time will not be permitted on or after the semester. The deposit is credited to the following first day of classes. semester's tuition and is not refundable after July Any student who withdraws from the College 1 for those registering for the Fall Semester and before the first day of classes will receive a 100% December 1 for those registering for the Spring refund of tuition paid (excluding fees and charges). Semester. For those who withdraw on the first day of classes or anytime thereafter, an administrative PAYMENT OF FEES committee may review refund requests. When Tuition and fees are payable on or before approved, the refund schedule allows for up to 80% August 1 for the Fall semester and on or before refund during the first week of classes; 60% during December 1 for the Spring semester. Credit will be the second week; 40% during the third week; 20% allowed for amounts paid at registration. during the fourth week; and no refund after the Students who are delinquent in payment of fourth week of classes.

financial obligations will not be permitted to attend In computing refunds, the date of withdrawal is classes or register for the following semester and the date on which the Registrar receives written will be subject to appropriate late payment and late notice from the student, his parents, or his

registration fees. No transcript, grade report, guardian. If notice is received after withdrawal, degree or certificate will be issued to a student refunds cannot be made retroactive to date leaving. until all tuition, fees, fines, emergency loans and No refunds will be made to students dismissed any other assessed charges are paid in full. at any time for unsatisfactory academic standing or infraction of regulations. COLLEGE REFUND POLICY Refunds for students receiving financial The College must engage its faculty and make assistance from scholarships, grants, or loans will other financial commitments in advance of each be returned first to the grantors in accordance with

term in accordance with the number of students their requirements, and the difference, if any, will who have expressed their intent to enroll. When be refunded to the student.

POLICY STATEMENT— The Philadelphia College of the Performing Arts adheres to a non-discriminatory policy with regard to race, color, sex, national

ethnic origin, and religious affiliation with regard to the review, consideration, and final disposition of applications for admission to the College. It adheres to

a full non-discriminatory policy in the administration of its educational programs and policies, financial aid, and all other college-administered programs and activities. The College reserves the right to change the regulations, tuition, fees, faculty, and other information contained in this publication at any time 44 without prior notice. However, in the event that any such changes become necessary, attempts will be made to publicize them adequately. FACULTY BIOGRAPHIES

RICHARD ALEXANDER (Organ)-BM, Curtis Institute of ROBERT BLOOM (OboeJ— Graduate, Curtis Institute of Music; MM, Yale University; Research Fellow, Institute of Music; student of Marcel Tabuteau; former member of the Sacred Music of the Yale University School of Divinity; organist Rochester Orchestra; former solo oboist with the NBC and choirmaster of St. Paul's Church, Chestnut Hill. Symphony Orchestra under the direction of ArturoToscanini; the Bach Aria Group and served as solo oboist; JAMES V. AMADIE (Modern Harmony and Jazz toured with Professor Emeritus at Yale University; former faculty member Theory)— BME, Philadelphia Musical Academy (Philadelphia at the Juilliard School of Music; former students include solo College of the Performing Arts); former jazz pianist with the oboists in the Chicago, Los Angeles, Pittsburgh, Toronto, San Woody Herman Orchestra; performed at New York's Francisco, Rochester Philharmonic, Vancouver, St. Paul, Copacabana; accompanist for Mel Torme, Bobby Rydelland Al Orlando, Tampa, and New Haven Symphony Orchestras. Martino; performed with the Philadelphia Orchestra Brass Ensemble; composed for Woody Herman, Oscar Peterson and MICHAEL BOOKSPAN (Percussion)-BS, Juilliard Charlie Byrd; conducted score for National Football League School of Music; studied with Morris Goldberg, Saul Goodman, films. and Fred Albright; Principal Percussionist and Associate ADELCHI LOUIS ANGELUCCI (BassoonJ-Graduate, Tympanist with the Philadelphia Orchestra; and former xylophone soloist with the US Air Force Band; former member Curtis Institute of Music; member of the Philadelphia Orchestra of the Little Orchestra Society of New York, the New York City since 1950. Student of Walter Guetter, Bassoonist; former Ballet Orchestra, and the Goldman Band; current faculty member of the Pennsylvania Symphony and principal member of the Curtis Institute of Music. Recipient of C. bassoonist with the National Symphony Orchestra; former Hartman Kuhn Award of the Philadelphia Orchestra. member of ballet and opera orchestras of Philadelphia.

JEANNE BEHREND (Rano)-Graduate, Curtis Institute of BARBARA M. BOURBON (Anatomy Kinesiology)— BS,

Music ; studied piano with Josef Hofmann and composition with Physical Therapy, Boston University, PhD, Anatomy, Univer-

Rosario Scalero; received the Distinguished Daughter of sity of Pennsylvania; partner, Philadelphia Institute for Physical

Pennsylvania award in 1978. Therapy; Assistant Professor, Graduate program of Physical Therapy, Beaver College, Philadelphia College of Pharmacy NANCEY BERMAN KANTRA (Modem Jazz Dance)- and Science, Temple University; Semester guest lecturer at BA, University of Colorado; MFA, Philadelphia College of Hahnemann and Jefferson Universities. Performing Arts; has been principal dancer with The Philadelphia Dance Company since 1978; has taught EDWARD T. BRAKE (Dean of Admissions, Student extensively throughout the Tri-State area. Services Liaison)— BS, Artist's Diploma in Voice, Southwest Missouri State University; MS, Southern Illinois University; PETER BERTINI (Jazz Dance) -Graduate, SUNY at Dean of Students and Instructor in Psychology, Bethany Brockport and Philadelphia College of the Performing Arts; College, Lndsborg, Kansas (1966-70); Director of Financial Aid, additional study at the Clark Center for the Performing Arts and Trenton State College, Trenton, New Jersey (1970-76); served Jo Jo's Dance Factory; performed with The Great Chazy on Special Presidential Advisory Committee on Financial Aid, Dance Company and the Schuylkill Valley Regional Dance Theatre.

