The University of the Arts

Course Catalog

-

1993-

^1 Digitized by the Internet Archive

in 2010 with funding from Lyrasis Members and Sloan Foundation

http://www.archive.org/details/schoolcatalog199394univ The University of the Arts

Course Catalog

1993-94

The University of the Arts Philadelphia Philadelphia ff U Office of Admissions College of College of 320 South Broad Street Art and Design Performing Arts Philadelphia, PA 19102 215-875-4808 The University of the Arts is the only university in

the nation that is devoted exclusively to education

and professional training in the visual and per- forming arts. The University of the Arts was founded in 1987 through the consolidation of two century-old institutions: The Philadelphia College of Art and The Philadelphia College of the

Performing Arts. Located in central Philadelphia, The University of the Arts offers comprehensive

curricula in design, fine arts, crafts, music, dance

and theater arts, and prepares its students to

assume over one hundred career paths in the

visual and performing arts and related fields.

The University of the Arts gives equal consider-

ation to all applicants for admission and financial

aid, and conducts all educational programs, activities, and employment practices without

regard to race, color, sex, religion, national or ethnic origin, or disability. Direct inquiries to the

Office of Personnel, The University of the Arts, 320 South Broad Street, Philadelphia, PA 19102; (215)875-4838.

All information listed herein is subject to change. 2/94

The University of the Arts 320 South Broad Street Philadelphia, PA 19102 215.875.4808

800. 272. 3790 (in PA + NJ) Fax:215-875-5458 Contents

The University of the Arts Philadelphia College of Art and Philadelphia College of 4 Academic Calendar 1993-94 Design Performing Arts Programs 6 Degree 21 Programs of Study 79 Major Areas of Study 6 Admissions 22 Admissions Requirements 80 Admissions Requirements 8 Registration 24 Graduate Admissions 80 Graduate Admissions Expenses 9 Tuition and 24 Scholarships 81 Regulations Financial Aid 10 25 Facilities 81 Graduation Requirements 11 Grants and Scholarships 25 Career Services 82 The School of Dance 12 Loan Programs 26 Enrichment Programs 83 Programs of Study 12 Student Employment 26 Undergraduate Academic Requirements 83 Admissions/Audition Requirements 12 Academic Regulations 27 Graduation Requirements 83 Scholarships Student Records 14 Access to 28 Undergraduate Curricula 84 Undergraduate Curricula 15 Student Services 28 Foundation 86 Special Class/Performance Requirements 17 Continuing Education Programs 29 Crafts 87 School of Dance Course Descriptions 17 Alumni 29 Ceramics 91 The School of Music 30 Fibers 93 Undergraduate Programs 30 Jewelry/Metals 94 Graduate Programs 30 Wood 94 Undergraduate Audition Requirements 32 Graphic Design 96 Graduate Audition Requirements 33 Illustration 97 Scholarships 34 Industrial Design 98 Undergraduate Curricula 35 Painting/Drawing 104 Graduate Programs 36 Photography 106 Regulations/Requirements 37 Film 107 Graduation Requirements 37 Animation 108 School of Music Course Descriptions 38 Printmaking 115 The School of Theater Arts 39 Sculpture 116 Programs of Study 40 Fine Arts Sophomore Option 117 Admissions Requirements 40 Art Therapy 117 Scholarships 41 Education 118 Undergraduate Curricula 42 Graduate Programs 119 Performance Requirements

42 Master of Arts in Art Education 119 Regulations

42 Master of Arts in Teaching in visual Arts 121 School of Theater Course Descriptions

44 Master of Fine Arts in Book Arts/ 124 Philadelphia College of Performing Arts Printmaking Faculty

45 Master of Fine Arts in Museum Exhibition Division of Humanities Planning and Design 137 Requirements 45 Ceramic Studio Residence Program 138 Humanities Course Descriptions 46 Philadelphia College of Art and Design 146 Faculty Course Descriptions 62 Faculty 151 Administration Academic Calendar

Spring Semester 1994

Registration Dates: Monday, March 28 Study Abroad and Mobility January 13 & 14 applications due to Registrar

for Fall '94 See specific dates below

Wednesday January 5 Fall '93 Academic Review & Thursday, January 6 Monday, April 4 thru Advising for Fall '94 registration Wednesday, April 13 Thursday, January 1 3, 9:00 am Student Residences open Thursday, April 14 Fall '94 registration forms due to Late Registration for Registrar from graduate students Continuing students and seniors

Registration for Returning Friday, April 15 Fall '94 registration forms due to Former students Registrar from juniors,

Friday, January 14 Registration all new sophomores and freshmen Students Tuesday, April 26 State Grant application deadline

Monday, January 17 Martin Luther King Holiday for all students for 1993-94 academic year Tuesday, January 18 Degree Program classes begin Monday, May 2 Degree Program classes end Dance Extension Classes begin Monday, May 2 & Registration for Summer Tuesday, January 18 & Late Registration Tuesday, May 3 Sessions I & II for all current Wednesday, January 19 and new students Tuesday, January 18 thru Drop/Add period for Summer registration for PCAD Monday, January 31 Degree Programs Foundation Semester Tuesday, January 18 thru Drop/Add period Monday February 7 for PCPA ensembles Tuesday, May 3 thru Classroom examinations Tuesday. February 1 Deans and Directors submit Monday, May 9

courses for Summer I and II to Registrar Monday, May 9 thru Studio Critiques & Juries Thursday, May 12 Friday, February 18 Deans and Directors submit

courses for Fall '94 to Registrar Saturday, May 14 Student residences close 10:00 pm

Monday, February 21 PCAD freshman major Monday, May 16 Final grades due to Registrar 5:00 pm thru Friday, February 25 selection week Monday May 16 thru Senior Week Monday, February 28 Last day for removal of Friday, May 20

"Incomplete (I") grades Friday, May 20 University Awards Ceremony from Fall '93 semester Saturday, May 21 Commencement Faculty send Sixth week academic deficiencies to students Monday, May 30 Memorial Day Holiday

Friday, March 4 Deadline to withdraw from class Wednesday, June 1 Readmission application deadline with "W" grade for Fall '94 Semester

PCAD freshman deadline to Thursday, June 2 and Academic Review declare a major Friday, June 3

Returning Former students'

deadline to petition for May or August graduation

Monday, March 7 thru Spring Break for faculty Sunday, March 13 and students

Monday, March 14 Degree Program Classes resume

Tuesday, March 15 Talent Scholarship application

deadline for Fall '94 applicant

for admission

Friday, March 18 Art Education M.S. thesis approval due for May degrees

Saturday, March 26 Open House Summer Semester 1994

Monday, May 2 & Registration dates for current and Tuesday, May 3 new students

Registration for PCAD Summer Foundation semester

Session I

Monday, May 16 Humanities courses begin

PCAD Summer Foundation semester begins

PCPA MAT Program begins

Monday, June 13 Fall Registration for PCAD Summer Foundations students

Sunday, June 19 PREP Students move in

Monday, June 20 PCAD PREP Program begins

Friday, June 24 Humanities courses end

PCAD Summer Foundation semester ends

PCPA MAT Program ends

Friday, July 1 Faculty submit grades to Registrar before 5:00 pm

Session II

Monday, June 27 PCAD Studio Electives begin

Sunday, July 3 Pre-College Students move in

Monday, July 4 Independence Day Holiday

Tuesday, July 5 Pre-College Summer Institute

Summer World of Dance Begins

PCPA Mini Semester begins

Friday, July 8 Academic Review (Foundation)

Friday, July 15 Application deadline for International Candidates for

Fall Admission

Two-week pre-college program ends

Friday, July 29 Pre-College Summer Institute ends

Summer World of Dance ends

PCPA Mini-Semester ends

Saturday, July 30 Student Residences close 12 Noon

Friday, August 5 PCAD Studio Electives end

Final transcripts due to Registrar

for Summer Degree

August Degrees granted .

Admissions

Degree Programs within Barbara Elliott The University Director of Admissions First Floor, Haviland Hall 215-875-4808

Philadelphia College of 800-272-3790 (in PA + NJ)

Art and Design The University of the Arts selects its student body after a careful evaluation of a variety of creden- The Bachelor of Fine Arts degree is a four-year tials. A candidate must show a commitment to the program in the majors of Crafts, Graphic Design, visual or performing arts and should have a strong Illustration, Painting, Printmaking, Photography/ desire to be educated in the humanities as well. Film/Animation, and Sculpture. The four-year The following information is applicable to both the program in the majors of Industrial Design and Philadelphia College of Art and Design and the Architectural Studies leads to the Bachelor of Philadelphia College of Performing Arts. In Science degree. addi- tion, requirements for the portfolio review or the At the graduate level are programs leading to audition can be found under the heading of Admis- the degrees of Master of Arts in Art Education, sions within each College. Master of Arts in Teaching in Visual Arts, Master of Fine Arts in Book Arts/Printmaking, Master of Admissions Calendar Fine Arts in Museum Exhibition Planning and The University of the Arts accepts students on Design, and Master of Architecture. Teaching a rolling basis until all available spaces have been certification is offered on a nondegree basis, filled. Students are advised to apply early to either independently or in conjunction with an ensure that space is available. undergraduate degree in the Philadelphia College

of Art and Design. A Concentration in Art Therapy

is offered within the Humanities and Studio Admissions Procedures undergraduate elective category. Freshman Admission Through the Continuing Education Office, an

Associate degree is offered on a part-time basis in Requirements

Communication Design, Fine Arts and Interior The Admissions Office accepts applications on a Design. rolling basis. Applicants to the freshman class must graduate from an accredited high school and

have taken an appropriate distribution of high Philadelphia College of school subjects, including four (4) years of English. Performing Arts Applicants not holding a regular high school

The School of Dance offers four-year Bachelor of diploma may qualify for admission in the following

Fine Arts degrees in Ballet, Modern and Jazz/ ways:

Theater Dance Performance, Dance Education, and 1 . GED (General Education Diploma) tests through a two-year Certificate in Dance. the Department of Public Instruction. The School of Music offers a four-year Bachelor Freshman applicants should submit the following: of Music degree in Performance, Composition, 1 Completed undergraduate application and or Theory. Students may elect either a Classical or application fee. Jazz/Commercial major for degrees in Perfor- 2. Official high school transcript bearing mance or Composition. Additional programs are the school seal and mailed directly to the the four-year Undergraduate Diploma and the University. two-year Certificate of Music. 3. Scholastic Aptitude Test (SAT) or the American Graduate programs in the School of Music College Test (ACT) scores. Note: the University include the Master of Arts in Teaching in Music does not set a minimum score for acceptance. Education, the Master of Music in Performance, 4. Statement of Purpose (one type-written page). the Master of Music in Composition, the Graduate 5. Letters of recommendation. Diploma in Performance. Majors for the Master 6. Resume (Philadelphia College of Performing of Music in Performance are Instrumental Perfor- Arts only). mance, Voice, Opera Singing, Piano, Piano Accom- 7. Music applicants only: repertoire for an panying, Music. and Chamber audition. The School of Theater Arts offers the Bachelor 8. Dance and Theatre Arts applicants only: of Fine Arts in Theatre Arts with programs in Act- a recent photograph. ing, Directing, Stage Combat, or Musical Theater. 9. A personal interview with an admissions officer

is recommended, but not required. Portfolio Review/Audition Transfer Credits Early Admission courses Arrangements must be made for a portfolio Transfer applicants may receive credit for The University of the Arts accepts applications accredited institutions that are review or audition at the time of application by taken at other from advanced high school juniors who have standards to those contacting the Admissions Office. Please see the similar in content, purpose, and completed extra high school coursework. These of the Arts. For credit instead of com- appropriate sections in The Philadelphia College offered at The University students may enroll as freshmen transcripts of all previous of Art and Design and The Philadelphia College of to be granted, official pleting the senior year in high school. presented along with a authorities Performing Arts and its Schools of Music, Dance, college study must be The candidate's high school may institution. A minimum diploma upon or Theater Arts for additional admissions portfolio current catalog of that grant the applicant a high school presented for and audition information. grade of "C" is required for courses completion of the freshman year at The University transfer credit. A grade of "Pass" can be consid- of the Arts. Advanced Placement Examination ered for transfer only if the transcript documents The University of the Arts may award three credits Deferred Admission that "Pass" is equal to a grade of "C" or better. toward the Humanities requirements for a score The University of the Arts will accept applications The evaluation of credit is made by the Humani- of 4 or better in any CEEB Advanced Placement from candidates who plan a year of activities, ties and Studio or Performance Department chair- Examination on an academic subject. Advanced or travel between high school and college persons/directors in consultation with the Office work, Placement credit is not given for studio art or wish to enter college one full year after of the Registrar. and who performance. graduation from high school. A brief note explain- Requirements Residency the deferment should be attached to the International Baccalaureate ing transfer student must complete a minimum Every application. Deferred applicants should otherwise The University may award 6 credits toward the semesters in residence preceding gradua- of two follow regular application procedures. A decision Humanities requirements for a score of 4 or better minimum of 48 credits in tion and must earn a on the deferred application will be tendered when in an HL (High Level) International Baccalaureate Studio/Performance and/or Humanities courses. the file is complete. Examination and 3 credits for a score of 4 or bet- must transfer or complete the required Students Any applicant offered admission to the current (Subsidiary Level) International Bacca- ter in an SL Studio/Performance major depart- Humanities and September freshman class who wishes to defer laureate Examination in an academic subject. No courses stipulated for the degree regardless ment enrollment until the following September or Janu- credit by examination is given for studio art or of the number of credits completed at other ary should request this consideration in writing. performance. institutions. The number of credits accredited Deferred candidates will be required to submit a required for completion of the Studio/Performance College Level Examination Placement tuition deposit to guarantee their place in the next determined by the chairperson/director of (CLEP) Program major is year's class. that department. The remaining Humanities Credit may be awarded toward the Humanities determined through the transfer January Admission requirement by CLEP subject examination. For requirements are evaluation process cited above. For this Students may enter most programs in music, additional information contact the Director of the credit transfer students may be required to dance, and design and the visual arts programs Humanities Division. reason, remain in residence at The University of the Arts in January during the spring term. Contact the Interviews for more than the minimum two semesters and to Admissions Office for further details. personal interview is Though not required, a complete more than the minimum 48 credits. recommended. Interviews must be scheduled in Credit Portfolio Review advance by calling the Admissions Office at by Academic Achievement Program 215-875-4808. Students who qualify will be granted credit by (AAP) portfolio review in studio subjects. Portfolio credit The Academic Achievement Program is designed Transfer Admission requires the approval of the appropriate studio for full-time residents of Pennsylvania who have A student who has successfully completed twelve major chairperson. Academic standing and course been chosen on the basis of their academic poten- (12) or more hours of coursework in a college-level credit based on portfolio evaluation are normally tial, motivation, and aspirations. Eligible students program as a fully matriculated student will be determined during the admissions process. Credit for the Program are evaluated and accepted on the considered a Transfer. Admission decisions will be by portfolio may be granted only for studio art basis of their application interview, SAT scores, made on a rolling basis. work done prior to matriculation in the Philadel- portfolio review or auditions, and potential to phia College of Art and Design. This work cannot Transfer Admission Requirements succeed at The University of the Arts. In addition, be part of the assigned work for a secondary or Transfer students should submit the following: eligibility in the Program is determined by the post-secondary course. In order for matriculated 1. Portfolio or audition. family's adjusted income. students to receive credit for independent art work 2. Transcripts of all previous college experience As a talented student, chosen to be a part of or other projects done outside the University, an and a listing of courses that will be completed this University's and The Commonwealth of independent study or internship, whichever is before entrance into The University of the Arts. Pennsylvania's Program, AAP students are entitled appropriate, must be rostered as part of the 3. Catalog or other publications describing to many special privileges, including a scholarship student's semester schedule. The University of the coursework recorded and credit assignment for to attend the summer PREP Program. Most impor- Arts does not award credit for experience outside studio work. tantly, the University is committed to retaining an the classroom other than outlined above. 4. Official high school transcript bearing AAP student for at least 4 semesters if that

the school seal and mailed directly to the Credit by Audition student is actively involved in the Program. This University. Students who qualify may be granted credit by means that the student has taken advantage of

5. Statement of Purpose. audition in Performance subjects. Audition credit the Program's counseling/tutoring services as well

6. Letters of recommendation. requires the approval of the Auditioning Commit- as participated in numerous cultural activities and

7. Resume (Philadelphia College of Performing tee and/or School Director. Academic standing special events. Arts only). and course credit based on audition for transfer students are normally determined during the admissions process. ..

The services provided by the AAP program English as a Second Language Registration include: (ESL) Students Rita DiRenzo 1. Counseling — personal, academic, career, and Students for whom English is spoken as a second Registrar financial. Each new student is assigned an language, who are either foreign or U.S. residents, Second Floor, Haviland Hall AAP counselor who will assist the student from are required to take the Test of English as a 215-875-4848 admission through graduatiori- requirement for Foreign Language (TOEFL) as a maintains 2. Tutoring — students experiencing difficulty in The Office of the Registrar develops and admission to The University of the Arts. The their Humanities, Studio, or Performance all records and files relating to the student's University may require students with below 500 courses through the AAP tutorial program. academic life at the University. All course and TOEFL scores to attend a college-level English as a Typically, tutors are upper division or graduate program transactions or changes are not official Second Language (ESL) course offered during the students. unless properly processed through the Office of summer prior to the fall semester. Registrar. In register, students 3. A special required summer program — studio the order to must be and academic courses. International Students formally admitted to the University and pay all applicable tuition and fees. Students must have a To be accepted to this program students must Students who are neither U.S. citizens nor resident program of courses documented and approved by meet the following criteria: aliens are considered international students. Inter- the required advisorfs). All students are advised to 1 Though not academically acceptable under national applicants whose native language is obtain a copy of their curriculum requirements as normal admission policies, demonstrate poten- other than English are required to take the Test of soon as possible after admission to the University, tial for success. English as a Foreign Language (TOEFL), as stated and to check those against their transcript after 2. Meet program guidelines for family's adjusted above. All foreign transcripts and other documents each term. Student copies of the transcript are income. must be translated and certified by an embassy, available upon request. The Office of Registrar is 3. Be residents of Pennsylvania. legation, or consular officer of the U.SA and responsible for certification of completion of Students who think they meet these criteria mailed directly to the University by the institution. requirements for graduation. and wish to be considered for the AAP program, The University of the Arts has no financial aid should contact the Admissions Office. for international students. Applicants must file Registration proof of their ability to support themselves from A financial eligibility form will be sent to the Official registration forms must be filed in order their own financial resources. Documentation of student for return to the Financial Aid Office. for the student to attend class. Students are re- is required on official bank statio- these resources sponsible for knowing regulations regarding with- equivalent of U.S. Graduate Admissions nery indicating the $20,000 drawals, refund deadlines, program changes, and

all applications are Dollars to meet the expense of attending the Requirements for graduate academic policy. as follows: University. The documentation is required as part Matriculating students must register for subse-

1 application form of the Admissions Application. A completed graduate and quent semesters in accord with the posted sched- Please contact the Admissions Office Interna- non-refundable application fee of $30.00. ule (see Academic Calendar). Failure to register tional Applicant Coordinator for information, assis- 2. Official transcripts from each undergraduate or will result in a late registration fee (see below).

graduate (if any) institution previously attended. tance and an international application. the Office Late Registration Transcripts should be sent directly to Readmission of Admissions by the college(s) or school(s) A late registration fee of $35 will be charged to Written appeal for reinstatement as a degree involved. any student registering after the dates listed in the candidate is made through the Office of the 3. Three letters of recommendation from refer- Academic Calendar. Late registration may jeopar- Registrar. Appropriate departmental chairpersons/ ences listed on the application. Two of these dize a student's chances of obtaining the program directors and the Finance Office must endorse the must come from professors in your field or desired. readmission prior to any registration process. professionals in the major area who are famil- Students' program requirements are subject to Schedule Revision (Drop/Add) iar with your capabilities and credentials. review at the time of readmission. Any schedule revision must be approved in writing 4. A one-to two-page statement of professional The University reserves the right to reevaluate by the appropriate instructor or department chair- plans and goals. work toward a degree completed more than seven person. A drop/add period is held during the first 5. Proof of High School Graduation. years prior to readmission. ten days of classes each semester. A fee of $10 6. Foreign-born students or international students will be charged to students who submit schedule must submit Test of English as a Foreign Tuition and Housing Deposits revision forms after the official drop/add period. Language (TOEFL) scores. A $200 Tuition Deposit is required three weeks 7. Portfolio or audition. from the date an acceptance letter is issued. This Non-Attendence Veterans deposit ensures that a space will be reserved for Any student who neither attends class nor sends an admitted student in the upcoming class. an explanation for absence may be dropped from As an accredited degree-granting institution, the A $100 Housing Deposit is required to re- the course at the end of the first week. University is approved for the training of veterans. serve a student's space in the dormitory facili- Information about education benefits may be ID Cards ties. After June 1 , space is available on a first- obtained from any VA office. At the time of registration, the Public Safety come first-served basis only. The Tuition De- Department issues and validates identification posit is required before the Housing Deposit (ID) cards to students who have fulfilled all will activate the housing reservation. financial obligations to the University. Student ID cards allow students to gain access to all buildings and facilities and to procure services and privileges available at the University. In addition, ID cards may be used for admission to performances and exhibitions at the University and to qualify students for discounts at many locations throughout Philadelphia. Students may not withdraw in good standing Tuition and Expenses Graduate Tuition and Fees unless all financial obligations to the University Full-time graduate students pay annual tuition plus Louis J. Mayer have been met. Students whose accounts become the general student fee. Teacher certification Director of Finance delinquent are subject to dismissal. Students may special students in visual arts are considered full Second Floor, Haviland Hall not receive diplomas, certificates, transcripts, or time at 10.5 credits. General student fee charges 215-8754865 letters of recommendation, and may not be al- are the same for graduate and undergraduate lowed to register for the following semester if students. Tuition for part-time graduate studies is their accounts have not been paid in full. Undergraduate Tuition and Fees charged per semester credit. Annual tuition is charged to all full-time A student who has completed all the course Payment Plans undergraduate students, payable one-half each and is cur- requirements for the Masters degree As a service to our students and their parents, the semester. Full-time students carry a minimum of project, either on rently working on the graduate University offers the following commercially credits per semester and may carry up to 18 graduate 12 or off campus, must register and pay a sponsored tuition payment plan. The plan allows credits without incurring additional charges. Ex- (equal to cost of 0.5 project continuation fee the for the total tuition and fees to be paid over ten are subject to additional charges at cess credits credits/semester). This registration, through the months, from May through February. standard semester credit rate. Permission of is in each suc- the Office of the Registrar, required Tuition Management Systems, Inc. (TMS) - TMS the Dean of the appropriate College is required for all requirements ceeding semester until degree offers a budget plan that allows you to pay all or a student to carry more than 18 credits in one are met. part of your annual charges in ten monthly install- semester. leave of A student without an approved ments for a $30 annual administrative fee. In addition to the annual tuition charge, all not register each semester will absence who does A separate insurance program is also available to students registered for 12 credits or more are to have withdrawn from candidacy be considered participants in this plan. For More information required to pay an annual general student fee. The maintained for the degree. Students who have not contact Tuition Management Systems Inc. at (800) general student fee is applied toward the cost of continuous registration must apply through the 722-4867 or (401 ) 849-1 550 library facilities; studio and laboratory operations; Office of the Registrar for readmission to the

orientation; student activities; and special ser- program, and will be retroactively charged for the Tuition Remission vices, including health services, placement, and intervening semesters. Sons and daughters of alumni of The University registration. The annual general student fee is not of the Arts are eligible for a 10% remission on

refundable. their tuition. To qualify, a student must present the Schedule of Annual Graduate Students registering for less than 12 credits are Registrar with an official copy of the long-form charged per credit. There are no other mandatory Charges and Fees birth certificate, which lists the names of both course fees or charges except for certain deposits parents. The remission applies to each semester 1993-94 Academic Year and the cost of expendable materials in selected that the student matriculates on a full-time basis. for or members studio classes. Reservation deposits housing Philadelphia College of Art and Design Families that have two more and tuition are credited to the student's bill and attending The University of the Arts are eligible for Full-time tuition $11,900 are not refundable. a tuition remission. Presentation of the long-form (10.5 credits or more) birth certificate is required for each sibling attend- Tuition per credit $ 685 ing. The youngest member of the family may of Performing Arts Philadelphia College receive a 10% tuition remission each semester Schedule of Annual School of Music during which he or she is a full-time matriculating Undergraduate Charges and Fees Full-time tuition $11,900 student. (Master of Arts— 8 credits; For more information, contact the Office of the 1993-94 Academic Year Graduate diploma — 6 credits) Registrar at 21 5- 875-4848. 685 of Art and Design Tuition per credit $ Philadelphia College Housing Fees Full-time tuition $11,900 Both Colleges Housing fees must be paid in full at the time of (12-18 credits/semester) General Student Fee $480 billing. Students are not permitted to move into Tuition per credit $515 (all full-time students) University housing until all tuition and fees are

Philadelphia College of Performing Arts paid in full. A housing damage deposit of $200 is Full-time tuition $11,900 Tuition Payments and Financial required of all students who live in University Tuition per credit $ 450 housing. This deposit is held in escrow and will be Responsibility refunded to the student after the apartment is Both Colleges Payment in full for each semester is required be- vacated. Any charges for damage to the apartment General Student Fee $515 fore students may attend classes. Tuition invoices will be subtracted from this deposit. An additional (all full-time students) are mailed to students each July and November. Housing Reservation Deposit of $100 is required The first semester bill must be paid by mid-August Housing Fees to reserve a space in University housing. This and the second semester bill must be paid by mid- Housing — Furness Hall + 1500 Pine $3570 deposit will be credited to the student's bill and is December. Any amount unpaid after the due date Housing reservation deposit $ 1 00 not refundable. is subject to a late payment fee of $60 unless an Housing damage deposit (refundable) $ 200 alternative payment plan has been arranged.

Settlement of all financial obligations of the University rests with the student, or the student's

parents if the student has not attained indepen- dent adult status. .

Special Charges and Fees Financial Aid Graduate Students Financial aid to graduate students consists of Application Fee John Musto assistantships and grants-in-aid. To be considered, Director of Financial Aid An application fee of $30 is required with every a student must complete a Graduate and Profes- application for admission and readmission. Second Floor, Haviland Hall sional School Financial Aid Service (GAPSFAS) 215-875-4858 Tuition Deposit form, which can be obtained from the University The University administers financial aid provided Once the student has been accepted for admission Financial Aid Office or the College Scholarship by a variety of federal, state, and institutional to the University, a $200 deposit is required to Service, Princeton, New Jersey. The application programs. Financial aid is offered in the form of deadline is 1 reserve a place in the class. This deposit will be April 5 for Fall and November 15 for scholarships and grants, loans, and part-time Spring. credited to the student's bill and is not refundable. Students with assistantships must employment. University funds are awarded for an The tuition deposit must be paid within three maintain a B average and enroll for 9 credits per academic year (two semesters) and must be re- weeks of the offer of admission. semester. newed annually by formal application. Questions Students are also eligible to apply for a Guaran- Schedule Revision regarding financial aid should addressed the be to teed Student Loan (GSL). Eligible students can A fee of $10 will be charged for schedule revision Office of Financial Aid. Also, refer to the "Smart borrow up to $7,500 per academic year, up to an (drop/add) forms received after the first ten (10) Money" brochure available upon request. aggregate amount of $54,750 (which includes all days of classes of the semester. A fee of $25 will Application Procedure undergraduate loans). Application forms can be be charged for schedule revisions made after the obtained from local banks and credit unions. The University's financial aid funds are limited and semester ends. Students enrolling for the Teacher Certification early application is essential. Therefore, financial Program who have earned a master's or baccalau- Late Registration aid applications should be received by March 15. reate degree are ineligible for financial assistance A late registration fee of $35 will be charged to Financial aid decisions are made separately from the University. any student registering after the dates listed in the from admission decisions. Applicants for financial Academic Calendar. aid should not wait until they have been offered International Students admission to the University to apply for aid. Ad- Late Payment Federal regulations limit financial aid to U.S. mission and financial aid applications should be A late payment fee of $60 will be charged to any citizens or eligible noncitizens, i.e., permanent made simultaneously. Once an applicant has been student failing to pay his or her tuition and/or resident aliens. Aid is not available for interna- offered admission to the institution, his or her tional students. housing bill by the due date. name is forwarded to the Financial Aid Office. If Currently Enrolled and Former Bad Check Penalty the student's financial aid needs analysis has been A $25 fine is charged for all checks issued to the received, the student will be notified of any finan- Returning Students

University and not paid upon presentation to the cial aid funds that have been awarded by the Enrolled students or former students considering bank. University within two weeks after being offered readmission, who are applying for financial aid, must: Transcript Fee admission. 1 Complete a FAFSA grant application A $5 fee is charged to students requesting an New Undergraduate Students 2. Complete a University Financial Aid Application. official transcript from the University. To apply for institutional financial aid, students The processed application and University Financial must file the Free Application for Federal Student Tuition Refund Policy Aid applications must be received by the Financial Aid (FAFSA) to be considered for financial aid. The following tuition refund policy is in effect: Aid Office by April 30. Late applications will be Residents of Pennsylvania also are required For withdrawal processed on a funds-available basis. to submit the Pennsylvania Aid Information Prior to the first class 1 00% refund Aid awards are normally limited to a maximum Request Form (PAIR). Students residing outside Until end of second week 80% refund of eight semesters (four academic years). Students Pennsylvania should check with their state's third refund During week 40% who fail to complete the necessary number of Department of Higher Education to determine if After end of third week 0% refund credits required for graduation within the four-year additional forms are required. All forms are A student required to withdraw for disciplinary period due to change of major or transfer status available from your high school guidance office or reasons will not be entitled to a tuition refund. A will be considered for a fifth year of financial as- college financial aid office. student's residence apartment rent, general fees, sistance only on an individual basis. The University Pennsylvania residents should submit the and other charges are not refundable. cannot guarantee financial assistance beyond Pennsylvania Higher Education Assistance Agency eight semesters or after completion of the re- (PHEAA) grant application. quired number of credits needed for graduation. Transfer Students A student who withdraws from the Univer- Every undergraduate who is transferring to the sity midsemester for other than an approved

University from another postsecondary educa- reason (namely, health) will not be eligible for tional institution and is applying for financial aid financial aid upon returning for a repeat of that must submit a Financial Aid Transcript to the semester's courses. Office of Financial Aid to document the aid re- Financial aid awarded by the University may be ceived at the previous institution(s). This form can used only to meet educational expenses incurred be obtained from the University's Office of Finan- by enrollment at the University or one of the insti- cial Aid and must be completed by the Financial tutions with which the University has a student

Aid Office at the previously attended institution. exchange program. The University is not able to Transfer students will not be considered for finan- offer financial assistance for enrollment at foreign

cial aid from the University unless this form is institutions. received and the application procedure properly completed. Transfer students must also submit the FAFSA and PAIR forms.

10 Academic Requirements 1993-94 Projected Expense Budget State and Federal Grant To receive financial aid at the University, the stu- Dependent Independent Programs dent must be enrolled as a matriculated full-time Student Student

student in a degree program. Pennsylvania Higher Education Resident Commuter A student receiving aid must maintain at least a Assistance Agency (PHEAA) Tuition $11,900 $11,900 $11,900 2.0 (C) grade point average for continuation of PHEAA is a state program for undergraduate (12-18 semester funding. The University reserves the right to termi- Pennsylvania residents who will be matriculated hours) nate financial assistance at the end of the Fall students enrolled full time for an academic year.

semester if the student's grade point average is General Fee $ 500 $500 $ 500 All permanent residents of Pennsylvania are below the level required for eligibility. expected to make application for a PHEAA grant. Room $ 3570 $900 $ 3870 Application is made by submitting a FAFSA and Academic Dismissal/Reinstatement PAIR application. PAIR grant applications A student who has been academically dismissed Board $ 1250 $900 $ 1725 must be sent to PHEAA in Harrisburg no later than from the institution is not eligible for financial aid. (student's expenses May 1 . Applications are available from high for meals, etc.) If at a later date the student is readmitted to the school guidance counselors or college financial University, he/she may reestablish eligibility for Supplies & Books $ 1500 $1500 $ 1500 aid officers. financial aid by submitting a letter from his/her

Dean (or other designated official) stating that the Transportations $ 1000 $1500 $ 1705 Other State Grant Programs

student has been readmitted to the University for Miscellaneous If you are a permanent resident of either Connecti-

the period during which aid is requested. cut, Massachusetts, Rhode Island, Ohio, or Ver- Estimated Annual $19,900 $17,200 $21,200 mont, you must apply for funding from the state Student Responsibilities Expenses grant agency of your home state. Students who receive awards from any outside agency or private organization are obligated to Pell Grant notify the University Financial Aid Office of such To be eligible for a Pell Grant, the student must be

aid. At no time can total financial assistance, matriculated and enrolled for at least six credits in including awards from outside or private organiza- Grants and Scholarships an undergraduate program.

tions, exceed the student's established level of All applicants for financial aid are required to Institutional Grants and demonstrated financial need. apply for this federal grant program. If you Scholarships have submitted a completed Federal Free Eligibility All financial aid funds administered by the institu- Application for Federal Student Aid (FAFSA), there Financial aid is not available to any student who tion are awarded on the basis of demonstrated is no need to submit a separate Pell Grant has already earned a bachelor's degree in any financial need and the availability of funds. Prefer- application. field. Students enrolled only for teacher certifica- ence is given, in the case of new students, to tion are also ineligible. Only matriculated, full-time Supplemental Educational Opportunity those who demonstrate outstanding promise of day-students may receive financial assistance Grant (SEOG) success in the University's curricula. However, any from the University. These grant funds, which require no repayment obliga- applicant who applies before the published dead- tion, are supplied by the federal government and Financial Aid Package line will also be given priority. University-adminis- awarded by the institution's Financial Aid Office to The amount of aid offered by the Financial Aid tered financial aid funds will not be used to re- students with the greatest financial need. Office is determined by the applicant's unmet place federal or state grants for which a student is

financial need. Financial need is determined by eligible but who fails to complete the required

subtracting financial resources (Pell Grant, state applications.

grant, family contribution, Guaranteed Student Additional scholarships are available through Loan) from the educational budget. The resulting the Philadelphia College of Art and Design and

need is usually met by a combination of awards through the Schools of Dance, Music, and Theater called the "financial aid package." Arts in the Philadelphia College of Performing Arts. Specifics on these scholarships are listed Self-Supporting (Independent) Students under Financial Aid within each College. A student will be considered self-supporting if the federal requirements as described on the Financial Grant-in-Aid

Aid Form (FAF) or PHEM form are met. These grant funds, with no repayment obligation, Dependent Students are allocated by the University to supplement all other financial aid programs. Partial funding for If a student cannot meet all the federal require- this program is provided by endowed scholarships ments to be considered self-supporting, he or she for students with demonstrated financial need. will be classified as a dependent student. . .

Loan Programs Academic Regulations for Grade of Incomplete An incomplete Federal Stafford Loan The University grade may be granted only in ex- traordinary circumstances, either personal Every matriculated student is eligible to apply for a or aca- Specific policies pertaining to academic require- demic, which prevent the student from Stafford Loan. The Federal Stafford Loan is a low completing ments and advising for each college are stated coursework by the of interest student loan awarded on the basis of end the semester. The grade under the sections describing the individual "I" is given only financial need, A full-time student may borrow up when the completed portion of colleges. the student's work in the course is to $2,625 for the first year, up to $3,500 for the of a passing quality. In order to receive the grade of Incom- second year, and up to $5,500 for each of the last Terms of Enrollment plete, the student must obtain the two years. The interest rate is 6.2% and approval of the An undergraduate student is enrolled full time if course instructor and the repayment does not begin until six Dean of the College prior months after courses, both Studio and Humanities, total 12 or to the leaving school. conclusion of the semester. An Incomplete more semester hours. For graduate students, 9 or grade must be removed by the end of the sixth Federal Supplemental Loan to more semester credits constitute full-time enroll- week of the following semester or an "F" for the ment. Students (SLS) course is assigned. (In certain Dance courses a full full-time student A may borrow up to $4,000 for Grading System semester is allowed.) Forms are available from each of the first two years and up to $5,000 for A 4.00 the Office of the Registrar. each of the last two years. The interest is rate A- 3.67 7.3% and repayment begins immediately Change of Grade after the B+ 3.33 check is disbursed. If a student questions the correctness of a grade, B 3.00 the student should first discuss the matter with Parent Loan to Undergraduate B- 2.67 the instructor. If a satisfactory resolution is not Students (PLUS) C+ 2.33 reached, the chairperson of the department or C 2.00 This program is for parents who wish to borrow director of the school should be consulted. The c- 1.67 funds to meet a student's educational costs. The student may, as a last resort, bring the matter to D+ 1.33 maximum that amount can be borrowed cannot the attention of the Dean of the appropriate D 1.00 exceed the cost of education minus other financial college. Any change of final grade requested by a F 0.00 aid. The interest rate is 6.6% and repayment student must be approved by the course instructor, begins immediately after the check is disbursed. Grades not included in computing averages: who must submit the signed Change of Grade

I Incomplete Perkins Loan Form to the Office of the Registrar no later than N6 No Grade the end of the semester following Perkins Loans, funded by the federal government, the one in NC No Credit which the grade was given. are awarded by the institution to matriculated W Withdrawal students as part of the financial aid package. OP Optional Pass (Grade of "C" or better) Class Attendance Repayment of the principal and interest does not OF Optional Fail (Grade of less than "C") All students are expected to attend classes regu- begin until nine months after graduation or with- AU Audit larly and promptly and for the duration of the drawal from the University. The interest rate is 5% scheduled instructional time. Individual instructors (subject to change). Depending on the total Computing Grade Point Average will decide the optimum time for taking atten- amount borrowed, a student may take up to ten (GPA) dance and may penalize for habitual lateness or years to fully repay this loan. The GPA may be computed by multiplying the absence. Repeated unexcused absences may Exit Interviews number of credits earned for a course by the result in a grade of "F" for a course. numerical value of the grade. resulting Instructors should advise a student whenever An exit interview is required of all students who The figures from all courses his or her performance in the course is considered graduate or withdraw from the University and who for that semester are then totalled, unsatisfactory by use of a Notice of Deficiency have received either a Federal Stafford Loan or and this figure is divided by the total in coursework. This form is filed with the Office a Perkins Loan while they were students. The number of credits attempted that semester. The of

grades of I, NG, OP, OF, and are the Registrar which will mail a copy to the purpose of this interview is to make students W, AU not entered in this student. aware of their financial obligations and to deter- computation. mine a repayment schedule. Pass/Fail Option Dean's List

This list Student Employment 1 In courses taken on a Pass/Fail basis, the stan- is compiled each semester in the respec- College Work-Study Program (UWSP) dard letter grades of A-C are converted to OP tive Dean's offices and is recorded as part of the the registrar. student's permanent record. The Dean's List hon- The Work Study Program provides employment for by A grade of D or F is recorded as an OF. ors those students who have met the following students who need financial aid and who require criteria: the wages to defray their educational expenses. 2. The Pass/Fail grading option must be selected prior to the of 1 Are full-time undergraduate degree candidates. Students who are awarded work-study funds will end the add/drop period; no change from Pass/Fail to regular Candidates for Certificate, Diploma, and Gradu- be placed in various jobs in departments within grade or regu- lar grade to Pass/Fail ate programs are not eligible. the University. Students receive a biweekly pay- may be made after the 2. Have attained a minimum of 3.60. check for the hours worked. deadline. GPA 3. Grades 3. Have received no grade lower than a "B" in any Funds are awarded as part of the Financial of OP or OF are not computed in grade Aid Package. point average. course. 4. The Pass/Fail policy stipulates that the instruc- 4. Have no grade of "I" or "F".

tor is not to be informed as to who is enrolled 5. Take at least 12 credits for a letter grade (no on a Pass/Fail basis. "OP" or "OF").

