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School Catalog, the Academy, 1974 Published by Philadelphia Musical Academy, 1974 313 South Broad Street Philadelphia, Pennsylvania 19107 Preface The Philadelphia Musical Academy Catalogue is in four sections —each of which is used also separately as a brochure for its respective area. In the front of each section there is an alphabetical Table of Contents for that section. For each section, an identifying symbol is used. The symbol for this section ^J is aPorrectus; a neume from Gregorian Chant notation. Table of Contents Academy Facilities 4 Administration and Staff — listed it Biographical Notes — Faculty and Administration 13 Biographical Notes — Board of Directors 23 Board of Directors — listed 12 Electronic Music Center 5 Faculty — listed by area of specialty 8 History of the Academy 3 Map of Center City Cultural Institutions 26 Objectives of the Academy 2 Preparatory and Extension Division 5 Preparatory and Extension Division Faculty 10 Student Life in Philadelphia 25 Student Services — Placement Office, Concerts & Lectures, Counseling Services 30 N 2 aS^ Objectives of the A properly focused study of music reveals the subject both as a profession Academy andadiscipline. It develops skill, while fostering understanding; it provides information and preserves meaning; it supplies facts and seeks knowledge. Such a study insures respectforthe legacy of tradition and yet fosters the desire for the adventure of discovery. Two ingredients are essential to an institution dedicated to these aims: A professionally active faculty capable of serving as mentor and exemplar and a program of study to which the faculty is totally committed. These are abundantly represented at the Philadelphia Musical Academy. This is not to say that professional development is the only goal of the Academy. PMA is not a conservatory, but a college of music, and as such accepts the obi igation to provide for its students experiences in those areas of learning which promote personal growth and social and scientific awareness. The Academy strives to produce musically educated citizens. History The Philadelphia Musical Academy, founded in 1870, operates under a For charter granted in 1915 by the Commonwealth of Pennsylvania. 80 orientation years after its founding, the Academy's educational was comparable to that of the traditional European Conservatory. In 1950, its collegiate though still a proprietary institution, the Academy established program and became a four-year, degree-granting school. with the In 1962, the Philadelphia Musical Academy amalgamated Philadelphia Conservatory of Music, an institution of similar character and purpose. This combination of institutions retained the Academy's name and educational pace. The Academy's direction during the following years was to move toward public control. This was accomplished through the establishment of a Board of Directors who assumed full responsibility for the Academy's financial and educational affairs. of Concurrent with a change of administration in 1 966 and a strengthening the Board of Directors, the Academy redefined its goals and objectives. The new goals were arrived at after a year of study and planning, carried out by members of the new Administration, Faculty, Board of Directors, and consultants employed specifically for this task. As then stated, the Academy's goals to be accomplished in the five-year period 1967 through 1972 were: 1,To attain full regional and professional accreditation. 2. To acquire an adequate facility. 3. To strengthen the school's library holdings. leading to the 4. To institute new undergraduate majors and a program Master's degree. aid. 5. To maintain enrollment growth and expand financial fringe-benefit 6. To strengthen faculty and provide rank, tenure and programs. 7. To increase community service and involvement. constituency that each of its It was, of course, gratifying to the Academy's stated goals was reached within the prescribed period of time. N 4 The Academy The Philadelphia Musical Academy is located in a recently acquired Facilities building in Philadelphia's Center City. The six-story building, one block south of the historical Academy ot Music, houses adequate facilities for the student body of 300—classrooms, practice rooms, studios, administrative and faculty offices, electronic piano laboratory, T.V. studio, music education materials center, electronic music laboratory, student lounge, music library, and auditorium-recital hall. In addition, the Academy has purchased the former Shubert Theatre. This structure, adjacent to the Academy of Music, will be the centerof the school activities when renovation is complete. It will house new practice rooms, recording studios, classrooms, rehearsal rooms and administrative offices, as well as a fully outfitted