45 Washington, D.C. (1972-73); studied and performed with MARIANNE CASIELLO fVoiceJ-Graduate. Curtis

Marjorie Lawrence; studied with Robert Ruetz; appeared in Institute of Music; professional engagements include operatic musicals as actor/singer in Equity productions. Starlight roles such as Mimi, Violetta, Micaela, Nedda and Marguerite Theatre, Kansas City (1964-70); has performed with Duke (Faust); faculty member of Curtis Institute of Music and Settle Ellington (on tour), and with Shirley Jones, Donald O'Connor, ment Music School. Pernell Roberts, Giorgio Tozzi, Molly Picon, John Davidson, JOSEPH CASTALDO (President Emeritus Composition) Sandy Duncan, Ginger Rogers; currently Vice President, Board BM, MM, Philadelphia Conservatory of Music (Philadelphia of Directors of Philadelphia Boys Choir; adjudicator for College of the Performing Arts); student at St. Cecilia Academy numerous talent and scholarship competitions; Outstanding in Rome and the Manhattan School of Music; student of Vittorio Educator in America listed in Who's in the East (1971); Who Giannini and Vincent Persichetri; numerous compositions (1973-83); Outstanding Young Man of the Year Award (U.S. performed throughout the world; served as a founder and Presi- Jaycees, 1977). dent of the Philadelphia Composers Forum. President of the PAULA BROWN (Voice,)— Graduate, Curtis Institute of Philadelphia College of the Performing Arts, 1966-1983. Music; studied with Raquel Adonaylo; appeared as soloist with ROBERT L. CERULLI (Double Bass)— Graduate, Curtis the Philadelphia Singers, the Pennsylvania Pro Musica and the Institute of Music; BM, Philadelphia Musical Academy (Phila- University of Pennsylvania Collegium Musicum; also has delphia College of the Performing Arts); MA, Trenton State appeared with the Pennsylvania Opera Theatre as Paquette in College; student of Roger M. Scott; former member of the Bernstein's Candide; has performed recitals throughout the Buffalo Philharmonic Orchestra; current member of the United States. Trenton Symphony, the Delaware Symphony, New Jersey JANICE BRYSON (German)—BM, Philadelphia College of State Opera Orchestra; served as Master Bass teacher for the the Performing Arts; MM, Temple University; PhD candidate, 19th International String Conference. Bryn Mawr College; member of the Philadelphia Singers. DONALD CHITTUM (Coordinator, Theory, Composition LELIA CALDER (Vocal Pedagogy/Engfe/i Diction)— BA, Division)—BM, MM, DM, Philadelphia Conservatory of Music Harvard University; MM, Temple University; private voice (Philadelphia College of the Performing Arts); studied with instructor at Swarthmore College; teacher of class and private Vincent Persichetti and Boris Koutzen; former president of the voice, lecturer on vocal literature. Temple University; formerly Pennsylvania Music Teachers Association and the Pennsyl- a soloist with Singing City and Philamel; member of the vania Council on Music and Education; former chairman of the Philadelphia Singers. Pennsylvania Fine Arts Project; current chairman of the Music Teachers National Association; recently named Teacher of the LARRY CANNON (Make-Up)— Designer and make-up for Year by the Pennsylvania Music Teachers Association; chair- numerous opera companies throughout the U.S., Canada, and man of the Music Department of the Pennsylvania Governor's South America, including the San Francisco Opera and the School for the Arts. New York City Opera; currently, the Master of Wigs and Make- up, Opera Company of Philadelphia.

46 KENT CHRISTENSEN (Humanities)-BA, Columbia and the Rochester Philharmonic under Eric Leinsdorf; former Univeristy; MA, University of Connecticut. Principal Bassist with the National Symphony Orchestra.

ANDREA CLEARFIELD (College Accompanist)— BA, SHIRLEY CURT1SS (Bassoon)— BM, BMEd, Murray State Muhlenberg College; MM, Philadelphia College of the University; MM, University of Miami; former student of Sol Performing Arts; student of Margaret Garwood and Susan Schoenbach; students and ensembles include numerous Starr; accompanist and coach at the Aspen Music School; winners of Youth Concerts of the Philadelphia Orchestra, New in the Delaware participant in the New College Chamber Music Festival; York Philharmonic and other orchestras accompanist and teacher in Philadelphia area. Valley; former students also hold positions in major symphony orchestras and universities in the United States and abroad. CHARLES CONWELL (Stage Fencing)—BS, Norths western University; MFA, Brandeis University; is a certified- WALTER DALLAS (Acting Director, School of Theatre)— recommended actor-combatant of the American Society of BA, Morehouse College; MFA, Yale Drama School; additional Fight Directors; taught stage combat at Temple University; has studies at Harvard University, University of Ghana, and Paul directed at directed various stage fights in As You Like It, Hartford State Sills (improvisation); has taught and/or workshops Company; Off-Broadway production of The Flight of the Earls; Yale University, Antioch College. University of California, People's Light and Theatre Company productions of Hamlet, Berkeley, and University of Ghana; has guest directed at several Macbeth and Treasure Island; has taught stage combat at the off -off, off-Broadway and regional theatres, including Atlanta's Shaw Festival in Ontario while assisting artistic director, Alliance theatre, Baltimore's Center Stage (where he was a Chnstopher Newton. National Endowment for the Arts Director Fellow), San Francisco's Montgomery Playhouse and New York's Negro DEBORAH COOK (Opera)— Studied with Irene Williams; Ensemble Company; founder of Atlanta's Proposition Theatre, sang leading roles at Royal Opera House Covent Garden, Proposition Drama School and Yale's Black Ensemble Deutsche Oper Berlin, Hamburg State Opera, Bayerische Company; recipient of many awards, including Best Director Staatsoper, Frankfurt Oper, Stuttgart Oper, Victorian and Creative Genius Awards from Atlanta Critics, two Bronze (Australian) Opera; Recordings with Pierre Boulez, Georg Solti, Jubilee Awards for Theatre Excellence and a California Emmy title role of Dinorah; currently sings with Los Angeles nomination; among his original plays which have been Symphony, New Philharmonia, London Sinfonietta, Orchestre produced, Willie Lobo Manchild is regularly aired in California de Paris and records regularly with Radio Orchestra Leipzig, and New York. Brussels Radio Orchestra, Radio Stuttgart; commutes to (Percussion)— Graduate, Europe regularly for opera/concert/oratorios. NICHOLAS D'AMICO, JR. Curtis Institute of Music; free-lance percussionist throughout FRANK COSTANZO (Violin)—BM, University of Pennsyl- the East including engagements with the Pennsylvania Ballet vania; member of the Philadelphia Orchestra since 1941; former Company Orchestra. member of the American String Orchestra; received the (French Juilliard Hartman Kuhn Award of the Philadelphia Orchestra in 1959. JOSEPH DeANGELIS Horn)- BM, School of Music; student of James Chambers; former member NEIL COURTNEY (Double Bass)- BM and Performer's of the New Orleans Philharmonic; current Principal Horn with Certificate, Eastman School of Music; studied with Oscar the Philadelphia Opera Orchestra and the Pennsylvania Ballet Zimmerman and Roger M. Scott; member of the Philadelphia Company Orchestra; has played extra horn with the New York Orchestra since 1962; former member of the US Marine Band Philharmonic for the past 20 years.

47 SEAN DEIBLER (Musicianship/Choral Conductor)— BS, Poetry Prize; invited to two NEH Summer Seminars; served as a Susquehanna University — Clarinet and Voice; Graduate consultant to Pennsylvania Department of Higher Education. Diploma, KODALY Musical Training Institute; Graduate ANNETTE DIMEDIO (Piano)-BA, Swarthmore College. Certificate; Franz Liszt Academy in Budapest — Conducting, MM, Temple University; Ph.D, Bryn Mawr College; student of Chamber Music and Solfeggio; founder and director of The Dr. Clement C. Petrillo; first student to win all three Philadelphia Music Group of Philadelphia; director of the Choral Arts Orchestra Student Division Competitions, performing with the Society of Philadelphia. orchestra on each occasion; performed with the Columbia Symphony Orchestra; recent winner of the Ima Hogg National JOSEPH de PASQUALE (Wo/a)— Graduate, Curtis Insti- Competition resulting in a solo performance with the Houston tute of Music; studied with Louis Bailly, Max Aronoff and Symphony Orchestra. William Primrose; Principal Violist with the Philadelphia Orchestra since 1964; former Principal Violist of the Boston ROBERT DiNARDO (Guitar)—Has been an active, work- ing since the Symphony; former member of the US Marine Band; violist with musician late 1950s; has performed with the Phila- the DePasquale String Quartet; current faculty member of the delphia Chamber Orchestra, under the direction of Ansil Curtis Institute of Music. Bruslaw; inaugurated the classical guitar department at the Philadelphia College of the Performing Arts (P.M. A.) in 1969; JULIA de PASQUALE (Violin)— Graduate, Curtis Institute was staff guitarist with the Mike Douglas Show and has per- of Music; student of Veda Reynolds; member of the Philadelphia formed with such artists as Tony Bennett, Ella Fitzgerald, Vic Orchestra since 1964; former member of the Toronto Damone, Joel Grey and Shirley MacLaine. Symphony Orchestra; participant in the Marlboro Music Festival under the direction of Rudolf Serkin. JEFFREY DUNCAN (Modern Dance)- Has been Dance Artist in Residence at the University of Maryland, Baltimore ROBERT de PASQUALE (Violin)— Graduate, New School County Campus for the last seven years teaching creative of Music; student of Jascha Brodsky; member of the Philadel- courses and producing and directing the resident company at phia Orchestra since 1964; former member of the New York the university; was active in the New York dance scene; has Philharmonic and the US Navy Band; currently a violinist with worked on Broadway, television and opera; founder of New the DePasquale String Quartet. York's Dance Theater Workshop (DTW) in 1965, and directed