5. Availability of this option is limited to a total

of nine (9) credits in Humanities courses or Electives.

12 .

Academic Probation Philadelphia College of Performing Arts "W" will not affect the student's GPA. Probation Grades for courses in progress are assigned Philadelphia College of Art and Design Students whose semester grade point average is according to the academic grading policy. Academic Warning below 2.0 and/or who receive the grade of "D" or Special note: A student who withdraws from When a student, previously in good standing, below ("C" for Theater students) in their major a course after the tuition refund period is not receives a semester GPA (grade point average) area, will be placed on academic probation for one eligible for a refund. between 1 .0 and 2.0, the student will receive a or two semesters, as determined by the Academic Withdrawal from The University letter of Academic Warning from the Academic Review Committee. Failure to meet the stipulation A student may withdraw from The University of Dean's Office of the College on advisement from for removal of Probation by the end of the speci- the Arts by initiating an official withdrawal with the ARC, Academic Review Committee. Students fied period may result in dismissal from PCPA. the Dean of Students. Clearance must be received will be advised to achieve a 2.0 GPA during the If the cumulative GPA for a semester is below from the appropriate College Dean, the Finance next semester in order to avoid further probation- 2.0 ("C") the student is automatically placed on Office, the Library, and the major department ary action. A student who receives below a 1 .0 academic probation and is required to attain at chairperson or school director. Grades for courses GPA will automatically be placed on Initial Proba- least a 2.0 cumulative GPA is the following semes- in progress are assigned according to the aca- tion and will not receive an Academic Warning. ter. In the Philadelphia College of Performing Arts, demic grading policy. Initial Probation a grade of "B" in the major is required in the Withdrawal is official when the student If the student is unable to acieve a 2.0 GPA in following semester. These requirements may be receives a written notification from the Registrar. response the conditions of Academic Warning, to set higher by the Academic Review Committee, A student who withdraws from the University with the student will receive a letter of Initial Probation depending on the student's overall record. The a semester or cumulative GPA of less than 2.0 from the Dean's Office on behalf of the ARC. The financial aid of a student may be placed in jeop- ("C") will be recorded as "withdrawn not in good student will be advised that if a 2.0 GPA and/or ardy is the student does not maintain satisfactory academic standing." other conditions are not attained by the following academic progress. If a student fails tc comply semester, the student will be placed on Final with the terms of academic probation, he or she Leave of Absence Probation and will possibly lose financial aid may be dismissed from the University. Additional A leave is granted for one or two semesters at the according to federal regulations. requirements may be set by the department/ discretion of the department chairperson or school Final Probation school or by the Academic Review Committee. director. A student who remains absent past the If the student fails to attain a 2.0 GPA and/or other date of expected return must apply for readmis- conditions for a third semester, a letter of Final sion to the University. A leave of absence may be Dismissal Probation will be sent advising the student that requested through the Office of the Registrar. An It is the University's prerogative to dismiss a financial aid will not be granted for that semester extension of the leave may be increased for an student for stated cause: and that, if a 2.0 GPA is not achieved during the additional one or two semesters. semester, the student may be dismissed from the 1 Failure to maintain a cumulative GPA of 2.0 Change of Major College. ("C"). 2. Failure to resolve academic probationary Students may request a change of major through There may be differences in the requirements the Office of the Registrar. Students are advised to for scholarships, state and federal grants, and requirements as specified by the Academic Review initiate the change of major petition prior to regis- loans. If you find yourself with a low GPA, you are Committee. tration for the upcoming semester. The petition advised to check with the Financial Aid Office to 3. The Campus Standards Committee may recom- requires the approval of the appropriate chairper- see how your financial aid might be affected. mend suspension or expulsion for student con- Additional Conditions duct considered unacceptable at the University. sons or directors of both the former and the new Students failed department or school. Deadlines are June 1 for 1. Freshmen entering in the Academic Achieve- on academic probation who have the fall semester and November 1 for the spring ment Program will enter under Academic to meet their GPA requirement by the end of the Warning. term but who are continued on academic proba- semester. tion for a second consecutive semester be Change of major forms are available in the 2. A student attaining a 1 .0 GPA or under will may Office of the Registrar. After completion of a automatically be placed on Initial Probation and dismissed at the conclusion of the second semes- of major, students are advised to review not receive an Academic Warning. ter if they have failed to meet the GPA specified by change their degree program requirements with their 3. Students formerly dismissed from PCAD on the Academic Review Committee. academic advisor. probation who reapply for admission to the Such students will not be considered for readmission before end full academic year. College would be readmitted subject to the the of one Transfer Between Colleges conditions of Final Probation and possible Readmission A presently enrolled student who wishes to additional conditions. Written appeal for reinstatement as a degree transfer into a program in another college of the 4. Students who have been on probation and candidate should be addressed to the Office of the University must apply through the Office of Admis- have removed themselves from probation for a Registrar by June 1 for the fall semester and sions. All requirements for the college to which semester or longer, and who fail to attain November 1 for the spring semester. Appropriate the student is applying must be satisfied and between 1 .0 and a 2.0 GPA later in the degree departmental chairpersons/directors and the approval is granted by the Dean of the college. program, will receive a letter of Academic Finance Office must endorse the readmission prior Deadlines for transfer between colleges are June Warning. to any registration process. 1 for the fall semester and November 1 for the Students are readmitted to the College 5. who spring semester. The student will be required Withdrawal from Course following a return from a Leave of Absence or either to present a portfolio of artwork, or to audi- Withdrawal will be readmitted subject to the A student may withdraw from a class and receive tion, as part of the transfer requirements. probation conditions existent during their last a "W" through the seventh week of the semester. semester at the College. After that date, a withdrawal is possible only un- 6. The ARC may require additional conditions of der unusual circumstances such as accident, seri- the student during any one of these actions ous illness, or psychological stress. A "W" must

based on departmental advice or school policy. be agreed upon by the faculty member teaching the class and the Dean of Students. of 7. If a student fails to comply with the terms of A grade Academic Warning or Probation, she or he may be dismissed from the University.

13 . .

Graduation — Conferral of Degrees and C. University educational records are maintained H. If a student believes any information in the file

Diplomas by: is inaccurate or misleading, that individual may

Students expecting to complete requirements for 1. Office of the Registrar request, in writing, the custodian of the record a degree within the year (December, May or 2. Office of the Dean of Students to amend, delete, or otherwise modify the

August) are required to file a graduation petition, 3. Financial Aid Office objectionable material. If said request is 4. signed by the appropriate department chair, in the Finance Office denied, the student may request that a hearing Office of the Registrar at the November registra- 5. Office of Continuing Studies be held to further pursue the request. At this tion for the Spring semester. The Office of the 6. Some educational records may also be hearing, the student may be represented by a

Registrar is responsible for certification of comple- maintained by the Dean of Academic person of his or her choice, if so desired. If after tion of requirements for graduation. Affairs, academic major departments, the hearing the request to amend is again Degrees and diplomas are conferred once a the Learning Skills Center, and the denied by the University, the student has the year at the spring commencement exercises. AAP Office. right to place in the file a statement or other For students who complete degree require- D. The University may not generally release any explanatory document, provided that such

ments in other terms, the transcript will be information outside the University which is statements or documents relate solely to the posted "degree granted" and the date of the maintained in educational records without prior disputed information. or waiver. official last day of examinations. A cumulative consent However, the University I. If a student believes that any of his or her rights

GPA of 2.0 is required of all graduating does have the right to release the following hereunder have been violated by the University, students. Requirements for graduation must be directory-type information: he or she should make such facts known to the approved by the Dean of the college. 1. Name Dean of Students in writing. If the Dean of 2. Address Students does not resolve the matter and the

3. Telephone listing student still feels that his or her rights have Access to Student Records 4. Date and place of birth been violated, he or she may so inform ttie 5. Major field of study Department of Education in writing. In 1 974 the Congress of the United States enacted 6. Participation in officially recognized J. Release of information from permanent records the Family Educational Rights and Privacy Act, activities to outside parties requires the student's explicit Public Law 93-380, as amended, setting out 7. Dates of attendance consent. Those exceptions which do not require requirements designed to protect the privacy of 8. Degrees and awards received the student's consent are: students. Specifically, the statute governs (1) ac- 9. The most recent previous educational 1 Obligatory cooperation with police action cess to records maintained by certain educational institution attended by the student and litigation of criminality institutions and agencies, and (2) the release of 2. Compilation of general enrollment data for such records. In brief, the statute provides that If a student does not wish any of this information reports required by U.S. Government and such institutions must provide students access to made public, either in a directory of students or in Commonwealth of Pennsylvania authorities official records directly related to themselves and any other manner, the student must inform the 3. Participatory information-sharing with an opportunity for a hearing to challenge such Office of the Registrar — no later than the end of educational service associations such as the records; that institutions must obtain the written the second week of classes each semester — of College Scholarship Service, the American consent of the student before releasing personally the information not to be released. Council on Education, and the Union of identifiable data from records to other than speci- E. The permanent record maintained by the Independent Colleges of Art fied exceptions; and that students must be notified University will consist of: 4. Information about an individual student in of these rights. 1 Directory information as noted above the event of a personal emergency which is As such, all students of The University of the 2. Application for admission judged to threaten the health/safety of that Arts have the following rights with regard to edu- 3. Applicant's secondary school records student cational records maintained by the University: 4. Cumulative University of the Arts 5. Compliance with judicial orders and A The right to review and make copies of educational records of grades, credits, grade point subpoenas records which are maintained by the University. average, and academic actions 6. Response to inquiries by parents of depen- These records generally include all records of a 5. Correspondence (or copies thereof) dent students (see section K) personally identifiable nature; however, they ex- re: admission, enrollment, registration, 7. Reference by appropriate University of the clude the financial records of parents and confiden- probation Arts' faculty and professional staff tial letters and statements of recommendation 6. Student petitions Any release of information as outlined 7. received prior to June 1 , 1 975. Letters of reference/recommendation above which identifies an individual student B. Records which, while an individual has been a dated after January 1, 1975 and requires that student's consent will be student at the University, have been created or 8. Disciplinary actions logged in his or her permanent record. maintained by a physician, psychiatrist, psy- 9. Departmental appraisals and evalua- K. As provided by the act, the Office of the Dean chologist, or other recognized professional or tions of student progress of Students will respond to valid requests by paraprofessional, are not available for review; F The permanent records of the University do not parents of dependent students for grades and however, the student does have the right to include: related cumulative information. Although the select a physician or other appropriate profes- 1. Parents' and students' confidential student's consent is not required, he or she will sional, at personal expense, to review these financial documents be informed that such a request has been records on the student's behalf. 2. Counseling psychologists' files made. 3. Health Office files A dependent student is defined as one who is 4. Faculty and staff memoranda/files declared a dependent by his or her parents for retained for personal/ professional use income-tax purposes. The University, however, will G. Requests to inspect and review records may be continue to mail semester grade reports and made by completing an Access Request — actual transcripts of records directly to the student Educational Records, which is available in the at his or her permanent address. Office of the Registrar and/or the Office of the Dean of Students between the hours of 10:00 a.m. and 4:00 p.m. Copies of available records may be made for $.25 for each sheet at the

time the student reviews the files.

14 Student Services Academic Services International Student Services The academic support services offered by the In an effort to meet the special needs of the inter- John Klinzing Student Resource Center are available to all national student, the Student Services Division Dean of Students students as a supplement to their classroom in- has developed a network of University personnel 1st Floor, 1500 Pine structions. The Center helps students develop and offices to provide specialized services to 215-875-2229 skills in reading, writing, and other academic students from abroad. These services are provided The Student Services Division consists of a group areas, including successful classroom strategy and through Admissions, the Learning Resource Cen- of concerned professionals committed to assisting improving study habits. ter, the Counseling and Career Center, the Office students of the University in reaching their goals. Professional and peer tutoring are available for of Campus Life, and the Dean of Students. The staff offers students an opportunity to develop general skills and for specific subjects or courses. The Student Services Division has designated the interpersonal, leadership, organizational, and Computer-assisted academic instruction is also one member of the professional staff as Interna- communications skills that will serve the students available. Throughout each semester, workshops tional Student Advisor. In addition to serving as on a personal and professional level in the future. are given that are designed to address students' liaison for students from abroad, the International

The office of the Dean of Students administers academic concerns and needs. Professional coun- Student Advisor will assist the student in securing and coordinates student services and represents seling is provided to enhance students' academic necessary services provided through the support student concerns to campus groups, faculty, staff, and personal strategies and skills. Further, specific areas of the University. Special programs designed and administration. support services are available to learning-disabled to help international students include: ESL tutorial

students to assist them in meeting academic assistance, Immigration Service advisement, and Student Governance requirements. the International Student Association.

Students have the opportunity to participate in The Center provides to any student a variety of Students interested in participating in the government on a collegial or departmental level. resources, such as tape-recording equipment, Residential Life program will deal directly with the

Students interested in collegial governance should typewriters, a reference library, and a computer Office of Campus Life as do all other entering contact the Student Congress, Mezzanine, 333 center. Although they may be referred to the students. While there is not a distinct residential South Broad Street, Philadelphia, PA 19102. Center by their Studio or Humanities instructors, program for students from abroad, special efforts

students are also welcome to avail themselves are made by the Office of Campus Life to consider Student Resource Center freely of these resources and support services. the needs of the international student. Likewise, the University Health Service, while The Student Resource Center provides a wide Academic Achievement Program meeting the needs of all enrolled students, does variety of support programs to aid in the develop- The Academic Achievement Program is part of the consider the support needs of international ment of the student in his or her collegiate as well Higher Education Opportunity Act of the State of students. All international students should take as professional career. They include: Pennsylvania. At The University of the Arts, the special note of the University's requirement that

purpose of the program is to provide develop- they maintain or secure appropriate medical insur- Career Planning and Placement mental maintenance and transition services to ance coverage, either through their family or The University recognizes the student's increasing students who need preparation in arts and through the medical insurance plan offered concern for career planning and employment academics. Many students who are eligible for the through the University. following graduation, as well as the need for tem- program are not aware of that fact. Students are When in need of assistance, students are porary and part-time employment while enrolled. selected to participate in the program because of advised to contact either the International Student As one of its vital services, the Center provides demonstrated financial need and must be resi- Advisor in the Student Resource Center at career counseling, internship experience, career dents of the State of Pennsylvania. The residency 21 5-875-2266 or the Office of the Dean of Student and arts resources, and professional survival skills requirement is important because the program is Services at 21 5- 875-2229. information to students throughout their college state funded. Because of life circumstances, some careers. Career workshops focus on developing Health Services students who are a part of the program have not practical job-hunting skills and addressing The University maintains a health office, open done as well academically in high school as they personal development issues involving growth and weekdays throughout the academic year and for would have liked. With the extra support of the setting long- and short-term goals. These career six weeks in the summer. First aid is rendered, SRC, these students in particular become a highly and job development services supplement the minor illnesses are treated, and appropriate refer- motivated, cohesive group whose determination to students' classroom and studio instruction. ral to other health professionals is made. Health succeed is reflected in the high percentage of The career office is located on the Mezzanine of counseling emphasizes disease prevention, health students who make Dean's List. Anderson Hall. The counselor may be reached at maintenance, stress control, and wellness activi- For more information, contact the Academic 215-875-1069. ties. Achievement Program at 215-875-2229. Additional medical needs and attention by a Personal Counseling physician are provided Services for the Disabled by the Jefferson Hospital Frequently, students have concerns about their Family Medicine Associates. This service provides The staff of the Student Resource Center works to emotional and social adjustment to college life. a complete range of physicians services to all ensure that all students with learning or physical Their concerns range the spectrum of personal students enrolled on a full-time basis. disabilities have equal opportunity to participate relationships, identity, career issues: goals, Students are encouraged to see the University fully at the University. Special support services are achievement, and roommates. To assist students nurse to help evaluate illnesses to discuss available, as well as academic and psychological and in dealing with these needs, free psychological other health problems. will aid in the contact counseling for these students. The staff assists She counseling is available on an individual basis as of the on-call doctor if medical intervention is individual students in joint efforts to meet their well as from peer support groups. needed. The Jefferson Family Medicine Depart- needs and to act as a liaison between the stu- Students in need of psychiatric and long-term ment is located on the fifth floor in dents and their instructors. Information related to Thomas psychological counseling may consult one of the Jefferson University Hospital at 1 1 10 Walnut a student's disability is used to provide requested staff counseling psychologists for assistance and Street, a short distance from the University. services and is otherwise communicated only with advice on contacting resources in the Philadelphia the permission of the student. community. Monthly workshops are also conducted to help students effectively deal with these personal, emotional, and social aspects of their college adjustment.

15 Because of the high cost of medical care and The office also assists students in finding off- In the event of a family emergency and you because many of our students no longer are cov- campus accommodations through its off-campus wish to contact your son or daughter at the Univer- ered by their parents' hospitalization plans, the housing services. Early inquiries regarding this sity, call (21 5) 875-1 01 at any time of the day.

University in conjunction with Blue Cross of service are strongly recommended. Security personnel will take the necessary infor- Greater Philadelphia and Pennsylvania Blue Shield mation, contact the appropriate offices to locate offers an optional plan to all of our students. This Student Activities the student and deliver the message. plan includes hospitalization, medical, surgical, The University annually sponsors a variety of pro- and major medical health benefits. Students and grams and activities to complement the academic Student Social Regulations their families are strongly encouraged to provide program. A sampling of the planned programs The University's regulations governing nonaca- for medical emergency needs through either this includes the Friday Night Film Series, dances and demic student conduct are intended to maintain a program or an alternate insurance program social activities, gallery and museum trips, and viable and orderly institutional society, safeguard through the student's family or family member's sports and physical fitness programs at the "Y." the particular values and common welfare of its employer. It is highly recommended that some In addition, all students are invited to attend the student body, and promote the best possible envi- form of coverage be provided for the student while Philadelphia College of Performing Arts' recitals ronment for professional study. Membership in enrolled at the University. and the Philadelphia College of Art and Design's the University community is regarded as a privi-

exhibitions, free of charge. lege, and the student is expected to exercise self-

All extracurricular and social activities are coor- discipline and good judgment. By official registra- Residential Life dinated through the Student Congress and the tion, the student acknowledges the University's The University of the Arts has made a strong Office of Campus Life. Students have a major role authority to define and enforce standards of ac- commitment to providing a living/learning environ- in determining and implementing the nature of the ceptable conduct. Adjudication of alleged student ment. Furness Hall is a historic remodeled build- student life program at The University of the Arts. misconduct is the responsibility of the Office of ing which houses students. The residence features the Dean of Student Services. A committee on three-person apartments with separate kitchen campus standards, representing the student body, Meals and bathroom facilities. The facility is located faculty, and administration, serves in an advisory Student residences feature separate kitchens within the historic block of the University and is capacity to the Dean. A complete reference to all within each room. Students prepare their own within a one-block walk of all University facilities. rules and procedures is contained in the current meals according to individual schedule and dietary 1500 Pine is a 10-story building acquired by the code for student rights, responsibilities, and preference. In addition, the University maintains a University in 1989. Its furnished apartments conduct. cafe that serves breakfast and lunch and an include a kitchen and bath. Two to five students University policy provides that a student may optional meal plan. Food-vending machines are are housed in studio, one- and two-bedroom be required to withdraw from the University for accessible at all times. apartments. Laundry facilities are located within psychological/health reasons. A student who is the building. withdrawn under this policy is one whose behav- Automobiles The University also provides housing facilities ior is assessed as sufficiently disturbed to necessi- Because parking in Philadelphia can become very through privately owned apartments. All students tate his or her leaving the University community. costly, the University discourages students from residing in these facilities, through the University, A detailed copy of the University policy regarding bringing automobiles. are entitled to all services provided by the Office emergency withdrawals may be obtained from the of Residential Life. Office of the Dean of Student Services or the Campus Security All living environments are supervised by Student Resource Center. The University has assigned security personnel to specially selected resident advisors. Advisors are all its buildings to provide 24-hour protection. The upperclass students, trained in peer counseling University maintains a strict ID policy to ensure and crisis intervention, who assist students in School Closings the safety of students, faculty, and staff. A limited their adjustment to college as well as to life in the In the event of inclement weather, students should escort service is provided for students living on city. The entire residence program is supervised by listen to the radio stations that announce official or around the University's campus. The general the director of Residential Life. school closings. The University code number is 1 16. campus area is patrolled on a regular basis. Students will receive a housing brochure outlin- Campus Security also provides programs to ing all facilities and accommodations after they develop student awareness of safety and security are admitted to the University. concerns in an effort to isolate exposure to loss. Freshmen from outside the Philadelphia area The campus Security Department administers the are guaranteed housing if the office receives University safety program to ensure the safety of their contracts by June 1 . Noncommuting fresh- all students, faculty, and staff. men are required to live in University residence during their first year.

16 Continuing Education Alumni Programs The value and the strength of an academic and professional institution are often interpreted and The University of the Arts' Continuing Education measured by the accomplishments of the men and programs offer professional instruction within a women it graduates. The alumni of The University curriculum designed specifically for students who of the Arts are among the most accomplished and work during the day or cannot study full time. skilled visual and performing practicing artists and Classes run in both the evenings and on Saturdays include pianist Andre Watts, photographer Irving during the academic year. In addition, there are Penn, dancer Judith Jamison, metals artist summer programs for both precollege and post- Samuel Yellin, jazz artist Stanley Clarke, and college populations and a provision for part-time painter Sidney Goodman. study in the day program. The work of Philadelphia College of Art and The New Studies Center of the Philadelphia Design painters, sculptors, illustrators, and crafts- College of the Performing Arts of The University of men are represented in numerous collections the Arts serves the educational and cultural needs worldwide, and have travelled in national and of adult learners. Offering a full program of credit international exhibitions; the creations of its film- and noncredit courses in the arts, humanities, makers and photographers have been honored in education, and personal enrichment, the New international festivals; and the products and publi- Studies Center extends a special atmosphere and cations of its designers have become nationally flexibility uniquely suited to the needs of mature, familiar. The Philadelphia College of Performing active adults wanting to take courses for Arts has produced an outstanding spectrum of nonmatriculated credit or self-enrichment. In 1986, musicians, including many of the founders and a Teachers' Institute was formed, offering semi- members of the illustrious Philadelphia Orchestra. nars and workshops geared to education in the The alumni of the University reside in 46 states and classroom. Most classes meet on weekday eve- 1 5 foreign countries. The Alumni Association of The nings, but there are also weekend courses and a University of the Arts' purpose is to maintain an ongo- unique Travel/Study program designed to provide ing and reciprocal relationship between the alumni highly selected educational travel seminars. and the University through various support programs, Catalogs are available for all programs offered. services, special events, and publications; to assist in Please refer to them for specific listings and regis- the development of plans; to participate in the im- tration procedures. For additional information, provement and support of the University; to promote please contact to: the general welfare and best interests of The Univer-

sity of tfie Arts. Continuing Education — 215-875-3350

New Studies Center— 215-875-3380

Dance Extension: School of Dance — 215-875-2270

17

I UNIVERSITY OF THE ARTS

PHILADELPHIA COLLEGE OF ART AND DESIGN

C r

Sophomore Year Philadelphia College of Art Programs of Study The Philadelphia College of Art and Design is a Students choose a major in the sophomore year and Design comprehensive college of the visual arts, offering from one of nine departments: Fibers, Metals, and Wood a full range of study in art and design. The college Crafts: Ceramics, Stephen Tarantal, Dean maintains demanding standards and encourages Graphic Design Carol Moore, Assistant Dean students to develop innovative approaches to Illustration

Accreditation their work. The college offers coursework toward Industrial Design

The Philadelphia College of Art and Design of The a BFA degree in Painting and Drawing, Print- Painting and Drawing University of the Arts is accredited by the Middle making, Photography, Rim, Animation, Sculpture. Photography/Film/Animation States Association of Colleges and Schools, the Na- Graphic Design, Illustration, and Crafts with con- Printmaking tional Association ofSchoolsofArtand Design, the centrations in: ceramics, fibers, metals, and wood; Sculpture America, and has Industrial Designer's Society of BS degrees in Architectural Studies and Industrial Fine Arts Option approval of the Commonwealth of Pennsylvania for Design; an MA degree in Art Education; an MAT Senior Years granting of degrees in the visual arts. (Master of Art in Teaching) in Visual Arts; MFA's Junior and increasingly in their major in Book Arts/Printmaking and Museum Exhibition Students concentrate depart- Planning and Design; an M. Arch, in Architecture; during the last two years of study. Many a special concentration in Art Therapy, and a certi- ments offer opportunities to study off-campus

fication program in Art Education. during this period. Frequent field trips to muse- studios All freshman students enter the Foundation ums, galleries, artist's studios, and design York, Washington, D.C. Department which is an 18 credit core program of in Philadelphia, New and two-dimensional, three-dimensional and drawing supplement the work in studios and workshops. courses. The Foundation program introduces the The major studio concentration is augmented basic language and processes of the visual arts by required and elective courses in other depart- and prepares the students for entry into a major ments at the College of Art and Design and Col- department Through elective course offerings and lege of Performing Arts to encourage an aware- occur the Foundation Forum (a lecture series presented ness of the productive interaction that can at the by practicing professionals in the Design, Crafts between the many disciplines available are and Fine Arts fields), students are introduced to University. Alternative career opportunities career options and opportunities offered at the often developed by students stimulated by College of Art and Design. courses outside their major. Class Size and Structure

Each department is unique, with its own curricu-

lum and structure, but in every department classes are small and informal. Faculty advisors and the generous student/faculty ratio assure close individual attention and assistance through- out a course of study. One of the important teaching modes in the

college is the critique, or "crit," an evaluation of student work by the instructor with participation by the class. Given informally to the class or indi- vidual as often as once a week, crits have proven to be an invaluable method for the development

of critical thinking and self-awareness, which are

major goals in the educational program.

21 Admissions Requirements Preparing Your Portfolio Presenting Your Portfolio The Admissions reviews The admissions staff encourages the prospective Committee your work Selecting the work to include in your portfolio is relative to the type of art program from which you the first step. Equally important student to send in an application at your earliest is your presenta- have come. expect to see different levels of tion. Although convenience. The applicant will be notified of a We your presentation does not need to

work from applicants. If you have been enrolled in be elaborate, it should decision as soon as all credentials are complete demonstrate the respect a school with a well developed art program, and the faculty have reviewed the submitted your you have for your work. If you present your portfo- portfolio will certainly be different than if your lio in person, part of your presentation portfolio. Decisions are made on a rolling basis. will be your school curriculum did not focus on the visual arts. ability to talk After receiving the admission letter, a tuition about your work. What a particular Similarly, a student who has had extensive experi- project involved, why you made the design deci- deposit ($200) is required within three weeks in ence with photography and film may not have sions you did, what you learned from the experi- order to hold a place in the class. This deposit is not refundable. developed the same level of manual skills as a ence and how you feel about the finished piece student who has concentrated on drawing and are all important us. The Financial Aid Office strongly recommends to design. Although there are no "right" or "wrong" Although not require that filing a financial aid form as soon as possible after we do you mount or

pieces to include in your portfolio, there are cer- mat your work, it is important that your portfolio January 1 to ensure full consideration of all sup- tain elements in are interested. port options are reviewed. which we be presented neatly. If your portfolio pieces are in a specific order (i.e., grouped by medium, size or The Philadelphia College of Art and Design gives Portfolio Pieces subject matter) both you and your interviewer equal consideration to all applicants for admission and may Drawings have an easier time seeing your portfolio financial aid regardless of race, color, sex, religion, as a Drawing is a skill fundamental to all visual artists. coherent of national or ethnic origins, or handicaps. body work. It provides an important means to analyze and Keep in mind that work done in charcoal, chalk Freshman Admission record your environment and ideas. The ability to or pastels should be sprayed with a fixative and Requirements draw should be reflected throughout your portfo- covered with a clean sheet of paper to protect the lio. Drawings from observation are preferable to An applicant to the freshman class must graduate work. Because you may have work too large to those that are merely copies of photographs or from an accredited high school and have taken an bring to the interview we encourage your supple- other artists' work. You can present landscapes, menting appropriate distribution of high school subjects your original work with photographs or self-portraits, figure drawings, mechanical draw- 35mm color slides. When documenting 3-D pieces, including four (4) years of English. A minimum of ing or drafting projects, still life or objects from it is helpful to show them from several angles. two (2) years of art and design are recommended. your surroundings. Those applicants who do not hold a regular high Slides school diploma may qualify for admission in the Work in Color If you are unable to come to The University for a following ways: Your of is use color another important factor. The personal interview you should submit your portfo- 1. GED (General Education Diploma) tests through variety of media demonstrates the breadth of your lio in the form of 35mm color slides. For best re- the Department of Public Instruction. experimentation with materials such as water- sults, use a 35mm single reflex camera. Since 2. CLEP (College Level Examination Program) ad- color, pastel, paint, collage or mixed media. taking slides can be difficult, you may want to ministered monthly through the testing centers Design Work shoot several rolls of film and experiment with of most major universities. Some of your portfolio pieces should demonstrate your various camera settings. Freshman applicants should submit the following: understanding of 2-Dimensional design. The use of You can photograph your work out-of-doors 1. Official High School transcript letterforms, composition of a photograph, arrange- using natural light, or inside using special photo- 2. Portfolio ment of shapes and patterns in the picture plane are graphic flood lights. The piece of artwork should 3. CEEB Scholastic Aptitude Test (SAT) or the all part of 2-D design. 3-D work such as sculpture, completely fill the camera frame. It is distracting American College Test (ACT) ceramics, jewelry, weavings or architectural models to see extraneous background objects therefore 4. One letter of recommendation are a welcome addition in your portfolio. we recommend using a simple backdrop when 5. Statement of Purpose (one type-written page) photographing 3-D pieces, i.e. a white wall is Optional — personal interview and addi- Sketchbooks A usually a good solution. tional support materials may be submitted to Although not required, a sketchbook can be an Your slides must be clearly labeled. Print your assist your application. important part of the portfolio presentation. The name and social security number on each slide development of an idea can often be as important Portfolio Content and place a dot in the lower left hand comer. This as the finished product. A comprehensive sketch- facilitates in the slide projector. At the Philadelphia College of Art & Design, one of our placement Al- book shows us that you work to develop your ways number each slide and include a separate major interests is your portfolio; your portfolio should ideas and skills between class assignments. list of descriptions. You should indicate the size describe you as a visual person. We do not list specific and media of the work and briefly explain the requirements nor assign problems to be solved. The Optional Presentations concept, project or involved. portfolio should reflect your visual experiences problem When more to date; You may wish to include projects you have under- than one picture is illustrate ( i.e. projects completed for Saturday, or outside used to a piece summer taken in computer graphics, video, original writ- sculpture, ceramics, three-dimensional classes, as well as your classroom projects and work design) the ings, performance pieces in music dance or drama slides should labeled in (2a, 2b, 2c, done without supervision. Your admissions portfolio be sequence or a supplemental portfolio of work in one concen- 1" etc.). Slides should presented in an 8 1/2" x 1 should consist of 10 to 20 pieces of original be work trated area such as crafts, design or photography. slide file page. completed within the past year. The best way to put If you wish to have your slides returned to you together a portfolio is to select from a representative group of your collected work those pieces which dem- at the completion of the application process, en- close a self-addressed, pre-stamped envelope onstrate your strengths, depth in areas of particular with your application. interest and the range of your visual abilities and expo- sure. The selection of pieces in your portfolio tells us a great deal about you, so choose thoughtfully and care- fully—and make the selection yourself.

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Options or Additions to the Portfolio Three-Year Transfer 3. Applicants to the Graphic Design Department credits slide or If you are applying as a freshman in the Founda- Students who do not have sufficient studio must submit a portfolio. Slides a port- tion Department, you may choose to supplement to apply for advanced standing but have a clear folio of original work may be submitted in all or replace the portfolio with The University of the understanding of their goals in visual arts may be other departments. Original work will be re-

Arts PREP program. This is a six week summer considered for the Three-Year Transfer Program. viewed as part of the transfer interview. program offered by the Philadelphia College of Art Typically these candidates have at least 24 credits 4. For mailing the portfolio, follow the instructions

and Design focusing on core studies in 2-D and 3- in Humanities and college-level studio experience. above. Under this program, students take the Foundation D Design, Drawing and studio electives. Any appli- Transfer Interviews cant who wishes to substitute PREP for the fresh- year and sophomore Studios at the same time. It The chairperson of the department to which you man portfolio requirement must give written no- is a demanding program and requires a very ma- are applying encourages you to have an tice to the Admissions Office. ture student. If approved by both Foundation and appointment by April 1 . In most departments, major department chairpersons, the transfer stu- The Interview interviews are scheduled when all your dent may attain junior status at the start of his or As an applicant, you are invited and encour- credentials are on file. her second year. aged to visit The University and have an inter- Conditional Admission for Freshmen view with one of the Admissions staff or fac- Transfer Freshman Offers of admission may specify one or more of the Students who have not completed at least 18-21 ulty. If you select an interview with portfolio, following conditions: you will be expected to present your work dur- studio credits are usually considered for entrance 1 Successful completion of the University's Sum- ing the scheduled meeting. The University has into the Foundation Program. College-level elec- mer Pre-Freshman Enrichment Program (PREP). not established a format or schedule of ques- tive credits may be received for Humanities and PREP is a non-credit program but grades will be tions for the interview. Each student applying Studio courses depending on the content of those given to measure performance and determine review. evaluation and determi- to The University is evaluated on an individual courses under The admission. A 2.0 grade point average (GPA) - nation of transfer studio credit and distribution basis. You should be prepared to discuss your determines successful completion. This condi- academic record, personal achievements, extra- towards the bachelor's degree for transfer fresh- tion is made when the portfolio review indi- curricular activities, and your portfolio. The men is deferred until the student enters his or her cates that additional studio preparation is nec- interview will also provide you with the oppor- sophomore year. The evaluation is then conducted essary to ensure a student's success in the of feel free to by the chairperson of the student's studio major tunity to ask questions us. Do Foundation curriculum. The Pre-Freshman En- note questions that you may have about the department. All other requirements for transfer richment Program includes studies in drawing, application process, financial aid, courses, freshmen are the same as for freshman admission. two-dimensional design, and three-dimensional instructors, programs of study or student life Transfer Application Requirements design, as well as several elective courses. and bring these with you to your interview. We 1. Portfolio (slides preferred). Classes are scheduled for a six-week session, want to assist you in making the right college 2. Transcripts of all previous college experience thirty hours of instruction per week. Portfolio choice and will be happy to answer your we and a listing of courses that will be completed review after completion may be required. For questions during your interview. before entrance into The University of the Arts. more information on PREP, please contact the Transfers 3. Catalog or other publication describing Admissions Office at 21 5-875-4808. coursework recorded and credit assignment for 2. Successful completion of the University's A transfer student may be admitted at one of the studio work. Academic Achievement Program in addition to three following levels: 4. Official High School transcript. PREP Program. This requirement is made when Advanced Standing 5. CEEB Scholastic Aptitude Test (SAT) or the the Admissions Committee determines that Students who have accumulated at least 18-21 American College Test (ACT) or the Test of En- additional scholastic training as well as studio studio credits be considered for admission — may glish as a Foreign Language (TOEFL preparation is necessary. The program involves indi- into a departmental major. Applicants must required of all international students). workshops in reading and writing skills and cate the studio department they wish to attend. A, 6. Present a written statement of purpose studio coursework. This workshop has been student's portfolio will be reviewed by the in- outlining your future art education objectives funded by the Commonwealth of Pennsylvania's tended department and a subsequent evaluation (minimum: one type-written page). Higher Education Equal Opportunity Act. will be made regarding admission status, semes- 7. If you are an advanced-standing and three-year 3. Academic Probation. Requires achievement of a level, required curriculum. Final ter and admissions transfer applicant, you must indicate the one "C" (2.0) grade point average at the end of the

decisions will be made by the Admissions Office department in which you wish consideration. freshman year in order to be promoted to the

based on the departmental recommendation. If an 8. Letter of recommendation. second-year level. applicant is not admitted into a studio major, he or Transfer Portfolio Special Student Status she may request to be reconsidered for another 1 Applicants without extensive studio experience Undergraduate enrollment in the day college is department or Transfer Freshman status. should follow instructions for freshman port- available for non-matriculated students on a folio. space-available basis for credit or audit

2. Advanced-standing applicants should present a registration in the day college. Students wishing

portfolio demonstrating basic abilities to apply for non-degree granting (Special Student) and drawing, two-dimensional three- status in the day college should submit an dimensional design—as well as competence application to the Continuing Education Office at and preparation in the area of intended major. 215-875-3350.

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Graduate Admission A personal interview is strongly recommended Scholarships with the director of the program to which you are Requirements for all graduate applications: applying. To schedule an appointment you should Jacob and Gertrude Arronson and 1 Completed graduate application form. contact: Trustee Scholarship Competitions 2. Non-refundable application fee of $30.00 by Each year the Philadelphia College of Art and check or money order. University of the Arts MFA in Book Arts/Printmaking Design will award the Jacob and Gertrude graduates are exempt from fee. (215)875-1066 Arronson Scholarship to a number of entering 3. Official transcripts from each undergraduate or MFA in Museum Exhibition Planning and Design Foundation-year freshmen. Each scholarship is graduate school attended. Transcripts should be (215)875-1110 one-half tuition for the four years the student is sent to the above address directly by the Master of Architecture enrolled. In addition, up to four entering Founda- college(s) or school(s) involved. (215)8754881 tion-year freshmen may be awarded Trustee 4. Three letters of recommendation, one from Scholarships, equal to up to one-half tuition for each of the three people listed on the applica- MAT in Visual Arts the four years the student is enrolled. Arronson tion. Two of these recommendations must (215)875-4881 and Trustee Scholarship winners will be selected come from professors in your field or profes- MA in Art Education on the basis of outstanding artistic and academic sionals in this major area who are familiar with (215)875-4881 performance and for their promise as future fine your capabilities and credentials. All supporting documents for the application artists, designers, or craftsmen. Recipients must 5. A one- to two-page statement of professional should be submitted to the Admissions Office prior maintain a 3.0 cumulative grade point average for plans and goals. to the interview. scholarship renewal. 6. Proof of High School Graduation. Applicants to the Master of Fine Arts in Museum Additional requirements for graduate applicants Application Requirements Exhibition Planning and Design Program may substi- to the Philadelphia College of Art and Design The competition for Arronson and Trustee " tute an alternative presentation for the slide portfolio. Portfolio Scholarships is open to all high school seniors This presentation may include, but is not limited to, 7. Graduate Record Exams (not required, but rec- who have shown a commitment to the visual arts materials that demonstrate professional skills or expe- ommended). and a strong academic record. Students applying rience in exhibition installation, research, design, archi- A portfolio of twenty (20) 35mm color slides for the competition should have outstanding port- tecture, theater, and fine arts, and may include original presented in a one page slide sheet is required. folios and rank in the top 25% of their class. work, written or published documents, slides, photo- Slides should represent the recent direction of the graphs, and videotapes. The applicant will be respon- Application Procedure work as well as the full range of experience in the sible for arrangements for the return of any portfolio/ To enter the Arronson and Trustee Scholarship area to which application is being made. All slides presentation materials submitted. If there are any Competition, students must make formal applica- must be clearly labeled and identified. Include an questions, please contact the director of the program. tion to the Scholarship Committee by March 1. inventory list of the slides indicating the slide The following credentials are required: number, title or description of the work, size, me- Transfer of Credits 1. Application for admission. dium, and date of completion. Original work Students transferring from other graduate 2. Official high school transcripts. should not be mailed to the Admissions Office. An programs, or those having completed acceptable 3. Letter of recommendation from an art teacher applicant wishing to have his/her slides returned post-baccalaureate study elsewhere, may be or a professional in the arts. must enclose a self-addressed, stamped envelope. allowed to transfer up to 6 credits toward their 4. A typewritten essay on your goals as a visual Applicants to the Master of Architecture Pro- Master's program. The acceptance of these artist (minimum: one page). gram may present a portfolio not exceeding 11" x credits is based on faculty evaluation and review 5. A portfolio of twelve pieces; 35mm slides are 14°, with a 2" x 9" x 12" format preferred. and approval of the department chairperson. required. (Follow freshman portfolio

requirements in catalog.)