concert/opera theater seating approximately 1900. The Academy's music library contains an extensive collection of musical scores and parts, a catalog of more than 1 0,250 texts on musical subjects, and a record and tape collection of more than 6,500 separate titles. The library also maintains a newly equipped listening center where both tape recorders and phonographs are available for individual study. In addition, approximately 150 periodicals in English are under subscription. Among the new additions to the Academy's resources are a fully equipped electronic music laboratory, an eleven-station electronic piano laboratory for use by piano students in class instruction and for individual practice, an educational materials centerthat houses a complete selection of music and texts related to public school music, and an audio-visual centerthat includes a closed circuit videotape complex as well as a full range of audio-visual equipment. Practice facilities include fifty pianos, a small pipe organ, a two-manual Challis Harpsichord, two harps, two complete sets of percussion instruments, and more than one hundred orchestral instruments which may be used on a loan basis for rehearsals and instruction. .3 !S lit 5 £is Electronic Music A fully equipped electronic music center is located at PMA. Established as Center the result of a Federal grant, the studio includes professional tape recorders, speakers and other reproduction equipment along with a console of oscillators, filters, whitenoise generators, a reverberation unit, and other controlling instruments designed expressly for the Academy by R. A. Moog. The PMA Electronic Music Center is used primarily for composition and many works have been produced by both students and faculty members. As facilities have been expanded, the Center has become a complex for composing, recording, copying and editing music on tape. The studio facilities are available for student use upon application and recommendation of major teachers. The studio is directed by Andrew Rudin, Assistant Professor of Composition and Theory. Preparatory and The Preparatory and Adult Extension Division provides music instruction of Extension to begin or continue Division a non-degree nature for students of any age who wish serious study. A number of instructors are members of the college faculty. Instruction is available in all of the major applied fields and theory. The New Studies Center presents a broad selection of adult evening classes in the contemporary arts, humanities, and social sciences. Information may be obtained by calling the Academy: 215-735-9635. n £ a a. (O.S-o .= 2 2. ,3., 4. Internationally- renowned opera star (and now PMA Faculty Member) Licia Albanese works with student Maria DiPalma Elsa Hilger, Teacher of Violoncello, instructs student Leon Gibson while next student, Norman Johns, observes. .5 ISa > "3 "5 E u u 9 s 2 * C 3 u N Q.S"? Faculty Brass Electronic Music • Kendall Betts (French Horn) Andrew Rudin • Tyrone Breuninger (Trombone) Michael White Joseph DeAngelis (French Horn) Roger DeLillo (Trombone) Ensembles • Glenn Dodson (Trombone) Theodore Antoniou (New Music) • Robert Harper (Trombone) Michael Bookspan (Percussion) • Samuel Krauss (Trumpet) Norman Carol (Chamber Music) • Paul Krzywicki (Tuba) Richard Castiglione (Symphonic Wind) Mark H. Lawrence (Trombone) Charles Castleman (Chamber Music) Anthony Marchione (Trumpet) Robert DiNardo (Classical Guitar) Michael Natale (Trumpet) Stevens Hewitt (Wind Chamber) • M. Dee Stewart (Tuba) Lawrence Hoenig (Chorus) Carlton Lake (Boys Choir) Classical Guitar Edna Phillips (Harp) Robert DiNardo Peter Segal (Classical Guitar) Peter Segal William Smith (Orchestra) Composition, Theory, Evan Solot (Jazz) Music History and Literature Philip Travaline (Concert Band) James Amadie Vincent Trombetta (Saxophone) Theodore Anton iou Karen Turtle (Chamber Music) Joseph Castaldo Donald Chittum —Coordinator General Studies Lilburn Dunlap William Ashbrook Wilbert D. Jerome Martha Breiden Kent Christensen Coordinator —Director of Graduate Studies — Joan Lynch Jan Krzywicki Elizabeth McDowell Anthony Mecoli Gabriela Roepke Clement C. Petri I lo Carla Weinberg —Coordinator, Musicianship Courses Andrew Rudin Harp Edna Phil ips Evan So lot Daniel Webster Michael White Conducting Richard Castiglione Lawrence Hoenig •• William Smith • Member, Philadelphia Orchestra • • Assistant Conductor. Philadelphia Orchestra Keyboard Instruments Strings James Amadie (Piano) Edward Arian (Double Bass) Elizabeth Boggs (Harpsichord) • • Anthony Bianco (Double Bass) Allison Drake (Piano) • Norman Carol (Violin) Robert Elmore (Organ) Charles Castleman (Violin) Frances Fanelli (Piano) Heidi Castleman (Viola) Donn-Alexandre Feder (Piano) • Neil Courtney (Double Bass) Florenza Levengood (Piano)
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