WILLIAM de PASQUALE (Violin)— Studied with Veda it until 1975; current faculty member at Temple University; Reynolds at the Curtis Institute of Music; Associate Concert- Dance Consultant for Theatre Project and two dance groups in master of the Philadelphia Orchestra since 1964; received a Baltimore; tours in his Solo Dance Concert; choreographs for Fulbright Scholarship to study in Salzburg, Austria, former various groups across the country; serves as vice-president of Concertmaster of the New Orleans Philharmonic; former the American College Dance Festival Association (ACDFA). Concertmaster and violin soloist with the St. Louis Sinfonietta; LILBURN DUNLAP (Theory Composition)-BM, MM, violinist with the DePasquale String Quartet. Philadelphia Conservatory of Music (Philadelphia College of the JOHN F. DEVVITT (Coordinator, Humanities Division)— Performing Arts); student of Alison Drake and Vincent BA, Northeastern University; MA, PhD, University of Con- Persichetti; former president of the Pennsylvania Music necticut; has published three collections of poems: Designs Teachers Association. For On Ahti, Animals and Finger Food; poems have also appeared in a number of magazines; winner of Wallace Stevens ROBERT ELMORE (Organ)— BM, University of Pennsyl- GARY FLANNERY (Jazz/Music Theatre Dancer-Studied vania; 3 Licentiates of the Royal Academy of Music, London; at Juilliard School of Music as a full scholarship student; studied Associate Degree, Royal Academy of Music, London; LHD, at the School of American Ballet in New York City; was a trainee Moravian College; LLD, Alderson-Broaddus College; former with the Harkness Ballet; worked with the Canadian Ballet; has organist/choir director of the Central Moravian Church, toured with various Canadian musicals, dance companies, has Bethlehem, Pennsylvania, and the Holy Trinity Church, Phila- leading roles in Broadway and National Touring companies of delphia; current organist at the Tenth Presbyterian Church in Pippin and Dancin; lead dancer/assistant choreographer for Philadelphia. Shirley MacLaine's television specials and four year world tour; principal dancer in film All That Jazz; lead dancer in many FRANCES FANELLI (Piano) -BM, Philadelphia Musical television specials including Mary Tyler Moore, Lena Home and Academy (Philadelphia College of the Performing Arts); studied Ann Margaret; owns and operates "New Dance Studio" in with Mme. Genia Robinor and Leon Fleisher; made her New Langhorne; teaches in various professional and community York debut at Town Hall in 1966 as winner of the Leschetizky centers; studied with Antony Tudor, Jose Limon, Alexandria Association International Competition; named an Outstanding Danilova, Bertrum Ross, Fred Benjamin, Lynn Simonson, Young Woman in America and is listed in the International Stanley Williams and Percival Borde. Who's Who of Musicians. JOANN FREGALLETTE-JANSEN (Modern Dance MANFRED FISCHBECK (Modern Dance)—BA, Freie Technique)— BS, Ohio University; MS, Smith College; has University of Berlin; former member of Gruppe Motion Berlin, performed in New York with Gus Solomons, Jr. and Mel Wong; the chamber dance ensemble which evolved from the Mary since 1976 has been the leading dancer with Dan Wagonner; has Wigman School; since 1968, served as co-director of the Group taught and choreographed in colleges around the country. Motion Dance Theatre Company and School in Philadelphia. KARIN FULLER (Harp)-BM, Philadelphia Musical DOUGLAS H. FITZGERALD (Music Education Coordi- Academy (Philadelphia College of the Performing Arts); studied nator ACT 101 Conductor Symphonic Wind Ensemble)— with Edna Phillips, Alice Chalifoux at the Salzedo School in BME, MME, East Carolina University; Supervisor Certification, Maine and at the Berkshire Music Center; member of the Penn State University, Temple University; studied saxophone Orchestra Society of Philadelphia and the Pottstown Symphony with James Houlik and Sigurd Rascher; soloist, Utica Sym- Orchestra; performed with the Philadelphia New Music Group. phony; director of Jazz Ensemble, Hamilton College; Guest Conductor of Wind Ensembles/Jazz Ensembles, University of RICHARD GENOVESE (Trombone)— Graduate, Curtis Exeter, England, Montreux, Switzerland, New York, Pennsyl- Institute of Music; studied with Glenn Dodson, Charles vania and North Carolina; music supervisor of Music Education Gusikoff and Gordon Pulis; substitute trombonist with the for Pennsylvania public schools; past presidents of: Region IV Philadelphia Orchestra; current faculty member at Immaculata PMEA— State Executive Board—MENC; Cavalcade of Bands College and Bucks County Community College; performed Association; PCPA Faculty Senate; was director of PCPA with the Philadelphia Opera Company, Marlboro Festival Conservatory Division and director of community theaters; Orchestra and the Stuttgart Ballet Orchestra. Executive Director, Community Arts Alliance; currently SUSAN B. GLAZER (Director, School of Dance)— BA, Beta Conductor, clinician and judge for member Phi Mu; Guest American University; MA, Temple University; additional festivals in Pennsylvania, New York, North Carolina, music studies at La Sorbonne; former member of faculty, Drexel Virginia and Canada. University and Harcum Junior College; past president, Phila

49 delphia Dance Alliance, member Pennsylvania Council on the DIANE GRUMET (Modem Dance)— BFA, College Con- Arts Advisory Panel; Chairman, Dance Committee, Philadel- servatory of Music, University of Cincinnati; former soloist with phia Art Alliance; dance studies with Virginia Freeman, Paul the Joyce Trisler Danscompany; performed with The Bat-Dor

Sanasardo, Pearl Lang, and Dan Wagonner; has performed in Dance Company of Israel, Contemporary Dance Theatre, New and choreographed for companies in Philadelphia, Washington York City Opera Ballet, Cincinnati Ballet and Opera DC, Germany, France, and Los Angeles. Companies; guest artist with the Alvin Ailey and Jose Limon Dance Companies; has taught extensively throughout the REGINA GORDON (Music Education)— BME, Applied United States; currently presenting Time Pieces, solo concert of Voice, Temple University; MM, Choral Conducting, West- modern dance, past and present. minster Choir College; Supervisor of Fine Arts, Lower More- land School District; Director of Choral Activities, Lower JAMES W. HALA (Trumpet)— BME, Temple University; Moreland High School; vocal student of Florence Berggren; studied trumpet with Seymour Rosenfeld, Gerard Schwarz and conducting student of Robert Page, Dennis Shrock and Joseph Frank Kaderabek; studied conducting with Gerard Schwarz;