The Selection Process Applicants who are awarded an Arronson or

Trustee Scholarship will be notified in April.

Endowed Scholarships Numerous endowed scholarships are awarded to students on the basis of financial need or on the basis of merit. Students who apply for financial

aid will automatically be considered for endowed scholarships. Consult the Financial Aid section of the catalog for further details on the financial aid application process.

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Special Facilities Borowsky Center for The Electronic Media Program is further equipped with Amiga that Publication Arts computers are used Studios and Galleries primarily for three dimensional animation in con- The Borowsky Center for Publication Arts is both a Anderson Hall, at 333 South Broad Street, is a junction with the existing Animation major and unique educational arm of the University and a nine-story visual arts facility which houses a dra- elective courses. printing facility that provides students, staff, fac- matic gallery, natural light through large windows ulty and visiting artists from all departments, the Scanner Laboratory and skylights, studios, classrooms, and a library resource to explore the creative potential inherent This state of the art pre-press color scanner designed with a feeling of openness. Combined in the offset lithographic printing medium. The facility provides University students with access to with Haviland Hall across the street, the University Center enables qualified users the ability to expe- some of the most recent technological offers modern studios, shops, equipment, galler- rience the complete graphic arts process from advances in electronic imaging procedures. ies, and libraries to support the making of art.. initial conceptualization through production, while Dramatic changes in the Graphic Arts process The variety of studios and equipment is maintaining the highest printing standards. have softened the distinction between design and extensive, ranging from woodworking and metal Housed in its own independent setting on the production. This allows more continuous creative shops, printmaking and computerized typesetting ninth floor of Anderson Hall, the Center is input on the part of designers, illustrators, shops, to fine arts, crafts, and design studios and equipped with state of the art equipment includ- printmakers, and photographers whose images are photo labs. Three large kilns enhance ceramic- ing a Heidelberg Kors 19"x25" offset press, a Dos ultimately realized in the reproduction printing making capabilities and a forge has been built for flatbed horizontal camera, a darkroom for shooting process. The University, recognizing these sculpture. A large weaving shop is complete with and developing negatives, and platemaking and changes, has installed a Hell 300 Laser Scanner, a dozens of looms and a dyeing room. A nineteenth- stripping facilities. Staffed with two master print- color processor and proofing equipment, with the century carriage house was turned into a skylit ers and student assistants, the Borowsky Center support of our Graphic Arts Industry Advisory Com- figure-modeling studio for sculpture students. produces a wide variety of printed material includ- mittee, the Graphic Arts Association of The Exhibition Program at The University of the ing but not limited to posters, catalogs, bro- Delaware Valley, and generous gifts from the Hell Arts showcases major contemporary exhibitions chures, announcements, and limited edition prints. Corporation and DuPont Corporation. The that relate to the University's diverse instruction. The Center's Fact Sheet, which includes all proce- University offers workshops and courses in color In recent years, The University of the Arts has dures for project submittal, is distributed annually theory for reproduction and color separation presented exhibitions that feature professional to the University community and is always avail- through its Continuing Education program. developments and issues pertaining to the follow- able in the PCAD Dean's office. The Borowsky ing areas: Architecture, Crafts, Graphic Design, Center Advisory Committee reviews applications Oxberry Animation Stand Industrial Design, Papermaking, Painting and each semester to schedule appropriate projects The University's photography/film/animation Drawing, Photography, Sculpture, and Book Arts. that reflect the educational criteria of the Center. department recently acquired a Master Series The University's galleries play a unique role in the Oxberry animation stand-the same kind of stand educational process of the colleges and the Philadel- Electronic Media Center used by Disney Studios and other professional phia community. As a teaching tool, the galleries func- The Electronic Media Center provides a foundation firms to film animation drawings. The new stand tion to enhance the programs within the college cur- for learning principles of the new digital media enables students to produce professional quality riculum and enrich the city's cultural life by presenting that have become pivotal to many contemporary work. Other photography/film/animation facilities innovative and provocative exhibitions in contempo- art and design activities. Central to this study is include darkrooms, a fully-equipped sound studio, rary art The galleries are highly accessible, within the the computer, one of the most flexible tools avail- drawing stands, editors, splicers, synchronizers, center of Philadelphia's artistic community, the exhibi- able to the artist, designer, or musician. Students projectors and all the essential equipment for tions are open to the public free of charge and all from any department within the university may studio photography. events are publicized to reach beyond the college learn the principles of digital processes, and how Libraries community. these techniques may be employed to enhance Over the years, the Rosewald-Wolf Gallery, the creative problem solving. The Albert M. Greenfield Library, one of the largest university's primary exhibition space, has pre: Subjects covered include word processing, contemporary art school libraries in the mid-Atlantic sented high quality exhibitions having attracted spreadsheet usage, electronic paint systems, two region, houses over 60,000 books, exhibition catalogs, national and international artists to the campus. and three dimensional computer aided design, and periodicals. In addition, there is a large picture

further the Exhibitions dedication to resource file, slide library, several To Program video digitizing, image processing, animation, and an extensive and education, major exhibitions are accompanied by communication processes such as desktop special collections, including textiles. catalogs, symposia, and lectures. Complementing publishing, as well as video presentation. Career Services the Rosenwald-Wolf Gallery, The University of the Throughout introductory and advanced courses Because the art profession is a highly competitive Arts provides additional exhibition in space there is emphasis upon the integrative nature of one, the Philadelphia College of Art and Design Haviland Hall Galleries, the Great Hall Gallery, and digital processes. The program encourages stu- puts considerable career planning. recently created Broad. emphasis on the Window on These dents from differing disciplines to share their ap- This is done through visiting lecturers from the auxiliary galleries furnish exhibition opportunities plication of the computer with each other. This professional community who assess and critique for the faculty, alumni, and students of the univer- approach provides students an opportunity to classwork, class assignments involving major sity as well as local artists. examine creative problems outside their own ma- corporations, and on-campus recruitment galleries are available, well Many smaller as as jor, and has led to joint ventures that have been programs. At the same time, the Student departmental exhibition spaces. Nearly every most productive. Resource Center offers career planning and place- launches its series of academic department own The University has created two excellent facili- ment services to inform students of part-time and faculty, shows featuring the work of students, and ties for teaching numerous courses in Electronic full-time job opportunities, and offers workshops outside artists. Students gain experience in Media as well as Graphic Design and Animation. preparing developing interviewing hanging shows, and there are student-run on resumes and Each facility is equipped with Macintosh llci com- skills. The counselor helps students to locate ca- invitationals juried exhibitions. Highlights of and puters with color monitors. In addition each facility reer directions through individual counseling tai- the year are the Annual Student Show, which is a has two high speed LaserWriter NTX printers net- featured lored to specific needs. Commencement event, the Annual worked to the computers, a high quality ink jet

Student Scholarship Exhibition, and senior student color printer, flatbed scanner, and video digitizing

exhibits. capabilities. Taken together, the facilities at the University provide a superior environment.

25 —

It is essential that students have some idea of Brighton Exchange Undergraduate Academic the business side of art. The Philadelphia College The University of the Arts offers juniors in the Requirements/Policies of Art and Design is recognized as a major support Illustration Department the opportunity to for arts community. Working with the experience the illustration field as it operates in Academic Advising organizations such as the Philadelphia Volunteer England and Europe through a cooperative Academic advising at the University is designed to Lawyers for the Arts, the Student Resource Center exchange with Brighton Polytechnic, England. provide maximum information and assistance to presents lectures and seminars on copyright laws, Interested students must apply in the spring students from the time they enter the Foundation negotiating with galleries and dealers, tax laws semester for the following fall by contacting the Program in their freshman year until they complete and business record keeping, and health hazards. chair of the Illustration Department. Selection is their final semester as seniors. The intent is to prepare artists — Philadelphia made by portfolio review for this exchange, and an In the Foundation year, each student is assigned Col lege of Art and Design alumni and others — to equal number of Brighton students coming to the to a Foundation section with its own advisor. Each work successfully in their field, to assure their Philadelphia College of Art and Design. student is required to meet with the advisor at rights and protect their physical well-being, and to Foreign and Summer Study Programs least once each semester, and each student is make them aware of the benefits and services Foreign and summer studies are available through encouraged to seek out the advisor as soon as any open to them, locally and nationally. a number of programs hosted by other difficulties begin to occur. Enrichment Programs institutions. Those most popular with Philadelphia At the end of the Foundation year, when the student College of Art and Design students are: selects and enters one of the major departments, the Student Exchange -The Academies of Fine Arts in Florence and student is assigned to a faculty member who teaches Student exchange is available through the East Rome, Italy in that department This faculty member serves as that Coast Consortium of Art Schools Mobility -Parsons School of Design in Paris, France student's advisor for the next three years. Each student Program. Students in the Philadelphia College of -Skowhegan School of Painting and meets with his or her advisor at least once a semester Art and Design may spend a semester (with a Sculpture in Maine to discuss the student's academic program. In addition, possible extension to two) as a guest at the -Tyler School of Art in Rome, Italy there are three formalized advising sessions: (1 ) First following institutions: -Vermont Studio School, Vermont semester, sophomore year When students enter a Atlanta College of Art, Atlanta The University of the Arts is the accrediting major department, during the first two weeks the The Cooper Union School of Art, New York institution for the Vermont Studio School and our advisor meets in small groups (4-5 students) to orient Maryland Institute College of Art, Baltimore students receive a discount on tuition charges. them to collegiate and departmental academic re- Massachusetts College of Art, Boston quirements and standards, departmental expectations, Nova Scotia College of Art and Design, Nova Cooperative Program with the elective options and opportunities, program strategies, Scotia Philadelphia College of Textiles and two-year planning, introduction to advisors (Humani- Otis Art Institute of Parsons School of Design, Science ties and Studio), office hours: (2) Second semester, Los Angeles An agreement between the Continuing Education junior year Individual meetings to review progress and Parsons School of Design, New York Department of The University of the Arts and the credit counting sheets from the Registrar, plan final Pratt Institute, School of Art and Design, Philadelphia College of Textiles and Sciences per- year (both semesters), and look at graduation require- Brooklyn limited number of students in each mits a ments; (3) Last semester Exit interview. Students are Rhode Island School of Design, Providence institution to register for a maximum of 4 credits encouraged to meet with advisors as often as neces- School of the Museum of Fine Arts, Boston per semester at the sister institution without the sary to deal with any problems that arise. Tyler School of Art, Philadelphia of additional tuition. Students are limited payment Each professional department is assigned one apply through their home institution, Students to a total of 12 exchange credits during their or more Humanities faculty members who assist which is responsible for the selection of four-year enrollment at the home institution. both faculty advisors and their assigned students participants. For further information, contact the selective basis for Registration is available on a in the selection of a Humanities course of study. Mobility Coordinator, Office of Registrar, at the qualified students and is restricted to courses not Transcript copies of student records are supplied on 215-875-4848. offered at the home institution. request to faculty advisors by the Registrar following Interested students should contact the Director Nonparticipating Institutions the recording of grades each semester. of Continuing Education at 215-875-3350, for addi- Incoming Students tional information and registration materials. Students in good standing from other institutions may attend the University for either one or two Pennsylvania Academy of the Fine Arts semesters on a full-time basis. To be eligible, a Coordinate-Degree Program student must have completed the freshman year Established in 1970, the Coordinate-Degree at the home institution and receive approval from Program enables students and alumni of the the department chair of the major department in Pennsylvania Academy of the Fine Arts the the Philadelphia College of Art and Design. In opportunity to earn a degree from The University addition, the student must provide a letter from of the Arts by enrolling in, and successfully com- the dean of the home college granting permission pleting, the University's prevailing Humanities to take courses at The University of the Arts and credit requirements for its Bachelor of Fine Arts agreeing to accept those credits for credit at the degree. For information, contact the Office of the student's own institution. All University expenses Registrar at 21 5-875-4848. are the responsibility of the student. Inquiries should be addressed to the Assistant Registrar, Office of the Registrar, at 21 5-875-4848.

26 . .

Departmental Requirements General program requirements vary within each Graduation Requirements department. Departments issue a list of required The chairperson, with the concurrence of the It is the student's responsibility to complete the re- courses at appropriate times during the year. faculty, may: quirements for the BFA, BS, MA, MFA, MAT, or departmental Majors must follow both MArch. degrees. This condition also applies to the 1 Establish a minimum major course grade or requirements for specified courses and the major grade point average requirement higher Diploma, Certificate, and Associate degrees within the recommended sequence in which these courses than the minimum set by the University; University's Continuing Education Division. are to be taken. The department chairperson must students must be given written notification of To be certified for graduation, a student must fulfill approve any exception to these regulations. such requirements. all applicable credit requirements, satisfy the minimum The Art Therapy and Education programs are 2. Place on academic probation students who fail residency requirements, achieve a minimum cumula- special courses of study that are offered in to meet the minimum grade requirement in a tive GPA of 2.0 (C average) for the BFA and BS degrees conjunction with a studio major program. course required for a departmental major or a and a 3.0 (B average) for the graduate degrees, receive Interested students should refer to the program University program. the approval of his or her department chairperson as descriptions in those departments. 3. Dismiss a student from the department for having met all major requirements, and submit a academic deficiencies with written notification Credit-Hour Ratio graduation petition to the Office of the Registrar. to the student and the Dean of the College and Students expecting to complete degree Credit is earned at the ratio of one credit for one the Dean of Students. Students who are dis- requirements within the year (December, May, or class-contact hour in the Humanities courses. missed may submit a written appeal to the August) are advised to secure and file the Petition for Credit is earned at the ratio of one credit for two Academic Appeals Committee. Graduation with the Office of the Registrar at the time class-contact hours in studio courses. Each department will provide student majors with of the November registration for Spring semester. statements describing any additional Dean's List written Graduation with Honors requirements for its programs at the beginning of The Dean's List honors those students who meet A candidate for the baccalaureate degree, only, the academic year. the following criteria: may graduate with honors if he or she achieves a Every student must have the approval of his or 1 Are full-time undergraduate degree candidates. minimum cumulative GPA of 3.6 at the conclusion her department to proceed to the next level of Candidates for Certificate, Diploma, and of the semester prior to graduation. coursework. Advising is a shared responsibility Graduate programs are not eligible. betwewen the department and the student. Each 2. Have attained a minimum GPA of 3.60. Return Degree Program informed about the student's a "B" in must remain 3. Have received no grade lower than any Diploma graduates of the Philadelphia College of progress toward graduation. And finally, the course. Art and Design may apply credits earned for the student's petition to graduate must be approved by grade of "I" or "F" 4. Have no diploma towards the University's baccalaureate department advisor or chairperson in (no the 5. Take at least 12 credits for a letter grade requirements. For additional information and to conference with his or her faculty. "OP" or "OF"). apply, contact the Office of the Registrar. This list is compiled each semester in the Credit Distribution respective Deans' offices. The student is ultimately responsible for completion of all course requirements for the de- Credit by Portfolio Review gree program in which he or she is enrolled. The Students who qualify will be granted credit by

University requires a minimum of 132 credits for portfolio review in Studio subjects. Portfolio credit graduation. A student carrying an average of 16.5 requires the approval of the appropriate Studio credits per semester would be making major chairperson. Academic standing and course normal academic progress toward graduation. credit based on portfolio evaluation is normally

The general credit structure is as follows: determined during the admissions process. Courses Credits Residency Requirements Foundation 18 Every transfer student must complete a minimum Major department credits 45 of four semesters in residence preceding Elective Studio 24 graduation and must earn a minimum of 48 credits Humanities 45 in Studio and/or Humanities courses. Transfer

Total credits 132 credits and credits completed in residence must

total at least 132, and must fulfill the specific Studio Electives Studio and Humanities requirements stipulated for • Major studio departments may require up to the degree, regardless of the number of credits 6 credits in another studio major, and/or completed at other accredited institutions. Stu- Humanities. dents must transfer or complete the required Hu- • Students may elect to replace up to 6 studio manities and Studio major department courses elective credits with Humanities courses. stipulated for the degree regardless of the number • Students may take up to at least 9 credits of of credits completed at other accredited studio elective courses outside their major. institutions. For this reason, transfer students may • Elective studio credits may be completed in any be required to remain in residence at the Univer- of the fine art, craft, and design departments at sity for more than the minimum three semesters the Philadelphia College of Art and Design, or and to complete more than the minimum 48 cred- in the Schools of Dance, Music, and Theater of its. Transfer credit is evaluated by the Department the Philadelphia College of Performing Arts. Chairs and the Director of Humanities in consulta- • Ceramic, Fibers, Metals, and Wood majors may tion with the Office of the Registrar. not select from Craft courses.

• Animation, Film, and Photo majors may not select Photo/Film/Animation courses.

27 Undergraduate Curricula Foundation Program The regular freshman is rostered for 1 6.5 credits each semester, usually as follows: Elsa Johnson Required Courses: Niles Lewandowski Credits FP100 Drawing Co-Chairpersons 6.0 215-875-1030 FP120 Two-Dimensional Design 6.0 FP190 Three-Dimensional Design 6.0 The Foundation Program in the Philadelphia FP 060 Freshman Forum 0.0 College of Art and Design provides the incoming Studio Electives 3.0 freshman with a year devoted to a basic Humanities 12.0 understanding of principles and concepts in the

visual arts. Freshman Year Total 33.0 The studio curriculum is composed of three courses: Drawing, Two-Dimensional Design, and

Three-Dimensional Design. Each class meets for Faculty three hours, twice a week. Ron Dorfman, Adjunct Associate Professor

Each student is a member of a Foundation Eileen Goodman, Adjunct Associate Professor

section which has a team of three faculty Gerald Herdman, Associate Professor

members who stress not only the independent disci- Jeanne Jaffe, Senior Lecturer

plines but the interdependent character of these disci- Elsa Johnson, Associate Professor

plines. Through basic studies and their interaction, the Niles Lewandowski, Assistant Professor

student discovers the underlying values and principles John Mathews, Senior Lecturer

important to all visual artists. Bob McGovem, Professor

Classroom work is enriched by home Al Pastore, Adjunct Associate Professor

assignments, critiques and reviews, guest artists, Mike Rossman, Professor

films, slides, and class trips. Karen Saler, Associate Professor

One faculty member from the section's team is Charles Searles, Senior Lecturer designate#as the advisor from that section. Richard Stetser, Professor Students meet fndividually with the advisor to Lily Yeh, Professor discuss concerns, the registration process, and FT from Painting, Humanities, and Foundation their choice of major.

Along with the Foundation courses of Drawing, Two-Dimensional Design, and Three-Dimensional Design, the student chooses an additional course offered by the Studio departments each semester. These elective courses are designed to acquaint the student with the practices of the major studio

areas. Students also register for two Humanities

courses, one in Art History and one in Language and Expression.

28 Crafts The Crafts Department seeks to develop artists of Ceramics originality and resourcefulness who can excel in Through studio practice and research, you will the most competitive professional environment. acquire a thorough knowledge of ceramics as you

Studio experience is provided in four major craft learn to take risks, find alternatives, and create

areas: ceramics, fibers, metals, and wood. There persuasive, original work in clay and plaster. You are also offerings in glass, plaster, and papermak- may also take glassblowing and stained glass as ing to complement the curriculum. electives.

Each major area offers a balanced concentra- The Ceramics program is devoted to preparing

tion in both the technical and aesthetic aspects you for the broadest possible range of career in- of the medium. While practical training and volvement. This includes fostering such practical specialized skills are necessary for creative abilities as designing a studio, photographing ability, the conceptual and expressive evolution work, and seeking commissions. Graduates

of each student is the essential focus of the become studio artists, selling through shops and department. An ongoing study of the contempo- galleries. Some concentrate on the expanding rary crafts movement is seen as an integral realm of architectural commissions. Others direct

element for those involved in the program. The their artistry toward designing for industry or range of faculty in each area provides the stu- teaching — they are chairpersons or instructors at dent with exposure to a diversity of profes- such schools as the Cranbrook Academy of Art, sional perspective and experience. the Rochester Institute of Technology, Purdue Through an incisive and rigorous curriculum, the University, and the Massachusetts College of Art

department is devoted to preparing students for pro- Still others combine a number of related pursuits. fessional involvement in their craft. Upon graduation,

students elect to become independent artists, teach- Credit Requirements ers, or designers, or find employment in industry. Indi- Sophomore/Introductory Credits viduals often combine these occupations in order to Required Courses: meet their singular needs and goals. CR 201 Introduction to Concept Required Courses for All Crafts Majors: Development 3.0 Intro, CR201 to Concept Development 3 credits CR 21 1 Introduction to Throwing 3.0 CR 301 Modem Crafts: A Critical History 3 credits CR212 Introduction to Handbuilding 3.0

CR401 Senior Craft Seminar 3 credits Craft Introduction Course in

Faculty Chosen Craft 6.0 Ceramics Studio Electives 6.0 Larry Donahue, Assistant Professor (CR251Moldmaking-Casting) Alec Karros, Lecturer Humanities 12.0 James Makins, Associate Professor Sophomore Year Total 310 Lizbeth Stewart, Associate Professor Junior/Intermediate Credits Petras Vaskys, Professor Emeritus Required Courses: Fibers CR313 Ceramic Technology 3.0 Sandra Brownlee, Adjunct Assistant Professor CR 31 1 Intermediate Ceramics 6.0 Sheryl Gibson, Adjunct Assistant Professor CR 312 Intermediate Ceramics 6.0 Bobbie Lippman, Senior Lecturer CR 301 Modem Craft: A Critical History 3.0 Kris Parker, Lecturer Studio Electives 3.0 Annabeth Rosen, Lecturer Humanities 12.0 Warren Seelig, Professor Junior Year Total 33.0 Glass Roland Jahn. Associate Professor Senior/Advanced Credits

Jewelry/Metals Required Courses: CR401 Crafts Seminar 3.0 Sharon Church, Associate Professor CR 41 1 Advanced Ceramic Studio 6.0 Barbara Mail, Lecturer CR412 Advanced Ceramic Studio 6.0 Rodney McCormick, Associate Professor Studio Electives 9.0 Richard Reinhardt, Professor Emeritus Humanities 9.0 Wood Michael Hurwitz, Associate Professor Senior Year Total 310 Peter Pierobon, Lecturer Fibers Jewelry/Metals Wood The Fibers studio provides the undergraduate art The intent of the Jewelry/Metalsmithing program The Wood program is directed toward the student with a unique multimedia experience is to expose each student to as wide a range of realization of three basic ideals: grounded in fabric processes and materials as a concept, media, and process as possible in order 1. To produce active, professional studio means of personal expression. A Fibers student to ensure versatility and competence. Courses are furniture-makers. receives a strong foundation in two- and three- designed to give students breadth, from precious 2. To develop the students' potential for personal dimensional woven structures, feltmaking, fabric jewelry-making to metalworking, on a small- expression and technical skill. collage, tapestry, screen printing, resist printing, sculpture scale. Assignments ask that the student 3. To provide the students with the learning skills hand-painted fabrics, papemnaking, and more. consider numerous issues pertinent to the field, that will enable them to continue growing as With increasing emphasis on studio problems such as the role of function and utility in artists after graduation. that concentrate on conceptual issues, guidance is contemporary holloware, or the development of The curriculum is based on maintaining a bal- offered through intensive group critiques and indi- multimedia ornament as applied to performance. ance between practical and formal aspects of vidual evaluation with Fibers faculty. Students are Emphasis is placed on personal format and pre- woodworking, and the more elusive concerns kept abreast of current issues in contemporary sentation. Studio work is supplemented by work- involved in making art Recognizing that technical fabric through a strong visiting-artist program, shops and symposia conducted by internationally mastery and creative ability are of equal impor- field trips to New York City, Washington, and Bal- known artists in the field. tance, the problems are structured to encourage timore, and the Philadelphia area. The Fibers fac- Jewelry/Metalsmithing students are self-deter- the development of both concerns simultaneously. ulty has achieved national reputation in regard to mined in their career goals. Before graduation, Often the semesters are started with looser, their personal work in major galleries and they are made aware of the many possibilities quicker investigations meant to stimulate ideas museums throughout the country. available to them. Students enter national compe- and act as potential catalysts for larger, more Recent graduates are working as professional titions and win distinction for their efforts. Gradu- time-intensive pieces. Specifically, some of the artists or as apprentices to established artists; ates may choose to design for major metal and formal aspects of furniture making covered in the other students have received grants and scholar- jewelry firms. Others pursue their art through the introductory and intermediate levels are: tradi- ships to the most prestigious graduate fibers making of one-of-a-kind, limited-production pieces tional joinery techniques, theory of solid wood schools, including Cranbrook Academy of Art, the on a commission basis or through galleries. Some construction, frame and panel construction, and

Chicago Art Institute, Tyler School of Art, and the seek placement in positions with alumni or jew- the lamination process. Also required is the Banff School of Visual and Performing Arts; some eler/metalsmiths in the Northeast, and those who "Wood Tech" class, which covers in depth the are teaching at institutions such as the Cleveland choose to pursue graduate study enter the pro- practical and technical considerations of running a

Institute of Art and the State University of New gram of their choice. Whatever they do, students shop, such as purchasing and setting up machin-

York at Cortland; still others hold positions in the are equipped to seek and establish these contacts ery, dealing with humidity, and considering the fashion and home-fumishing industries. as they leave the undergraduate environment advantage of one material over another, among other things. Concurrent with these issues, stu-

Credit Requirements Credit Requirements dents engage in discussions and assignments aimed at the development of their critical aware- Sophomore/Introductory Credits Sophomore/Introductory Credits ness, which is essential to the creative process. Required Courses: Required Courses: CR 201 Intro to Concept Development 3.0 CR 201 Intra to Concept Development 3.0

CR221 Intro to Fibers: CR 241 Intro to Jewelry Making 3.0 Credit Requirements Structural Investigation 3.0 CR242 Intro to Metalsmithing 3.0 Sophomore/Introductory Credits CR222 Intro to Fibers: Media CR245 Metals Technology 3.0 Required Courses: Explorations 3.0 Craft Intro Course in Chosen Craft 6.0 CR201 Intro to Concept Development 3.0 CR 324AFibers Technology 1 .5 Studio Electives 3.0 CR261 Intro to Woodworking 6.0 CR324B Textile History 1.5 Humanities 12.0 CR262 Intro to Woodworking 6.0 Craft Intra Course in Chosen Craft 6.0 Sophomore Year Total 33.0 Studio Electives 6.0 Studio Electives 3.0 Humanities 12.0 Humanities 12.0 Junior/Intermediate Credits Required Courses: Sophomore Year Total 33.0 Sophomore Year Total 33.0 CR 341 Intermediate Jewelry and Junior/Intermediate Credits Junior/Intermediate Credits Metalsmithing 6.0 Required Courses: Required Courses: CR 342 Intermediate Jewelry and CR364 Wood Technology 3.0 CR321 Intra to Surface Design 6.0 Metalsmithing 6.0 CR361 Intermediate Woodworking 6.0 CR322 Intermediate Structural Fibers 6.0 CR 301 Modem Craft: A Critical History 3.0 CR362 Intermediate Woodworking 6.0 CR301 Modern Craft A Critical History 3.0 Studio Electives 6.0 CR301 Modem Craft A Critical History 3.0 Studio Electives 3.0 Humanities 12.0 Studio Electives 3.0 Humanities 12.0 Junior Year Total 33.0 Humanities 12.0 Junior Year Total 33.0 Senior/Advanced Credits Junior Year Total 33.0 Senior/Advanced Credits Required Courses: Senior/Advanced Credits Required Courses: CR401 Crafts Seminar 3.0 Required Courses: CR401 Crafts Seminar 3.0 CR 441 Advanced Studio: Jewelry/ CR401 Crafts Seminar 3.0 CR423 Advanced Surface Design 6.0 Metalsmithing 6.0 CR 461 Advanced Woodworking 6.0 CR425 Advanced Structural Fibers 6.0 CR 442 Advanced Studio: Jewelry/ CR462 Advanced Woodworking 6.0 Studio Electives 9.0 Metalsmithing 6.0 Studio Electives 9.0 Humanities 9.0 Studio Electives 9.0 Humanities 9.0 Humanities 9.0 Senior Year Total 33.0 Senior Year Total 33.0 Senior Year Total 33.0 Guest Speakers and Critics Alphonse Mattia furniture maker

Wayne Bates John McQueen pottery basketmaker Jamie Bennett Wendy Maruyama jewely furniture maker

Harry Boom Richard Mawdsley mixed media jewelry

Nancy Carmen Laura Foster Nicholsen ceramics fibers

Syd Carpenter Pavel Opocensky ceramics jewelry/sculpture

Kai Chan Albert Paley fibers blacksmith

Jon Clark Elliott Pujol glass metalsmith

Ben Cohen Rudi Staffel Ben and Jerry's Ice Cream ceramics

William Daley Lonette Stonitsch ceramics artist and writer

Harris Deller Tommy Simpson ceramics furniture maker

David Ellsworth Jill Slosburg-Ackerman woodturner jewelry/sculpture

Roberta Griffith Roy Superior ceramics woodworker

Chris Guston Blair Tate ceramics artist and writer

Helena Hermarck Marianna Torgovnick tapestry writer

Jim Holmes Vlbeke Vestby glass fibers

Susam Kingsley Bruce Volz jewelry furniture maker

Jack Larrimore Katrina Wesleyan furniture maker performance artist

Mary Lee Hu Stephen Whittlesley

goldsmith furniture maker

Joan Livingstone Paula Winokur fibers ceramics Jim Mak'ms potter

Grahm Marks ceramics Design Graphic Design Credit Requirements

Laurence Bach Sophomore/Introductory Credits Chairperson Required Courses:

215-875-1060 GD210 Letterform Design 6.0 The combination of words, symbols, drawings, GD211 Descriptive Drawing 6.0 photographs, and diagrams to communicate ideas GD213 Design Systems 6.0 and products is the basis of graphic design. In the Studio Electives 6.0 senior year, in-depth experience in creating these Humanities 12.0 components of graphic communications at a high Sophomore Year Total 36.0 level of formal excellence precedes their integra- tion in larger sets of work such as visual identity Junior/Intermediate Credits programs, books and publications, exhibits, and Required Courses: packages. Opportunities for additional study of GD306 Typography Emphasis 6.0 photography, animation, filmmaking, and emerging GD311 Communications 6.0 technologies are available. GD302 Materials and Processes 1.5

Throughout the three years of major GD303 Production Seminar 1.5 concentration, problems in graphic communication Departmental Elective 3.0 are combined with exploratory and experimental GD300 Drawing/Graphic Proc. studies in drawing, color, photography, typography, GD310 Photographies and computer-generated imagery. The GD313 Color Studies

curriculum is supplemented by special lecture GD316 Drawing Applications

programs, workshops with invited design firms, GD322 3-D Graphic Design and on-site seminars in selected design offices Studio Electives 3.0 and studios, paper and printing plants, and with Humanities 12.0 video-, film-, and computer-graphic producers. Junior Year Total 33.0 With successful completion of the program, and depending on individual strengths, students are Senior/Advanced Credits prepared for entry-level positions as graphic Required Courses: designers with, for example, design groups or GD411 Design Studio 6.0 studios, publishers, corporations, nonprofit GD412 Problem Solving 6.0 institutions, governmental agencies, architects Studio Electives 12.0 and planners, or advertising agencies. Humanities 9.0

The faculty consists of practicing professionals with Senior Year Total 310 distinguished records of accomplishment in their

fields, sensitive and responsive to changes in the practice of design, while maintaining a clear sense of the bases for structuring communications.

Faculty Hans Allemann, Adjunct Professor Laurence Bach, Professor Richard Felton, Adjunct Assistant Professor Kenneth Hiebert, Professor William Longhauser, Professor Chris Myers, Assistant Professor Chris Ransom, Senior Lecturer Lee Willett, Assistant Professor Chris Zelinsky, Associate Professor Illustration Credit Requirements

Robert Stein Sophomore/Introductory Credits Chairperson Required Courses: 215-875-1070 IL 200 Pictorial Foundations 6.0

Illustrators give visual substance to thoughts, IL 201 Drawing as Design 3.0

stories, and ideas. The Illustration Department IL202 Figure Anatomy 6.0

seeks to prepare its students for entry into the IL 204 Typography 3.0

fields of book and periodical publishing, promo- Required Studio:

tion, education, advertising, and specialty fields. PF211 Introduction to Photography 1.5

Illustrators must call upon a broad range of Studio Elective 1.5

traditional and up-to-date competencies to re- Humanities 12.0 spond to today's visual problems. As visual prob- Sophomore Year Total 33.0 lem-solvers and communicators, illustrators need to be open-minded, eclectic, flexible, and imagina- Junior/Intermediate Credits

tive. The illustrator's solution should be appropri- Required Courses:

ate, intelligent, expressive, and visually engaging. IL 300 Illustration Methods 6.0

In order to prepare for a career in this competi- IL 301 Design Methods 3.0

tive field, The University of the Arts Illustration IL 206 Materials and Techniques 3.0

student develops skills that encompass two- IL302 Figure Utilization I 1.5 dimensional media, from painting and drawing to Select one of the following for a total photography and technical image-making and of3 credits: 3.0 reproduction processes and emerging opportuni- IL304 Design Groups 3.0

ties in electronic imaging. Students may concen- IL303 Figure Utilization II 3.0 trate on either a design oriented or pictorially Studio Electives 4.5

oriented curriculum. These skills are nurtured Humanities 12,0 within a stimulating cultural climate provided by Junior Year Total 33.0 the resources of the faculty, of visiting profession- Credits als, and of the University and the city at large. Senior/Advanced Each student progresses from general competen- Required Courses: 6.0 cies to a personal viewpoint, clarified career IL400 Illustration IL 401 Graphic Problems or 3.0 goals, and a professional attitude. IL 402 Communications Workshop

IL403 Portfolio Seminar 1.5 Faculty Studio Electives 13.5 Inge Board, Senior Lecturer Humanities 9.0 Richard Burke, Lecturer Senior Year Total 33.0 Robert Byrd, Senior Lecturer Chris Cantera, Senior Lecturer

Don Daily, Senior Lecturer Guest Lecturers Martha Erlebacher, Adjunct Professor Illustrators (General) Ed Ferszt, Adjunct Assistant Professor Guy Billout Renee Foulks, Senior Lecturer Harry Bliss Ralph Giguere, Senior Lecturer Wendell Minor Paul King, Lecturer Wilson McLean Alan Klawans, Senior Lecturer Childrens' Book Illustration Nathan Knobler, Professor Carolyn Croll Deborah Kogan, Senior Lecturer 3-Dimensional Illustration Jim Lakis, Adjunct Associate Professor Ellen Rixford Tim O'Brien, Lecturer Story Board Illustration Phyllis Purves-Smith, Associate Professor Sam Dion Eileen Rosen, Lecturer Art Directors Robert Stein, Professor Jim Cardillo Tarantal, Professor Stephen Clark Mills Mark Tocchet, Assistant Professor Elmer Pizzi

33 — —

Industrial Design Faculty Credit Requirements Jack Andrews, Professor Charles Bumette Sophomore/Introductory Credits Charles Burnette, Professor, Chairperson Required Courses: Joseph Carreiro Professorship in Design 215-875-1040 ID 200 Studio 1: Projects 6.0 Robert Croston, Assistant Professor The Industrial Design Department provides a ID 220 Studio 2: Tehcniques 6.0 Kenneth A. Root, Lecturer professional education for those wishing to bring ID 290 Design Seminar 1.5 Goetz Linger, Lecturer beauty and appropriateness to the products, ID 214 Materials and Processes 1.5 Steve Wilcox, Lecturer presentations, and settings of modern society. The ID 280 Technical Communication 1.5 Julian Winston, Associate Professor program prepares one for careers in product, pack- Studio Electives 7.5 Peter Wood, Assistant Professor aging, and exhibit design, as well as for the design Humanities 12.0 Steven Yarnall, Lecturer of communications, furniture, equipment, vehicles, Orly Zeewy, Lecturer Sophomore Year Total 36.0 and interiors. It also addresses problems of human factors research, computer-aided de- Guest Speakers Junior/Intermediate Credits Required Courses: sign, product development, manufacturing, mar- David Gresham ID 300 Studio 3: Projects 6.0 keting, and a host of other considerations related Details, New York to the humanistic uses of technology. ID 320 Studio 4: Techniques 6.0 Nancy Skolos, Tom Wedell The department places emphasis on the ID 390 Design Seminar 1.5 Skolos/Wedell, Boston graphic design, development of graphic, sculptural, and spatial — ID 326 Intro to Human Factors 1.5 photography design skills as a complement to creative problem Studio Electives 7.5 solving, technical innovation, and effective Richard Penny Humanities 12.0 communications during the solution of actual The Richard Penny Group, New York Junior Year Total 34.5 problems of design. product design Senior/Advanced After initial coursework to introduce basic David Kelley Credits Required Courses: design and production processes, including com- David Kelley Design, Palo Alto—product puter-aided design and modelmaking, development ID 400 Studio 5: Projects 6.0 students begin to develop and apply theory, skill, ID 420 Professional Communications 6.0 Bill Moggridge and knowledge to actual design problems, many ID 490 Design Seminar 1.5 ID Two, San Francisco—product brought into the studio by industry. Visiting Studio Electives 6.0 conceptualization, design designers also bring knowledge of current design, Humanities 9.0 Rick Valicenti manufacturing, and marketing practices into Senior Year Total 28.5 THIRST, Chicago graphic design studio and lecture courses, and visits to industry — provide opportunities for direct observation and Wes Jones first-hand knowledge of manufacturing processes. Holt Hinshaw Pfau & Jones, San Francisco Departmental Electives Based on this foundation of skills, experience, and exhibits, architecture While none of the following are required for information, emphasis in the final year shifts the Neil Denari graduation, they are recommended. responsibility for knowledge of design to the Cor-tex, Los Angeles—architecture ID 113 Freshman ID individual student, who works directly with a cli- ID 251 Introduction to Computer Aided Design I David Frej ent/sponsor on a thesis project prior to ID 252 Introduction to Computer Aided Design I Influx, Chicago graphic identity graduation. During the final semester the — ID 327 Advanced Technology instructional focus also shifts to career planning, Michael McCoy ID 351 Design with Kids I portfolio preparation, and the development of Fahnstrom & McCoy, Chicago product design — ID 352 Design with Kids II information gathering and business ID 412 Exhibit Design communication skills to better prepare the student ID 425 Advanced Computer Aided Design for entering the job market. Due to the wide scope, and creative yet practical character of an Industrial Design Recommended Outside Electives education, many career opportunities await the PF 208 Photography for Industrial Designer graduate: with consulting firms, corporate design CR252 ID Plaster Workshop staffs, manufacturing firms, exhibit houses, CE180 Design Drawing retailers, advertising agencies, research CE305 Airbrush organizations, museums, educational institutions, EM 110 Computer Concepts and government agencies, all of whom recognize HU251 History of Design the need to constantly improve the appearance, HU452 Topics of Design manufacture, performance, and social value of their products.