Flummerfelt; former affiliate faculty University of Mary-land, studied jazz improvisation with Larry McKenna; former Baltimore County; choirs have performed in Europe and at member of U.S. Army Band, Concerto Soloists, Pennsylvania various PMEA and ACDA divisional conferences; present Pro Musica, Pottstown Symphony; member of Delaware and PMEA Public Relations Chair; former president PMEA District Reading Symphonies; former faculty member at Temple

11. University and Germantown Academy.

SUSAN D. GOTTLIEB (Ballet)— BS. Wharton School of GEORGE HARPHAM (Ce//oJ— Graduate. Curtis Institute the University of Pennsylvania; studied at Harkness House for of Music; Assistant Principal Cellist with the Philadelphia Ballet Arts and with the Stuttgart Ballet; performed with the Orchestra since 1977; member of the DePasquale String Ballet Company of the Philadelphia Opera Company and the Quartet and the Philadelphia Chamber Ensemble. Downtown Ballet Company in NYC. Taught at University City LINDA HAVILAND (Dance History)—BA, Adelphi Arts League. University; MEd, Temple University; doctoral candidate in CLINTON A. GOULD (Humanities)—BA, University of Aesthetics, Temple University; performs with the Zero Moving North Alabama; MEd, Communications, MS, Arts & Science Company; on faculty at Bryn Mawr College. Policy and Planning, University of Pennsylvania; Research FRANCO IGLESIAS (Voice)— Studied at La Scala of Milan, Fellow, PhD (1985). University of Pennsylvania— Interdiscipli- Italy. Past Winner of vocal competition at La Scala. While at La nary Science and Humanities; science writer for and NASA Scala he sang with such great artists as Callas, Tebaldi, Smithsonian Institute, 1971-73; coordinator of and NSF NEH DeStefano, and Del Monoco. Former Artistic Director of El grants to develop connections between science and the human- Palacio de Bellas Artes, Mexico City, and Israeli National Opera ities; currently Assistant Professor of English at Community Company, Tel Aviv. Former Music Director of Teatro College of Philadelphia. Municipal of Caracas and the National Opera of Venezuela. ALISON GREEN-KELLEY (Acting)-BFA. MA, New Recipient of Rockefeller Award. Currently Director of West- York University; studied with Stella Adler, The National chester (NY) Festival and studio coach/teacher in New York Theatre, The Central School of Speech and Drama and London City. Many former students, including Placido Domingo.

University; has appeared off-off Broadway, off-Broadway and in GLORIA JOHNS (Cello)— BM, MM, New England Con- regional theatre; has taught at New York University, the South servatory; studied with Stephen Geber, Ron Leonard, and Lynn Bronx Community Action Theatre and at Rutgers University. Harrell; member of the Philadelphia Orchestra and former Associate Principal Cellist with the Buffalo Philharmonic.

50 FRANK J. KADERABEK (Trumpet)- Attended the College; currently teaches and conducts flute ensemble at Chicago Musical Academy; studied with Edward Masacek, Temple University; has been principal flutist with Philadelphia Adolf Herseth, Harry Glantz and Nathan Prager; currently Opera Company, Concerto Soloists, Pennsylvania Ballet, and Principal trumpet of the Philadelphia Orchestra; former Delaware and Reading Symphonies. of West Point Band and Dallas Symphony. Member of member JANICE KESTLER (Musicianship)— BME, MM, Temple faculty of Curtis Institute of Music and Temple University. University; post-graduate study, Westminster Choir College; HAROLD KARABELL (Clarinet/Saxophone)—BA, Glass- national executive for the Association of Professional Vocal boro State College; studied with Stanley Marshall and Ralph Ensembles; performs regularly with the Philadelphia Singers; McLane; current faculty member at Temple University and recently recorded Lukas Foss's Time Cycle with the composer Bucks County Community College; performed with the Opera conducting. Company of Philadelphia and with Bobby Sherwood and Artie JAY PAUL KRUSH (Tuba)—BM in Composition; Eastman currently the contractor for the Shubert Theatre. Shaw; School of Music; MM, Northwestern University; studied with YOHEVED KAPLINSKY (Piano)-BS, MS. DMA, The Arnold Jacobs; played with the Ars Nova Brass Quintet; Juilliard School; studied with Irwin Freundlich and Dorothy Principal Tuba of the Eastman Wind Ensemble and the

Taubman; prize winner, J. S. Bach International Competition in Yale/ Norfolk Brass Quintet; winner of composition awards Washington, DC; former faculty member Glassboro State from the National Society of Arts and Letters, the National College; performances with orchestras and solo recitals in the Association of College Wind and Percussion Instructors and the United States and Israel; radio broadcasts in New York and Bicentennial Anthem Prize; member of the Chestnut Brass Chicago. Company

FREDRICK KAUFMAN (Dean of the College/ Composi- JAN KRZYWICKI (Coordinator, Musicianship Division)— tion) —BM, MM, Manhattan School of Music; Resident BM, University of Kansas, MM, Philadelphia Musical Academy Composer, University of Wisconsin; faculty member, Rubin (Philadelphia College of the Performing Arts); studied at the Academy of Music in Israel; Resident Composer and Depart- Juilliard School of Music with Vincent Persichetti, Elliot Carter ment Chairman, Eastern Montana College; awards from the and Jane Carlson. Further study with Joseph Castaldo, National Endowment for the Arts, University of London, Theodore Antoniou, Nadia Boulanger and Darius Milhaud; National Association of Jazz Educators, California Fine Arts works have been performed by the Philadelphia Orchestra, the Council, Norwegian Government and Wisconsin Composers Pennsylvania Ballet and the Portland Symphony Orchestra. Fulbnght Fellowship and the Darius League; recipient of PAUL KRZYWICKI (Tuba)-BM, MM, Indiana University; Milhaud Award in Composition from Aspen Music Festival; graduate assistant to William Bell; studied with Joseph compositions performed by Israel Philharmonic, Zubin Mehta Novotny, Lloyd Geisler, Abe Torchinsky, and Leo Romano; conducting; Pittsburgh Symphony, William Steinberg, member of the Philadelphia Orchestra since 1971; member of conductor; and Jersualem Symphony and St. Paul Chamber the Philadelphia Brass Soloists; former member of the U.S. Orchestra; ballets performed by Royal Swedish Ballet, Royal Military Academy Band; current faculty member at the Curtis Winnipeg Ballet and the Batsheva Dance Company; author of Institute of Music; performed with the Portland Symphony, the Diatonic Harmony. the books The African Roots of Jazz and Buffalo Philharmonic, the Youngstown Symphony, the Boston PATRICIA KENDEL (Flute)—Graduate of Curtis Institute Ballet and Opera Companies, and the Aspen Festival

of Music under William Kincaid; has been faculty member of ( >i i hi-stra University of Delaware, West Chester State, Swarthmore

51 CARLTON JONES LAKE (Music Educat,on)-BM, MM, GLORIA V. LIHOTZ (Voice)-BM, MM, Philadelphia Temple University; DM, Philadelphia Conservatory of Music Musical Academy (Philadelphia College of the Performing Arts); (Philadelphia College of the Performing Arts); former studied with Carolyn Dengler and Licia Albanese; studied supervisor of vocal music for the School District of Philadelphia; dramatics with Tito Capobianco and Rhoda Levine; current former coordinator and evaluator for the Juilliard Repertory faculty member of the Merchantville Conservatory of Music; Project; founder and director of the Academy Boys Choir; performed with the Philadelphia Opera Company, the Regal Director of the PCPA Performing Arts School. Opera Company and the Philadelphia Musical Theatre.

JOSEPH LANZA (Violin)—Graduate, Juilliard School of LOREN LIND (Flute)— BM, Temple University; graduate Music; student of Joseph Fuchs, Hans Letz, and Frank studies at the University of Hawaii; student of Murray Panitz; Costanzo; member of the Philadelphia Orchestra since 1958; member of the Philadelphia Orchestra since 1974; studied with former member of the Juilliard Symphony Orchestra and the the principal flutists of the Honolulu Symphony, Seattle U.S. Navy Orchestra. Symphony, and the NHK Symphony of Tokyo; former member of the Lyric Opera Orchestra and the Honolulu Symphony. PHOEBE LAW (Librarian)— BA, (music), Taylor University; MA (musicology), University of California, Los Angeles; MALS ANTHONY MARCHIONE (Trumpefj-Graduate, Curtis (library science). Rosary College Graduate School of Library Institute of Music; has performed as Principal Trumpet with the and Information Science; teaching assistant, Oregon State CBS Symphony Orchestra, Philadelphia Lyric and Grand University School of Music; music cataloger, Northwestern Opera, and Philadelphia Little Symphony; performed with the University School of Music Library; catalog librarian, Mont- Metropolitan Opera and the Stuttgart Chamber Symphony; gomery County Library (Texas); public services librarian, current Principal Trumpet with the Valley Forge Music Theatre; Houston Public Library; medical librarian, Elkart General teacher and conductor with the Philadelphia Archdiocesan Hospital, (Indiana). school system.

S. ARCHYE LEACOCK (Music Education)- BM, Temple RONALD MARLOWE (Piano,)— Member of twin duo- University; MA, Indiana University; director of Special Program pianist team; the duo has performed with the Philadelphia for the Handicapped at Settlement Music School; former music Orchestra, New York Philharmonic, Pittsburgh Symphony and teacher in Trinidad, West Indies; director/coach of the National the Dallas Symphony Orchestra; as children the duo pianists

Folk Choir of the Best Village Council in Trinidad; coordinator appeared on the Milton Berle. Gary Moore and Steve Allen of the Office for the Disabled at Temple University; teacher of television shows; in addition, they have appeared on the Mike flute and piano at West Oak Lane School of Music. Douglas Show, Johnny Carson's "Tonight Show" and NBC's distinguished "Recital Hall" series. JOHN LEONARD (Classical Cwtar)-BM, MM, Philadel- phia Musical Academy (Philadelphia College of the Performing W. ALVIN McDUFFY (Jazz Dance Technique)-BA, Uni- Arts); student of Robert DiNardo; student of plectrum guitar versity of Michigan; studied with Alvin Ailey, Martha Graham, with Joseph Sgro and Dennis Sandole. Nat Home; danced with the Alvin Alley American Dance Theater, George Faison Universal Dance Experience; per- FLORENZA D. LEVENGOOD (Piano)—Early studies formed in the national touring companies of The Wiz, Your with her father, Antonio Decimo, clarinetist; studied piano with Arms Too Short to Box with Cod. Purlie, Raisin and others; has Leo Ornstein at the Philadelphia Musical Academy (Philadel- taught and choreographed at the Flex Point Ballet Center in phia College of the Performing Arts); studied chamber music Holland, Joseph Russillo Ballet Studio, Paris, Brussels, and interpretation with Carlo Peroni of St. Cecilia Academy in Germany, Martinique and Michigan. Rome.

52 LARRY MCKENNA (Saxophone) — Studied saxophone MARGARITA CSONKA MONTANARO (Harp) — with Tony Benedetta and arranging with Frank Hunter and Graduate, Curtis Institute of Music; graduate studies at Vienna Dennis Sandole; performed with Frank Sinatra, Tony Bennett, Music Conservatory; member of the Philadelphia Orchestra Michel LeGrand, and Sarah Vaughan. since 1963; studied with Carlos Salzedo and Marilyn Costello;

participant in the Marlboro Festival. GUIDO MECOLI (Clarinet)- Graduate, Curtis Institute of Music; studied with Ralph MacLean, Jules Serpentine, Ignatius MICHAEL NATALE (Trumpet)-BME, Philadelphia Gennusa, and Anthony Gigliotti; former Principal Clarinetist Musical Academy (Philadelphia College of the Performing Arts); with the Philadelphia Lyric and Grand Opera Companies; studied with Gilbert Johnson; staff trumpeter, Mike Douglas former member of the Reading Symphony and Trenton Show; substitute trumpet for the Tonight Show Band; has Symphony Orchestra; guest soloist with the Curtis String worked extensively with Peter Matz, Nick Perito and Bob Quartet; member of the Pennsylvania Ballet Orchestra. Florence; composed original music for NFL films, 1976.

DOUGLAS S. MEDLIN (Coordinator, Music Education)— JOE NERO (Percussion)—Graduate, Curtis Institute of BM, University of Georgia; MM, East Carolina University; EdD, Music; toured nationally with Burt Bacharach, Anthony Newley University of Illinois; former Director of Music Education at and Bette Midler; toured internationally with Bobby Rydell; West Virginia Wesleyan College, music instructor at Macon played New York theatre, jazz and night clubs and was house Junior College, and public school teaching in Connecticut and drummer at the Waldorf Astoria; has performed with the Penn- Virginia. sylvania Ballet, Grand Opera Company and on the Mike Douglas Show; drummer, percussionist at the Forrest Theatre; PATRICK MERCURI (Guitar)—BM, BME, Philadelphia free-lances in commercial and jazz music; on faculty at music Musical Academy (Philadelphia College of the Performing Arts); and high schools in the Philadelphia area; teaches privately. student of Robert DiNardo on classical guitar; performer of fretted instrument parts for the Philadelphia Orchestra, the CAROL A. OATIS (Anatomy Kinesiology) -BS, Physical Opera Company of Philadelphia, the Pennsylvania Opera Therapy, Marquette University; PhD, University of Pennsyl- Theatre and the Forrest Theatre; current faculty member at vania, Anatomy; partner, Philadelphia Institute for Physical Cabnni College and Eastern College. Therapy; faculty member, Graduate program of Physical Therapy, Beaver College and Temple University. NAOMI MINDLIN (Modern Dance Technique)— BS, Brandeis University; has performed with the Boston Ballet CAMILLE A. PAGUA (Humanmes)-BA, Harpur College Company, New England Dance Theatre, the Bridgport Ballet (State University of New York at Binghamton); M. Phil.. PhD, and the Jose Limon Dance Company; currently teaches in New Yale University; Woodrow Wilson Fellowship Designate; Yale York. University Graduate Fellowship; doctoral dissertation directed by Harold Bloom; taught at Bennington College, Wesleyan Uni LEONARD MOGILL (Viola)-BM, Philadelphia Musical versify and Yale University; has lectured and published articles Academy; Graduate, Curtis Institute of Music, Honorary and book reviews in scholarly journals, encyclopedias, and Doctorate, Philadelphia College of the Performing Arts; student newspapers. of Louis Bailly; member of the Philadelphia Orchestra since 1935, retired; former member of the Musical Fund Society ANDREW PAP (Ballet)—Studied at Licoul Pedagogic Uni- Quartet; current faculty member at Temple University and the versitar and Scoala de Coreografie in Romania; current faculty New School of Music. member of the Pennsylvania Ballet School; former member of the Romanian State Opera and Ballet; taught at Scoala de