34 Fine Arts Painting /Drawing Credit Requirements Robert Keyser Sophomore/Introductory Credits Chairperson Required Courses: 215-875-1080 PT 202 Sophomore Painting 9.0 The Painting Department provides a firm basis for PT224 Sophomore Drawing 6.0 students to develop a professional involvement Studio Electives 6.0 12.0 with their work. A balance is sought between the Humanities

acquisition of studio skills and the development of Sophomore Year Total 33.0 a critical intelligence. Students are encouraged, through the rigor of Junior/Intermediate Credits

studio activity, to understand the breadth of art in Required Courses: PT302 Junior Studio 12.0 both its traditional and contemporary forms, and to 1.5 gain increasing authority in their own work. PT324 Drawing Courses evolve from the study of basic working PT390 Junior Seminar 1.5 methods and fundamental issues of image making Studio Electives 6.0 12.0 to the subtleties of complex pictorial organization Humanities

and the refinements of aesthetic judgment. In the Junior Year Total 33.0 final semester of the senior year, each student is Senior/Advanced Credits required to complete a thesis project, which Required Courses: includes a formal presentation of a paper and an Senior Studio 12.0 exhibition of a coordinated body of work. PT402 PT 490 Senior Seminar 1.5 The faculty of practicing professional artists Senior Drawing 1.5 represents a diversity of attitudes and ideals. PT424 Studio Electives 9.0 Through the format of studio instruction, dialogue, Humanities 9.0 and critique, they seek to instill in each student a

habit of self-instruction which will serve far Senior Year Total 33.0 beyond the program at the University. The Painting/Drawing Department now has an

art gallery in its own area. Visiting artists/speak- Painting Department Guest Lecturers ers exhibit their latest work here. Students have Timothy Arzt an opportunity to show their work and a student Bo Bartlet

exhibition committee is formed each year to invite David Brewster artists, manage and install the exhibitions. Anne Seidman

Studio activity is augmented by lectures, semi- James Wallace nars, visiting artists, and field trips to museums

and galleries.

Faculty Eugene Baguskas, Associate Professor Peter DiGuglielmo, Lecturer Frank Galuszka, Professor David Goerk, Senior Lecturer Steven Jaffe, Associate Professor

David Kettner, Professor Robert Keyser, Professor Nathan Knobler, Professor Eileen Neff, Lecturer Gerald Nichols, Professor Boris Putterman, Associate Professor Warren Rohrer, Professor

Doris Staffel, Professor

Lily Yeh, Professor

35 Photography/Film/Animation Photography Credit Requirements

The Still Photography major, in the sophomore Alida Fish Sophomore/Introductory Credits year, gets a solid background in craft competence Chairperson Required Courses: and the conceptual concerns of photographic ren- 215-875-1020 PF210 Introduction to Film 3.0 dering. Distortion of both process and effect is The Photography/Film/Animation Department PF 21 1 Introduction to Photography 6.0 considered, as is the use and control of traditional offers major concentrations in each of these PF217 Color Printing Workshop 3.0 color-print materials. disciplines while providing elective classes to Studio Electives 9.0 The junior year asks the student to consider the University at large. The three-year curricu- Humanities* 12.0 photographic forms beyond the traditional print — lum of each major is built around a sequence of the photographic book, nonsilver processes, and Sophomore Year Total 33.0 classes designed to move the student to a posi- the extended photograph, among others — while tion of independence within the discipline. An Junior/Intermediate Credits also providing instruction in the practice of large- introduction to the intrinsic conceptual and Required Courses: format photography and studio practice with its material concerns of the medium fills much of PF311 Junior Workshop I & II 6.0 control of artificial lighting. In both the junior and the sophomore year. Within the two remaining PF313 Basic Studio I & II 6.0 senior years, the student may also pursue the years, the student is expected to develop and PF315 Extended Photo Apps 3.0 study of specialized issues on an elective basis, expand a sense of personal vision, practice, Select 3 credits from the including the photograph in a graphic arts context, and goals. following courses: 3.0 documentary photography, multi-image Within the first semester of the sophomore PF323 Selected Topics 3.0 production, and the photograph within a larger year, each student is required to take both Still PF413 Professional Practices 3.0 fine arts context. Photography and Filmmaking. Separate pro- PF499 Practicum 1.5 or 3.0 The senior year largely concerns the production grams of studies within each discipline com- PF999 Independent Study 3.0 of an independent body of work of the student's mence with the second semester of that year, Studio Electives 3.0 own choosing and direction. The senior thesis although work in the other areas may be con- Humanities* 12.0 provides the opportunity to begin the process of tinued on an elective basis. self-definition as photographers and artists. A Junior Year Total 33.0

required senior-level course in photographic Senior/Advanced Credits Faculty criticism, coupled with required classes in Required Courses: photography history, culminates the strong Norinne Betjemann, Lecturer PF411 Senior Workshop I & II 6.0 emphasis that the department places on critical John Carlano, Adjunct Associate Professor PF415 Senior Seminar I & II 6.0 thinking Jack Carnell, Associate Professor and the ability to express one's self in Select 3 credits from the Connie Coleman, Lecturer words as well as through photographs. following courses: 3.0 John Columbus, Adjunct Associate Professor An internship program, which places advanced PF 323 Selected Topics 3.0 Sky David, Associate Professor students within a variety of positions in the "real PF 41 3 Professional Practices 3.0 Stephen Fiorella, Adjunct Assistant Professor world" one day each week, is also available. PF499 Practicum 3.0 Alida Fish, Professor Current positions include assistantships in PF999 Independent Study 3.0 Anthony Gorny, Associate Professor commercial studios, galleries, medical Studio Electives 9.0 Gerald Greenfield, Associate Professor laboratories, hospitals, and multi-image and Humanities* 9.0 David Lebe, Lecturer special-effects houses. Senior Year Total 33.0 Paula Marincola, Lecturer Doug Mellon Lecturer * Please note: HU255A&B, History of Nora Monroe, Lecturer Photography is required of all Photography majors Thomas Moore, Lecturer as part of the total humanities load. Jeannie Pearce, Lecturer Peter Rose, Professor, Film Area Head David Tafler, Associate Professor John Woodin, Lecturer

36 Him Animation Film/Animation The independent film and video artist serves as Animation brings together a wide variety of Credit Requirements

the model for our program in both live-action film interests and skills. While the final presentation Sophomore/Introductory Credits and animation. At the same time, a solid prepara- utilizes the technology of filmmaking, the visual Required Courses: tion and foundation in craft has enabled an ex- materials being animated may be generated PF210 Introduction to Film I & II 6.0 tremely high percentage of our graduates to enter through such diverse disciplines as painting and PF 21 1 Introduction to Photography I 3.0 the professional field as freelance editors, sound drawing, sculpture, illustration, graphic arts, and PF212 Introduction to Animation 6.0 recordists, cinematographers, technicians, anima- still photography. The Animation program offers PF216 Computer Animation I 3.0 tors, screenwriters, and directors. instruction in both traditional and experimental Studio Electives 3.0 The filmmaking area provides its students with approaches to the medium and is geared to Humanities* 12.0 a background in all phases of film and video providing a foundation broad enough for either production, including film cinematography, video- personal explorations or a professional career. Sophomore Year Total 33.0

graphy, film and video editing, sound/image In addition to the traditional major. Animation Junior/Intermediate Credits manipulation. As in the still area, the filmmaking also provides the opportunity for students to Required Courses: students acquire a strong background in criticism, pursue a concentration in Animation while PF 31 Junior Cinema Production 6.0 theory, and history of media. studying in other major departments. Students PF 31 2 Junior Animation Workshop I & II 6.0 Media study at the University has been supple- considering a concentration in Animation should PF316 Computer Animation II 3.0 mented by a number of other activities and consult with the Film program advisor as well as PF320 Film Sound 3.0 resources, including "Mediaworks," a year-long with their own department chairperson for PF322 Film Technology 3.0 series of visiting artists. Under this program, film- assistance in arranging appropriate course Humanities* 12.0 makers, animators, video artists, and performance sequencing and schedules. artists of both national and international reputa- Junior Year Total 33.0 tion have visited the campus for lectures, screen- Credit Requirements Senior/Advanced Credits ings, and performances. Our facilities have been Required Courses: expanded, and offer basic video an Sophomore/Introductory Credits we now as PF410 Senior Cinema Production 6.0 adjunct to the program. In addition, the University Required Courses: PF412 Senior Animation Workshop I & II 6.0 possesses an audio-visual department with its PF210 Introduction to Film I & II 6.0 PF414 Senior Film Forum I & II 6.0 own film library, a computer center, and a Friday PF211 Introduction to Photography I 3.0 PF420 Light and Sound 3.0 Night Film Series. PF212 Animation Drawing I & II 6.0 Studio Electives 3.0

PF216 Computer Animation I 3.0 Humanities* 9.0 Studio Electives 6.0 Credit Requirements Humanities* 9.0 Senior Year Total 33.0 Sophomore/Introductory Credits Sophomore Year Total 33.0 Required Courses: *HU 248 A&B, Film History are required of all Junior/Intermediate Credits part total humani- PF210 Introduction to Film I & II 6.0 film/animation majors as of the Required Courses: PF211 Introduction to Photography I 3.0 ties load.

PF 31 2 Junior Animation Workshop I & II 6.0 PF212 Animation Drawing I 3.0

Studio Electives 9.0 PF316 Computer Animation II 3.0 Humanities* 12.0 PF320 Film Sound 3.0 PF322 Film Technology 3.0 Sophomore Year Total 33.0 Studio Electives 6.0 Junior/Intermediate Credits Humanities* 12.0 Required Courses: Junior Year Total 33.0

PF310 Junior Cinema Production I & II 6.0 PF314 Junior Film Forum 6.0 Senior/Advanced Credits PF320 Film Sound 3.0 Required Courses:

PF322 Film Technology 3.0 PF 41 2 Senior Animation Workshop I & II 6.0

Studio Electives 3.0 PF414 Senior Film Forum I & II 6.0 Humanities* 12.0 Studio Electives 9.0 Humanities* 12.0 Junior Year Total 33.0 Senior Year Total 33.0 Senior/Advanced Credits Required Courses: * HU 248 A&B, Film History are required of all

PF410 Senior Cinema Production I & II 6.0 animation majors as part of the total humanities

PF414 Senior Film Forum I 3.0 load. PF430 Light and Sound 3.0 Studio Electives 12.0 Humanities* 9.0

Senior Year Total 33.0

* HU 248 A&B, Film History are required of all film majors as part of the total humanities load.

37 Printmaking Facilities Credit Requirements The Printmaking Department provides extensive Patty Smith Sophomore/Introductory Cred facilities for waterbased screenprinting, stone and Chairperson Required Courses: plate lithography, relief, etching and non-silver 215-875-1054 PR 201 Relief Printing 3.0 photographic processes. The bookbinding room The Printmaking Department bases its PR 202 Screenprinting 3.0 houses book presses and a guillotine paper cutter. instructional program on the development and PR 204 Etching 3.0 The letterpress studio contains 3 Vandercook realization of visual ideas through multiple PR 205 Concepts I, II 3.0 presses for printing hand-set type and over 1 00 image-making processes. The primary objectives PR 206 Printmaking Workshop 3.0 fonts of varied type. In the offset lithography press are to develop conceptual abilities and technical Studio Electives 6.0 room there is a Davidson 901 offset press and an proficiencies leading the student to acquire Humanities 12.0 AF Davidson Super Chief two-color press, both personal imagery and professional competence in are used by the students for hands-on experience. Sophomore Year Total 33.0 printmaking media. Printmaking is a bridge be- An important resource is the Borowsky Center tween Fine Arts and Design, from philosophical Junior/Intermediate Credits for Publication Arts, which is equipped with a approach to practical realization. Required Courses: Heidelberg KOFiS offset press and full darkroom 3.0 The department provides extensive facilities PR 300 Lithography for experimental and production printing. Relief Printing 1.5 and the expertise of a faculty of professional PR 305 Advanced 3.0 artists for study in traditional and contemporary Faculty PR 306 Print Study Seminar methods. The major graphic media explored Carol Barton, Lecturer PR 223 Book Arts I 1.5

II 1.5 include relief processes, etching (intaglio), James Green, Lecturer PR 307 Book Arts lithography-stone, metal plate, and offset-and Lois Johnson, Professor PR 308 Advanced Lithography Workshop 3.0 Etching 1.5 water-based screenprinting. Courses in book and Jerome Kaplan, Professor Emeritus PR 309 Advanced 6.0 typographic design stimulate experimentation in Hedi Kyle, Senior Lecturer Studio Electives unifying the elements of paper, prints, typography, Peter Lister, Senior Lecturer Humanities 12.0 and bookbinding. Barbara Mauriello, Senior Lecturer Junior Year Total 33.0 Visiting artists, field trips, and guest lecturers Jeanette McGrath, Lecturer Senior/Advanced Credits supplement the studio experience. Using the city Mary Phelan, Assistant Professor Required Courses: as an extended workshop. Print students attend Tony Rosati, Senior Lecturer PR 400 Printmaking: Advanced Workshop 3.0 seminars and museum collections. The Print Study Patricia Smith, Assistant Professor PR 407 Thesis Seminar 3.0 Seminar is held in the Print Room at the Philadel- Lori Spencer, Lecturer

PR 410 Book Arts III 1.5 phia Museum of Art and furnishes a unique oppor- Franz Spohn, Adjunct Associate Professor PR 412 Advanced Screenprinting 1.5 tunity to study original prints from the fifteenth Sarah Van Keuren, Adjunct Assistant Professor PR Thesis Workshop 6.0 through the twentieth centuries. Jennifer Woods, Senior Lecturer 420 9.0 The main emphasis over the three-year Studio Electives Visiting Artists Humanities 9.0 undergraduate period of study is on the evolution Garo Antreasian, Professor Emeritus of students as artists who make individualized University of New Mexico, Albuquerque Senior Year Total 33.0 demands upon the media. As with any study in the Clive Barstow fine arts, the experience should be Wales multidimensional, reflective of a broad range of personal and professional involvement, and Carol Barton reinforced with stimulation from related areas of Washington, D.C. interest, including drawing, painting, photography, Sebastian Carter, Rampant Lions Press graphic design, illustration, sculpture, and crafts. Cambridge, England The undergraduate curriculum is enhanced by Betsy Davids, Rebis Press the graduate program in Book Arts/Printmaking. California College of Arts & Crafts, Berkley This two-year course of study of 60 credits, Drucker, culminating in a Master of Fine Arts Degree, Johanna Druckwerk University, York the program provides the opportunity for indi- Columbia New vidual artist's expression in limited edition Ruth Fine, Curator bookworks. Undergraduate students work National Gallery of Art, Washington, D.C. alongside MFA candidates in studios, work- Bilge Friedlaender shops, and some major and elective classes. University of Pennsylvania (Students interested in the MFA degree in Book Warren Lehrer, ear/say Arts/Printmaking should contact the Depart- State University of New York at Purchase ment of Printmaking or Office of Admissions.) Department graduates find career opportunities Clive Phillpot in the areas of fine arts, education, book design Director of Library, Museum of Modern Art, NY and binding, commercial graphic arts, illustration, John Risseiw, Cabbagehead Press and edition printing. Professor, Arizona State University, Tempe

Keith A. Smith Rochester, NY

Claire Van Vliet, Janus Press West Burke, Vermont

Philip Zimmerman, Spaceheaters State University of New York at Purchase

38 Sculpture Credit Requirements Guest Lecturers

Bill Barrett Barry Parker Sophomore/Introductory Credits Natalie Charcow Chairperson Required Courses: Cynthia Eardley 215-875-4884 SC201 Sculpture I 3.0 Thomas Golya Sculpture reflects one of the deepest creative SC202 Sculpture I 3.0 Kristen Jones impulses of artistic endeavor. Sculptors today are SC220 Molding and Casting 3.0 Michael Malphs called upon to create images that range in size SC 231 Introduction to Figure Modeling 3.0 Joe Moss from coins to monuments. Usually working as SC251 Theories of Structure 1.5 James Rosati independent artists, sculptors make objects for SC252 Theories of Structure 1.5 Alvin Sher exhibition and sale, or work on commission for Choose a minimum of3 credits from the Takeo Shimizu architects and planners. following courses: 3.0 James Wines The Sculpture Department offers instruction and SC232 Intro to Figure Modeling 3.0 Isaac Witkin experience in both the traditional and the most SC 241 Sculpture Projects:

innovative aspects of the art. Resources are avail- Introductory Studio I 3.0

able for work in clay, wood, stone, ferrous and SC 242 Sculpture Projects:

nonferrous metals, plaster, wax, and plastic. Introductory Studio II 3.0

The department's instructional aim is to provide Studio Electives 3.0 a sound, balanced exposure to the formal Humanities 12.0

technical and intellectual aspects of sculpture, in Sophomore Year Total 33.0 preparation for continued professional growth

beyond the undergraduate years. The curriculum is Junior/Intermediate Credits carefully designed to provide both disciplined Required Courses:

instruction and time for individual creative SC301 Sculpture II 3.0

development. SC302 Sculpture II 3.0

At the introductory level, fundamentals of sculp- SC321 Carving 1.5 ture are taught along with technical SC421 Metal Studio 1.5

procedures in a variety of materials. At advanced Choose a minimum of 6 credits from the levels, students may specialize and are following courses: 6.0 increasingly expected to initiate and complete SC 260 Structure of the Figure 6.0

works reflecting their own artistic interests under SC431 Advanced Figure 3.0

critical supervision. Sculpture

Studio and shop facilities are comprehensive SC432 Advanced Figure 3.0

and include air tools for carving, a foundry for Sculpture bronze and aluminum casting, a wood and SC441 Sculpture Project: fabricating shop, a complete metal shop for forg- Advanced Studio 3.0 ing and three types of welding, and a moldmaking Studio Electives 6.0 shop. Technical assistance and su- Humanities 12.0

pervision in the facilities is provided by a full-time Junior Year Total 33.0 shop supervisor who is in charge of maintaining the equipment. Senior/Advanced Credits Faculty members are chosen from a variety of Required Courses:

backgrounds, and field trips to New York, Wash- SC401 Sculpture III 3.0 ington, and neighboring museums serve to expand SC402 Sculpture III 3.0 students' visions. Choose a minimum of 6 credits from the following courses: 6.0 SC260 Structure of the Figure 6.0

Faculty SC322 Carving 1.5

Phoebe Adams, Lecturer SC422 Metal Studio 1.5 Harvey Citron, Adjunct Associate Professor SC431 Advanced Figure 3.0 Gail Ferretti, Lecturer Sculpture

Alan Greenberg, Lecturer SC432 Advanced Figure 3.0 Aaron Goldblatt, Lecturer Sculpture

Barbara Lekberg, Lecturer SC 441 Sculpture Projects: Steve Nocella, Lecturer Advanced Studio 3.0 Barry Parker, Professor SC 442 Sculpture Projects:

John Phillips, Lecturer Advanced Studio 3.0 Thomas Steams, Associate Professor Studio Electives 12.0 Humanities 9.0

Senior Year Total 33.0 .

Fine Arts Sophomore Year Option Ait Therapy Faculty Advisor. Professor Jerry Herdman Sherry Lyons Students who elect to pursue a fine arts Director education majoring in Painting and Drawing, 215-875-1104 Photography/Film/Animation, Printmaking, or Art Therapy is a new discipline within the human Sculpture, have two program options. services professions that offers an opportunity to 1 Students who want to study in one particular explore personal problems and potentials through Fine Art Department can declare that program verbal and nonverbal expression. Physical, emo- major during the second semester of their tional, and learning skills may be developed foundation year and commence a concentration through therapeutic art processes, forms, content, as sophomores. and associations as reflections of an individual's 2. Students may choose the Fine Arts Sopho- development, personality, and conflicts. more Year Option and may defer major de- An undergraduate art college is the ideal place partment selection until as late as the sec- to begin the study of Art Therapy. At The Univer- ond semester of the sophomore year, and sity of the Arts the student is equipped with prac- begin a major concentration at the start of tical experience in art while acquiring a back- their junior year. Students who choose this ground in psychology and behavioral science. option and expect to graduate without time While majoring in one of the studio penalty must take a minimum of six major departments of the University, the student is intro- department credits as sophomores in the duced to Art Therapy on the undergraduate level. department of their ultimate choice. Students who wish to enroll in the Art Therapy Painting and Drawing, Printmaking, and program register for Art Therapy courses as studio Photography/Film/Animation Departments will electives. Students complete all requirements in substitute 6 credits from the three other fine arts their chosen major department. At graduation, Art departments toward their 45 major department Therapy Concentration students will receive a credit requirements. The Sculpture Department certificate of completion in Art Therapy in addition will allow no substitutions and will require 45 to the BFA degree. credits in major department courses, which Interested students should request an inter- students will be able to complete without time view with the Art Therapy Director. The Hu- penalty before graduation. manities Department can schedule appoint- The 30 credit elective component and 39 major ments at 215-875-1 104. credit distribution of the Fine Arts Sophomore Year Option (for sculpture: 24 elective and 45 major

credits) makes it possible for those students that Faculty wish it, to minor and major simultaneously. Karen Clark-Schock A seminar is scheduled every semester by the Ronald Hays fine arts departments (on a rotating basis) that is Sherry Lyons recommended to students that choose the Fine Arts Sophomore Year Option. These courses focus

on those issues that are common to all of the fine Sophomore/Introductory Credits

arts. The emphasis is on learning the language of HU 181 A Child Psychology 3.0 art and clarifying the intention of the student. This HU181B Adult Psychology 3.0 program encourages interdisciplinary work as well HU162 Intro, to Sociology 3.0 as alternatives to traditional forms of expression. Junior Students who choose the Fine Arts Sophomore HU384 Abnormal Psychology 3.0 Year Option will be considered Fine Arts Unde- AT 300 Intro, to Art Therapy 3.0 cided Majors until they declare a major. They will AT 301 Social and Group Process 3.0 be advised by a designated Fine Arts Advisor who AT 302 Theories & Tech. Art Therapy 3.0 is authorized to sign roster forms and will work Senior with students and fine art department chairs to AT 303 Clinical Aspects of Art Therapy 3.0 insure knowledgeable and appropriate selection of AT 401 Senior Practicum 3.0 courses and program. Once students become jun- HU 483 Theories of Personality 3.0 iors they will have to be a member of one of the four fine arts major departments. 3O.0 Education Faculty Required Studio Electives Paul Adorno, Adjunct Assistant Professor Pre-Certification students should complete JanisT. Norman at least Diane Foxman, Lecturer three credits in two-dimensional media if their Chairperson Arlene Gostin, Associate Professor major is in a three-dimensional area, and vice 215-875-4881 Janis Norman, Associate Professor versa. Other studio work should include at least Pre-CertificatJon Concentration in Art Susan Rodriguez, Adjunct Associate Professor one course each in photography and computer. Education David Tafler, Associate Professor The Professional Semester The teaching of art is a profession that allows for The Pre-Certification Concentration, coupled the artist-teacher's continued growth while when Recommended Schedule of Courses for with the Professional Semester, is accredited by nurturing the aesthetic and creative experience of Pre-Certification in Art Education the Pennsylvania Department of Education as an others. Recent national as well as state-wide approved program to prepare students to receive attention to education and to the role of the arts in Freshman

the Instructional I Certificate to teach Art K-12. education makes this an especially good time for Standard Foundation and Humanities Program Since June 1987, all applicants for certification in students to consider becoming an art teacher as . *HU 151 Language of Art History Pennsylvania must also the well as an artist. In pass Pennsylvania preparing students for careers Sophomore Teacher Certification Testing Program (PCTCP) in art education, The University of the Arts, Phila- First Semester or Second Semester Tests to qualify for the certificate. delphia College of Art and Design, is committed to AE201 Intro, to Visual Arts Education 1.5 The Professional Semester is an intensive the ideal of teachers who are able to produce their *HU 1 62 Individual and Society 3.0 experience built around a twelve-week student own competent works as well as teach others. To *HU 270lntroduction to Aesthetics 3.0 teaching practicum, in which the student devotes that end, the University offers a flexible program *HU 181 Child and Adolescent Psychology 3.0 six weeks to teaching at the elementary school of competency-based education at the under- *HU249ModernArt 3.0 level and six weeks to teaching at the middle or graduate level to prepare students to complete a or secondary school level under the guidance and professional certification program after graduation *HU 448American Art After 1 945 3.0 supervision of highly qualified master or within a nine semester undergraduate program. teachers Junior and Art Education Department faculty. The Pre-Certification concentration is designed First Semester or Supplementary courses and activities complete to be taken in conjunction with a regular studio Second Semester the preparation of the future teacher to enter the major in the BFA program. In addition to meeting AE459 Saturday Practicum 3.0 profession. The professional semester is available the requirements of a major studio department, *HU 363Modern Culture 3.0 or to students only after major requirements have students entering a teacher certification program been met, and normally after graduating with a take courses in the Education Department, plus *HU 462American Social Values 3.0 *HU374Personality bachelor's degree. recommended courses in Humanities, Photo- and Creativity 3.0 or Professional Semester or 9th Semester of BFA graphy, Electronic Media, and other studio areas. Program These courses are taken within the general *HU480Psychology of Creativity 3.0 AE 550 Group Process in the Classroom 1 Humanities and studio electives requirements. Senior .5 AE657 Professional Forum 1.5 The Art Education concentration provides a First Semester AE659 Student Teaching Practicum 9.0 strong theoretical and practical foundation for AE 547 Program Design/Methods in teaching as a career. Through field experiences Elementary School 3.0 starting in the year, is sophomore the student able AE 548 Program Design/Methods in Academic Regulations to explore teaching in a variety of traditional and Middle/Secondary School 3.0 Students working toward certification are required alternative settings. Students are also provided to maintain a 3.0 average in certification course- with the necessary competencies in teaching Dis- * Balance of required Humanities. work. Admission to the Student Teaching cipline-Based Art Education through special stud- Practicum is by permission of the department ies in education combined with Humanities ** Photography and Computer competency is re- based on satisfactory completion of all prerequi- coursework in Art History, Aesthetics, Social Sci- quired for certification with a minimum sites and on evidence of promise as a teacher ences, and Psychology, plus studies in studio pro- requirement of one course in each area. shown in prior coursework. A grade of B or better duction and criticism. in the Student Teaching Practicum is required for

The Pre-Certification Concentration may be recommendation for certification. taken in its entirety or in part to fit individual plans and needs. Students who satisfactorily complete the program will be able to enroll directly in the Professional Semester following graduation, com- pleting the student teaching requirement and

qualifying for the Pennsylvania Instructional I Cer- tificate to teach Art K-12 in as little as one regular semester beyond the bachelor's degree. Another viable alternative is that qualified graduates may enter the Master of Arts in Teaching program.

This program, if taken in conjunction with the BFA degree, allows for the majority of the concen- tration in Art Education to be completed within the four years required for the bachelor's degree. Fol- lowing graduation, remaining course requirements for certification may be completed in one addi- tional professional semester, in which AE 659

Student Teaching Practicum is taken, along with

GR 550 Group Process in the Classroom and AE 657 Professional Forum.

41 Graduate Programs Art Education • Introduction to Psychology • Sociology or Cultural Anthropology JanisT. Norman • Aesthetics (may be satisfied by AE 691 A) Chairperson • Art Criticism (may be satisfied by AE 691 A) 215-875-4881 • Speech or Acting (recommended)

Master of in Arts Art Education Master of Arts in Teaching in Visual Arts The Master of Arts in Art Education is designed (augmented program) to develop the studio, intellectual, and profes- For those who seek to become certified to teach art sional education background of art educators, but do not yet have a sufficient background to prepare enabling them to meet professional goals be- for certification within the normal one-year framework yond those possible with bachelor-level cre- of the MAT program, the 36 credit degree may be dentials. Coordinating professional education augmented by simply adding coursework in the areas courses with work in humanities and studio, needed. The principal difference between the aug- the MA in Art Education offers students an ' mented MAT degree and the MA certification program opportunity to pursue custom-designed pro- is that the latter involves completion of a graduate grams of study to meet individual needs. research project in addition to the student teaching The program is primarily addressed to established experience. or new teachers, for whom the degree may satisfy

credit accrual requirements for Permanent Certifica- Master of Arts in Art Education

tion or lead to other career advancement. However, (with Teacher Certification)

graduates have also found the program relevant to Those who seek to become certified to teach art

positions in museum education, college (especially and are qualified to enter the MAT program di-

junior college) teaching, arts administration, educa- rectly but prefer the academic research orientation

tional media, and other fields related to art education. of the MA program may augment the MA program Applicants must hold a Bachelor's degree or equiva- with the required certification coursework, becom-

lent with no less than 40 credits in studio. A teaching ing eligible for certification as early as the comple-

certificate is not required. Students not holding de- tion of the second semester of full-time study.

grees in the visual arts can expect to roster 1 8 credits Normally, this option requires a minimum total of

of foundation studies and/or up to 40 credits of studio 57 credits, and it leads to a single degree.

work, dependent upon faculty review portfolio. of their Faculty The MA program may be completed in one aca- Janis T. Norman, Associate Professor demic year plus a summer if the student is enrolled in Paul Adorno, Lecturer full-time study. However, course work may be under- Arlene Gostin, Associate Professor taken part-time over as many as five years. Nathan Knobler, Professor

Master of Arts in Teaching in Visual Arts Susan Rodriguez, Adjunct Associate Professor The Art Education Department also offers the David Tafler, Associate Professor

Master of Arts in Teaching (MAT) degree in Visual Arts, a professional degree incorporat- ing preparation for the Pennsylvania Instruc-

tional I Certificate to teach Art K-12. Additional coursework includes the history, theory and practice of art education. Intended to follow an undergraduate degree in studio art, the MAT

degree is the most efficient way to earn a graduate degree while becoming eligible for

certification to teach in the public schools. Applicants to the MAT Program should possess

a BFA or BA degree in studio art with a minimum

of forty (40) studio credits with a "B" or better

average. They also must have satisfactorily com- pleted the following coursework and/or acquired

competencies in fields relating to teacher certifi-

cation. If deficiencies exist, up to 6 credits may be completed concurrently with the degree and applied to elective requirements. • 3 upper division credits in a 3D studio area if a 2D studio major • 3 upper division credits in a 2D studio area if a 3D studio major

• Introduction to computers, preferably including graphic applications • Basic photography

• Art History, 12 credits, including at least one

course in 20th Century Art

42 Requirements for Master of Arts in Committee, in consultation with the review Requirements for the Master of Arts in Art Education panel. Upon acceptance, the student must pro- Teaching in the Visual Arts vide Total Credits: two copies of the project and/or related 36 Total Credits: 36 documentation, durably bound or Fall Spring otherwise Fall Spring presented in a form appropriate AE 606 Research in Art - to the project. Education 3.0 AE 558 Program Design & Methods: The diploma will not be released until AE610 Graduate Studio Seminar 1.5 1.5 these Middle and Secondary 3.0 - copies are satisfactorily deposited. AE602 History of Ideas in AE 459 Saturday Practicum 3.0 - In the extraordinary event that Art Education - 3.0 a project is AE 606 Research in Art Education 3.0 - unacceptable as submitted, the AE 649 Graduate Project/Thesis - 6.0 MA Program AE 657 Professional Forum 1.5 _ Committee may at its discretion offer of the GR 691 University Seminar 3.0 3.0 one AE 551 Group Process in the following alternatives to the student, Studio Elective 7.5 1.5 as circum- Classroom - 3.0 stances warrant: 1 ) repetition of the project, sub- AE 602 History of Ideas in 15 15 ject to requirements which may be specified by Art Education - 3.0 Summer the Committee; or 2) assignment of a grade of AE659 Student Teaching Practicum - 9.0 "Incomplete" to Studio Elective 3.0 be made up within the first six Studio, Education, or weeks of the following Humanities Elective 3.0 semester, with no addi- Humanities Electives 6.0 - tional registration required. 6.0 15 15 Summer The Graduate Project The Studio Component AE 550 Creative and Cognitive The studio component of the Program is The MA Program culminates in the production MA of a Development in Children 3.0 intended to graduate project. The Thesis Project, serve the professional development normally AE 557 Program Design & Methods: needs of art educators. completed in a single semester, take As such, it is tailored to may one of Elementary 3.0 individual students along two different but not two distinct forms: 1 ) an academic thesis present- necessarily exclusive lines. For the ing original research in a significant historical, student whose 6.0 studio background is broad and not Electives of particular interest: theoretical, or pedagogical question relating to concentrated in a particular discipline, the program offers GR 691 University Seminar: Structure visual arts education, or 2) a studio or curriculum an and opportunity to develop greater mastery in Metaphor project for use as a pedagogical tool. Whichever a single studio area. For the student whose experience is 3 credits. Fall form it takes, the process followed is essentially more narrowly concentrated in GR 691 University directed independent study under the supervision one area, the pro- Seminar: Art and Society gram provides a 3 credits. of a faculty advisor. The student must prepare a framework for expanding studio Spring

skills in two or more other It is project proposal prior to the assignment of a areas. therefore not expected that the student will have project advisor. The proposal, which need by only MA graduate level skills in the areas being a few pages in length, should include the follow- studied. Accordingly, most studio work will utilize ing components to establish the project's viability: undergraduate courses open to Junior and Senior majors in the 1 ) a concise description of the project: 2) a state-

various departments of the College. However, it is ment of the significance of the project; 3) an assumed that students explanation of the students competence to under- in the MA Program will have a sophistication, focus, and maturity take the project (e.g., previous study or work on which enables them to accomplish at a level that the topic area or other relevant experience); 4) a beyond generally required of undergraduates in timetable for the project; and 5) a preliminary these courses. For the bibliography. The proposal should be developed student whose studio background is already both broad with the advice of a member of the MA Program and deep, graduate level work in the student's Committee and must be submitted to the Commit- principal area may be under- taken on an independent study tee at least four weeks prior to the end of the basis, drawing on the rich resources of the College's faculty ar- semester preceding that in which the project is to by rangement through the Art Education be undertaken. The appointment of the advisor is Department. The specific studio requirements are set at the by the Department Chairperson in consultation time of with the student and the Committee. admission in consultation with the studio department(s) involved, The project advisor meets periodically with whose evaluation of the applicant's portfolio is necessary for placement the student as needed and is responsible for purposes. Special attention overseeing the development and acceptability should therefore be given in the application to explaining the of the project. Not later than the week of final applicant's objectives in the studio component examinations, the completed project will be and to presenting an accurate reviewed by a three or four member panel con- presentation of the applicant's sisting of persons appointed by the Department studio experience and accomplishment. Chairperson from the following categories, which may be overlapping: 1) the project advi- sor; 2) two members of the MA Program Com- mittee; 3) a member of the Art Education fac- ulty; and 4) a faculty person outside the Depart- ment who is knowledgeable in the field of the project. In certain cases the extra-departmental reviewer may be from outside of the University.

The purpose of this panel is not to work with the student to develop the project, but simply to act as a review panel to recommend on ac- ceptance of the finished project. Final accep- tance is the responsibility of the MA Program

43 Master of Fine Arts in Book Arts/ Requirements Printmaking Total Credits: 60 Fall Spring Mary Phelan Year One Director PR 600 Print Colloquium 1.5 1.5 215-875-1066 PR 603 History of the Book - 1.5

The University of the Arts Master of Fine Arts PR 617 Type/Letterpress 1.5 3.0 - Degree in Book Arts/Printmaking builds upon the PR 618 Workshop:Color/Mark 1.5 University's thirty-year tradition of involvement PR 623 Book Binding 1.5 1.5

with the book and printed image. Open to all quali- PR 626 Offset Lithography 3.0 1.5

fied students with an undergraduate degree in PR 691 University Seminar 3.0 3.0 Liberal Arts, Design, Printmaking or Fine Arts, the Humanities or Studio Electives 3.0 3.0 program emphasizes the development of students 15 15 as artists who make individualized demands upon Year Two printed media and the book as an art form. The PR 700 Print Colloquium 1.5 1.5 course of study, based upon the student's interests PR 710 MFA Project Type 1.5 - and level of experience, allows for the advance- PR 720 MFA Project Binding 1.5 - ment of conceptual abilities and technical PR 725 MFA Project Offset 1.5 - proficiencies in traditional and state-of-the-art PR 715 Graduate Studio 1.5 - processes. The program enables the student to PR 741 MFA Thesis Studio - 3.0 develop in areas which are applicable to an aca- PR 742 MFA Thesis Studio - 3.0 demic career as well as to a range of professional PR 791 University Seminar 3.0 3.0 endeavors. Humanities or Studio Electives 4.5 4.5 Visiting artists, field trips, and guest lecturers supplement the studio experience. Access to 15 15 Philadelphia's rich heritage of public and private collections furnishes a unique opportunity to study page forms from manuscripts to contemporary

prints and books. Internships in professional print-

related organizations and libraries in Philadelphia are available for qualified students.

In addition to studios for stone and plate lithog- raphy, water-based screenprinting, intaglio, relief, and non-silver photographic processes, the depart- ment contains a bookbinding room with stationary vertical and portable book presses, a tabletop and floor board shear, and one guillotine paper cutter.

An important resource is The Borowsky Center for

Publication Arts. The Center is equipped with a

Heidelberg KORS offset press and full darkroom for experimental and production printing leading to career work in the publication arts. There is also separate graduate studio space for book arts/ printmaking students that provides work stations, light tables, portable book presses, a paper cutter and a Vandercook press.

The main emphasis of the program is on the development of students as artists who make individualized demands upon the media. As with any study in the fine arts, the experience should be multi-dimensional, reflective of a broad range of personal and professional involvement, and reinforced with stimulation from related areas of interest, including humanities, drawing, painting, photography, graphic design, illustration, computer imaging and typesetting, papermaking and crafts.