53 Coreografie, the Italian Dancers Union, the Saratoga Ballet RONALD REUBEN (C/armeO-Graduate. Temple Uni- Center, and the International Dance Center in Rome. versity and Curtis Institute of Music; studied with Joseph Gigliotti and Anthony Gigliotti; former member of the Stan DIANNE PERKINS (Humanities)—MA, PhD. Temple Uni- Kenton Band and Chicago Little Symphony; former member of versity; lecturer in English, Philadelphia College of Art since Chamber Symphony of Philadelphia; member of faculty at 1979. Temple University and the New School of Music; Bass Clarinet JOSEPH PRIMAVERA (Conductor, Symphony Orchestra/ with Philadelphia Orchestra since 1967. Music Education) — Graduate, Combs College of Music; LAVAUGHN ROBINSON (Tap Dance)- Performed at the conductor of the Delaware Valley Philharmonic Orchestra and Apollo Theatre in NYC and Frank Palumbo's clubs in Philadel- the Youth Orchestra of Greater Philadelphia; former member phia; performed with the Dancing Jets and the South Sydney of the Philadelphia Orchestra; former conductor of the Old League in Australia; performed with the Newton York Road Symphony; appeared as Guest Conductor with the Wayne show for several years. London Philharmonic; performed as Music Director and Conductor of the feature film CYC AD and seven CBS specials; GABRIELA ROEPKE (Opera Theatre HistoryJ-Studied recipient of the C. Hartman Kuhn Award from the Philadelphia in Santiago. Paris and the University of North Carolina; Orchestra. recipient of two Fulbnght Scholarships and the Roland Holt Playwright Award and a Guggenheim Fellowship; author and CHARLES W. RAISON (Executive Director)-BA, Michi- producer of over 15 original plays in Latin America, the United gan State University; MFA, Tulane University; Associate States and Spain; former visiting lecturer at the New School for Professor and Chairman of the Theatre Department, Lycoming Social Research and at the Society for Ethical Culture in College, Williamsport, PA (1961-69); Executive Director, New York City; lectures for New York City Opera Guild; has had American Academy of Dramatic Arts, NYC (1969-1976); numerous articles published in the San Diego Opera Magazine, Director of Planning and Development, Studio Arena Theatre. the New York City Opera Spotlight and Opera News. Buffalo, NY (1976-79); Executive Director, Playhouse Square Foundation, Cleveland, OH (1979-1982); consultant for SEYMOUR ROSENFELD (Trumpet)-Graduate. Curtis National Endowment for the Arts and various theatre projects Institute of Music; studied with Saul Caston; member of the nationwide. Philadelphia Orchestra since 1946; member of the Philadelphia Brass Ensemble; current faculty member at Temple University; DEBORAH REEDER (Cello)- BM, MM. Philadelphia former member of the Ballets Russes de Monte Carlo and the Musical Academy (Philadelphia College of the Performing Arts); St. Louis Symphony. studied with Lome Munroe and Luigi Silva; former member of the Philadelphia Orchestra; current Principal Cellist with the ANDREW RUDIN (Theory Composition)-BM. University Opera Company of Philadelphia and the Mozart Society of of Texas; MA, University of Pennsylvania; studied composition Philadelphia; former Principal Cellist of the Philly Pops; with Kent Kennan, Paul Pisk, George Rochberg and Karlheinz performed with the Cheltenham Trio, Viola de Gambist with the Stockhausen; electronic music compositions heard in Fellini American Society of Ancient Instruments and with the Pince- film Satyricon; composed for the Pennsylvania Ballet, Murray ton Chamber Orchestra, the Pennsylvania Ballet Company Louis and the Alwin Nikolais Dance Theatre; musical Orchestra, Penn Contemporary Players, the Philadelphia contributions to Tennessee Williams' play Outcry. Composers' Forum and the Concerto Soloists.

54 BARBARA SANDONATO (Ballet)- Former principal NADINE SENYK (Musicianship)— BM, Philadelphia College dancer and associate founder of Pennsylvania Ballet Company; of the Performing Arts; MM, New England Conservatory of former principal dancer with the National Ballet of Canada; Music; Principal studies with Clement C. Petnllo, Gabriel taught at the Pittsburgh Ballet Theatre and the Pennsylvania Chodos; Master Classes include Gaby Casadeseus, Re Koster, Governor's School for the Arts; featured guest artist with the Victor Rosenbaum, Narcis Bonet (Conservatoire Americaine, Boston Ballet Company, the Wisconsin Ballet with Rudolf Fontainebleau, France); Special Assistant to the Director of Nureyev, and with the New York City Opera Company. Music of the Pennsylvania Governor's School for the Arts.

PEARL B. SCHAEFFER (Dance Pedagogy) -BS, Drexel JOHN SHAMLIAN (Bassoon)— Graduate, Curtis Institute of the Arts; University; MFA, Philadelphia College Performing of Music; Graduate, Royal College of Music, London; member the Choir and Performing choreographs for Academy Boys of the Philadelphia Orchestra since 1951; former member of the Arts School; member of the Group Motion Dance Company; Indianapolis Symphony Orchestra, the London Symphony performed with the Philadelphia Opera Company and the Orchestra, and the Royal Philharmonic Orchestra, and the Duncan Centennary Ensemble. London Wind Trio; performed at the Prades Festival, France, CARL B. SCHMIDT (Coordinator, Graduate Division/ with the BBC Symphony, the BBC Chamber Players, Sinfonia Theory and Composition)— BA, Stanford University; MA, of London Film Music, Covent Garden Opera, Sadlers Wells PhD, Harvard University; scholar on seventeenth century Ballet, and the Philharmonic Orchestra of London. Italian and French opera; recipient of research awards from the CAROL LUPPESCU SKLAROFF (Ballet)—Studied with American Philosophical Society and the American Council of Margaret Craske and Anthony Tudor at the Metropolitan Learned Societies to underwnte studies on Lully. Opera Ballet School; former member of the Metropolitan Opera Ballet danced DAVID SCHNEIDER (Oboe)-BM, Philadelphia Musical Ballet touring group and the Rambert where she with the Pennsyl Academy (Philadelphia College of the Performing Arts); student roles in Coppelia and Giselle; principal dancer she danced leading roles in Lilac of Alfred Genovese; Principal Oboe with the Philly Pops vania Ballet Company where Corsair Pas Orchestra, Trenton Symphony and the Lancaster Symphony Garden, Sleeping Beauty, Mignon Pas de Deux, Le Vanations and Concerto Barocco; has Orhcestra; First Oboist with the Philadelphia Opera Orchestra, de Deux, Donnezetti the Pennsylvania Ballet School and the the Concerto Soloists and the Mozart Society; member of the taught ballet classes at Fairmount Woodwind Quintet. Ballet Studio.

HENRY G. SCOTT (Double BassJ-Graduate, University JOSEPH SMITH (C/anneti-BM, Curtis Institute of Music; Chester State College; of Rochester, Eastman School of Music; student of Ferdinand MM, Temple University and West of Maresh, Oscar G. Zimmerman, and Roger M.Scott; member of studied with Anthony Gigliotti and Anthony Liberio; member Philharmonic the Philadelphia Orchestra since 1974; former member of the the Pennsylvania Ballet Orchestra, the Rochester Philharmonic, the Chamber Symphony of Philadel- Orchestra, and Young Audiences, Inc. phia, the Baltimore Symphony, and the New York Phil- DANIELLE SMITH-ORLANDO (Opera Coach)- BM, harmonic. MM, Temple University, Piano Performance; studied at the Director of Opera PETER SEGAL (Classical Guitar) Studied with Jose Eastman School of Music; former Musical University; active accompanist in Phila- Tomas, Antonio Vivaldi, Alirio Diaz, and Oscar Ghiglia; Department at Temple of the Phila appeared with Janet Ketchum as flute/guitar duo; second prize delphia area; currently the Assistant Conductor winner on the International Competition for Guitarists in delphia Opera Company.

Alessandria, Italy in 1971.

55 FA YE B. SNOW (Jazz Dance)— BS, West Chester State JOHN TACCONELLI (MimeJ-Has studied at the New College; MA, George Washington University; studied Horton York Pantomime Theatre with Menni Yakin; additional studies Technique with Marion Cuyjet and Joan Kerr Dancers; also with Zwi Kanar. Henry Shreibman and Christopher Duncan; studied with James Truitte at Alvin Ailey American Dance has performed in many Philadelphia-area theatrical produc- Center; choreographed for Juba and Joan Kerr Dancers; tions, including To Be Young, Gifted and Black and Death of a danced with Arthur Hall African American Dance Ensemble Salesman, and has done work in radio and film. the Coppertone Review; worked with Duke Ellington and and MARSHALL TAYLOR (SaxophoneJ-BME, Wheaton Count Basie. College; MM, Northwestern University; additional studies at EVAN SOLOT (Coordinator, Jazz Studies)— BM, MM, Paris Conservatory and the University of Paris under a Philadelphia Musical Academy (Philadelphia College of the Fulbright Grant; studied with Theodore Varges, Russell H. Performing Arts); performed with and/ or composed for Burt Platz, Fred Hemke, Marcel Mule, and Henry Schumann; former Bacharach, Count Basie, Tony Bennett, The Carpenters, Mike member of the U.S. Military Academy Band; current faculty Douglas, Sergio Franchi, Lena Home. Woody Herman, Henry member of Temple University. Mancini, Barry Manilow, Bette Midler, Lou Rawls, Diana Ross, PAT THOMAS (Modem Dance Technique)— Trained with John Travolta, and Dionne Warwick; former chairman of the Martha Graham; taught and performed with Alvin Alley; National Association of Jazz Educators Composition Contest, performed with Yuriko Dance Company and the Swedish honored by Down Beat magazine for his efforts in making Modern Dance Company; toured the Far East performing and PCPA one of the best jazz education resources in the United teaching in Japan, Hong Kong and Maylasia; taught in Spain and States; currently a voting member of the National Academy of in Israel where she performed with the Batsheva Dance Recording Arts and Sciences. Company. MICHAEL STAIRS (Musicianship/Organ)- BM, West- ADELINE TOMASONE (Flute) BM, Curtis Institute of minster Choir College; Artist Diploma. Curtis Institute of Music, under Murray Panitz; Also studied with Kenton F.Terry Music; studied organ with Alexander McCurdy; studied piano and Julius Baker; Solo appearances with Philadelphia with Mathilde McKinney and Vladimir Sokoloff; studied Orchestra, Lansdowne Philharmonic, Bricktown Philharmonic composition with Warren Martin and Matthre Colucci; and PCPA Orchestra; currently solo flutist of Opera Company Associate Organist of the John Wanamaker Court Organ; of Philadelphia, Davidsbund Chamber Players, Bach Chamber Chairman of Musicianship Studies at the New York School of Consort, Mozart Society of Philadelphia, Delaware Valley Phil- Liturgical Music; organist/choirmaster at the Church of St. harmonic; Member of Fairmount Woodwind Quintet with Asaph, Bala Cynwyd. Young Audiences, Inc.; Theater and studio work in Philadel (Piano)— Graduate, Curtis Institute of SUSAN STARR phia and New York; Former member of Philly Pops, Delaware Music; studied with Eleanor Sokoloff and Rudolf Serkin; Symphony. appeared as soloist with the Philadelphia Orchestra more than TULLI (Jazz Dance)-BA, SUNY at Brockport; 30 times since her debut with the Orchestra at the age of six; a JOANNE MFA, Philadelphia College of the Performing Arts; studied with winner of the Second International Tchaikovsky Competition in Rhea London and Harold Pierson; performed with the Ballet des Moscow; appeared in recital at the White House at the request in Philadelphia and the Philadelphia Dance Company. of President Carter. Jeunes

56 LEON LINGER (Voice)— Graduate, Gdansk Conservatory PAUL WAG AR (Speech for Actors)— University of Toronto; of Music; past-president of Jeunesses Musicales de Pologne; Webber Douglas Academy of Dramatic Art, London; private former music director of Operetta Studio in Gdynia, Poland and study with Vivian Matalon; past company member of: The Royal assistant director of the Opera Theatre of the Warsaw Shakespeare Company; The New Shakespeare Company, Academy of Music; coached in opera theatres of Warsaw, Lodz, London; The Stratford Festival, Canada; founding member of Gdansk, Gdynia and Szczecin; has performed chamber music The American Repertory Theatre, London; past Artistic throughout Poland; currently coaching at the Chamber Opera Director of Toronto Repertory Theatre; currently Co-Artistic Theatre of New York; coaching vocal students of Mrs. Antonia Director of The Philadelphia Area Repertory Theatre. Lavanne at Mannes College and Mrs. Margaret Hoswell van ALAN WAGNER (Voice)— BM. Northwestern University; March in Manhattan. Der MFA, Carnegie-Mellon University; studied with Todd Duncan CHARLES VERNON (TromboneJ-Graduate, Brevard and with Richard Torigi and Nicola Moscona at Academy of College and Georgia State University; studied with Arnold Vocal Arts; winner of regional Metropolitan Opera auditions; Jacobs and Edward Kleinhammer; former member of the Balti- 1971 first prize winner of national Emma Feldman Competition; more Symphony and the San Francisco Symphony; current performs leading roles with Philadelphia Opera, Pittsburgh member of the Philadelphia Orchestra. Opera, Opera Delaware, Pennsylvania Opera Theatre; soloist with Philadelphia Orchestra; current faculty member at West CARLO VILLA (Violin)—Graduate of Curtis Institute of Chester University. Music; student of Ivan Galamian; has appeared with orchestras under the baton of Klemperer, Giulini, Sawallisch, Tennstedt, VIVIAN WAGNER (Voice)—BM, Curtis Institute of Music; Szell, Boult, Munchinger and others; has appeared with major studied with Richard Bonelli and Euphemia Giannini Gregory; symphony orchestras throughout North and South America coached and Leo Resonek and Vladimir Sokoloff; recipient of and Europe. the Whitney Award for Excellence presented by the Boston Conservatory of Music; extensive performing experience here MIHALY V1RIZLAY (Cello)—Artist's Diploma, Franz Liszt and abroad; featured soloist with the Concerto Soloists, the Academy; studied with Zoltan Kodaly; currently, principal Philadelphia Singers; currently master teaching operatic cellist of the Baltimore Symphony; appeared with the Chicago principals in companies in Germany. Symphony under Fritz Keiner and with Sergiu Comissiona, Brian Pnestman, William Steinberg, Leopold Stokowski, and KAY WALKER (Coordinator, Opera Division)— BM, West- Yehudi Menuhin; taught master classes at the Shawnigan Lake minster Choir College; MM, University of Michigan; Artist's School of the Arts performing with John Ogden, Gary Karr, Diploma, Philadelphia College of the Performing Arts; opera Janos Starker, and Ruggiero Ricci. director and choreographer for companies in the Princeton and Philadelphia areas. KAREN VORKAPICH (Tap Dance)-Studied at Indiana University and Thomas Hampton's On Stage Studio; performed with the Sue Charles Dancers; member of Vardar, a Yugoslavian folk dance ensemble; studied tap with Thomas Hampton. Formerly on faculty of Temple University; performs with the Mill Creek Cloggers and the Philadelphia Tap Dancers.