Faculty Frank Galuszka, Professor James Green, Lecturer Lois M. Johnson, Professor Nathan Knobler, Professor Hedi Kyle, Lecturer Barbara Mauriello, Lecturer Mary Phelan, Assistant Professor Patricia M. Smith, Assistant Professor

David Tafler, Associate Professor

44 Master of Fine Arts in Museum Participating Institutions Ceramic Studio Residence Many museums in Philadelphia and the northeast Exhibition Planning and Design Program actively participate in the program through

Jane Bedno lectures in the museum course, sponsorship of Lizbeth Stewart

Director studio projects, hosting visits, and supporting Director 215-875-1110 internships. The Ceramic Studio Residence Program is open to

presently to such partici-, graduates of undergraduate ceramic programs. Recognized formally as a part of the museum pro- Museums committed The program offers a rare opportunity for pursuing fession by the American Association of Museums pation include: The Cooper Hewitt Museum, New York work in clay. The essential emphasis is to develop since 1 981 , the field of exhibition planning and each student's potential for personal expression design has become a demanding, fast-growing The Franklin Institute Science Museum, and artistic invention. Energies are focused on profession as museums respond to the demand for Philadelphia Hagley and Library, Wilmington, developing ceramic artists who are prepared to exhibitions addressed to public needs and inter- The Museum realize their creative capacity and succeed with ests. Through the efforts of NAME, the National Delaware Please Touch Museum, Philadelphia distinction in a professional environment. Association for Museum Exhibitions, and the ini- The Philadelphia Museum of Art There are five places which are awarded by tiative of The University of the Arts, a fully profes- The portfolio references. Accepted candidates are sional graduate program in Museum Exhibition Faculty required to enroll for at least six credits a semes- Design is offered. The two year, 60 credit, Master Jane Bedno, Associate Professor ter for two semesters, be present in the studio in Exhibition Design of Fine Arts Degree Museum Ed Bedno, Adjunct Professor during major days and contribute three hours of for professional careers in the prepares students Arthur Friedman, Adjunct Associate Professor work as teaching assistants or technical monitors planning and design of exhibits and the presenta- Frank Galuszka, Professor to the undergraduate program. In exchange for of artifacts, objects, and informa- tion phenomena Nathan Knobler, Professor this, the student is provided individual twenty-four tion to diverse publics in museums of art, nature, David Tafler, Associate Professor hour workspace, excellent equipment, and sup- science and the humanities. portive tutorial instruction. Residents may audit The curriculum addresses the conceptual- Requirements plaster workshop or ceramic tech class. ization, researching, organization, design and Total Credits: 60 Former participants have been recent BFA production of museum exhibits and presentations Year One Fall Spring graduates continuing preparation for graduate utilizing a variety of techniques and media. ME 500 Museum Course 3.0 3.0 study. Others are young professional developing Throughout the program, the student will explore ME 610 Museum Exhibition Design their work for production and sale in their future exhibit programming, evaluation and management Studio 6.0 6.0 studios. Some residents have been teachers on methods applicable in a wide range of museum ME 621 Environmental Graphics 3.0 leave or ceramic artists who wish to work again in situations. Visiting experts in many aspects of ME 623 Exhibit Materials and an academic setting. museum presentation, education and manage- Technology - 3.0 Inquiries should be made to Lizabeth Stewart, ment will participate in the curriculum while GR691 University Seminar 3.0 3.0 Studio Resident Program, Ceramic Studio at The students will make privileged visits to design de- Elective 1.5 1.5 University of the Arts. Applicants will be required partments, production shops, galleries, exhibits to submit from 8 to 20 slides (35 mm) and a letter and programs in varied and numerous museums in 16.5 16.5 of recommendation from their ceramic instructor. Philadelphia, the Mid-Atlantic Region, Washing- In addition, a resume and letter stating profes- ton, and New York. Students will undertake a Summer sional plans and goals is required. thesis project and a supervised museum internship ME 759 Museum Internship 3.0 The studio, located at The University of the Arts related to their career interests during the second in center city Philadelphia, is within walking year of the program. To preserve the intimate con- Year Two distance of the country's leading craft galleries, guarantee tact with museum professionals and to ME 710 Museum Exhibition museum collections, and design studios. participants studio facilities, the program is lim- Design Studio - 6.0 ited to nine entrants per year. ME 622 Media - 3.0 Most candidates will have previously com- ME 749 Thesis Development 3.0 3.0 pleted a baccalaureate in industrial, graphic, GR791 University Seminar 3.0 3.0 interior or architectural design and demonstrate Elective 1.5 1.5 an acceptable level of professional accomplish- 7.5 16.5 ment through a portfolio or another appropriate means. Alternatively, they may seek admission with a baccalaureate in a discipline related to their career direction, and take courses to de- velop the necessary background in design. Stu- dents from non-design, non-art backgrounds are welcome and encouraged to apply. Philadelphia College of Foundation AE459 Saturday Practicum FP060 Art and Design 3 hours lecture-discussion, Freshman Forum 3 hours field work each week Course Descriptions 1 hour a week 3 credits credits/semester: fall Students are involved in various aspects of the The Freshman Forum is a series of presentations Saturday School. They observe classroom instruc- given by each major studio department in the tion, plan and teach lessons, and exhibit student College of Art and Design, and each school in the work under the supervision of cooperating master College of Performing Arts, which offer insight teachers and a college supervisor. into career opportunities as they relate to each

discipline. AE500 Graduate Studio Seminar FP100 3 lecture-discussion hours once a week, Drawing two semesters 6 hours a week 1 .5 credits each semester 3 credits/semester: fall and spring The student pursues the investigation of drawing AE502 strategies on both a perceptual and conceptual History of Ideas in Art Education 3 seminar hours, once a week level. The use of line and tone are developed to 3 credits examine the basic forms and structures and to Seminar on major issues trends in the history build a visual vocabulary. Exercises are designed and of Art Education, with to acquaint the student with many aspects of an emphasis on child- centered and content-centered theories and the drawing as a process. theoretical antecedents of the discipline-based art FP120 education movement. Two-Dimensional Design 6 hours a week AE504 Art Theory and Criticism 3 credits/semester: fall and spring 3 seminar hours, once a week Working with point, line, shape, and color, 3 credits the student examines the principles of two- dimensional design. Projects are designed to AE505 focus on the interaction of these elements to yield Graduate Studio Seminar coherent organizational principles, spatial illusion, 3 lecture hours, once a week

and integrated compositional units. 1 .5 credits/semester: fall and spring FP190 An interdisciplinary seminar exclusively for art Three-Dimensional Design educators. Topics of broad concern to studio artists will be addressed in response to students' 6 hours a week work, assigned readings, and relevant public 3 credits/semester: fall and spring lectures or other art events in the University and The student explores the physical and visual the community. properties of three-dimensional form. The studio experience emphasizes formal analysis and AE506 three-dimensional design processes, using diverse Research in Art Education: Methods and materials, to study concepts of structure, Trends organization, and aesthetics. 3 seminar hours, once a week 3 credits A graduate education seminar on principal Art Education approaches to Art Education research. The course AE201 examines several recent studies for their

Introduction to Visual Arts Education methodologies and findings and in so doing takes

3 hours, once a week an overview of the field. 1 .5 credits AE508 A theoretical and practical introduction to the Art and Society entire field of art education. Through field obser- 3 seminar hours, once a week vations and classroom lecture-discussions, the 3 credits student surveys the various aspects of teaching

ina variety of situations and environments.

Included are teaching in public and private schools

K-12, as well as specialized and alternative set-

tings in museum education, early childhood educa-

tion, special education (for handicapped and gifted children), and adult education.

46 AE539 AE557 AE659 Thesis Project Professional Forum Student Teaching Practicum

6 credits (may be divided over more than one 1 .5 hours lecture-discussion, once a week 5 full days a week for twelve weeks, 9 credits

semester) 1 .5 credits An intensive experience built around a twelve-

Directed independent study culminating in a Lectures and discussions on contemporary issues week student teaching practicum, in which the

project supervised by a faculty advisor. The and topics in art and art education. student devotes six weeks to teaching at the el- graduate project, normally completed in a single AE559A&B ementary school level and six seeks at the middle semestr, may take either of two distinct forms: or secondary school level under the guidance and Student Teaching Practicum a) an academic thesis presenting original research supervision of highly qualified master teachers 5 full days a week for twelve weeks, plus 2 hours in a significant historical, theoretical, or pedagogi- and Art Education Department faculty. discussion, once a week cal question relating to visual arts education, or 9 credits b) a studio or curriculum project intended for use An intensive experience build around a twelve- as a pedagogical tool. week student teaching practicum, in which the AE547 student devotes six weeks to teaching at the ele- Crafts Program Design and Methods in the mentary school level and six weeks at the middle

Elementary School or secondary school level under the guidance and 3 hours lecture-discussion, supervision of highly qualified master teachers CR201A&B 3 hours field work each week and Art Education Department faculty. Introduction to Concept Development 3 credits AE602 3 hours, once a week Through review of current literature, lecture- History of Ideas in Art Education 1 .5 credits/semester: fall and spring discussion, field observation, and mini-teaching, 3 credits A drawing course directed toward a visual students explore various educational philosophies Seminar on major issues and trends in the history investigation of drawing conventions necessary and develop and implement effective classroom of Art education, with an emphasis on child-cen- to describe the individual craftsman's ideas and curricula based on prevailing theories of learning tered and content-centered theories and the theo- concepts. and child development. retical antecedents of the Discipline-Based Art CR301A&B AE548 Education movement. Modern Craft: A Critical History Program Design and Methods in the AE606 3 hours, once a week Middle and Secondary School Research in Art Education: Methods and 1 .5 credits/semester: fall and spring 3 hours lecture-discussion, Trends The modern craft aesthetic is examined in terms 3 hours field work each week 3 credits of late 19th- and 20th-century ideas and issues. 3 credits A graduate education seminar on principal ap- Emphasis is placed on the interdependency of all Continuation of AE 547, with emphasis on the proaches to Art Education research. The course the arts with an eye to the unique contribution of Middle and Secondary School. examines several recent studies for their method- crafts' ideology and practice. Topical discussions AE550 ologies and findings and in so doing takes an encourage students to find contemporary

Cognitive and Creative Development overview of the field. relevancy and validity in an analysis of historical lecture-discussion week 3 hours each AE610 precedents. 3 credits Graduate Studio Seminar CR401A&B This course is designed to develop skills in 1 .5 credits each semester Senior Craft Crafts Seminar recognizing the developmental stages of children An interdisciplinary seminar exclusively for art 3 hours, once a week and adolescents according to the theories of Jean educators. Topics of broad concern to studio art- 1.5 credits/semester: fall and spring Piaget, Lawrence Kohlberg, Viktor Lowenfeld, ists will be addressed in response to student's A forum for the discussion of ideas and issues of and Erick Erickson. In addition, the course will work, assigned readings, and occasional public concern to students of crafts through student par- explore the learning theories of Jerome Bruner, lectures or other art events in the University and ticipation, guest lecturers, and professional offer- B.F. Skinner, Howard Gardner, Madeline Hunter, the community. ings. A study of style and the survival techniques and Bernice McCarthy toward understanding of contemporaries working in craft media will be individual difference in creative and cognitive AE649 emphasized. development and learning styles. Graduate Project/ Thesis 6 credits (may be divided over more than one CR999 AE551 semester) Independent Study Group Process in the Classroom Culminating independent project supervised by a 3-6 hours 3 hours once a week faculty advisor. The graduate project or thesis, 1 .5-3 credits/semester: fall and spring 1.5 credits normally completed in a single semester, may An independent course of study dealing with a Various aspects of classroom dynamics are take either of two distinct forms: a) an academic particular issue of interest to student and one or examined. These include cultural and family thesis presenting original research in a significant more faculty. Prior approval by the chairperson factors that influence learning, expectations con- historical, theoretical, or pedagogical question required. veyed by teacher and peer behavior, techniques relating to visual arts education, or b) a studio or of instruction, and creativity. curriculum project intended for use a pedagogical

tool. AE657 Professional Forum

1 .5 credits Lectures and discussions on contemporary issues

and topics in art and art education

47 Ceramics CR313B CR322A&B Ceramic Technology: Glazes Intermediate Structural Fibers CR211A&B 1 .5 hours, once a week 6 hours, once a week Introduction to Throwing 1 .5 credits/semester: spring 3 credits/semester: fall and spring 6 hours, once a week A lecture and lab course to investigate the theo- Through a series of developmental assignments 3 credits/semester: fall and spring retical and practical aspects of glazes. with a conceptual emphasis, and by using Beginning studio work with class using the throw- acquired knowledge from previous semesters, ing process and related glazing and firing tech- CR411A&B students are encouraged to explore forms that niques. Problems are given with an emphasis on CR412A&B reveal the inherent physical qualities and potential developing each student's potential for personal Advanced Ceramic Studio image-making possibilities of fabric. Loom-woven expression and artistic invention. 6 hours, twice a week and mixed-media fabric techniques are used as 6 credits/semester: fall and spring CR212A&B appropriate, depending on the student's interest in The third phase of the ceramic program is tutorial. Introduction to Handbuilding the development of a diverse range of two-dimen- Senior majors conceive their own projects and 6 hours, once a week sional constructions, sculptural forms, costume, seek their resolution independently while confer- 3 credits/semester: fall and spring etc. Prerequisites: CR 221 and/or CR 222 ring regularly with all faculty. The term culminates Beginning studio work with clay using the with each student selecting representative work CR324A handbuilding processes of slab, coil pinch, and for a public exhibition. Fibers Technology pressing form molds, plus related glazing and 1.5 hours, once a week firing techniques. Problems are given with an Fibers 1.5 credits/semester: fall emphasis on developing each student's potential CR221A&B This lecture course systematically investigates a for personal expression and artistic invention. Introductory Fibers: Structural Investigation wide range of fabric structures from simple to CR251A&B 6 hours, once a week complex weaves. Students draft weave structures Moldmaking — Casting 3 credits/semester: fall and spring to understand better the range of fabrics possible 6 hours, once a week A survey of both traditional and experimental use on a multiharness loom. The aesthetics of woven

3 credits/semester: fall and spring of materials and structural processes in the fabric cloth are also discussed with a focus on the qual-

A two-semester course in modelmaking, mold- media. Through a series of developmental assign- ity of line, stripe, pattern, and texture unique to making, and casting techniques, using plaster and ments, students begin to explore potential two- the textile. synthetic compounds. Emphasis is given to devel- and three-dimensional forms in preparation for a CR324B oping proficiencies in slip casting for use in the versatile and solid approach to the, fibers media. Textile History artist's studio and in industry for serial production. Fall semester emphasizes loom-woven structures, 1 .5 hours, once a week tapestry, and a range of off-loom mixed-media CR311A&B 1 .5 credits/semester: spring techniques: spring semester introduces problems CR312A&B This lecture course surveys the major textile in constructed surface/fabric collage and the study Intermediate Ceramics cultures of the world, including Egyptian, pre- of fabric forms involving armature and skeletal 6 hours, twice a week Columbian, Chinese, French, and English, utilizing fabric-support constructions. 6 credits/semester: fall and spring slides, books, and examples from the textile col-

The second level of study overlaps the first and CR222A&B lection. The various textile styles are related to concentrates on resolving conceptual and formal Introductory Fibers: Media Exploration their historical, religious, and social background, issues as they relate to individual exploration. 6 hours, once a week as well as to the art and decorative art occurring Problems are given which encourage uniqueness 3 credits/semester: fall and spring simultaneously. and challenge abilities. Typical issues include A survey course that may be taken independently CR423A&B but does complement Introductory Fibers: Struc- usage and symbolic function, serial production, Advanced Surface Design site-oriented applications, and large-scale use of tural Investigation. Through a series of develop- 6 hours, once a week materials. All problems stress practical as well mental assignments, students are provided with 3 credits/semester: fall and spring as aesthetic resoucefulness. a solid technical and conceptual base in the fabric Advanced fabric surfaces, forms, and technical Prerequisites: CR2T1 and CR 212. media. Fall semester emphasizes nonloom problems are studied on an independent concen- constructions and a thorough study of color and CR313A trated level, guided by the students' acquired multifiber dye techniques; spring semester Ceramic Technology: Clays and Kilns knowledge and experience from previous semes- focuses on woven color and advanced woven 1.5 hours, once a week ters into the areas that are relevant to their structures. interests — whether two- or three-dimensional, 1 .5 credits/semester: fall A lecture and lab course to investigate the theo- CR321A&B functional fabric design or fine art. Emphasis is on

retical and practical aspects of clays, clay bodies, Introduction to Surface Design senior portfolio development and personalized

and kilns. 6 hours, once a week assignments. Prerequisites: CR 321, CR 322

3 credits/semester: fall and spring

Introductory class in fabric design which empha-

sizes the techniques of silk-screen printing and the conceptual potential of the media. Course material focuses on both screen-printing processes, from basic cut-and-resist stencils to advanced photo

stencils, as well as hand-techniques: painting, stamping, sewing, and other construction. Textile

pigments are taught fall semester; dyes are taught spring semester. Prerequisites: CR 221 and/or CR 222

48 CR425A&B CR242A&B CR247A&B Advanced Structural Fibers Introduction to Metalsmithing Blacksmithing 6 hours, once a week 6 hours, once a week 3 hours, once a week

3 credits/semester: fall and spring 3 credits/semester: fall and spring 1 .5 credits/semester: fall and spring

Emphasis on personal expression and style in an Metal is an extremely versatile material; though Blacksmithing is both spontaneous and self- open studio where each student draws from hard and durable, it is quite malleable and easily conscious. The objects thus created embody the

knowledge and experience acquired in previous worked. This course covers direct working of calculated mystery of its creation. Although the years. Through individual guidance and intensive metal. Sheet, wire, bar, and rod are given form by processes are simple, by their nature they require group critique, each student begins to define him- hammering, seaming, bending, etc. The majority a great deal of discipline and control. Group and self or herself as a unique and creative individual. of work is done in bronze, brass, and copper, individual projects will be assigned during the

Portfolio preparation and senior thesis exhibition though steel, stainless steel, aluminum, and pre- semester which should allow the students to form a vital part of this course. cious metals may be used as well. Given that satisfy their creative and technical needs. Prerequisites: CR 321, CR 322 basic technical knowledge is a key to the full CR248A&B development of ideas, emphasis is on basic hand Introduction to Jewelry and Metalsmrthing and machine processes conveyed through orga- 3 hours, once a week Glass nized, comprehensive technical information. The 1 .5 credits/semester: fall and spring focus of the course is on the possibilities of metal CR231A&B Jewelry and Metalsmithing are presented as for the contemporary artist. Contemporary issues Introduction to Glass Blowing vehicles for individual expression. Emphasis is addressed include the object as sculpture, process 3 hours, once a week placed on mastering basic metalworking skills: as a source material, the importance of surface 1 .5 credits/semester: fall and spring soldering, forming, riveting, stone setting, and and detail, and functional objects made by artists. Hot working molten glass at the furnace. Through finishing. The student is exposed to contemporary demonstrations, assignments, and tutoring by the CR243A&B attitudes in jewelry and metalsmithing and asked instructor, the students are guided toward mastery Jewelry Rendering and Design to develop his or her own approach using the tech- in off-hand blowing. 3 hours, once a week niques covered. CR231A&B 1 .5 credits/semester: fall and spring CR249A&B Students will explore two-dimensional pencil Introductory Glass Enameling and gouache techniques effective in creating the 6 hours, once a week 3 hours, once a week illusion of finished pieces of jewelry. Emphasis is 3 credits/semester: fall and spring 1 .5 credits/semester: fall and spring placed on the skill development necessary to Glass is considered as an expressive and creative Enameling is the art of firing colored glass onto communicate and evaluate ideas prior to making. medium. Students work with molten glass in off- metal. The transparent, opaque, and opalescent Presentation and development of a portfolio are hand blowing techniques and with flat glass in enamel colors are layered to produce incredible an integral part of the course. stained-glass techniques. richness, detail, depth, and brilliance in this CR331A&B CR245A&B durable and painterly medium. Students learn Metals Technology traditional techniques such as cloisonne, grisaille, Advanced Glass 1.5 hours, once a week and champleve, as well as contemporary and ex- 6 hours, once a week 1 .5 credits/semester: fall and spring perimental processes. Once they have gained a 3 credits/semester: fall and spring A lab, lecture, and demonstration course investi- facility with the medium, students go on to pro- Glass is considered as an expressive medium, and gating the theoretical, practical, and physical duce jewelry or small jewel-like paintings. development toward a personal style is encour- properties of metals and other materials as they aged. Students work with hot glass in advanced CR341A&B relate to methods of construction, forming, and off-hand work, blowing into molds, casting, and CR342A&B finishing. Maintenance of related tools and enameling, as well as advanced stained-glass Intermediate Jewelry and Metalsmithing equipment will be studied. work incorporating blown and cast pieces on two- 6 hours, twice a week and three-dimensional stained-glass problems. 6 credits/semester: fall and spring Prerequisite: CR 231 Continued development through more advanced

metalworking processes is coupled with refinement of

skills and ideas. This increased versatility provides

Jewelry/Metals potential for greater individual expression and aids the CR241A&B student in formulating personal goals. Prerequisites: CR 241, CR 242 Introduction to Jewelry Making 6 hours, once a week CR441A&B

3 credits/semester: fall and spring CR442A&B

The student is asked to explore notions of jewelry Advanced Studio: Jewelry and and body adornment as means of personal expres- Metalsmithing

sion. Projects range from precious jewelry making 6 hours, twice a week to adornment that extends into performance. Ba- 6 credits/semester: fall and spring

sic goldsmithing skills are taught as essential, This final year course is devoted to mastery of while three-dimensional sketching and experi- metalworking skills and the search for unique and

mentation in mixed media is encouraged. Suc- appropriate application. A student's personal cessful integration of design, material, and pro- expression finds focus in the senior thesis, an

cess is the goal. Projects are designed to provide opportunity for in-depth exploration of an individ- students with broad exposure to the many possi- ual's concept and technology.

bilities inherent in jewelry and ornament as re- Prerequisites: CR 341, CR 342 lated to the human form.

49 Wood Design AS 302 A CR261A&B Technology II: Construction Architectural Studies 3 hours, once a week Introduction to Woodworking 1.5 credits/semester: spring 6 hours, once a week AS 101

Design Continuation of Construction I with emphasis 3 credits/semester: fall and spring Studio on Freshman Elective masonry and steel construction systems. study An introduction to basic woodworking skills and A 3 hours, once a of the principles of construction in terms of materi- processes, including sharpening and setting up week 1 .5 credits/semester: fall als and assemblies used in the following systems: hand tools and machinery, theory of solid wood and spring Introduction to the study the structural system, the building envelope, and joinery and construction. In addition to building of architecture as it manifests itself in an articulate materiality in the interior systems. Issues of joints, connecting technical skills, there is emphasis on exposing and problems assemblies, and construction sequence will students to contemporary and historical furniture- of interpretation. be studied in large-scale detail. Emphasis will be on design issues. AS 202 A the interaction between the pragmatic and the CR361A&B Building Technology I: Structure expressive issues involved in the design of con- 3 hours, once a week CR362A&B struction details. Intermediate Woodworking 1 .5 credits/semester: fall Prerequisite: AS 202 B 6 hours, twice a week A nonquantitative approach to the behavior of structures. Identification of AS 302 B 6 credits/semester: fall and spring the various character- istics and reactions due to Technology II: Environmental Control The junior year is a further investigation of the development of stresses Systems techniques, processes, joinery, and structure. Strip generated primarily in determinate structures. 3 hours, once a week lamination, tambour, and drawer work will be 1 .5 credits/semester: spring covered along with assignments that deal with AS 202 B An examination of mechanical systems, surface, form, color, and content. compo- Building Technology I: Construction nents, and materials used to control and affect CR364 3 hours, once a week interior/exterior environment. Integration of envi- Wood Technology 1 .5 credits/semester: spring ronmental control systems in design process. 1.5 hours, once a week Methods and materials of construction. Investiga- tion of wood, masonry, concrete, steel AS310A&B 1 .5 credits/semester: fall and spring and construction. Design Studio A two-semester lecture-demonstration course that 6 hours, twice a week deals with shop procedures including the funda- Prerequisite: AS 202 A 6 credits/semester: fall and spring mentals of machine- and hand-tool alignment, tool AS210A&B An extension of those values established in the sharpening, and maintenance; the structure and Design Studio sophomore year, this studio's focus shall be the design requirements of wood as a material deal- 6 hours, twice a week isolation of tendencies and interests exhibited in ing with humidity, appropriateness of different 6 credits/semester: fall and spring the previous year. With the emphasis upon the adhesives, glues, finishes, fasteners, etc.; and the Vico's understanding that man first defines dwell- physical realization of projects, the work will an setting up of a be woodworking business. ing in a poetic sense is the point of departure for in-depth search through tne context and implica- CR461A&B a series of problems intended to familiarize the tions surrounding a given topic. The goal is to find CR462A&B student with the more active thread of meaning the specific content that will point to that area Advanced Woodworking that has coursed through architecture. Emphasis outside of mere topic or idea. 6 hours, twice a week is upon the realization of projects in the form of models and drawings — a to terms with AS 314 6 credits/semester: fall and spring coming design in its more profound sense. Drawing II: Contract Documents Intensive work in personal development is handled 3 hours, twice a week on a one-to-one basis with instructor. Students AS 214 A 3 credits/semester spring continue to develop their aesthetic vision and Drawing I Instruction in and production of a complete set technical skills while working on projects that 3 hours, twice a week of documents for challenge construction. their preconceptions and notions about 3 credits/semester: fall making art. furniture, and decorative objects. Investigation into various accepted techniques of AS 320 architectural delineation — plan, section, axono- Case Studies in Architectural History

metric — in order to prepare the student for an in- 6 hours, once a week depth questioning of the various meanings implied 3 credits/semester: fall in their use. Not merely a drafting course, the An in-depth study documenting, analyzing, and

intention is to define the ground upon which think- interpreting major works of architecture.

ing finds its limits in drawing and vice versa.

AS 214 B

Drawing I 3 hours, twice a week 3 credits/semester: spring

Techniques for "seeing" architecture will be

investigated in order to uncover the limits as well as more relevant meanings of various types of drawing.

50 AS402A&B AS700A&B GD211

Technology III: Structural Design Architecture Seminar Workshop Descriptive Drawing 3 hours, once a week 3 credits each semester 6 hours, once a week

1.5 credits/semester: fall and spring The focus of this semester is on preparation of 3 credits/semester: fall and spring

Statics and strengths of materials. Technology III a written document as a program defining the A freehand drawing method teaches the student is recommended for those who wish to go on to proposal for the Master's Project. consciously to observe, analyze, understand, and graduate school for their professional degree. The spring semester seminar workshop covers represent the underlying structure and form of AS410A&B contemporary issues in architecture in light of the man-made and natural objects. In the process a work being developed in the design studio. visual vocabulary of line, shape, value, texture, Design Studio and its spatial organization is developed as a 6 hours, twice a week AS710A&B means of research and invention. Logical repre- 6 credits/semester: fall and spring Architecture Graduate Studio sentation rather than personal expression is Development of mature work as both an extension 6 credits each semester emphasized. and synthesis of previous years' work. Spring Independent work under the supervision of an semester: fall semester students are asked to architecture advisory committee leading to a GD213 submit a proposal for their graduation project for completion of a Master's Project. Design Systems 6 hours, once a week approval. AS 999 3 credits/semester: fall and spring AS 414 Independent Study This class is utilized as an intensive laboratory Drawing II 1.5-3 credits to investigate the formal aspects of composition,

AS 420 organic and geometric form, color, symbolic draw-

Advanced History/Theory of Architecture Graphic Design ing, craft, and the processes of conception, all hours, once a week 3 GD105 based in a serial format. All assignments are 1 .5 credits/semester: fall founded on directed and playful investigation to Graphic Design Projects Investigation of selected topics in architectural train the student in the areas of selection and 3 hours, once a week theory. Guest lecturers. visual logic. 1 .5 credits/semester: fall or spring

AS 430 This course is designed to introduce Foundation GD300 Communications and Presentation Graphics students to a selected aspect of the graphic design Drawing for Graphic Processes 3 hours, once a week discipline. The classwork begins with directed formal 6 hours, once a week

1 .5 credits/semester: fall studies and leads to an introductory communication 3 credits/semester: fall Instruction and professional assistance in visual project. Emphasis will be placed on the craft and work- This course emphasizes perceptive observation of communication techniques, with emphasis on the ing habits of the student, as well as the breadth and man-made objects. The student studies the form development of portfolios, resume, and presenta- depth of the student's individual visual investigations. and surface qualities of an object as described by tion methods. Working knowledge of existing The student is offered an opportunity to measure his or light, and through a conscious selection of reproduction technologies. her suitability to the Graphic Design major. Past topics observed information and its translation evolves a AS600A&B have included color, drawing, and typography. more significant visual symbol of the object. Architecture Seminar Workshop GD210 GD302 3 credits each semester Letterform Design Materials and Processes Through readings in the history of architecture 6 hours, once a week 3 hours, once a week and related fields, writing and drawing, students 3.0 credits/semester: fall and spring 1.5 credits/semester: fall

undertake a series of analytical studies that inves- In the first semester, the emphasis is on freehand A course that utilizes various design projects to tigate problems in representation, including its drawing of letterforms in various media and scale. explore and perfect techniques for crafting visual

relationship to spatial conceptions guiding the The development of the Roman alphabet is explored images for reproduction. Extensive use of the

creation of architecture. through study of hand-drawn letters and later in print- Macintosh computer will be explored using Page-

The spring semester is a continuation of the ing types. The second semester emphasizes precision maker, Illustrator and other software. Mechanicals first semester's work to include current theories and clarity in individually designed letterforms and will be executed in a hands-on manner.

and speculations within the framework of an in- letterforms. semester concludes with an sets of The GD303 creased historical consciousness. introductory communication piece based upon letter- Production Seminar form design. The course is instrumental in developing AS610A&B 3 hours, once a week subtlety of optical relationships, therefore the use of Architecture Graduate Studio 1.5 credits/semester: spring mechanical aids throughout tine course is discouraged. 6 credits each semester A course to familiarize the student with the techni-

Structured studio under the direction of assigned cal aspects of graphic reproduction, services, instructor focusing on various rational and irratio- processes, and their specifications through actual

nal design methodologies. Programmatic defini- design projects. Includes field trips. Use of the

tion is investigated through a series of projects Macintosh computer system is emphasized. researching the relationship between architecture GD306A&B and its history as well as to other fields such as Typography Emphasis literature, painting, geography, theater, music, 6 hours, once a week medicine, science, etc. The emphasis is on "mak- 3 credits/semester: fall and spring ing" and processes that incorporate and embody The study and investigation of typographic prin- meaning. To this end students research the limits ciples is related to communication needs. Explora- of drawing, model making, and problems in repre- tion is directed toward determining visual hierar- sentation. A first-year review is required to chy through typographic grammar and structure as proceed through the program. well as examining its expressive potential.

51 GD310 ing visual identity and programs of intercon- IL204

Photographies nected, diverse applications. Supportive studies in Typography 6 hours, once a week semiotics, information theory, and research meth- 6 hours, once a week

3 credits/semester: fall or spring ods. The design of a professional portfolio is in- 3 credits/semester fall or spring

This course emphasizes design as a way to achieve cluded during the second semester. The emphasis Beginning studies in the form, use, nomenclature, both structure and meaning in photography, and as a in both semesters is a self-generated degree and history of typography. Individual letters, word way to extend the range of how objects can be seen project, involving research, proposal, complete formations, text arrangements, and the application and translated using photographic processes. Projects design formulation and final presentation. of type to simple communication exercises. Hand- include the integration of graphic, typographic, arid GD412A&B drawn as well as mechanically generated photographic elements as a preparation for applied letterforms will be used. Problem Solving communications. Involves extensive studio and dark- 6 hours, once a week IL206A&B room work. 3 credits/semester fall and spring Materials and Techniques Prerequisite: PF 21 1 A to Photography Approaches to solving communications problems 3 hours, once a week

GD311 of diverse character and increasingly practical 1 .5 credits/semester: fall and spring

Communications application are developed in this course. It as- This workshop emphasizes the development of 6 hours, once a week sumes a high level of formal ability of the student traditional and contemporary media. Classwork,

3 credits/semester fall and spring and places special emphasis on meeting time and demonstrations, museum visits, and lectures will

This course concentrates on developing an under- technical constraints as well as developing clear support development in a variety of media — standing of formal relationships and how to use and concise thought patterns. pencil, ink, watercolor, collage, markers, airbrush, them to create visual impact and clarity while GD426 graphic materials, and others will be considered. solving simple communications problems. Inven- Advanced Typography IL300A&B tion, intuition, and discovery are combined with 6 hours, once a week Illustration Methods logical thought and thorough preliminary research. 3 credits/semester fall and spring 6 hours, once a week Special attention is given to refining the student's This course addresses typography as both the 3 credits/semester: fall and spring perceptual abilities, hand skills, color sensitivity, primary vehicle for the communication of informa- This course deals with the development of narra- and the integration of other media. tion and as a support to images. The formal tive imagery, pictorial illusion, and space, and their GD313 aspects of text are investigated: spacing, scale, combined potential for communication. Procedures

Color Studies form, legibility, meaning/information, and hierar- focus on developing visual awareness, personal

6 hours, once a week chy. The Macintosh computer will be a tool imagery, and conceptual directions. Direct drawing

3 credits/semester: varied semesters explored during this course. situations and photographic reference (existing or

Study of color concepts developed deductively student-produced) will also serve as source mate- from nature and inductively by programming rial for pictorial development. Various media and relationships based on the primary attributes of Illustration technical procedures will be explored. Assign- color: temperature, intensity, and value. An appli- IL200A&B ments and lectures will focus on the requirements cation, in which color is the central feature of a of applied illustration. Pictorial Foundations communication, evolves from the studies. Diverse 6 hours, once a week IL301 media, two- and three-dimensional contexts. 3 credits/semester: fall and spring Design Methods

GD316 Introduction to drawing and painting skills as they 6 hours, once a week

Drawing Applications relate to illustration. Objective visual perception, 3 credits/semester: fall or spring

6 hours, once a week clarity in drawing, and technical facility are Further development of the design process in 3 credits/semester: spring stressed. Continuing slide lectures expose the conjunction with the requirements and options

Drawing, as a primary design tool, enables the student to applicable areas of art history. Also available through photomechanical techniques. student to develop pictorial images (signs) that presented are methods of research and develop- Projects will deal with image/typography relation- serve as means for representing and communicat- ment useful in creating illustrations. ships and will be presented for their intrinsic ing ideas, feelings, and information about a sub- design interest as well as being useful as vehicles IL201 ject. The course culminates in an application using for understanding the processes of commercial Drawing as Design drawing, color, and typographic form. reproduction. Previous photographic and indirect 6 hours, once a week image-making experiences will be continued and GD322 3 credits/semester: fall or spring built on at this level. 3-Dimensional Design Drawing will be viewed in the context of traditional 6 hours, once a week design principles-composition and use of space, con- IL302

3 credits/semester: varied semesters trast focus, positive/negative relationships, texture, Figure Utilization I

An elective course exploring the design of mes- and the like will be considered in the construction of 3 hours, once a week sages in spatial environments ranging from pack- drawings from observation as well as invention. A 1 .5 credits/semester: fall age design to exhibitions. Photography plays an holistic approach to all aspects of making a drawing Work from life is combined with work from a wide important part of this process. will be the primary focus. range of resources. Composing figures in rational GD411A&B IL202A&B space with a convincing relationship to the envi- ronment is stressed. Drawing and painting media Design Studio Figure Anatomy will be examined. History of poses, contexts, and 6 hours, once a week 2 hours, once a week (lecture) pictorial conventions will be discussed. 3 credits/semester: fall and spring 4 hours, once a week (drawing lab)

Wide-ranging explorations of questions concern- 3 credits/semester: fall and spring

Focus on the investigation and application of line,

plane, mass, light and shade, shadow, perspec-

tive, anatomy, and proportion as they relate to figure drawing. Weekly sessions include a lecture, demonstrations from the skeleton, and drawing

from life.

52 IL303 IL403 ID213A&B

Figure Utilization II Portfolio Seminar Design Methods 6 hours, once a week 3 hours, once a week 6 hours, twice a week

3 credits/semester: spring 1 .5 credits/semester: spring 3 credits/semester: fall and spring

Studies of the figure in narrative contexts will be This course is involved with identification of A course combining the teaching of the "tools" of explored, as will work from single and grouped personal style, professional presentation (portfo- designer mechanical drawing, perspective draw- models, nude and costumed. Concentration will be lio, letterhead, business cards), and techniques of ing, basic shop techniques, and model making. on developing compositions and concepts from promotion. Each student is expected to develop Field trips are taken to industrial manufacturers to different and often combined resources. Drawing a portfolio based on existing and recommended acquaint the students with advanced production and painting techniques will be utilized. projects. Guest lectures on a variety of topics. methods.

IL304 IL999 ID 220

Design Groups Independent Study Studio 2: Techniques 6 hours, once a week 3-6 hours 6 hours

3 credits/semester: spring 1.5-3 credits/semester: fall and spring 3 credits Course focuses on sequential formats. Potential An independent course of study dealing with a ID 280 areas of inquiry include brochures, direct-mail particular issue of interest to the student and a Technical Communication pieces, simple animations, slide presentations, faculty member. Prior approval by the chairperson 1.5 credits multipage spreads, and identity programs. required. ID 230 IL310 Design Seminar Children's Book Illustration Industrial Design 1 .5 credits 3 hours, once a week ID 300 1 .5 credits/semester: fall and spring ID 113 3: This course is concerned with the design and illus- Freshman ID Studio Projects 6 hours tration of children's trade books. The emphasis is 1.5 credits on the stages of development of a book from 3 credits ID 200 manuscript through dummy design to finished* art. Studio 1: Projects ID301A&B Professional practice, working with editors and art 6 hours Design Seminar directors, will be discussed. Students will become 3 credits 3 hours, once a week familiar with the work of past and present book 1 .5 credits/semester: fall and spring ID201A&B illustration and design. Guest lecturers will be A forum for the discussion and study of current invited to their class. Conceptual Drawing share experiences with the ideas within the design field. Presentations are 3 hours, once a week IL4O0A&B made by the staff and guest lecturers. 1 .5 credits/semester: fall and spring Illustration A drawing class concerned with the processes of ID 302 A 6 hours, once a week getting ideas from one's head onto paper. The Visual Techniques 3 credits/semester: fall and spring hours, course is structured with the Design, Craft, or 3 once a week Assignments revolve around specific areas of Illustration student in mind — those who would 1 .5 credits/semester: fall illustration — advertising, book, documentary, wish to explore dimensional forms on paper be- This course will develop proficiency in the use editorial, and institutional. Emphasis is on solu- fore transferring them to a permanent material. of mixed media as a means of making effective tions, both practical and relevant, to professional A one-semester course. forms in drawing. Drawing techniques will be needs and demands. A senior thesis project (com- developed for precise descriptions of surface, ID210A&B peting for Ely awards) will be incorporated in the color, and material using pastels, markers, Processes spring semester. prismacolor, and other designer's materials. The 6 hours, once a week IL401 student will also learn to make effective portfolio 3 credits/semester: fall and spring Graphic Problems presentations. The exploration and study of the "hard" and "soft" 6 hours, once a week information processes that are used by designers. ID 302 B 3 credits/semester: fall and spring Various problem-solving techniques are introduced Presentation Techniques Previous design experiences in process and tech- 3 hours, once a week and implemented. Emphasis is placed on the written nique are synthesized applied practical and to 1 .5 credits/semester: spring word as a method of communication. Several short problems. A variety of traditional formats — post- use of photographic, video, research papers are required. The student is given a The and advanced ers, book and record jackets, folders, and the like digital media, including scanners, paint programs, grounding in basic technology and science, including — will be explored. animation, augmented as appropriate with wood, metal and plastic technology, optics, mechan- and traditional media, in the design of product presen- IL402A&B ics, basic electronics, and energy systems. tations. Instruction in the art of organizing the Communications Workshop ID211A&B information under- 6-12 hours, once a week presentation of to convey the Visual Languages standing of a design to particular audiences. 3 or 6 credits/semester: fall and spring 6 hours, once a week Prerequisite. ID Visual Techniques Structured as an actual studio, the workshop will 302A, 3 credits/semester: fall and spring produce visual material for a variety of clients. The study and application of the language and Admission to the workshop will be by portfolio visual systems that are used by designers to deal review with a maximum of sixteen participants to with the concerns and problems among people, be selected. technology, and the environment. Two- and three- dimensional concepts are combined with form,

drawing, and graphic skills while studying meth- ods of practical application.