57 DAVID WETHER1LL (French HornJ-Graduate, Curtis ALEXEI YUDENICH (Ba/tetJ-Graduate, Sarajevo Opera Institute of Music; Associate Principal Horn with the Ballet School, Yugoslavia; former member of the Sarajevo Philadelphia Orchestra since 1978; performed as soloist at La Opera Ballet Company; former principal dancer with the Penn-

Scala in Milan and with the Ensemble Inter-Contemporaire of sylvania Ballet Company; taught at the Pennsylvania Ballet Paris. School and the Princeton Ballet Society; choreographed for Misericordia College and the Wilkes-Barre Ballet Theatre; BENJAMIN WHITTEN (Piano)- Graduate, Peabody Con- performed with the Boston Ballet Company, California Ballet servatory of Music; studied with Austin Conradi; Leon Fleisher, Company and Jacksonville Ballet Theatre. Chairman, Dance and Emerson Meyers; appeared with orchestra throughout the Department of the Pennsylvania Governor's School for the United States, Canada, Panama, South America, and Europe; Arts. recipient of the Tiffany Scholarship, the Paul Thomas Award, the Mason and Hamlin Award; designated as a Danforth WILLIAM P. ZACCAGNI (Saxophone)- Studied at Foundation Associate; current faculty member of the Wilming- Temple University and with Vince Trombetta and Harold ton Music School and West Chester State College; former Karabell; toured with Burt Bacharach and Anthony Newley; president of the Pennsylvania Music Teachers Association; recorded with the Salsoul Orchestra and MFSB. named PMTA Teacher of the Year in 1970 and 1979.

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

Edited By: Dovie R. Prather

58 CALENDAR

1985 SPRING SEMESTER January 21, 1985-May 10, 1985

1985-86 ACADEMIC YEAR* FALL SEMESTER September 4, 1985-December 13, 1985 SPRING SEMESTER January 20, 1986-May 9, 1986

'Subject to change

59

PCPA STUDENT BODY*

United States:

2 Alabama 1 Minnesota Alaska 2 Missouri 1 Arizona 1 Montana 2 89 California 5 New Jersey Colorado 2 New York 22 Connecticut 2 Ohio 3 Delaware 5 Oklahoma 1 Florida 3 Oregon 1 192 Georgia 3 Pennsylvania

Illinois 1 Puerto Rico 3 Iowa 1 Rhode Island 2 Indiana 1 Tennessee 1 Kansas 1 Texas 3 Kentucky 1 Vermont 5 Louisiana 1 Virginia 3 Massachusetts 4 Washington 3 Maryland 12 Washington, D.C 8 Michigan 1 Foreign Countries: Canada 5 Malaysia 1 1 Israel 1 Norway 2 Italy 1 Mexico 1 Japan 1 Philippines Korea 6 Spain 1 2 Malawi 1 Taiwan Venezuela 3 * Based on 1984 Fall Semester Enrollment

61 TO: Pittsburgh Harnsburg PCPA CENTER CITY PHILADELPHIA Scranton

^MUSEL M OF ART

1 1 K I I m RODIN MUSEUM tr CALLOWHILL

1 FREE LI 3RAR"l Q ^ I OF PHIL UDELF HIA VINE '«\ H O, 1 lr m H FRANKLIN SQUARE LOC AN J OUAF E^^L RACE

vV" A JADEti 1> OF FINE ARTS CHINATOWN 1 ARCH

(PENN C t.N RAL SUBU RBA i station^ TOURIST CENTER r KEN vIEDY BOI LEVA RD CITY HAL READING TERMINAL // | I MARKET ~ \ * * 1 1 I I 1 " r : .f i /> CHESTNUT 1 7* INDEPENDENCE HALLB WALNUT \s fl I I I r I ^ m ACA DEMY I WA SHIN 3TON SQl ARE^ F ITT E ARE : 5 ENH OUS SQL LOCUST 1 - or n USIC 1—1* c L 1 L If'. - Building I 1 AR ALL t CPA ™ SPRUC \ shuj^t THiRTRE HILL p^PA A n n ex SOCIETY 1 \

PHILADELPHIAGfl)^~E OF ART \ PINEr> LOMBARD 21 1 \\ 1 J 1 3 ^r 1 1 1 5 113 1 2 1 1 l 3 3 7 5 i. 6 2 5 2 4 2 3 2 2 < ^r* 9 J 7 6 5

PCPA PCPA PCPA Dorm. Shubert Building Annex Dance Studios 15th & Pine 250 S. Broad St. 313 S. Broad St. 309 S. Broad St.

52 TIPS TO THE APPLICANT

1. Submit your Application for Admission as early as possible. 2. Answer each question on the Application; type or print clearly. 3. List the name(s) of your parent(s) or guardian(s). This information should also be supplied by married applicants; in the event of an emergency, the College will need to make these contacts. 4. As soon as you submit your Application, request that copies of your high school and/or college transcript(s) be sent to the Admissions Office.

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

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

ered for scholarships, if funds are available.

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

8. Remember, if you or your parents have any

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

63 APPLICATION FOR COLLEGE OF THE UNDERGRADUATE ADMISSION PEI^OEgn^G AI^TS PERSONAL DATA (Please Pnn. or Type!

Name _Social Sec. No

Street Address -Telephone __ 1 Area Code City Xounty._ _State JZ\p_

Citizenship _ _Sex. _Birth Date_ _Marital Status_

EDUCATION

List All High Schools and Colleges Attended City Dates

DEGREE OR DIPLOMA PROGRAM FOR WHICH YOU ARE APPLYING STATUS or (Complete MUSIC, DANCE THEATRE Section below) Full-time a SCHOOL OF MUSIC a Bachelor of Music Double Degree Part-time o n Two-Year Certificate in Music Major Date You Plan to Enter o January n September, 19 SCHOOL OF DANCE n Bachelor of Fine Arts Bachelor of Fine Arts in Dance Ed. a Two-Year Certificate in Dance Major Date You Plan to Enter o January o September, 19 SCHOOL OF o Bachelor of Fine Arts THEATRE (ACTING) Major Date You Plan to Enter n January n September, 19

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

LENGTH OF STUDY in major area_

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

TAP PLACEMENT: (Dance Majors Only) Have you ever studied tap? a yes a no. If yes, how long?

TEACHER PREFERENCE (Music Majors Only) Assignment subject to teacher acceptance and schedule vacancy. If you have

a teacher preference, please indicate

64 _

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

Address Title

City. State, Zip Employer

Phone Bus. Phone

Yes No

o I have requested copies of my high school/college transcripts to be forwarded to the Admissions Office,

a a I have requested that the results of my SAT's or ACT's be forwarded to the Admissions Office. n Please forward a Financial Aid Application and information

n I have enclosed my Dance Resume (Dance Majors ONLY)

n n I have enclosed my Biographical Narrative (Music Majors ONLY)

I have enclosed my Biographical Narrative or Resume (Theatre Majors ONLY)

Which area(s) best indicate the way(s) in which you first learned of and became interested in the Philadelphia College of the Performing Arts? Please be specific. College Night/Career Day Private Teacher Friends. Relatives, etc. High School/College Counselor

Classroom Teacher Newspapers, Ads, etc.

Other — (Please Indicate)

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

Signature Date_

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

65