53 ID303A&B ID 390 ID 422 Industrial Materials and Processes Design Seminar Advanced Technologies 3 hours, once a week 1.5 credits 3 hours, once a week

1 credits/semester: fall and spring 1.5 credits/semester: fall .5 ID 400 Films, lectures, and field trips are used to familiar- Through a series of lectures, video tapes, and field Studio 5: Projects ize students with industrial fabrication processes trips, students are introduced to the technologies 3 credits for wood, metal, and plastics; techniques such as and inventions responsible for state-of-the-art die making, injection molding, blow molding, laser ID401A&B mobile robots, electronic media, and smart appli- Industrial Design Seminar cutting, explosion forming, etc., are explored. ances. The basic principles of electro-mechanics, 3 hours, once a week Emphasis is placed on the study of material char- sensors, micro-processors, systems integration,

1 .5 credits/semester: fall and spring acteristics and their appropriate use with forming electronic packaging, and user interface are methods. A forum for the discussion and study of current examined through hands-on investigation. Each ideas within the design field. Presentations are student selects an automated appliance to exam- ID 304 course made by the staff and guest speakers. The ine in detail and prepares a graphic report that Package Design requires a term paper concerned with the issues illustrates the way the product works. 3 hours, once a week considered. 1.5 credits/semester: fall and spring ID 423 This course complements the existing typographi- ID 402 Automated Appliance Design cally oriented graphics course with one that ad- Advanced Design Workshop 3 hours, once a week 3 hours, once a week dresses creative packaging concepts, production 1 .5 credits/semester: spring 1.5 credits/semester: fall spring processes and the graphic communication of prod- and Innovative and futurist thinking is the focus of this with uct information through good packaging design. A workshop where each student deals course. Students select a functional activity that his/her problems of an advanced nature of own will take place in the houses of the future. These ID 310 A SB choosing. activities could include: food storage, food prepa- Design Studio ration, cleaning, care of clothing, or personal 3 hours, twice a week ID 407 Design hygiene. The selected activity will be researched 3 credits/semester: fall and spring Computer Aided and concepts presented utilizing automation tech- This studio teaches the day-to-day practices of 3 hours, once a week niques, innovative processing or robotics to create 1 credits/semester: fall spring being a designer. Covers theory and methodology .5 and generation of effort-saving appliances. self-guided tutorials in the use of a new applied to designing for mass production. Many Instruction and Current and future approaches to these activities projects are conducted with the help of consult- the Macintosh II computer as a tool for 3-dimen- in hydrau- sional design, product modeling, and presenta-' will be reviewed detail with lectures on ants from industry. Problems include the consider- lics, pneumatics, thermodynamics, composite tion. in computer studies is ation of human needs, packaging, manufacturing Previous coursework materials, controllers, communication, and chemi- processes, and marketing. recommended. cal processing. ID311A&B ID410A&B ID 490 Graphic Design Senior Design Studio 3 hours, twice a Design Seminar 3 hours, once a week week 1 .5 credits 3 credits/semester: fall and spring 1 .5 credits/semester: fall and spring on raising the levels of design skill and An intensive workshop in the structuring of visual Focused ID 999 and typographic information as applied by the knowledge to the professional level, the senior Independent Study places increasing responsibility the industrial designer to products, packaging, corpo- studio on 3-6 hours to rethink, improve, and supplement previ- rate identity, stationery, signage, and exhibits. student 1 .5-3 credits/semester: fall and spring ous work in preparation for entering the profes- ID312A&B An independent course of study dealing with a sion. The final semester is devoted to an industry- particular issue of interest to student and one or Exhibit Design sponsored thesis project in which the student more faculty. Prior approval by the chairperson 3 hours, once a week obtains sponsorship, organizes, manages, and required. 1 .5 credits/semester: fall and spring realizes a project in near professional circum- The exploration of the exhibit design process; the stances. collection of information, planning, traffic flow, Museum Exhibition Planning and Design display, and communication techniques. Exhibit ID411A&B Portfolio design requires the extensive use of all the Preparation ME500A&B hours designer's skills. 3 Museum Course 1.5 credits: fall and spring 3 credits ID 320 Instruction and guidance in the preparation of A lecture course exploring the history, organiza- Studio 4: Techniques professional stationery, resume, portfolio, and tion, and operation of the museum as a cultural 6 hours slide presentation. institution, an economic entity, and a management 3 credits ID412A&B enterprise. Frequent guest speakers will bring a ID 326 and practices from their Exhibit Design wide range of knowledge Human Factors respective institutions to provide the student with 3 hours, once a week 3 hours, once a week insight into the functional differences between 1 .5 credits/semester: fall and spring 1 .5 credits/semester: fall and spring sizes, and missions. The exploration of the exhibit design process; the museums of different types, A study of human-engineering principles for the The course is intended to provide students with an collection of information, planning, traffic flow, design of products and equipment used by people. overall understanding of the museum as an insti- display, and communication techniques in archi- The first half of the semester focuses on human tution and to provide access to the thinking of tectural space, requiring the extensive use of all anatomy, anthropometrics, and the motion and various people responsible for running museums, the designer's skills. strength of body components. The second half departments within museums, and activities explores the sensory systems, human perception within the department of museums. All institu- and sensitivity. During the semester, the lectures tions which actively sponsor an internship will are complemented with laboratory experiments provide speakers for this course. designed to teach students methods of testing and evaluating their own product design concepts.

54 .

ME 610 A &B. ME 710 ME 623 Photography/Film/Animation Museum Exhibition Design Studio Exhibition Materials and Technology PF20B 6 hours, twice a week 3 credits Photography for Industrial Designers 6 credits/semester: fall and spring A demonstration/visitation course directed at the 3 hours, once a week This studio course is the primary vehicle for explor- problems of exhibit production and the application 1 .5 credits/semester ing museum exhibition design and presentation of different technologies to meet many types of The goals of this course are the development of concepts, for developing skills and techniques in museum exhibition needs. The student will be the necessary skills to produce a slide portfolio of museum exhibition design, and for developing introduced to the range of suppliers and services, extremely fine quality; to understand the role of the ability to organize and produce outstanding including display fabricators, security system photography as a research tool in design, as well exhibits that clearly communicate their intended providers and others, often through direct behind- as to learn how to put together a coherent visual messages to diverse audiences. The intent of the the-scene visitations and discussions with those presentation of a design idea. After establishing course is to educate the student in the conceptual- directly concerned. The course is intended to pro- basic studio lighting techniques for two and three ization, researching, organization, design, produc- vide students with an introduction to the issues, dimensional objects, students will deal with the tion and evaluation of museum exhibits and pre- skills, equipment, information, resources, and problems of lighting an arhitectural model and sentations through direct problem solving practices which define the correct use of the many lighting in a non-studio setting. The semester will experience under tutorial guidance in a studio technological systems used in modern exhibit culminate in a slide portfolio of the student's work environment. Exhibit programming, evaluatio'n, design. which will include a mock slike presentation of a and management methods applicable to a wide ME749A&B design idea. range of museum situations will be explored-often Thesis Development with input from museum professionals to simulate PF210A 6 credits the circumstances and issues of actual museum Introduction to Him I An independent research or design project which work. The structuring and presentation of informa- 6 hours, once a week may take the form of a publishable document of tion through design using different state of the art 3 credits/semester: fall potential value to the profession of museum exhi- media, display systems, and presentation tech- An introduction to the mechanics and techniques bition design. The project may be carried out in niques will be accomplished in the studio. of silent filmmaking. Principles of shooting and conjunction with the internship. composition, lighting, the logic of arrangement, ME 621 ME 759 and editing are explored. In addition to critique of Environmental Graphics Museum Internship student work, selected screenings of outside work 3 credits 6 credits of historical and critical significance form an im- A studio course focusing on the writing, typo- The course will provide the student with super- portant aspect of the course. graphic layout, and production of descriptive vised, practical experience doing actual exhibit labels, signage, graphic images, and other infor- PF210B design in a museum environment. Designed to mation that document and define an exhibition, Introduction to Film II bridge the summer between the first and second message or message system in an environment. 6 hours, once a week year and to extend through the third semester of The course will provide the student with an intro- 3 credits/semester: spring the program, the internship is supervised jointly by duction to the issues, skills and practices related A continuation of PF 21 A with emphasis on more the Director of the MFA Program and the supervis- to the design and production of two dimensional experimental modes: timing, staging and blocking ing official at the host institution. The internship is images used to convey meaning in a three dimen- exercises to develop a sense of direction, multiple structured to provide the student with a thorough sional context. The phenomena of perception, projections, and an introduction to sound concepts understanding of the practice of exhibit design color, scale, and lighting as the effect type form and techniques. within the host institution, and is a practicum in and imagery in three dimensional environments Prerequisite: 210 A which the experience gained in the Museum Exhi- will be introduced while the use of different tech- bition Design Studio course is tempered by appli- PF211A niques for applying lettering and graphic images cation in the setting of an actual museum. Introduction to Photography I to surfaces bounding defining architectural and 6 hours, once a week space will be explored. 3 credits/semester: fall ME 622 Fine Aits Introduction to basic concepts, processes, and Media for Exhibition Communication techniques of black-and-white photography, Fine Arts Major 3 credits including camera operation, exposure, darkroom A laboratory/workshop course focused on the FA260A&B procedures, lighting, and their controlled applica- Fine Arts ways in which sound, video, computers and Sophomore Studio/Seminar tions. Emphasis is upon the normative standard of robotic devices may be incorporated into museum 3 hours, once a week photographic rendering. Required for admission

1 .5 credits/semester: fall and spring presentations of various types. The course will to Photography courses above PF 21 1 A lecture/discussion course in which the structural provide the student with an introduction to the PF211 B expressive components common to two- issues, skills, and practices related to the design and Introduction to Photography II Lecture/ production interactive and three-dimensional arts are explored. and of communications 6 hours, once a week using electronic media discussions alternate with assigned problems in and mechanisms. The 3 credits/semester: spring materials studio will introduce the production which students utilize a wide variety of organization, While consolidating the student's control of the production languages, screens, and methods to form objects that confirm or ques- and touch and medium, this course introduces the student to a tion the ideas addressed in the lectures. senors for the purpose of organizing an educa- departure from normative photographic rendering, tional experience. FA460A&B techniques, and modes of expression and form.

Senior Fine Arts Studio There is a heavy emphasis on manipulation of 6 hours, once a week materials.

3 credits/semester: fall and spring Prerequisite: PF 21 1 A, or by portfolio inspection

This is an issue-oriented course directed toward

individual development. A quarter of the time is given to presentation and discussion of contempo-

rary issues, and the remaining time is given to

studio practice. Individual critiques supplement the studio work. The development of the senior

thesis is also addressed in this course.

55 PF212A PF217 PF313A&B

Animation Drawing I Color Printing Workshop Basic Studio 6 hours, once a week 6 hours, once a week 6 hours, once a week

3 credits/semester: fall 3 credits/semester: spring 3 credits/semester: fall and spring Through a series of specific lessons centered Introduction to traditional methods of color print- Introduction to studio techniques, use of the 4" 5° around drawing from the moving human figure, ing leading to an exploration of the technical and x camera, and artificial lighting, and color the student is introduced to the kinesthetic sense creative possibilities of color in photography. transparency material.

— a sense of motion, time, and space. Special Prerequisite: PF 21 1 A, or by portfolio inspection Prerequisites: PF211A&B emphasis is placed upon the student's develop- PF218 PF314A&B ment of responsibility for the dramatic aspects of Creative Sound Junior Film Forum timing. Films are also viewed to enhance the 6 hours, once a week 3 hours, once a week extensive drawing practice done in class. 3 credits/semester: spring 3 credits/semester: fall and spring PF212B An exploration of the creative use of sound as a A study of the aesthetics of cinema through an film Animation Drawing II primary artistic medium. Topics include sound and examination of the elements of language and 6 hours, once a week hearing, microphones and recording, tape editing film as a visual art. Specifically, the course is a 3 credits/semester, spring and manipulation, sound aesthetics and produc- theoretical and practical inquiry into the ways in While continuing with issues of animation draw- tion styles, voice and narration, signal processing which visual and aural elements are used to ex-

ing from the fall semester, emphasis is placed and sound manipulation, and production formats. plore and produce artistic meaning, along with an upon the development of a sense of dramatic film Through audio production projects, students will examination of the relationship between film and structure, specifically centered around the issue of gain insights into new ways of using sound, both the other visual arts. pacing. This concern is developed through both on its own and with other media. PF315 individual and class projects. Films are once again PF228 Expaneded Photographic Applications screened in each class to enhance practice. Selected Topics (Animation) 3 credits Prerequisite: PF 21 2 A 6 hours, once a week A course emphasizing the linkages between cam- PF213 3 credits/semester: fall and spring era work, computers, and offset printing. Through Photo Studio Techniques An exploration of media used in animation. The the use of electronic imaging, image editing, color 3 hours, once a week content of each course offereing will reflect the separations, traditional darkroom processes, and

1.5 credits/semester professional interests of the instructor. printing processes, students will explore the tech-

The goal of this is the development of the neces- Prerequisites: may vary with topic. nical, aesthetic, and ethical approaches to elec- sary skills to produce a slide portfolio of extremely PF310A&B tronic imaging and photography. quality. After establishing the basic studio fine Junior Cinema Production PF316 lighting techniques for two and three dimensional 6 hours a week Computer Animation II objects, the student will deal with the lighting and 3 credits/semester: fall and spring 3 credits optical problems posed by the differing materials Production techniques in actual filming situations: An advanced course in computer animation using of glass, wood, clay, metals, and fibers. While the starting from the script through budgeting, script the Amiga computer and video. Emphasis in this traditional photo studio is the backdrop for under- breakdown, camera work, and editing, to the course will be placed upon the students personal- standing the various lighting possibilities, much finished release print. Students are expected to ized exploration of animation and graphic model- discussion will take place regarding the use of the execute specific assignments in lighting, editing, ing software. artist's workplace or other equally appropriate and sound, and are introduced to synch-sound PF320 context for display of workpieces. The use of the procedures. Film Sound camera as a sketching tool will be addressed. Prerequisites: PF210 A &B 6 hours, once a week PF215 PF311A&B 3 credits/semester: fall Photo Materials I Junior Workshop (Photography) Introduction to the application of sound in film 3 hours, once a week 6 hours, once a week with instruction and practice in the use of sound- 1 .5 credits/semester: spring 3 credits/semester: fall and spring recording equipment, mixers, sound transfer, edit- A course acquainting students with both tradi- Exploration of photographic imagery through a ing, general techniques, and an introduction to the tional and less traditional black-and-white and series of problems aimed at personal vision and ARP 2600 electronic synthesizer. color materials through experimentation with creative growth. Prerequisite: PF210B or PF 21 2 B films, papers, chemistry, and techniques. Linkages Prerequisites: PF 21 1 A & B, or by portfolio PF322 between photography and other media such as inspection. Rim Technology nonsilver, graphic arts and digital imaging pro- 6 hours, once a week cesses are explored. PF312A&B Junior Animation Workshop 3 credits/semester: spring PF216 6 hours, once a week An examination of some of the technical materials Computer Animation I 3 credits/semester: fall and spring and procedures that complement the filmmaker's 3 credits Emphasis within the course is placed upon the production skills: basic electronics, optical print- An introductory course in computer animation development of keen observation of movement ing, on-line video editing, computer image pro- required for Animation majors. Emphasis in this phenomena — motion in three dimensions, cessing and mechanical skills. Projects in image/ course will be upon developing the student's complex and compound movement, phrasing of sound relationships and alternative screening expertise with the Amiga computer and electronic movement, and issues of timing — and the ability formats are undertaken. media. to translate these observations into sequential Prerequisite: PF210BorPF212B

drawings. Various skills and techniques are intro- duced, including table-top animation techniques,

pixilla-tion, track reading for animation, and

rotoscopic methods. Special attention is placed

upon the integration of these skills and investiga- tions toward the realization of a short personal

animated film. Prerequisite: PF 21 2 A

56 PF323 PF499 FT 226* Selected Topics (Photography) Practicum Abstract Drawing 6 hours, once a week 3-6 hours, arranged 6 hours, once a week

3 credits/semester: fall or spring 1 .5-3 credits/semester: fall and spring 3 credits/semester: fall and spring

Study of one or more various media, methods, or An apprentice or intern program in which the stu- Studies in the diverse forms and processes of

problems in still photography to be offered according dent is placed in one of several professional pho- abstraction. Using both improvisational and sys-

to the instructor's interests and students' requests. tographic situations. Placements include assisting tematic methods, drawings will explore composi-

Courses have covered areas such as: portraiture, docu- in professional studios, practice in biomedical tional principles based on nature, chance, and mentary photography, digital imaging, color manipula- photography laboratories, and curatorial positions geometry.

tion, photographic illustration. in galleries, among others. PT237* Prerequisites: may vary with topic. PF999 Representational Painting PF410A&B Independent Study 6 hours, once a week

Senior Cinema Production 3-6 hours 3 credits/semester: fall or spring

6 hours a week 1 .5-3 credits/semester: fall and spring A studio course addressing contemporary atti-

3 credits/semester: fall and spring An independent course of study dealing with a tudes toward representational modes of painting. Continuation of PF 310. Increased independence particular issue of interest to student and one or Why do figurative paintings today look the way

is required of senior majors. more faculty. Prior approval by the chairperson they do? What are the sources, the premises, and Prerequisites: PF 310 B, PF 320, PF 322 required. the processes that have generated the styles that PF411A&B have emerged since 1945. Senior Workshop (Photography) PT238* Painting 6 hours, once a week Abstract Painting

3 credits/semester: fall and spring PT202A&B 6 hours, once a week

Continuation of Junior Workshop; work on long- Sophomore Painting 3 credits/semester: fall or spring term individual project or shorter-term problems to 9 hours a week Two approaches will be considered — abstraction

develop technical, aesthetic, and conceptual mas- 4.5 credits/semester: fall and spring as pictorial structure that interprets the concrete

tery of the medium.The course culminates in a Studio work will introduce the student to the world nonrepresentationally, and abstraction as

group thesis exhibition. elements of pictorial construction — form, color, pictorial structure that graphically presents ideas

Prerequisite: 6 credits in Photography, including composition, and technique — through life-study and emotions that have their genesis in other than

PF 31 1 , or by portfolio inspection. and project assignments emphasizing analysis, observed reality. Studio assignments will investi- PF412A&B perception, and pictorial imagination. Integration gate concepts, sources, and procedures. Examples of the technical aspects of painting and the inter- from traditional and contemporary art will be used. Senior Animation Workshop pretations of meaning will be sought. Periodic 6 hours, once a week PT240* formal critiques and museum and gallery visits will 3 credits/semester: fall and spring Materials and Techniques supplement studio activity. Directed independent production of a short film 3 hours, once a week

project in an idiom of the student's choosing, and PT219* 1 .5 credits/semester: fall or spring

production of a VHS video portfolio composed Watercolor This course will concern itself with the materials

of several short animated sequences that each 3 hours, once a week and processes used in making pictorial works of

student will be able to use to get work as either a 1 .5 credits/semester: fall or spring art. Information on the appropriate use of materi- free-lance animator or for an animation company. A course in which the preferred medium is trans- als, such as pigments and painting supports, will Prerequisite: PF 312 A&B parent watercolor, the particular characteristics of be given and explored by the students. This course PF413A&B which will be explored. Both perceptual and will also delve into materials and processes to nonperceptual approaches will be introduced. create aesthetically significant surfaces. Professional Practices (Photography) 6 hours, once a week PT224 PT241*

3 credits/semester: fall and spring Sophomore Drawing Color Studies Study of the practice of professional photography, 6 hours, once a week 3 hours, once a week with attention to various career opportunities, 3 credits/semester: fall and spring 1 .5 credits/semester: fall or spring portfolio presentation, business practices, profes- An introduction to the issues of drawing, including Studio work and independent projects will con- sional ethics, photographic law, and personal perception, analysis, invention, and experimenta- sider the purposes and effects of color organiza-

objectives. A variety of professional guests visit tion. A variety of thematic ideas, structural possi- tion, color perception, and color theory. Color will the course. bilities, and imaginative interpretations will be be approached as emotive, symbolic, depictive, Prerequisite: PF 313 explored. Examples of historic and contemporary and structural.

masterworks will be shown. PF 414 A&B PT245* Senior Him Forum PT225* Figure Drawing 3 hours, once a week Figure Drawing 3 hours, once a week

3 credits/semester: fall and spring 3 hours, once a week 1.5 credits/semester: fall or spring

Selected topics dealing with specific issues in 1 .5 credits/semester: fall or spring This course is based on the concept that drawing film history, theory, and analysis. This course will consider issues of drawing that and modeling are mutually supportive. Students PF415A&B focus on the human figure. Perennial qualities draw from the model using a variety of materials associated with figure drawing will be investi- and approaches. They model in clay. Emphasis is Senior Seminar (Photography) gated as well as contemporary approaches. The placed on the exploration of intentions and con- 3 hours, once a week class will consider gesture, volume, spacial illu- cepts, and the development of visual perception. 3 credits/semester: fall and spring sion, tonality, and compositional and stylistic An analysis of contemporary criticism in photogra- responses. The students wil'l work with models in phy. Extensive reading and some writing with the studio and with other source materials: attention to current showings and exhibitions are required. Prerequisite: permission of department chairperson.

57 .

PT261* PT402A&B PR205A&B

Inter-Media Senior Studio Concepts I and II 6 hours, once a week 12 hours a week 3 hours, once a week

3 credits/semester: fall or spring 6 credits/semester: fall or spring 1 .5 credits/semester: fall and spring The development of artworks that are realized 15 hours a week Idea development, visual perception, and the orga-

through the combination of diverse materials and 7.5 credits/semester: fall or spring nization of experience into compositions related to

media. Critical commentary will center on four areas printmaking. Primary concern is acquisition of PT264* of concern: professionalism, applicational skills, group discus- 1 The character of the work — its formal sions, general critical Mixed-Media and growth of evaluative properties, its physical properties, aspects of abilities. 3 hours, once a week intelligibility. 1.5 credits/semester: fall or spring PR 206 2. Intentionality — investigation of motives and A diversity of drawing and watercolor materials Printmaking Workshop choices. and techniques will be explored, and used in order 6 hours, once a week 3. Context — ways that a work relates to a larger to develop a versatile repertoire of drawing skills. 3 credits/semester: spring body of work, both generic and stylistic. A continuation of the development of skills in all PT269* 4. Quality — approaches to questions of value. media — relief, intaglio, and screenprinting Collage — by There will be individual critiques each week and concentration on one or any combination of them, 3 hours, once a week periodic group critiques involving the participation including nonprintmaking methods. credits/semester: 1.5 fall or spring of visiting artists. Projects will explore pictorial conventions through PR 211 FT 424 the use of material collected and assembled by Etching/Monoprint Senior Drawing the student and developed as elements of compo- 3 hours, once a week 3 hours a week sition. Attention will be given to the history of 1 .5 credits/semester: fall and spring 1.5 credits/semester; fall or spring collage and its influence upon the methods and Introduction to the basic methods in etching, Advanced drawing, specialized projects. meanings of painting. such as drypoint, aquatint, collagraph, and PT302A&B FT 490 photoetching. Senior Seminar Junior Studio PR212A&B 2 hours, once a week 12 hours a week Lithography 1 .5 credits/semester: fall or spring 6 credits/semester: fall and spring 3 hours, once a week This seminar will focus on pictorial art and its role Studio activity that develops a professional work- 1 .5 credits/semester: fall and spring in culture, both in historic and contemporary ing routine in the student, who will be encouraged Lithographic drawing and printing methods are contexts. Issues surrounding the various purposes to show increasing personal initiative and direc- introduced and investigated in this autographic of art and how culture deals with artists will be tion. Regular critiques on both an individual and medium. Students are encouraged to develop their explored. Emphasis will be placed on student group basis will connect the student to the values own ideas through this medium and explore it participation. of the past and the present, stimulate interest in with regard to their major field. * the major questions of our time, and provide Courses marked are open to all majors and PR213A&B resources for progress. Visiting artists will be nonmajors. Screenprinting invited to participate through lectures and studio 3 hours, once a week critiques. 1 .5 credits/semester: fall and spring Printmaking PT324 Basic stencil methods, such as paper, direct

Junior Drawing PR 201 photosensitive emulsion, and resist, for use with

3 hours a week Relief Printing water-based inks, are developed through

1 .5 credits/semester: fall or spring 6 hours, once a week individual imagery. An intermediate studio class continuing the 3 credits/semester: fall PR 222 general concerns of FT 224. Required for majors; Basic relief-printing methods, including linoleum Nonsilver Printmaking Processes open as an elective, space permitting. cut, woodcut, metal relief, cardboard cut, 3 or 6 hours, once a week collagraph assemblages, embossment, and re- FT 390 1.5 or 3 credits/semester: fall or spring lated techniques will be introduced and explored. Junior Seminar Building images in color with layers of brushed-on 2 hours, once a week PR 202 light-sensitive emulsion. Light-resists can range

1 .5 credits/semester: fall or spring Screenprinting from photogram objects to drawings and paint-

A lecture course on the nature and effect of various 6 hours, once a week ings, to film or paper negatives. Processes covered theories of art. Emphasis is placed upon the meaning, 3 credits/semester: fall are Vandyke brown, cyanotype, gum bichromate, the imperatives, and the choices that are significant in Introduction and investigation of all basic methods and palladium. shaping the course of individual works and generic of serigraphy, for use with water-based inks: pa- PR 223 movements in the history of painting. per stencil, resist, photosensitive emulsion, with Book Arts I: Bookbinding Methods emphasis on acquisition of visual expression and 3 hours, once a week technical skills in the screenprinting media. 1 .5 credits/semester: fall and spring PR 204 A workshop class familiarizing the student with Etching the characteristics and handling qualities of mate-

6 hours, once a week rials used in various book structures. Some of the 3 credits/semester: spring items covered include pamphlets, multisignature

Basic techniques in traditional and contemporary books, clamshell boxes, portfolios, accordion etching, drypoint, aquatint, collagraphy, structures, and Oriental binding. Emphasis will be photoetching, and possible combinations of them placed upon both the use of conservationally are explored. Development of inherent qualities, sound materials and the use of these structures as

idiosyncracies, their application in the modern vehicles for the students' creative expression.

modes of expression, and interrelationship of all etching methods are investigated.

58 PR 224 PR 309 PR 412 Book Arts: Structures Advanced Etching Advanced Screenprinting 3 hours, once a week 3 hours, once a week 3 hours, once a week

1.5 credits/semester: fall or spring 1 .5 credits/semester: spring 1.5 credits/semester: fall

Historical book forms serve as models as well as a Introduction of more advanced technology in etch- Continued investigations of this versatile medium departure point for innovative new work. Students ing than was considered in the previous semester on an advanced technical and image level, includ- are made familiar with traditional binding tech- — messotint, engraving, blend, and viscosity ing printing on three-dimensional forms and niques, encouraged to explore new applications printing, as well as their interrelationships and decals, with emphasis on integration of idea and and to experiment by combining images and text compatibilities; acquisition of necessary profes- process. into unique book structures. sional skills in handling these concerns; develop- PR 420 ment of perceptual and visual applications of the PR 300 Printmaking: Thesis Workshop I and II peculiarly etching-related abilities to one's image Lithography 6 hours, twice a week making. 6 hours, once a week 6 credits/semester: spring

3 credits/semester: fall PR 322 Preparation of a series of prints and related draw- All of the basic techniques of drawing, image Advanced Nonsilver ings for portfolio and exhibition presentation. making, and printing skills that are necessary to 3 or 6 hours, once a week PR600A&B.PR700A&B produce hand-pulled, black-and-white lithographs 1 .5 or 3 credits/semester: fall or spring Book Arts/Printmaking Colloquium from stones or plates will be experienced. Continued development of image and skills in 1 .5 credits each semester combinations of nonsilver processes. PR 305 Professional practices and issues related to Advanced Relief Printing PR 326 printmaking, book and publication arts are

3 hours, once a week Offset Lithography explored through discussions, lectures and field

1.5 credits/semester: fall 3 or 6 hours, once a week trips.

More demanding methods of relief printing will be 1.5 or 3 credits/semester: fall or spring PR 603 introduced and cultivated. Wood engraving, en- A hands-on course which develops skills in print- History of the Book graving on plastic, color printing, and related tradi- ing with offset press lithography for personal 1.5 credits tional and contemporary methods will be pursued. imagery in both hand-drawn and photographic Hands-on study of rare books and manuscripts Special emphasis will be on the relief-printing methods. from antiquity to the present with discussions that methods' affinity and compatibility to many other PR 327 deal with the structural, historical and artistic methods, particularly intaglio and hand-set type. Advanced Offset Lithography significance of the book. The class meets at the PR306A&B 3 or 6 hours, once a week Library Company of Philadelphia and other local

Print Study Seminar I and II 1 .5 or 3 credits/semester: fall or spring rare book collections. 3 hours, alternate weeks Continuation of printmaking in offset lithography: PR617A&B 1.5 credits/semester: fall and spring advanced individual projects and production to Type/Letterpress Study and discussion of original prints and rare poster printing in this versatile medium. 1.5 credits/fall books from masters of the fifteenth through the PR 400 3 credits/spring twentieth centuries; studio research into various Printmaking: Advanced Workshop I The student learns to incorporate calligraphic, print processes that parallel the course. 6 hours, once a week handset or computer-generated letterforms with

PR307A&B 3 credits/semester: fall images in unique and editioned books. Emphasis

Book Arts II: Letterpress Students continue to develop their own style, is placed on proficiency in process and the cre- 3 hours, once a week ideas, and technique while establishing their ation of a personal visual language.

1 .5 credits/semester: spring direction and personal and original expression. PR 618 Introduces the basic organization of typographic The workshop atmosphere permits a comfortable Workshop: Color/Mark elements through hand composition (metal type) handling of all procedures and problems in all 1.5 credits and letterpress printing. Study invclves the printmaking processes and possible involvement Provides the student with an opportunity to ex- analysis and development of the printed page by with adjacent expressive means, such as drawing, plore a broad range of image-making approaches. combining type and images. painting, sculpture, photography, crafts, etc. The emphasis will be on mark making with a PR 308 PR 407 number of instruments and media, the use of color

Advanced Lithography Workshop Thesis Seminar I and II as a structural basis for composition, and the com-

3 or 6 hours, once a week 3 hours, once a week positional and expressive use of letter forms. 1 .5 or 3 credits/semester: spring 1.5 credits/semester: fall and spring PR623A&B Further investigation and development litho- Acquisition of a professional profile: portfolio of Bookbinding graphic image making, including photographic preparation, resume, slides, exhibition participa- 1 .5 credits each semester techniques and multicolor printing. Editioned tion, discussions of works in progress. The pre- Basic book structures are explored in the first prints of greater scope and complexity are under- graduation presentation of portfolio and the one- semester with emphasis on sound conservation taken consistent with the student's interest and person show as well as cultivation of awareness techniques and good craftsmanship. In the second experience. of contemporary conditions and practices in the semester historic book structures serve as models field are among the primary concerns of this class. and departure points for innovative bindings. PR 410

Book Arts III: Artists Books 3 hours, once a week

1.5 credits/semester: fall

The course offers experience in forming ideas

for combination of paper and printed surfaces in

book organization. The challenge of joining

printmaking, typography, and binding is explored on an individual and experimental basis.

59 PR826A&B Sculpture SC260A&B Structure of the Figure Offset lithography SC201.SC202 6 hours, once a week 3 credits fall Sculpture I (Forms, Composition, and 3 credits/semester: fall and spring 1.5 credits spring Methods) An anatomic and morphological analysis of male Offers the student hands-on experience with off- 6 hours, once a week and female bodies for artists through a three- set lithography as an artist's medium. The primary 3 credits/semester: fall and spring dimensional constructional method. Covered are focus is on the creation of personal imagery (pho- An introductory studio course on the fundamentals proportions, anatomic structure, surface topology, tographic and/or hand drawn) for prints and books. of sculpture. The approach is through tactile and morphological variation, and the body in move- The course enables students to take advantage of visual perception with instruction in both tradi- ment. This course is directed toward two-dimen- state-of-the-art production methods and develops tional and contemporary form making in a variety sional artists as well as sculptors, and what is skills in photo-mechanical processes, platemaking of materials and techniques. Sculptural issues stressed are the means by which the body's and color printing. addressed are the recognition and construction of salient features can be recognized from any view- PR 710. PR 720. PR 725 space and form, axial relationships, movements, point in any pose. MFA Project Type, Binding, Offset scale, weight, balance, organic and geometric SC301.SC302 1.5 credits each qualities, modularities, transformations, and sym- Sculpture II (Attitudes and Strategies) The MFA candidate develops an individual course bolic meaning. 6 hours, once a week of study and defines the number of projects in a SC220A&B 3 credits/semester: fall and spring contract. The evolution of ideas and imag- written Molding and Casting A studio-criticism course that focuses on the issue ery is encouraged through frequent faculty and 3 hours, once a week of artistic strategy as it applies to sculptural cre- visiting artist critiques. 1.5 credits/semester: fall and spring ation. Assignments given attempt to aid students 715 In the first semester, the course covers processes PR to recognize their own and alternative tendencies Graduate Studio and techniques utilizing plaster, rubber, plastics, through projects that are made to reflect attitudes 1.5 credits clays, and wax for making hard and flexible molds like expressionism, idealism, mathematical Expansion of studio time for development of indi- and for casting sculpture in durable materials. The systems, decoration, naturalism, etc. vidual candidates Book Arts/Printmaking projects second semester provides a thorough foundation Prerequisites: SC 201, SC 202 as defined in their contracts. in foundry practices, including wax preparation, investing, pouring bronze or aluminum, chasing, SC321.SC322 PR 741 finishing, and patinating finished metal casts. Carving Thesis Studio MFA 3 hours, once a week 3 credits SC231.SC232 1 .5 credits/semester: fall and spring Continuation of book and printmaking projects Introduction to Figure Modeling This course introduces the student to carving, one combined with related visual concerns in prepara- 6 hours, once a week of the basic methods of forming sculpture. Stu- tion for the required MFA Thesis Exhibition to be 3 credits/semester: fall and spring dents learn to prepare, maintain, and use the tools presented during the final semester. Modeling from life for the beginner, stressing of the carver. They will be introduced to the char- direct observation, eye-hand coordination, and PR 742 acteristics of suitable carving materials. Emphasis depth discrimination. Both perceptual and concep- MFA Thesis Studio is placed on the exploration of the formal and tual skills are developed and fundamental studio 3 credits expressive potentials of cawed sculpture. practices are taught, such as armature construc- An independent studio format that allows for con- tion, clay utilization, and modeling techniques. SC401.SC402 sultation with major professors in preparation for Sculpture III (Types and Modes) Works are fired in clay or cast in plaster. the required MFA Thesis Exhibition. 6 hours, once a week SC241.SC242 PR 999 3 credits, semester: fall and spring Projects Studio: Introductory Studio Independent Study Terms like monumental, genre, narrative, emblem- 6 hours, once a week 3-6 hours atic, environmental, etc., reflect the cluster of 3 credits/semester: fall and spring 1.5-3 credits/semester: fall and spring types of sculptural imagery. This studio-criticism An open studio oriented toward helping the devel- An independent course of study dealing with a course is concerned with the ideational and tech- opment of individual initiative. Stressed are how particular issue of interest to student and one or nical issues raised by various types of sculptural ideas are transformed into sculptural statements more faculty. Prior approval by the chairperson imagery which are assigned in turn. What is through aesthetic reasoning and the internal logic required. stressed in each case is the relationship that of a sculpture's color, material, and physical con- sculptures have with the context they exist in and struction. the purpose they serve. SC251.SC252 Prerequisites: SC 201, SC 202 (Seminar—Lecture) Theories of Structure SC421.SC422 a week 1.5 hours, once Metal Studio 1.5 credits/semester: fall and spring 3 hours, once a week Lectures and discussions of various concepts and 1 .5 credits/semester: fall and spring philosophies of structure: mathematical, biologi- Form making in noncast metal sculpture has con- cal, linguistic, perceptual, etc., and their implica- tributed much to the history of sculpture, particu- tions to the definition of art. larly in the present, where the idiom has become as familiar as carving and modeling. Concurrently offering both basic and advanced technical

instruction in welding, forging, and other ferrous

metal techniques, this course is oriented to mak-

ing sculpture with iron or steel.

60 SC431.SC432 AT 302 Advanced Figure Sculpture Theories and Techniques of Art Therapy 6 hours, once a week 3 credits

3 credits/semester: fall and spring An introduction to the examination of types of For students seriously involved with the figure, mental and behavioral disorders as it pertains to this course provides an atelier to continue figure art therapy is presented, along with the general modeling on increasingly advanced levels, and a theory and techniques used with the various context to help formulate a personal figurative populations. idiom. Works are sculpted at various sculptural AT 303 including life size, and independent scales, Clinical Aspects of Art Therapy projects are undertaken in consultation with the 3 credits faculty. Critiques involving the meaning and sculp- A weekly class with an art therapist held at the tural significance of the works are an integral part Eastern Pennsylvania Psychiatric Institute of the the ongoing class activity. of Medical College of Pennsylvania. This course Prerequisites: SC 231 and SC 232, or by permission presents a survey of the field of art therapy in SC441.SC442 practice through live interviews, films, literature, Project Studio and discussion. hours, once a week 6 AT 401 3 credits/semester: fall and spring Senior Practicum This course provides a studio context where 3 credits maturing self-initiated areas of concentration in A field-experience placement is arranged to sculpture can be developed to fruition on an provide an opportunity for the student to become advanced level. Whatever the direction, a critical acquainted and to work with a specific special emphasis is placed through both open and devised population. This clinical practicum is carefully assignments on how materials and forms compat- supervised by the Art Therapy faculty. ible to personal statements are found. 483 Prerequisites: SC 241 or SC 242 mi Theories of Personality SC 999 3 credits Independent Study This course is concerned with the study of person- 3-6 hours ality, the patterns of behavior and predisposition 1.5-3 credits/semester: fall and spring that determine how a person will perceive, think, An independent course of study dealing with a feel, and act. Psychoanalysis, behaviorism, to student and one or particular issue of interest humanism, and existentialism are among the faculty. Prior approval by the chairperson more theories explored. required.

All Sculpture classes can be taken as studio electives by nonmajors. Graduate Seminar GR691A University Seminar Structure and Metaphor Art Therapy 3 credits AT 300 A University-wide seminar in which graduate Introduction to Art Therapy students from various disciplines in the visual arts 3 credits examine theoretical issues in art and design. Top- Following a brief introduction to the field of art ics covered include the psychology of perception

therapy, students visit a variety of institutions and and systems of organization, representation, and are exposed to a wide range of disorders — intel- expression. lectual, physical, emotional, and social. The course GR691B is developmentally oriented, starting with children, University Seminar Art and Society followed by adolescents, adults, and the aged. 3 credits AT 301 The second semester of the University Seminar Social and Group Process focuses on the place of art and the artist in 3 credits society. The focus of this course is on the understanding of GR791A&B individuals function as members of society, how University Seminar Criticism as well as on the basic elements of group dynam- 3 credits each semester ics. By helping students deal directly with group A two-semester seminar in which second-year behavior, this course enables them to understand graduate students from various disciplines in the better themselves and the interactions of others. visual arts further examine the nature of image- making with particular attention to the theory and application of criticism.

61 Philadelphia College of Paul Adomo Eugene Baguskas Lecturer: Art Education Associate Professor: Painting/Drawing Art & Design Faculty AB, Georgetown University BFA, Yale University University MSC, of Pennsylvania Exhibitions: "Earth Art I & II." Philadelphia;

Experience: founder and first director of Bartram one-man show: Green Mountain Gallery; "In

High School for Human Services, an alternative Praise of Space," landscape painting in American

for humanizing high school education; trainer and art; two-man exhibit, Gross-McLeaf Gallery,

consultant for other alternative schools in the Philadelphia; group show, Butcher-More Gallery, Philadelphia area; consultant for National Com- Philadelphia; "Broad Spectrum," PCA Faculty mission on Resources for Youth. Currently an Show — Allentown Art Museum, Gallery at Instructional Support Teacher for the Priority One University of Pittsburgh, and William Penn Memo-

Program, School District of Philadelphia. rial Museum, Harrisburg; paintings in numerous private and public collections; "Landscapes," Hans-Ulrich Allemann Swarthmore College; "Drawings," Butcher-More

Adjunct Professor: Graphic Design Gallery, Philadelphia; One Person Exhibit, Morris Swiss National Diploma (MFA Equiv.) Gallery PA Academy of the Fine Arts; Phila. School of Design, Basel, Switzerland Museum of Art, "Art Now", Contemporary Art in Exhibitions: Shows in Switzerland, Germany, Philadelphia; Institute of Contemporary Art "25 and USA Pick 25", Philadelphia Awards: Swiss National Award for Applied Arts; Typomundus Award; NY Type Directors Club Rick Barrick Award; AIGA Awards; Philadelphia Art Directors Lecturer: Photo/Film/Animation

Club Awards B.A., University of Georgia

Publications: Graphis; Print Magazine; ID Maga- He has his own commercial studio in New York zine; Graphic Design USA; Type Directors Club NY City and his clients include: American Express, Annuals; Top Symbols and Trademarks of the IBM, Reader's Digest, The New York Daily News, World, Deco Press Milano; Graphic Design Educa- General Foods and others.

tion, ABC Edition. Jane Bedno Jack Andrews Director: Museum Exhibition Planning and Design Professor: Industrial Design Associate Professor

BID, Pratt Institute BA, Roosevelt University

Experience: Industrial designer General Motors Graduate studies at The Institute of Design,

Styling Staff; Director Industrial Design, Center for Illinois Institute of Technology, and Virginia Creative Studies; Design director Samuel Yellin Commonwealth University

Metalworkers, Co.; President Skipjack Press, Inc. JD, College of William and Mary Awards: Walter Dorwin Teague, IDSA.-1967; NEA President, Bedno/Bedno Museum Exhibition Grant 1988; NEA Grant 1990. Planning and Design. Book: Edge of the Anvil, a resource book for black- smiths. Ed Bedno Adjunct Professor: Museum Exhibition Planning Laurence Bach and Design

Professor: Graphic Design BFA, Art Institute of Chicago

Chairperson: Graphic Design MS/GD, Institute of Design, Illinois Institute BFA, Philadelphia College of Art of Technology

Allgemeine Gewerbeschule, Basel, Switzerland Former Chief of Exhibits, The Smithsonian's

Experience: instructor, State University of New National Air and Space Museum, and The Field York — Purchase; Moore Col lege of Art; The Museum of Natural History, Chicago Aegean School of Fine Arts

Exhibitions: Zygos Gallery, Washington, DC; Norinne L Betjemann Dolan/Maxwell Gallery, Philadelphia; Laurence Lecturer: Photo/Film/Animation

Miller Gallery, NY; Marian Locks Gallery, BFA, Moore College of Art Philadelphia; Wesleyan University; The Experience: Invited speaker at: University of Photographic Center of Athens; Robert Samuel Delaware, Old Dominion University, The Fleisher

Gallery, NY; Modernism Gallery, San Francisco; Art Memorial, Moore College of Art

The Photographers' Gallery, London; The Exhibitions: Delaware Art Museum (1 989 Neuberger Museum, NY Purchase Award), Philadelphia Museum of Art, Grants: New York State Council on the Arts; Pola- Beaver College, Penn State University, Philadel- roid Corporation; National Endowment for the Arts phia Art Alliance, Jessica Berwind Gallery Awards: Art Directors Club Gold Medal Collections: Dupont Corp; Moore College of Art; Delaware Art Museum, Boca Raton Museum of

Art, and various corporate collections.

Among her commercial clients is The Philadelphia Orchestra.

62 Sarah Bodine Christine Cantera Karen Clark-Schock

Lecture: Crafts Senior Lecturer: Illustration Senior Lecturer BA, Cornell University BFA, Philadelphia Colleges of the Arts Art Therapy

Publications: Metalsmith, American Craft, Studio Awards and Exhibitions: Type Directors Club 26, BA, Rosemont College Potter, American Ceramics, Ceramics Monthly, NY; Artists Guild of Chicago; Art Directors Club of MCAT, Hahnemann University New Art Examiner, NCECA Journal, Design Book Chicago; American Society of Magazine Photogra- Experience: registered art therapist and program Review, Places, Industrial Design, AIGA Quarterly, phers; AIGA Communications; AIGA/Design 2 coordinator, Paoli Memorial Hospital 1977-1989; Metropolis, American Studio Jewelry{f\'\iio\'\, Experience: magazine publishing, book publishing, teaching faculty at Hahnemann University; private 1991). Editor, Metalsmith Magazine. advertising/PR, corporate design, signage practice. Co-founder Intraspect, a personal and professional development company; national Sandra Brownlee-Ramsdale J. John Carlano lecturer and published author. Adjunct Assistant Professor: Crafts Adjunct Associate Professor. Photo/Film/Animation BRA, Nova Scotia College of Art and Design BFA, Philadelphia College of Art Connie Coleman

MFA, Cranbrook Academy of Art Experience: free-lance photographer; clients in- Lecturer: Photo/Film/Animation Exhibitions: "Brocade", Minneapolis, Minnesota; clude: CIGNA, American Craft Magazine, MGM/ BFA, MFA Rhode Island School of Design "Pictorial and Narrative Fibers", Texas, Colorado, UA Home Video, Stroemann Bread, Academy Experience: single-channel videotapes, radio

Louisiana; "Figure and Place," Chicago, Illinois; Insurance Group, Philadelphia Industrial Develop- pieces, computer generated graphics, multi-

"Grrrrhhh. . . a study of social patterns, Collabora- ment Corporation channel video installations. tive Book Project with Warren Lehrer," Halifax, Exhibitions: Chicago Art Institute; Allentown Art Publications: Art Forum, Independent, Afterimage. Nova Scotia; "Works of Craft — The Massey Museum, Allentown, PA; Marian Locks Gallery, Awards: PA State Council on the Arts and the Foundation Collection," Ottawa, Ontario; Philadelphia; "Challenge Exhibition," Fleisher Art NEA/AFI Mid Atlantic Regional Media Arts

"Cranbrook Connection: New Images in Fabric," Memorial, Philadelphia; Mednick Gallery, solo Programs; Artist-in-Residence, Experimental Tele- Detroit, Michigan and New York. show, Philadelphia; Nexus Gallery, Philadelphia; vision Center, Oswego, NY Awards: National Endowment for the Arts; Pennsylva- The Photography Gallery, Philadelphia nia Council for the Arts; The Canada Council; The Awards: PCA Venture Fund recipient; American John Columbus Ontario Arts Council; The Nova Scotia Talent Trust Photographer Magazine; Fellowship: PA Council Adjunct Associate Professor. Photo/Film/Animation on the Arts: 1990 BFA, Hartford Art School Charles Bumette MFA, Columbia University School of the Arts, Professor: Industrial Design Jack Carnell Film Division

Joseph Carreiro Professorship in Design Assistant Professor: Photo/Film/Animation Experience: Columbia University, Film Division;

Chairperson: Industrial Design BFA: The University of New Mexico Stockton State College, Pomona, NJ; director, B Arch, M Arch, PhD Arch, University of MFA: Tyler School of Art Thomas A. Edison/Black Maria Film & Video Pennsylvania Exhibitions: Allentown Art Museum, Institute of Festival, 1980 to present; producer or production

Experience: industrial designer, George Nelson & Contemporary Art in Los Angeles, Philadelphia collaborator, various commissioned independent,

Co. Inc.; Educational Consultant, General Motors; Museum of Art and commercial media projects, 1970 to present principal investigator, Institute for Environmental Awards: NEA, Emerging Artist Grant; Pennsylvania Exhibitions: Independent Filmmaker's Program; Studies; executive director, Philadelphia Chapter Council on the Arts, Guggenheim Fellowship New Jersey Network Public Television; Lancaster American Institute of Architects/Center for the Gallery; Nexus Gallery, Philadelphia; Stockton Building Industry; dean/professor, School of Archi- Sharon Church State College Performing Arts Center; Oakside tecture, University of Texas at Austin Associate Professor: Crafts Gallery Series, Bloomfield, NJ; Sinking Creek Film Chairperson: Awards: Citation for Excellence in Design, Phila- Crafts Festival, Swain School of Design; Dartmouth delphia, AIA; National Endowment for the Arts BS, Skidmore College College; Morris Museum (The University City Science Center, 1977; Phila- MFA, School for American Craftsmen, Rochester Institute of Technology Robert B. Croston delphia Art Alliance, 1 981 ); DOE, Passive Commer- Exhibitions: cial Demonstration Grant; DOE, Appropriate "Craft Today: Poetry of the Physical," Assistant Professor: Industrial Design Technology Grant; College of Fellows, American American Craft Museum, NYC, "Form, Formel, Director: I.D. Advanced Technology Lab

Institute of Architects; Board of Directors, IDSA. Formalismus," Munich, West Germany, "American BA, Franconia College Jewelry Now" Touring Exhibition, "Jewelry USA," MS, University of Massachusetts, Amherst

Robert J. Byrd American Craft Museum, NYC; "Contemporary Experience: director. Industrial Design, Transitions Senior Lecturer: Illustration American Crafts" Philadelphia Museum of Art. Research Corp.; Senior Human Factors Engineer, BFA, Philadelphia College of Art Collections: Delaware Art Museum General Dynamics Land Systems

Experience: illustrator, teacher/instructor: Organizations: American Craft Council, Pennsylva- Awards: National Endowment for the Arts, Design Philadelphia Colleges of the Arts, Moore nia Society of Goldsmiths, Society of North Ameri- Student Fellowship

College of Art can Goldsmiths Exhibitions: Herter Gallery, University of Massachu-

Exhibitions: Philadelphia Art Alliance; Rosenfeld Awards: NEA Fellowship Grant, 1978 setts; Robots 12, "Helpmate," Detroit, Michigan

Gallery; Society of Illustrators; Graphis/Graphis Organizations: member IDSA, HFS, AEMS, AUVS Posters; Bologna World Book Children's Fair; Harvey Citron Children's Book Showcase; "The One Show — Adjunct Associate Professor: Sculpture Thomas Daley Original Children's Book Art," Master Eagle Gallery BFA Ed, Pratt Institute Lecturer: Crafts Clients: AT&T, SmithKline Beckman, Manufactur- Diploma, Academy of Fine Arts, Rome, Italy BA, Temple University ers Hanover, Cigna Corp., CBS, ABC, World Book/ Exhibitions: "Contemporary Realism" international Experience: Partner, Samuel Crothers Associates, travelling Childcraft, National Wildlife Federation, show (Pennsylvania Academy of Fine Architects Arts; Virginia of Fine Arts; Houghton-Mifflin, Macmillan, First Pennsylvania Museum Oakland Mu- Corp., Doubleday & Company seum of Art; Berlin Museum of Art; Holland); Dart Gallery, Chicago; "Figurative Art in York" Publications: Marcella Was Bored, E.P. Dutton: New 1985, Pinocchio, Doubleday: 1980, The Children's Artist's Choice Museum; Tibor de Nagy Gallery; Aesop, Doubleday: 1989, The Emperor's New Soho Center for Visual Arts; 41 st Eucharistic Con- Clothes, Dutton Children's Books: 1991, Dragons gress; Union League, NY And Dinosaurs, Random House: 1990

63 Don Daily Ronald Dorfman Stephen Fiorella

Instructor: Illustration Adjunct Associate Professor: Foundation Adjunct Assistant Professor Photo/Film/Animation AA, Trenton Junior College BFA, Philadelphia College of Art BFA, Philadelphia College of Art

BFA - Illustration, Art Center College of Design MFA, Tyler School of Art, Temple University MFA, University of Delaware

Awards: Merit, Society of Illustrators, NY; NY Experience: proprietor, Ronald Dorfman Design, Experience: lecturer in photography, Beaver College Salmagundi Club Illustrations for major motion Richboro, PA, a full-service agency with interna- Experience: Freelance Photographer specializing pictures, national magazines and advertising tional clients in the fashion, home furnishings, in editorial and Public Relations Photography; campaigns, book covers travel, and book-publishing industries Lecturer in Photography, Beaver College.

Private portrait commissions Exhibitions: General Electric Company, Philadel- Selected Group Exhibitions: Lowe Art Museum,

phia; faculty shows, Philadelphia College of Art Miami, Florida; Museum of Fine Arts, St. Peters-

Sky David burg, Florida; Scottsdale Art Center, Scottsdale, Assistant Professor: Photo/Film/Animation Michael Dunas Arizona; Salina Art Center, Salina, Kansas; Burden

BFA, Texas Tech University Lecturer: Crafts Gallery, Aperture Inc., N.Y; The Photo Center MFA, California Institute of the Arts BA, New York University Gallery, Tisch School of the Fine Arts, New York

Experience: headed Animation Department at Publications: Metalsmith, American Craft Studio University; International Print Biennial, Cabo Frio,

Carpenter Center for the Visual Arts and Harvard Potter, American Ceramics, Ceramics, Monthly, Brazil; Philadelphia Photographers International, University; instructor, San Francisco Art Institute New Art Examiner, NCECA Journal, Design Book Cigna Museum, Philadelphia. and California College of Arts and Crafts Review, Places, Industrial Design, AIGA Quarterly, Solo Exhibitions: Sol Mednick Gallery, Philadel-

Exhibitions: Los Angeles County Museum of Art; Metropolis, American Studio Jewelry{K\zzo\\, phia; Booktrader Gallery, Philadelphia. PBS Television's NOVA; World Festival of Anima- 1991) Awards/Nominations: Indo-U.S. Subcommission tion, Zagreb, Yugoslavia; American Film Festival, on Education and Culture, Nominee to Indo-Ameri- Martha Mayer Erlebacher New York; Festival of Abstract Film, Paris; Los can Fellowship; Council for International Exchange Adjunct Professor: Illustration Angeles International Filmmakers Exposition; of Scholars, Fulbright Fellowship, Nominee to BID, MFA, Pratt Institute Toronto International Festival of Animation (retro- India; Philadelphia College of Art Venture Fund; Gallery: J. Rosenthal Fine Arts, Chicago, IL; Koplin spective exhibition); Sinking Creek Film Celebra- University of Delaware Arts Council Grant. Gallery, Santa Monica CA tion; Canadian BBC Arthur C. Clarke Special; Collections: The Asia Society, N.Y; EMBRAGEL,

Athens International Film Festival; Chicago Inter- Cabo Frio, Brazil. Laurie Feinberg national Film Festival; Ann Arbor Film Festival; Publications: Aperture Magazine; Focus On Asian Lecturer: Architectural Studies Marin County Film Festival; International Tournee Studies Journal; American Poetry Review; Passion B Arch, Cornell University of Animation, Black Maria Film Festival International Magazine. Center for Architecture and Urban Studies, Awards: International Festival of Animation in San Francisco Design Studio Zagreb, Yugoslavia; Athens International Film Alida Fish Experience: registered architect State of Pennsyl- Festival; Independent Filmmakers Exposition, NY; Professor: Photo/Film/Animation vania; urban designer. Department of Planning, American Film Institute and the National Endow- Chairperson: Photo/Film/Animation City of Baltimore; project architect, Campbell Tho- ment for the Arts, 1 976; Society for the Encourage- BA, Smith College mas, Philadelphia; Skidmore, Owings & Merrill, ment of the Arts, sponsored by San Francisco MFA, Rochester Institute of Technology San Francisco Museum of Modern Art; grant from Sinking Creek Experience: visiting artist, Arrowmont School of Arts Film Celebration; Pennsylvania Council on the Arts; and Crafts, Gatlinburg, TN; Photography Program Richard Felton Marin County Film Festival Coordinator and Visiting Artist, Penland School, Adjunct Associate Professor: Graphic Design Penland, NC; visiting artist, Roanoke College, Salem, MFA, Yale University Peter DiGuglielmo VA; Univ of New Mexico, Albuquerque Lecturer: Painting/Drawing Chicago; Gail Ferretti Exhibitions: Catherine Edelman Gallery, BFA, Philadelphia College of Art and Design Kentucky; Tianjin Lecturer: Sculpture Fine Arts Center, University of Associate Director — Jessica Berwind Gallery Fine Arts College, China; Kohler Arts Center, BFA, Tyler School of Art Lecturer, Anderson Ranch Center for the Arts, Dela- MFA, Alfred University Sheboygan, Wl; Nexus Gallery, Philadelphia; Snowmass, CO, Watercolor Painting. Delaware Exhibitions: Philadelphia Art Alliance; Gross ware Art Museum; Photocollect, NYC; Lecturer, Cheltenham Art Center, Cheltenham, PA State Arts Council Gallery; University of Alabama; McCleaf gallery; Fleisher Challenge Exhibitions Exhibitions: Faculty Exhibition, Cheltenham, PA. Morris Gallery, Pennsylvania Academy of Fine Finalists; Show-Mellon Bank (Phila); Port of History Annual Awards Cheltenham Art Center, Show, Museum Arts; Toledo Museum; Project Arts, Cambridge, Spector-Gorsin Award for Painting. Invitational, Santa Barbara Museum; Lightfantastic Gal- Apprenticeship: Moravian Tile Works MA; Nexus Gallery. Juried Painting Exhibition, Award: James Wilbur Johnston Sculpture Compe- lery, Michigan State University; Southern Light Westburg Gallery-Glassboro State College and Gallery, Amarillo College; Cameravision Gallery, tition, Honorable Mention The Philadelphia Art Alliance. One-Man Show, Los Angeles; Albright-Knox Art Gallery, Buffalo,

Philadelphia Art Alliance. Alumni Exhibition, Phila- Edmund J. Ferszt NY; Morning Art Center, Chicago; University of delphia College of Art and Design. Juried Drawing Adjunct Assistant Professor: Illustration Vermont; Portland Museum of Art Exhibition, Beaver College. Director: Continuing Education Publications: Searching Out the Best, Exploring

BFA, Tyler School of Art, Temple University Color Photography, American Photographer, The Larry Donahue MA, University of Wisconsin Alternative Image, Camera, Modern Photography, Assistant Professor: Crafts MS Ed., Bank Street College of Education and Quiver '84, Contemporary Photography as BFA, Philadelphia College of Art Parsons School of Design Phantasy, Women See Woman MA in Education, The University of the Arts Exhibitions: Janet Fleisher Gallery, Rosenfeld Collections: George Eastman House International Professional Experience: Moravian Pottery and Gallery, Philadelphia Art Alliance, Moravian Museum of Photography; Standard Oil of Indiana; Tile Works College, Langman Gallery, Cheltenham Art Center, Triboro Electric Corp.; Morton, Lewis, King and Grants and Awards: Venture Fund Grant Moore College of Art, Allentown Art Museum Krieg; Humboldt State University; Murray State Lectures Nationally on Plaster Mold Making Collections: Penn Federal Bank, Philadelphia University; Rochester Institute of Technology Exhibitions: Campbell's Soup Tureen Show, 1986 Museum of Art, numerous private collections in Awards: Delaware Individual Artists Grant, PCA the Greater Philadelphia area Venture Fund, Polaroid Artists Program

Awards: Tobeleah Wechsler First Prize, Annual Awards Show, Cheltenham Art Center

64 Renee P. Foulks Sheryl Gibson Eileen Taber Goodman Adjunct Assistant Professor: Illustration Adjunct Assistant Professor: Crafts Adjunct Associate Professor: Foundation BFA, Moore College of Art BS, University of Maryland BFA, Philadelphia College of Art

MFA, Tyler School of Art, Temple University MA, Tyler School of Art, Temple University Exhibitions: one-woman shows Marian Locks Gallery,

Exhibitions: Grand Central Art Galleries, NY; John Exhibitions: Handweavers Guild of America, Swarthmore College, Hollins College, Pennsylvania

Pence Gallery, San Francisco; St. Louis Artists Galveston Center for the Arts, Tyler School of Art, Academy of the Fine Arts, Peale House Galleries,

Guild; Delaware Art Museum; Noel Butcher Beaver College, Utah Museum of Fine Arts, Salt Gross-McLeaf Gallery; group exhibitions, "New Tal-

Gallery, Philadelphia; State Museum of Pennsylva- Lake Art Center ent," Terry Dintenfass, NYC; "Still Life," First Street

nia; Woodmere Art Museum; University of Awards: Temple University Fellow, Utah Designer/ Gallery, NYC; Art in City Hall, Phila; Allentown Art Scranton; Moravian College; Goforth Rittenhouse Craftsman, University of Maryland Honors Scholarship Museum; Beaver College; Greater Harrisburg Art

Gallery, Phila.; John Szoke Gallery, N.Y.; Philadel- Festival; "Philadelphia Images" Giguere phia Museum of Art "Contemporary Phila Artists" Ralph Collections: AT&T, Chemical Bank of New York Awards: NJ State Council on the Arts Painting Senior Lecturer: Illustration Awards: Cheltenham Art Center Painting Annual, BFA, The University of the Arts Grant, American Artist Magazine National Tobeleah Wechsler Painting Prize, Beaver College Competition Painting Award; Venture Fund Grant, Clients: The New Yorker, The Atlantic Monthly; Psy- Purchase Award chology Today; Omni; U.S. News World The University of the Arts Redbook and Publications: Painting the Still Life, Watson- Report; The Boston Globe; Texaco; Scott Foresman; Guptill, NY, 1985; American Artist, 1981 TheArtof Diane Taylor Foxman RCA; AH. Robbins; Cigna; Rhone Poulenc Rhorer Watercolor, Prentice-Hall, 1985 Lecturer: Art Education Pharmaceutical; Wyeth Laboratories. BA, Antioch College Awards: The Society of Illustrators; American Anthony Petr Gorny MA Art Education, Goddard College Illustration; Graphis; Communication Arts. Associate Professor, Photo/Film/Animation Experience: Mainline Night School; Art Teacher, MFA, Yale University School of Art Lower Merion School District, 28 years David Goerk BFA, S.U.N.Y College at Buffalo Senior Lecturer: Painting Exhibitions: Woodmere Art Gallery; Paul Tash Gallery Experience: Tyler School of Art, Professo; Pennsylvania BFA, Philadelphia College of Art Publications: Authored art education booklets for Academy of Fine Arts, Instructor; has taught at Moore Indiana University Lower Merion School District; awaiting publica- MFA, College of Art, Drexel University, Community College Exhibitions: Becker Gallery, tion of The Dispossessed Child in Art Education Larry Jessica Berwind of Philadelphia, Fleisher Art Memorial Gallery, Momenta, Beaver College — Works on Affiliations: Member National Art Education Asso- Collections: Albright-Knox Art Gallery, Buffalo; S.R. Paper, Biennial '89 Delaware ciation, Faculty Sponsor of Student Chapter, — Art Museum, Guggenheim Museum; Brooklyn Museum; Victoria "Transmutations" University of Pennsylvania, National Art Education Association — and Albert Museum; Cleveland Museum of Art; 1 x 12: Decade of Fleisher Challenge Artists, A Philadelphia Museum of Art; National Gallery of Malcolm Frazier Janet Fleisher Gallery, 1988 Philadelphia Drawing Art, Washington, D.C.; Pennsylvania Academy of Lecturer: Sculpture Competition — Philadelphia Art Alliance, Alli- the Fine Arts. BA, University of Kansas ances in the Park Awards: NEA Individual Artist Fellowship; PA Bordese Studios, Carrara, Italy; Carving Collections: Stone Philadelphia Museum of Art, Beaver Council on the Arts Individual Fellowship Exhibitions: Shidoni Gallery, Santa Fe, annual College sculpture exhibitions; McAllister Gallery, Texas; Arlene Gostin East 7th Gallery, Lawrence, Kansas Aaron Goldblatt Associate Professor: Education Lecturer: Sculpture University of Cincinnati Frank Galuszka BFA, Philadelphia College of Art BA, University of Delaware Professor: Painting Rutgers University MFA MA, Philadelphia College of Art BFA, MFA, Tyler School of Art, Temple University Experience: instructor; University of Vermont; Exhibitions: Philadelphia Art Alliance, The Print Experience: Tyler School of Art; Louisiana Tech Germantown Rutgers University; Academy; techni- Club, Rosenfeld Gallery, Langman Gallery (AASCU Studies) Center in Rome; Aegean School, cal assistant, Alice Ayckock, Lauren Ewing, Ann Collections: Philadelphia Museum of Art, Salzburg Greece and Patrick Poirier Academy; prints included in public and private Exhibitions: More Gallery, Philadelphia; Sherry Exhibitions: A.J. Wood Gallery; Moore College of collections French Gallery, of Design, Art; "Jazz, '81," Park; NY; National Academy Vernon one person show, Experience: printer/painter collaborations with NY; Artist's Choice Museum, NY; Yale University, Haverford College; "Alliance in the Park," Fairmont Neil Welliver for Brooke Alexander Gallery, NYC; New Haven, CT; "New American Drawing," Park; "Duchampiou" The University of the Arts; Clarkson M. Potter Publishers, Inc., NYC; The Lim- Galleria de Pesaro, Venice; Center, NY; "Philadelphia Redevelopment Authority Park Pro- Ca Drawing ited Editions Club, NYC; Institute of Contemporary University of Virginia; Galleria Primo Piano, Rome; posals," Nexus Gallery; "Summerfest," Rutgers Art, Philadelphia, PA

USIS, Rome; Courthouse Show I & II, Philadelphia University; Zimmerli Museum Annual Exhibition, Awards: Fulbright recipient; joint US-Romanian New Brunswick, NJ; Vox Populi Gallery James Green government grant for a "Young Professional in the Lecturer: Printmaking

Arts" in Bucharest; fellowship recipient, Pennsyl- BFA, Oberlin College vania State Council for the Arts M Ph., Yale University MLS, Columbia University

65 .

Alan Greenberg Ronald E. Hays Michael Hurwitz Lecturer: Sculpture Senior Lecturer: Art Therapy Associate Professor: Crafts BFA, Tyler School of Art MS, Hahnemann Medical College BFA, Boston University MFA, Purdue University Experience: assistant professor and director, Experience: workshops: Altos de Chavon,

Exhibitions: Foster Goldstrom Gallery, NYC; Tower Creative Arts in Therapy Education, Hahnemann Dominican Republic; Appalachian Crafts Center,

Gallery, Penn State University; Bank of America, University; consultant, Arts in Special Education Smithville, TN; Boston University San Francisco, CA.; Nexus Gallery, Berkeley, CA.: Projects of Pennsylvania; Past president, Associa- Exhibitions: "Twice Gifted," Workbench Gallery, Souther Exposure Gallery, San Francisco, CA.; tion for Care of Children's Health. NY; "Beeken/Parsons, Hurwitz & Somerson,"

Oakland Museum, Oakland, Ca.; Dobrick Gallery, Snyderman Gallery, Philadelphia; "Dairy Barn," Gerald Herdman Chicago III.; Louisiana State University, Baton Athens, OH; "Mid-Atlantic Woodworkers," Stifel Associate Professor: Foundation Rouge; Fendrick Gallery, Washington, D.C.; Arts Center, WV; "Artist Designed Furniture," Pre-College Artpark, Lewiston, NY.; San Francisco Art Institute, Director, Programs Norton Gallery of Art, West Palm Beach, FL; Certificate, Cleveland Institute of Art CA.; The House in Contemporany Art, California "Contemporary Crafts: A Concept in Flux," University of Pennsylvania State University, Staniscus, Tinrock, CA.; Art MFA, National Craft Showroom, NY Agolo, Santa Ana College, CA Experience: visiting artist/lecturer, University of Publications and reviews: American Craft, 1986; Colgate University, Cooper Union, Pratt Collections: Carnegie Museum of Art; Indianapolis Vermont, Craft International, 1985, 1984; Living with Crafts, Museum Institute, Pennsylvania State University, Maryland Design Book Three; Fine Woodworking, 1983 Grants and Awards: PCA Fellowship Grant; Institute Awards: National Endowment fot the Arts Visual Cleveland of Art; Artpark; Oakland Arts Council; Oakland Museum Exhibitions: Museum Judson Artist Fellowship; Pennsylvania Visual Artist Memorial Church, NYC; various universities; Fellowship Gerald Greenfield Gross-McLeaf Gallery, Philadelphia; organized Associate Professor: Photo/Film/Animation exhibitions independent of commercial or Jeanne Jaffe

Director, Graduate Studies institutional support since 1963; representative, Senior Lecturer: Foundation

BA, Pacific University JoAnn Nostrand, Oklahoma City BFA, Tyler School of Art, Temple University MFA, Rhode Island School of Design MFA, Alfred University Experience: Adjunct Associate Professor, Drexel Kenneth Hiebert Exhibitions: Tweed Museum of Art, Duluth, MN; Professor: Graphic University; Visiting Associate Professor: University Design El Paso Museum of Art, El Paso, TX; Carborundum BA, Bethel College of Oklahoma, Indiana University of Bloomington, Museum, Niagara Falls, NY; Tyler Visiting Artists, Basel, University of Massachusetts at Boston; research Diploma, Allgemeine Gewerbeschule, Philadelphia; Whitney Counterweight, NYC; Switzerland specializations in Chinese photography and soci- various group shows in NY area Experience: research associate in the arts, Yale ety, theory of art, computer art, color theory and Awards: National Endowment for the Arts;. processes University, Graphics in the Street faculty, Federal Assistantship; PA Council on the Arts Grant Visual Seminar, Carnegie Mellon and Yale- Exhibitions: Gallery 913 Wilmington DE; Rutgers Design Arts Fellowship; Philadelphia College of Art Brissago Summer Programs. University, NJ; Simon's Rock College; Chiaroscuro Venture Fund Projects: typographic systems designed for IBM Gallery, Lenox, MA; Nexus Gallery, Philadelphia; Westinghouse; designer of Hermeneia series, Steven Jaffe The Gallery, Bloomington, IN; Vincennes Univer- and published by Fortress Press (AIGA 50 Best Books Associate Professor: Painting/Drawing sity; Art Museum, Indiana University; Addison grant for documenting design BFA, Philadelphia College of Art Gallery of American Art, Andover, MA; Boston Award); NEA using electronic technology. MFA, Tyler School of Art Center for the Arts; University of Massachusetts at processes Selected Awards: AIGA communication graphics; Exhibitions: Philadelphia Museum of Art, Boston; Lewis and Clark College; Massachusetts AIGA Philadelphia Awards; Society of Typographic Pennsylvania Academy of the Fine Arts, Academy Institute of Technology; Museum of Art, University Arts; Directors Club of York; Art Direc- of Arts and Letters, University of North Carolina, of Oregon Type New tors Club, Philadelphia. Atlantic College of Art Awards: Unicolor Artist Support Grant; National Exhibitions: "Post-Modern Typography," Collections: The University Museum, University of Endowment for the Humanities Summer Seminar; Selected "Ephemeral Images: Recent Louisville; Samuel White Institute of Art, Louis- Ford Foundation Grant; Philadelphia College of Art Ryder Gallery; Cooper-Hewitt; "American ville; Philadelphia College of Art Venture Fund Award American Posters," Culture Posters," University of Louisville; "Twelve Exhibitions: Phila. Museum of Art, PA Academy of

Thomas Y. Han Eclipses, Depleted Armour," Lima Art Association, Fine Arts, Academy of Arts and Letters, New York; Assistant Professor: Architectural Studies Lima, OH; "Thirty Years of Poster Art," Gewer- University of North Carolina; Atlantic College of BA, University of California, Berkley bemuseum, Basel, Switzerland; "The Expanded Art, Rutgers University; Charles More Gallery, M Arch, Southern California Institute of Photograph," Philadelphia Civic Center. Philadelphia of Art, Delaware Mu- Architectue, L.A. Publications: Author, Graphic Design Processes. . Collections: Phila. Museum Cranbrook Academy of Art universal to Unique, Van Nostrand Reinhold, NY: seum of Art; Allen R. Hite Collection, University of Experience: Architecture Intermundium, Milan, 1992 Louisville, KY.

Italy; various offices in California and Philadelphia Exhibitions/Awards: Galerie Z.B.,Frankfurt, West Germany, 1989-90; Levy Gallery, Moore College of

Art, Philadelphia, PA, "Topographies," 1989; Mu-

seum of Modern Art, New York. "Deconstructivist Architecture," 1988; Gropius Museum, Berlin,

West Germany, I.B.A. "City Edge" Competition.

First Prize, 1987; Venice Biennale, Italy. Three Architectural "Machines" and Drawings,

Palmanova Competition, Grand Prize, 1985 Publications: catalogue, Traume um ein Haus:

Aktion Poliphile. Frankfurt, 1990; catalogue, Deconstructivist Architecture. New York, 1988; DOMUS, August issue. Milan, 1988; catalogue, The International Bauausstellung. Berlin, 1988; AA

Files, Issue no. 14. London, 1987; catalogue, Venice Giennale, 1985 66 .

Roland Jahn David Kettner Nathan Knobler Associate Professor: Crafts Professor: Painting and Foundation Professor: Graduate Studies

BA, MS, MFA, University of Wisconsin BFA, Cleveland Institute of Art Diploma in Civil Engineering, Ohio State University Collections: Corning Museum of Glass; MFA, Indiana University BFA, Syracuse University

Philadelphia Museum of Art; Vassar College; Exhibitions: "Made in Philadelphia 2," Institute of MA, Florida State University

Brooks Memorial Art Gallery, Memphis; Delaware Contemporary Art, Philadelphia; "Contemporary Experience: Art Director and Illustrator, New York

Art Museum; Johnson Foundation; numerous Drawing," Pennsylvania Academy of the Fine Arts; and Hartford, CT; Professor, Head, Department of private collections "Six Serf-Portraits, 1975 Series," Whitney Museum of Art, University of Connecticut; Dean of Academic Publications: Contemporary Art Glass, Modern American Art, NYC; "Recent Works." NYU, Albany, Affairs, The Philadelphia College of Art

Glass, Glass Registry, Glass Art Magazine NY; "A Bach Transcription," Morris Gallery, Pennsylva- Exhibitions: Pennsylvania Academy of the Fine

Exhibitions: "Philadelphia: Three Centuries of nia Academy of the Fine Arts; "The Bach Project," Arts; Brooklyn Museum; American Federation of

American Art," Philadelphia Museum of Art; "New Marian Locks East, Philadelphia Arts, National Drawing Exhibition; American American Glass," Huntingdon Galleries, Collections: Philadelphia Museum of Art; Rutgers Federation of Arts traveling exhibition, "New En- Huntingdon, WV University; Pennsylvania Academy of the Fine Arts; gland Printmakers," Institute of Contemporary Art, Commissions: nine chalices for the 41st Eucharis- The Davidson Collection, Chicago Boston; Wadsworth Atheneum, Hartford, CT; tic Congress, Philadelphia; USA delegate, Interna- Awards: Philadelphia College of Art Venture Fund DeCordova and Dana Museum; Worcester tional Conference on Glassblowing, London; Museum; William Benton Museum, CT; Smith correspondent for Studio and Glass magazines Robert Keyser College Museum; Allentown Museum; Manwaring Professor: Painting/Drawing Gallery; Connecticut College; Lyman Allen Mu- Painting/Drawing Elsa Johnson Chairperson: seum; Berkshire Museum, Pittsfield, MA; Slater Associate Professor: Foundation University of Pennsylvania Museum; New Britain Museum of American Art; Co-Chairperson: Foundation Certificate: Atelier Fernand Leger, Paris Joan Peterson Gallery, Boston; Angeleski Gallery, BFA, Cooper Union Twenty-nine solo exhibitions since 1951 in U.S.A. NY; Chase Gallery, NY MFA, University of Pennsylvania (New York, Philadelphia, Washington, D.C., Publications: author, The Visual Dialogue (three

Exhibitions: sculpture for University City Town-houses; Williamsburg, VA, New Haven and Chicago) and editions in English, translated and published in

Redevelopment Authority of Philadelphia; Marian abroad (London, Paris and Rome). Spanish, Indonesian and Roumanian editions); Locks Gallery, Philadelphia; Art Alliance, Philadelphia; Selected public collections: College of William and articles and lectures on visual perception, draw-

Cheltenham Art Center, Cheltenham, PA Mary, Virginia, Pennsylvania Academy of the Fine ing, the artist in society, political art, children's art

Grants: Philadelphia College of Art Venture Fund Arts, Philadelphia Museum of Art, Phillips Collec- Research on visual perception and creativity tion, Washington, D.C. Lois M. Johnson Deborah Kogan Professor: Printmaking Paul H. King Senior Lecturer: Children's Book Illustration BS, University of North Dakota Senior Lecturer: Illustration Philadelphia College of Art MFA, University of Wisconsin, Madison BFA, Philadelphia College of Art Pennsylvania Academy of the Fine Arts

Exhibitions: The Brooklyn Museum National Print 4-year Certificate, Pennsylvania Academy of the Experience: painter, illustrator, author

Exhibition; Pratt International Print Exhibition; Fine Arts Exhibitions: AIGA; American Watercolor Society;

Graphics International, India; The Print Club; MFA, Boston University Carnegie-Mellon University; Hibiya Library, Tokyo, "Works by Women on Paper," Los Angeles; Experience: Boston University, Emmanuel College, Japan; Philadelphia Museum of Art Boston Printmakers National Exhibition; Prints 78 Moravian College, Baum School of Art, Community Awards: Louis Comfort Tiffany Grant for Painting,

National Print Invitational; Philadelphia Museum College of Philadelphia. Work in numerous private Drexel Citation for Book Illustration of Art History of Silk Screen; American Drawings, collections and group shows. Publications: author/illustrator: The Cloud, Harper Pennsylvania Academy of the Fine Arts; Marian Clients: AT&T, Pennwalt Corp., Merc Sharp + & Row; Fog-Drift Morning, Harper & Row; My Artists, Campbell Co., Kynett, Locks Gallery Contemporary Philadelphia Dome, Soup Lewis Gilman & Dog, Trip, Holiday House; illustrator: Hubknuckles, Art; Philadelphia Museum of "Recent Publica- Pennwalt Corporation, Gray & Rogers Crown; Immigrant Girl, Holiday House; My Prairie tions" Arizona State University, VAR1 Studios Year, Holiday House; Through Grandpa's Eyes, Alan J. Klawans Collections: Atlantic Richfield Corporation, General Harper & Row Electric Corporation, University of North Dakota, Senior Lecturer: Illustration BFA, Philadelphia College of Art University of Wisconsin, New York Public Library, Andrea Krupp Philadelphia Museum of Art, The Metropolitan Lecturer: Tyler School of Fine Arts, Moore College Lecturer: Printmaking Museum of Art, Fogg Museum of Art, Boston of Art, Annenberg School of Communications BFA, Philadelphia College of Art Design: Awards: Visual and Performing Arts Program, 1980 Director of SmithKline Beckman Corporation Experience: assistant conservator of rare books, projects exhibited: Art Directors Club, Winter Olympics, Lake Placid, NY; Pennsylvania Design NY Library Company of Philadelphia; limited edition Council on the Arts Artist Fellowship, 1980; One Society of Illustrators, American Institute of Graphic box and portfolio production, Atelier Dermont- Arts, Society of Publication Designers, York Percent Commission for City of Philadelphia, 1988 New Type Duval, Paris, France Directors, Philadelphia Art Directors Club Exhibitions: Paris International Pring Group, Oslo;

Alec Karros Paintings and prints exhibited: Museum of The Arts of the Book, Philadelphia; Practival and Lecturer: Crafts Modern Art; Whitney Museum of American Art; Provocative, Philadelphia; Grafiek, Utrecht

BFA, Philadelphia College of Art Pennsylvania Academy of the Fine Arts; The Commissions: Artist's book editions: Nottamum MFA, Rhode Island School of Design Brooklyn Museum; Philadelphia Museum of Art; Town; Le Desir de Pleindre, for Editions Carina, Experience: instructor, Rhode Island School of Smithsonian Institution; The Print Club, Philadel- Paris/Utrecht

Design; artist in residence, Glassell School, phia; Dulin Museum; Corcoran Gallery

Houston Museum; artist in residence, University of Georgia

Exhibitions: Monarch National, San Angelo Mu- seum, San Angelo Texas; Nicolayson Museum, Caspar Wyoming; Pewabic Pottery, Detroit, Michi- gan; The Elements, Greenwich, Connecticut; The

Hallowed Vessel, Lill St. Gallery, Chicago, Illinois

67 Hedi Kyle Barbara Lekberg Peter Lister Senior Lecturer: Printmaking Lecturer: Sculpture Senior Lecturer: Printmaking Diploma, Werk-Kunstschule, Wiesbaden, West BFA, MA, University of Iowa Pennsylvania Academy of the Fine Arts Germany Honorary Doctor of Fine Arts, Simpson College Barnes Foundation Experience: graphic design, illustration, fabric Exhibitions: Whitney Museum; Museum of Experience: instructor, Rosemont College; Guilford design, hand bookbinding Modern Art; Pennsylvania Academy of the Fine College, NC; Philadelphia Museum of Art; Teaching: Center for Book Arts, NY, 1977-85; Arts; Chesterwood (Daniel Chester French Estate); Holmesburg Detention Center; The Print Club; Paper and Book Intensive, Oxbow, 1983-86; National Academy of Design; seven solo exhibi- Cheyney State College numerous workshops, US and Canada; Cooper tions at Sculpture Center Gallery, NYC; numerous Exhibitions: The Print Club; Philadelphia Art Union, NY, 1981,1983 show in other national galleries Alliance; Woodmere Art Center; Pennsylvania

Exhibitions: 3 one-person, 1 two-person, and Awards: two Guggenheim Fellowships; grant from Academy of the Fine Arts; Cheltenham Art Center; 17 group shows the National Academy and Institute of Arts and National Academy of the Fine Arts; "112 Prints, 1 Publications: one book, four articles, several book Letters; numerous commissions Portfolios," Philadelphia College of Art; Rosemont reviews Public Collections: Whitney Museum; Des Moines College; Virginia Intermont College; George

Collections: mostly private; some libraries and archives Art Center; Birmingham Museum of Fine Art; O'Bannon Gallery Memberships: board of directors, Center for Book corporate and private collections internationally, in Collections: Phillips Collection, Washington, DC;

Arts; American Institute for Conservation; Pacific the U.S, Canada, Brazil, Sweden, Bermuda Philadelphia Museum of Art; Free Library of Phila- Center for Book Arts; Friends of the Dard Hunter delphia; ARCO; IBM; RCA; Bell of Pennsylvania Museum; Guild of Book Workers Niles Lewandowski Assistant Professor: Foundation William Longhauser Jim Lakis Co-Chairperson: Foundation Professor: Graphic Design Adjunct Associate Professor: Illustration Director of New Talent and Prep Programs BS, University of Cincinnati Exhibitions and Awards: Art Directors Club of BFA, Maryland Institute College of Art MFA, Indiana University Philadelphia; Photo Graphis; AIGA Award of MFA, University of Pennsylvania Graduate study, Allgemeine Gewerbeschule, Excellence; Art Directors Club of New York; Exhibitions: Gross-McLeaf Gallery; Meredith Basel, Switzerland Advertising Club of New York Contemporary Art, Baltimore, MD; Bucks County Experience: visiting professor, University of

Major clients: Smith, Kline and French Laboratories; Community College; Chestnut Hill College; Fifth Cincinnati, summer 1980 N.W. Ayer Advertising Agency; Spiro and Associates Street Gallery, Wilmington, DE; Nesbitt Design Organizations: member, American Institute of Advertising Agency; Widmere Communications Arts Gallery, Drexel Univ; McKinney Gallery, West Graphic Arts Chester University. Exhibitions: Typographism, Georges Pompidou David Lebe Awards: Philadelphia College of Art Venture Fund National Contemporary Art Center, Paris; Thirty Lecturer: Photo/Film/Animation Tobleah Wechsler Award, Cheltenham Annual, Years of Poster Art, Basel, Switzerland; AIGA Just

Philadelphia College of Art Purchase Prize Award, Camden County Cultural Type, New York; AIGA Philadelphia Shows, Phila- Exhibitions: XYZ Gallery, Gent, Belgium; Catherine Heritage Commission. delphia; New York Art Directors Club Exhibition, Edelman Gallery, Chicago; University of Maryland; Collections: INA Cigna Corporation, Delaware Art New York, Europe, Asia; STA 100 Shows, Chicago, Fine Arts Museum of Long Island; Roanoke Museum Sales and Rental Gallery, MBank USA, New York; 10th and 11th International Poster

Museum of Fine Arts; Alternative Museum, NYC; Bell Savings Association, Penn Mutual Life Insur- Biennale, Warsaw, Poland; Lahti VI & VII Poster Marcuse Peifer Gallery, NYC; The Noyes Museum; ance Company Biennale, Lahti, Finland; Works on Paper, Tianjin, Images Gallery, Cincinnati; Marianne Deson Peoples Republic of China; Design USA, Soviet Gallery, Chicago; Kohler Arts Centr, Sheboygan, Bobbie Lippman Union; Design Excellence: 50 Posters of the 80's, Wl; Jayne H. Baum Gallery, NYC; Nexus Gallery, Senior Lecturer: Crafts The University of Tennessee; Letterforms and Atlanta; Allentown Art Museum BA, Sarah Lawrence College Typography, Indiana University; American Institute Publications: Through a Pinhole Darkly, Photogra- Certificate, Pennsylvania Academy of the Fine Arts of Graphic Arts: Effective Assignments in Graphic phy: Art and Technique: "Looking Back," Darkroom Experience: instructor, Penland School of Crafts; Design, New York Photography, Poetic Inquiry, Truth Fantasy: David program director/instructor, RittenhouseTown Paper- Books/Publications: Graphic Style from Victorian

Lebe Photographs' The I.C.P Encyclopedia of making Workshops, Fairmount Pari? workshops to Post-Modernism, 1988; Type and Image, 1989;

Photography: "Open to Light: The Photography of Exhibitions: "Innovative Prints and Paper," Plum Step-By-Step Graphics, Vol. 6, No. 2, 1990; 77ie David Lebe, " Darkroom Photography, Lenseless Gallery, MD; "Crossover: Contemporary Artists' Twentieth Century Poster-Design of the Avant

Photography, The Advocate Books and Paperworks," Marlboro Gallery, MD; Garde (Revised Edition), 1990; The History of Collections: Philadelphia Museum of Art; Allen- Cheltenham Annual Exhibition; Pennsylvania Graphic Design (Revised Edition), forthcoming

town Art Museum; The J. Paul Getty Museum, Academy of the Fine Arts Fellowship Shows Santa Monica, CA; The Albin 0. Kuhn Library and Collections: Gannett Publications, Inc., Headquar- Sherry J. Lyons

Gallery, University of Maryland; Miller/Plummer; ters, USA Today, VA; Bethesda Hospital, Maryland; Adjunct Associate Professor: Humanities and Art

Henry S. McNeil, Jr; Dechert, Price and Rhoads; CIGNA Corporation, Philadelphia Therapy Poloroid Corporation Director: Art Therapy BA, University of Pennsylvania MS, Hahnemann Medical College Experience: assistant professor, Hahnemann University and Hospital; registered art therapist, Ashbourne Day School, 1967-72; lecturer and author on art therapy with children; consultant for

Arts in Special Education Project of Pennsylvania

and private practice in Art Therapy. Barbara Mail Robert F. McGovern Nora L Monroe Senior Lecturer: Crafts Professor: Foundation Lecturer: Photo/Film/Animation BS, State University College at Buffalo, NY Diploma, Philadelphia College of Art BA: Ohio State University

MFA, State University College at New Paltz, NY Collections: Philadelphia Museum of Art; Free MFA: Candidate, Temple University Exhibitions: "American Jewelry Now," American Library of Philadelphia; Cornell University Rare Experience: Producer/Director/Sound/Editor of

Craft Museum; Solo shows at Convergence Rook Collection; American Catholic Historical Skin and Ink; Artists and Collectors, half hour

Gallery, NY; and Swan Gallery, Philadelphia Society documentary film released in December 1989. Awards: Pennsylvania Council on the Arts Commissions: Daylesford Abbey, Paoli, PA; Our Sound Person for Talk Out W(M.Wellner, 1988,

Fellowship Grant, 1983 Lady of Lourdes Hospital, Camden, N.J.; Mount St. Gabrielle's Story (P. Romeu, 1989). Time Til Light

Joseph's Academy, Flourtown; Franklin Institute, (M. Connor, 1989), A Temporary Life (Y. Leach, Paula Marincola Philadelphia 1990). Lecturer: Photo/Film/Animation Exhibitions: over 14 one-man shows of paintings, Exhibition: Skin and Ink: Artists and Collectors has BA, Syracuse University drawings, and prints been featured at the American Folklore Society's Experience: curator, "Independence Sites: Sculp- Publications: Article Contemplation and the Artist, Centennial Conference, The Athens International ture for Public Places"; art critic, ARTFORUM The Way, Herthrop College, London Film and Video Festival, The Houston International consultant. The magazine; Fabric Workshop; assis- Awards: two time recipient of the Philadelphia Film Festival, Independent Focus 1990 WNET-TV tant director/curator, Institute of Contemporary College of Art Venture Fund New York, Independent Images 1990 WHYY-TV Art, Philadelphia Philadelphia. Publications: of reviews Jack Tworkov, Laurence Jeanette McGrath Awards: Skin and Ink: Artists and Collectors re- Bach, Georgia Lecturer: Printmaking Marsh, Phoebe Adams, and Guy ceived the Bronze Award for documentary at the

Goodwin in ARTFORUM magazine; "William BFA, Philadelphia College of Art Houston International Film Festival, 1990 Larson: Photographs 1969-1985," Investigations 1985 (exhibition catalog, ICA); "Kenny Scharf: Doug Mellor Thomas Moore Paintings and Customized Appliances," Investiga- Lecturer: Photo/Film/Animation Lecturer: Photo/Film/Animation tions 1985; "Face to Face: Recent Portrait Photog- BS, Roanoke College BA: Temple University raphy," Investigations 1984, "Chronology," Laurie Experience: commercial photographer; owner, MFA: University of Delaware Studio; clients include: Anderson: Works from 1969- 1983 (exhibition cata- D.W.Mellor Cigna Director of the Booktrader Gallery in Philadelphia, Insurance, American Express, Fortune Magazine, log); Image Scavengers: Photography (exhibition Freelance Curator at the University of Delaware, catalogue), 1982 Lewis Gilman and Kynet Advertising, Apple University of the Arts and other public institutions. Computer, Wyeth International, Ketchum Board member of The Society for Photographic Kent Massey Advertising, Elkman Advertising. Director, The Education. On the Advisory Panel for the Photogra- Senior Lecturer: Industrial Design Photography Gallery, Philadelphia and La Jolla, phy Department of The Philadelphia Community S.B., Massachusetts Institute of Technology. CA, 1980-83 College.

Experience: Consultant in computerizing design Exhibitions: University of Delaware; Old Dominion Larry Mitnick processes of graphic and industrial designers. University; Millersville University; The Philadelphia Associate Professor: Architectural Studies Previously an aerospace systems engineer on Print Club; Nexus Gallery space station and communications satellite Chairperson: Architectural Studies projects. B Arch, Cooper Union Chris Myers Clients: DuPont, Campbell Soup, CIGNA, Conrail, M Arch, Harvard University Assistant Professor: Graphic Design Allemann, Almquist & Jones, Cloud Geshen, Experience: Registered Architect Pennsylvania and BA, University of Toledo

Malish Design Ltd. Massachusetts; Principal, Larry Mitnick, Architect; MFA, Yale University public lectures at Laval University, New York Awards: The Alexey Brodovitch Award for Institute of John Mathews Technology, Ecole Polytechnique Fed- Distinction in Graphic Design, Yale School of Art;

Senior Lecturer: Foundation eral du Lausanne American Institute of Graphic Arts; Philadelphia BS, Skidmore College Awards: Progressive Architecture magazine Art Directors Club; Philadelphia Chapter of the MFA, University of Pennsylvania citation — multifamily housing, January 1981 American Institute of Graphic Arts; Society of

Exhibitions: Interiors, Saratoga Springs; Faculty Competitions: new public office building, Vienna, Typographic Arts; The University and College Gallery, Austria, Club, University of Pennsylvania; Mendola collaborators Robert Krier, Kunibert Designers Association; Individual Design Grant, Boston; Venture Fund Award Show; Phillips Mill, Gaugusch, 1975-76; new multi-purpose National Endowment for the Arts New Hope; Bucks County Community College; community facility, Morges, Switzerland, Group Exhibitions: STA 100, Design America 1988, Lehigh Art Alliance; Southern Vermont Art Asso- collaborator Professor P. von Meiss, assistant The University and College Designers Association,

ciation; Harrisburg Art Association Marc Henry Collomb, 1975-76; NEA grant-John Principal of the Philadelphia design firm, The Hejduk, "The Riga Project," 1987 Office of Mayer + Myers, Philadelphia Barbara Mauriello Exhibitions: Cooper Union, works by invited poets,

Senior Lecturer: Printmaking painters, writers, sculptors, architects, responding

BA, Trinity College to the themes "window, room, furniture;" MA, New York University, School of Education "Pedagogy and Practice," National Academy of Design, NYC, exhibition of drawings, painting, Rodney McCormick architecture; "Young Faculty Architecture," Joe Associate Professor: Crafts and Emily Lowe Art Gallery, Syracuse University; BFA, Tyler School of Art, Temple University Bank of Indochina, Lausanne, Switzerland MFA, Rhode Island School of Design (painting in bank collection); gallery of the Theatre Recent Exhibitions: Solo Show, 1990, Owen du Vide-Poche, Lausanne, Switzerland Patrick Gallery, Philadelphia; Contemporary

Philadelphia Artists: A Juried Exhibition, 1 990, Philadelphia Museum of Art Awards: National Endowment for the Arts Individual Fellowship Grant, 1990

69 "

Gerald Nichols JanisT. Norman Barry Parker Professor: Painting/Drawing Associate Professor: Art Education Professor: Sculpture Diploma, Cleveland Institute of Art Chairperson: Art Education Chairperson: Sculpture MFA, postgraduate fellow, University of BAE, University of Kansas MFA, Eastern Michigan University Pennsylvania MA, University of Missouri, Kansas City University of Massachusetts Exhibitions: "Made in Philadelphia 2 and 3," PhD, University of Kansas Experience: Sculptor-in-Residence, Vermont Institute of Contemporary Art; "Contemporary Awards: Nancy B. Altwater Scholarship, for out- Studio School; Sculptor-in-Residence, Studio Drawings," Philadelphia Museum of Art; Philadel- standing Art Education Candidate, University of L'Homme Dieu Art School

phia College of Textiles and Science; "Iceberg Kansas; Official Commendation, Art Education Exhibitions: Tech World Plaza, Washington, D.C.; Project," University of Vermont, Burlington; "The Appreciation Award, Missouri Art Education Asso- Artluminium, Montreal, Canada; George Mason Fox Hunt," Morris Gallery, Pennsylvania Academy ciation Cultural Leadership Grant; USA/Para Broth- University, VA; "The Artists Hand," The Sculpture of the Fine Arts; Allentown Art Museum; "Figura- ers National Partners of the Americas Title Grant Center, NY; one person show at Westchester Uni- tively Sculpting," P.S.1, Long Island City, NY; Recipient, Environmental Protection Agency versity, PA; outdoor sculpture, Burlington County

Arctic, Antarctic, Audubon," NYC; "Terminal New Publications: "Counseling the Gifted Student for a Community College, NJ; Three Rivers Arts Festi-

York," Brooklyn, NY; "Reflections," C.W. Post Col- Career in the Visual Arts", NACAC Journal; "Do val, PA; The Soho Building, NY: one person outdoor lege, Greenvale, NY; Bernice Steinbaum Gallery, Videos Work?", Transfer Magazine, "Making Art show at Houston and Bowery, NYC; Sculptor's

NYC; "Synthetic Art," Harm Bouckaert Gallery, Basic in Secondary Schools - A Model for Effec- Guild Annual Exhibits, Lever House, NY: "Sculpture NYC; "Activated Walls," The Queens Museum, tive Instruction"; "The Effectiveness of an Inte- '84," Beaver College, PA; "New Directions," sculp- Flushing, NY; University City Science Center, Phila- grated Arts Program on Student's Academic ture invitational, Harrisburg, PA; one-man show, delphia; "Memento Mori," Museum of Contempo- Achievement," National Arts Education Research Christine Price Gallery, Castleton State College, rary Art, Mexico City, Mexico; "Pale Gate," More Center anA topic of published dissertation; "The VT; Hallwalls Gallery, Buffalo, NY; Associated Gallery, Philadelphia "Kronos, God of War, Cleve- Art Education Connection, A Solution for Local Artists Exhibit, Carnegie Museum, Pittsburgh; one- " land Institute of Art, Cleveland, Ohio; "Tox Concerns," Missouri Art Education Journal; Tal- man show, Jamestown, NY; Society of Sculptors

Project", Art Park, Lewiston, N.Y. ent and Energy in Art Education, focus article; Exhibit, PPA Gallery, Pittsburgh, PA Collections: The Cleveland Museum of Art; "Development and Appreciation of Natural Dyes Awards: Philadelphia College of Art Venture Fund

Philadelphia Museum of Art for Fibers Used in Textile Design," published by Awards: Guggenheim Fellowship Environmental Protection Agency; "Individualiza- Kris Parker

tion in the Instruction of Art," curriculum guide; Lecturer: Crafts Eileen Neff BFA, Maryland Institute "Why Teach Art in Our Schools?"; "Design, the Lecturer: Painting/Drawing Key to Successful Art Instruction." MFA, Tyler School of Art, Temple University

MFA, Tyler School of Art Exhibitions: Juried Group Exhibit, Federal Reserve Experience: instructor, Maryland Institute, Tyler BFA, Philadelphia College of Art Gallery, Kansas City, MO; juried Group Exhibit, School of Art, Interlochen Center for the Arts BA, Temple University '88," Unitarian Gallery, Kansas City, MO; Juried Group Exhibitions: "Fiber National Dunkirk, NY; "Art Exhibitions: Installation, Carnegie Mellon Gallery, in City Exhibit, Unity Village Gallery, Kansas City, MO; Hall: Philadelphia Panoramas, the Cityscape Pittsburgh, PA, Installation, 1990; "Philadelphia Art Invitational Group Show, University of Kansas, in Three Dimensions;" "New Work," Mobilia Gal- Now", Philadelphia Museum of Art, Philadelphia, Lawrence Kansas, 1967, '84, '85, '86; Invitational lery, Cambridge, MA; "50th Golden Anniversary: Solo Exhibition, PA 1990; Lawrence Oliver Gallery, Group Show, Ball State University, Muncie, Indi- Alumni Exhibition," Tyler School of Art; "The 65th Philadelphia, PA, "Philadelphia 1989; Art Now", ana; Crown Center Juried Exhibition, Hallmark, Cleveland May Show," Cleveland Museum of Art; Pennsylvania Academy of the Fine Arts, Philadel- Kansas City, MO; Invitational Show, Kansas City 20th Century Gallery, Philadelphia; "Sculpture/ phia PA, 1988; Installation, Roland Gubson Galley, Philharmonic Designer's Showcase; Missouri Art Penn's Landing," Port of History Museum, Philadel- Potsdam, NY, 1987; "Made in Philadelphia", Insti- phia; "Constructions," Provident National Bank, Festival, first place award, Chillecothe, MO; Mid- tute of Contemporary Art, Philadelphia, PA, 1 300," 984; west Research Institute Gallery, Kansas City, MO, Philadelphia; "Sculpture Philadelphia Art Installation, PSI, Long Island City, NY, 1981. two person show; Garfield Gallery, Union, MO, Alliance, Philadelphia, Collections: Larry Mangel, Dietrich Foundation two person show; Thornhill Gallery Invitational Awards: PA Council on the Arts, 1989; National Albert J. Pastore Show, Avila College, Kansas City, MO Endowment of the Arts, 1988; Mid Atlantic States Adjunct Associate Professor: Foundation Grant, 1987. Robert Oppecker BFA, Philadelphia College of Art

Philadelphia critic for Art Forum magazine. Senior Lecturer: Crafts MFA, Tyler School of Art, Temple University BFA, Philadelphia College of Art Experience: freelance illustrator Exhibitions: "Contemporary Metals USA," Downey Organizations: Society of Illustrators, NYC Museum of Art, CA, 1985; "PCA Metals: More Exhibitions: Festival di Giovantu, Trieste, Italy; Than a Decade," Sign of the Swan Gallery, 1984; Society of Illustrators, NYC; Philadelphia Art

"Statements in Sterling," 1982; "More Directors Club; Philadelphia Artists Guild; Metals," Sign of the Swan, 1982 Rosenfeld Gallery, Philadelphia; Philadelphia Art Alliance; Kutztown State College

Tim O'Brien Clients: TV Guide; After Six, Inc.; General Electric;

Instructor: Illustration Binswanger; Bookbinders BFA, Paier College of Art, New Haven, CT

Freelance Illustrator

Awards: Merit Society of Illustrators 29, 30, 31; Society of Publication Designers, Merit 1990; Print

Design Annual, 1 989; Institute of Outdoor Adver- tising National Award, 1988

70 Rodriguez Jeannie Pearce Tom Porett Susan Adjunct Assistant Professor: Saturday School Lecturer: Photo/Film/Animation Professor: Electronic Media Education Coordinator BFA, Rochester Institute of Technology Director: Electronic Media BFA, Ed, Tyler School of Art, Temple University MFA, University of Delaware; Tyler School of Art, BS, University of Wisconsin M Barnes Foundation, Merion, PA Temple University MS, Institute of Design, Illinois Institute of Honorary Doctorate, Moore College of Art Exhibitions: Nexus Gallery, Philadelphia; Tianjin Technology Philadelphia Musical Experience: School District of Philadelphia, Tyler Fine Art College, China; Art in City Hall, Electronic music studies, School of Art, Philadelphia Museum of Art, Philadelphia; Art Space, Modesto, CA; Pratt Academy graphics design Fleisher Art Memorial Institute, NYC; Muse Gallery, Philadelphia; Experience: computer and program Awards: official commendation, Excellence in Delaware Center for Contemporary Arts, systems consultant; computer graphics Philadelphia Board of Education; federal Wilmington; University of Kentucky, Lexington; design; educational multimedia presentation Teaching, grant; Pennsylvania teaching grant, 1982; University of Florida, Gainesville; Foto Gallery, design corporate grant NYC; Color Services Gallery, Santa Barbara, CA; Exhibitions and installations: PIX IM Art Show, Publications: MuseumJournal, Carnegie Institute; Allentown Art Museum, Allentown, PA; The Light Paris, France; IBM Gallery, NYC; SIGGRAPH Art Electronica Arts and Activities Magazine, California; Instructor Factory, Charlotte, NC; Friends of Photography, Show (traveling exhibition); Prix Ars Photography, Magazine, New York; The Special Artists Hand- Carmel, CA; Soho 20 Gallery, NYC; Western '87, Linz, Austria; Center for Creative book, Date Seymour Publishers, 1984; Art Smart, Heritage Museum, Omaha, NE; Los Angeles Tucson, AZ; Everson Museum, Syracuse, NY; '86: Prentice Hall, 1988. Center for Photographic Studies; Delaware Art Computer Images one man show, York "Women in Art," Philadelphia Museum, Wilmington; Cambridge Photography University, CUNY; University City Center Gallery, Exhibitions: la Ville de Museum of Art; "Ten Philadelphia Artists," Gallery, Cambridge, MA Philadelphia; Musee d'Art Moderne de Villanova University; Artists' Equity at the Awards'. Pennsylvania Council on the Arts; Paris, France; Electronic Imaging Exhibition, Waterworks; Kammer Gallery; Kroungold Gallery; Delaware Center for the Contemporary Arts Stockholm, Sweden Arabesque Gallery; Plastic Club Drawing Award Award; University of Delaware Purchase Award; Awards: Philadelphia College of Art Venture Fund Faculty Grant; Guggenheim L.A. Center for Photographic Studies Award; Faculty Grant; UICA Warren Rohrer Philadelphia College of Art Venture Fund Fellowship Professor: Painting Collections: Coopers and Lybrand, University of Phyllis Purves-Smith BA, Eastern Mennonite College Delaware, Los Angeles Center for Photographic University) Associate Professor: Illustration BS, Madison College (James Madison Studies, Murray State University, George Eastman BFA, Cooper Union Selected group exhibitions: "Pittsburgh House "Three MFA, Tyler School of Art, Temple University International," Carnegie Museum of Art; American Art," Philadelphia Mary Phelan Solo exhibitions: Tyler School of Art, Temple Hundred Years of Museum of Art; Pennsylvania Academy of the Fine Assistant Professor: Printmaking University; Moravian College, Bethlehem, PA; Indiana Arts; Corcoran Gallery of Art; "A Sense of Place," Director, Graduate Program Book Arts/Printmaking Gross-McLeaf Gallery, Philadelphia, PA; Joslyn Art Museum, Omaha, Nebraska BS, The College of Saint Rose University of Pennsylvania, University Museum, Solo exhibitions: CDS Gallery, NYC; Lamagna Gal- MA, University of Wisconsin Indiana, PA; Pindar Gallery, NYC Gallery, Philadelphia, PA; lery, NYC; Morris Gallery, Pennsylvania Proprietor: Irish Pig Press; Blind Hand Press Group exhibitions: More National Art Academy of the Fine Arts; Marian Locks Gallery; Exhibitions: "The Arts of the Book," The University American Artist Golden Anniversary Francisco; St. Makler Gallery of the Arts; "Practical and Provocative," The Exhibition, John Pence Gallery, San Central Collections: The Metropolitan Museum of Art, Painted Bride; "Artist's Books," The Print Club; Louis Artists' Guild, St. Louis, MO; Grand Philadelphia Museum of Art, Pennsylvania "Point of Departure," Elvehem Museum, Madison, Art Galleries, NY Academy of the Fine Arts, Delaware Art Museum, Wisconsin; "Books in the Delaware Valley," Boris Putterman Smith College Museum of Art, Allentown Swarthmore College; "Bookworks, 1982," Moore Associate Professor: Painting Museum of Art, Portland (OR) Art Museum College of Art; "Paper in Particular," Columbia Diploma, Cooper Union Awards: Artists' Fellowship, Pennsylvania Council College; Vermillion "80," University of South BFA, Philadelphia College of Art on the Arts; Artists' Fellowship, National Dakota MFA, Indiana University Endowment for the Arts Awards: American Association of Museums; PCA Teaching experience: Indiana University, John Venture Fund Herron Art School, Cleveland Institute of Art Kenneth Root Lecturer: Industrial Design Peter Pierobon Exhibitions: PCA "Observances," "Gallery Space Senior 1976," Moravian BSID, Art Center College of Design Senior Lecturer: Crafts Philadelphia YM/YWHA; "Representational Experience: Designer Loewy Intemation, Wendell Castle School of Woodworking College; St. Joseph's University; — Face,"Rider General Motors Design Staff, DuPont Clinical Experience: Wendell Castle Design Workshop, Painting in Philadelphia"; "The Human Systems, DuPont Photo Products, Design Director designer of one-of-a-kind commissioned furniture College, curator and participant — Masterpiece Miniatures. Consultant Clients: Ford Truck, Navistar, Hess + Eisenhardt Coach, American Motors, Masco Corp., Intermetro Industries.

71 Tony Rosati California Institute of the Arts; Donnell Film Joanne Schiavone Senior Lecturer: Printmaking Library, NYC; Oberhausen Film Collection, West Lecturer: Printmaking BA, Rider College Germany; Enoch Pratt Free Library, Baltimore; BS Ed, University of Delaware

MFA, Tyler School of Art, Temple University Haftford Atheneum; Museum of Modern Art, NYC; Philadelphia College of Art

Experience: assistant to the curator, The Lessing J. Museum of Art, Carnegie Institute; Free Library of Experience: workshops given at Penland School, Rosenwald Collection, Jenkintown, PA; visiting Philadelphia; Northwestern University; Simon Penland, NC; Peters Valley, Layton, NJ; SUNY- artist, Tyler School of Art Frazer University, Vancouver, Canada; South Purchase, Purchase, NY

Collections: National Gallery of Art, Washington, Carolina Arts Commission; West Virginia Library Grants: artist fellowship, NJ Council on the Arts; DC: DeCordova Museum of Art, Lincoln, MA; Dulin Commission; Port Washington Public Library; Okla- artist fellowship, Pennsylvania Council on the Arts; Gallery of Art, Knoxville, TN; Zimmerli Art homa Museum of Art; Image Forum. Tokyo; Centre Distinguished Artist Award from the State of NJ

Museum, Rutgers University, New Brunswick, NJ; Pompidou, Paris Exhibitions: "Artists Books," New Delhi, India; "Accent Philadelphia Museum of Art; Pennsylvania Acad- Awards: National Endowment for the Arts; on Color," Scarsdale, NY; Pennsylvania Grants Recipi- emy of the Fine Arts, Philadelphia, PA; numerous Guggenheim Fellowship; Pennsylvania Council on ents Exhibit; "Design '86," Prallsville Mill Gallery, private and corporate collections the Arts; Mid-Atlantic Regional Media Grant; Stockton, NJ; "Book Sculptures," Doshi Center for

Exhibitions: "Plate/Print II," The Print Club, Governor's Hazlett Award in Media Arts; Contemporary Arts, Harrisburg, PA "Breaking the

Philadelphia; Philadelphia Art Alliance; Philadelphia College of Art Venture Fund; and Bindings," Elvehjem Museum of Art, Madison, Wl;

"Contemporary Philadelphia Printmakers," Paley awards from many film festivals "24th Annual Delaware Art Museum Craft Exhibition,"

Library, Temple University, Philadelphia; 14th Dulin Wilmington, DE; "Books by Printmakers," The Print National Print and Drawing Competition; 56th Eileen Rosen Club, Philadelphia

Annual International Competition, The Print Club, Lecturer: Illustration

Philadelphia; 8th International Miniature Print BS, Moore College of Art Charles Searles

Competition, Pratt Graphics Center; invitational Publications: The New Yorker, Single Parent, Senior Lecturer: Foundation exhibition of American printmakers, Kipp Gallery, Science + Children Pennsylvania Academy of the Fine Arts Indiana University of Pennsylvania; University of Pennsylvania Michael Rossman Dolan/Maxwell Gallery, Philadelphia; Woodmere Awards: General Services Commission; Professor: Foundation Museum of Art, Philadelphia; Gallery Kobe, Kobe, International Arts Festival, "Festac," Lagos, BID, Pratt Institute Japan; Beaver College, Glenside, PA; 62nd Annual Nigeria; National Endowment for the Arts Fellow- MFA, Pratt Institute International Competition, The Print Club, Philadel- ship; Creative Arts Program Fellowship, "CAPS," One-man Exhibitions: The More Gallery, Philadel- phia; Art in City Hall, Philadelphia to develop metal sculpture, NYC phia 1989; Gross McCleaf Gallery, Philadelphia Awards: Pennsylvania Council on the Arts, Solo Exhibitions: Land Mark Gallery; Sande 1979 and 1973 Artist-in-Residence Grant, 1984-88; Abbington Art Webster Gallery, Phila.; Mont Clair Museum, NJ; Selected Group Exhibitions: "Artists Choose Art- Center, Artist in Residence; Venture Fund Award, Noyes Museum, NJ ists", The Institute of Contemporary Art, 1991; University of the Arts, numerous awards from Group Exhibitions: "Black Art, Ancestral Legacy", The More Gallery, 1986-1990; "Affects/Effects 2", exhibition competitions Dallas Museum of Art (traveling exhibition); Peale Invitational Traveling Exhibition: Philadelphia Col- House Galleries; CAPS Fellowship Exhibit; "Afro- Peter Rose lege of Art, Allentown Art Museum, Museum American Abstraction," PS-1, NYC; "Painted Gallery at the University of Pittsburgh; William Professor: Photo/Film/Animation Sculpture," Sculpture Center Gallery, NYC; "The Penn Memorial Museum, Harrisburg, PA; Bucks BA, CCNY Cun/e of a Plane II," 22 Wooster, NYC County College, Doylestown, PA; MFA program, San Francisco State College Community Public Commissions: William J. Green Federal "Eastern Pennsylvania Regional Drawing" Solo Exhibitions: Chicago Art Institute; American and Building, Phila.; Newark Amtrack Station, Newark, Museum of the Moving Image, Astoria, NY; "Drawing in Philadelphia", Beaver College, NJ; Dempsey Multi Service Center, NYC Centre Pompidou, Paris; Experimental Intermedia, Glenside, PA; Invitational Exhibition, Woodmere Also teaches at Bloomfield College, NJ and Jersey NYC; Los Angeles Contemporary Exhibitions; Art Galley, Chestnut Hill, PA; "The Earth Show", City State College, NJ American Center, Paris; Corcoran Gallery, Philadelphia Civic Center, Recipient of the

Washington, DC; University of Arizona, Tucson; Wintersteen Prize; Philadelphia Art Alliance Warren Seelig

Virginia Museum of Fine Arts, Richmond; Portland Design History. Senior Designer, Creative Playthings, Professor: Crafts Art Museum, ME; Brattle Theatre, Cambridge, Inc., Summer Seminar, 1966; Industrial Designer, BS, Philadelphia College of Textiles and Science MA; San Francisco Cinemateque; The Kitchen, General Electric, Computer Department, 1963 MFA, Cranbrook Academy of Art NYC; Collective for Living Cinema, NYC; Cornell Exhibitions: Miller/Brown Gallery, San Francisco, Karen Saler Cinema; Boston Film and Video Foundation; CA; one-man show. The Roberts Gallery, Contem- Associate Professor: Foundation Athens Film and Video Festival; Pacific Film porary Craft Association, C.W. Post Center of Long BFA, Philadelphia College of Art Archives, Berkley, CA; Millenium Film, NYC; Island University, NY; The Cleveland Museum of MFA, Maryland Institute College of Art Walker Art Center, Minneapolis; Museum of Art, Art; Philadelphia Museum of Art; The Denver PA Teacher Certification Carnegie Institute, Pittsburgh; and elsewhere Museum of Art; Crafts Advisory Exhibitions: "Women's Regional Drawing Group Exhibitions: MOMA Anthology Film Ar- Committee, London; The Central Museum of Exhibition," Philadelphia Art Alliance; Venture chives, NYC; films and tapes shown at festivals, Textiles, Lodz, Poland; Hadler/Rodriguez Galleries, Fund Exhibition Art; museums and media centers in US and abroad New York; San Francisco Museum of Modern Collections: works in public and private collections Collections: Australian National Film Archive; Institut fur Kunstlerische Textilgestaltung, Linz, in New York, Philadelphia, Baltimore, and Rome Austria; The Textile Museum, Washington, DC Grants: Prix painting Prize de Rome grant; Rome Gallery: The Hadler/Rodriguez Gallery, New York renewal grant; Philadelphia College of Art Venture Awards: Pennsylvania Council on the Arts Fund; American Professors Abroad Grant to Israel Individual Fellowship; National Endowment for the Organizations: fellow, American Academy in Arts Individual Fellowship Grant Rome; Artists Equity

72 Lizbeth Stewart Timothy P. Sheesley Thomas Stearns Sculpture Associate Professor: Crafts Lecturer: Printmaking Associate Professor: BFA, Moore College of Art BA, State University New York, Oneonta Memphis Academy of Art Maintains Independent Studio, Represented by MFA, Tyler School of Art Cranbrook Academy of Art Helen Drutt Gallery, NY TMP Tamarind Institute of Lithography Accademia di Belli Arti, Venice Selected Exhibitions: International Ceramics Exhi- The Banff Center, School of Fine Art Exhibitions: Venice Biennale; Brussels bition, Hookodden Art Center, Museum of Modern Academic Program, Tours, France International; Parke-Bernet Gallery; Smithsonian Paris; Carnegie Art, Oslow, Norway; American Clay Artist, Port of Experience: Owner/master printer of Corridor Institution; Musee d'Art Moderne, Museum, Warsaw, Poland; History Museum, Philadelphia; From the Mold, Press; President of MD Litho Stones, Inc.; Master Institute; Municipal — Italy; Pennsylvania Kansas City Art Institute, MO; Craft Today Printer, Western Graphics; Tamarind Institute Mas- L'Uomo et L'Arte, Milan, Detroit Institute of Art; Poetry of the Physical, American Craft Museum, ter Printer Fellowship Academy of the Fine Arts; of American NY; Solo Exhibition, Morris Gallery, Pennsylvania Exhibitions: Penn Prints, Associated Artists, Renwick Gallery; National Museum Gallery, NY; Musee Academy of the Fine Arts; American Porcelain, University of Pennsylvania; Hobart and William Smith Art, Washington, DC; Willard Montreal, Canada New Expressions in an Ancient Art, Renwick Gal- College; Strozzi Place, Florence, Italy; Rhode Island des Artes Decoratifs, Fellowship, lery, Smithsonian Institute, Washington, DC. College of Art Kutztown State University; Prints of the Awards: John Simon Guggenheim Award, National Institute of Awards: Pennsylvania Council on the Arts 80's, Swansea Wales Momenta Art Alternative, Phila- Italian Government Fulbright Travel Grant, Craftsmen's Fellowship; National Endowment for delphia; Philadelphia Art Alliance; The Woodmere Art Arts and Letters Grant, Revolving Grant the Arts Craftsmen's Fellowship Museum; Color Print Society Artists and Writers NJ; Publications: Who's Who in American Art, Who's Collections (selected): Campbell Museum, Foundation, Palm Beach Patricia M. Smith Who in the East Purchase Award, Lennon Chairperson and Assistant Professor: Printmaking Florida; Joseph Hirshorn Collection, Washington, BA, Immaculata College Robert Stein DC. MA Ed., Philadelphia College of Art Professor: Illustration Elizabeth Swartz Yoshida Hanga Academy, Tokyo, Japan Chairman: Illustration of Art Lecturer: Architectural Studies Exhibitions: "Multiple NewWave," The Print Club; BFA, Massachusetts College of Art, Temple University BFA, Rochester Institute of Technology "Prints from the Brandywine Workshop," Hahn Gal- MFA, Tyler School staff designer, KYW-TV; freelance Philadelphia College of Art lery; "Positive Direct Offset," State University of New Experience: consultant, Chilton Publishing; panel Experience: freelance designer; Gray and Rodgers York, Purchase; "Original Offset," World Print Council, designer and Arts Conference; guest Advertising Inc., Philadelphia; Modem San Francisco; Moore College of Art, Philadelphia; member, NAEA Eastern material designer, "Design Photography magazine, NY; North American Lunami Gallery, Tokyo; College Women's Association, curator and promotion Iran-American Society, Publishing Company, Philadelphia juried exhibition, Tokyo, Japan and Illustration: USA," Tehran, Iran; poster series, "The Chiasmal Syn- David Taffler Lori Spencer drome," "Pseudo-Tumor Cerebri," commissioned Associate Professor: Education and Photo/Film/ Lecturer: Printmaking by Pennsylvania College of Optometry; Poster, Animation BFA, State University of New York, Purchase Pennbook Festival '90, PA Center for the Book. BA, Harpur College, SUNY Binghamton MFA, The University of the Arts Exhibitions: Rosenfeld Gallery, Philadelphia; MFA, Columbia University Experience: Offset technician at Moore College of Philadelphia Art Alliance; University of Delaware; MA, University of Wisconsin, Madison Art and Design; printer in the Borowsky Center for William Penn Memorial Museum; Philadelphia PhD, Columbia University Publication Arts at the University of the Arts; off- Civic Center; Monmouth College; Anton Gallery, Experience: co-chair. Media Arts Caucus, College set printer at various commercial shops; hand Washington, DC Art Association; consultant and judge. Black Maria bookbinding Collections: Westinghouse Corporation, RCA, First Film/Video Festival; technical advisor, Film Divi- Exhibitions: Pyramid Atlantic, Book Arts work from Pennsylvania Bank, William Penn Memorial sion, Columbia College; steering committee, Inde- The University of the Arts, Small Computers in the Museum, numerous private collections. pendent Film/Video Association, Philadelphia Arts, SCAN Exhibition '90; Limited Editions from Member: Society of Illustrators, Design Advisory Exhibitions: solo show, "Berks Filmmakers," Read- the Borowsky Center; The Laurie W and Irvin Board, Community College of Philadelphia ing, PA; "The Best of Philadelphia Filmmakers," Borowsky Gallery Publications: represented in Graphis Posters 87 solo show, "Five Films," Collective for Living Cin- Collections: The University Library of the ema, NYC; "Affects/Effects II," The University of University of the Arts; private collections Richard Stetser Professor: Foundation the Arts; Rosemont College ." . Mu- Franz Frederick Spohn BFA, Philadelphia College of Art Publications: "I remember television. New Sprung", Kunst- Adjunct Associate Professor: Printmaking Exhibitions: sculpture executed for Adath Zion seum Catalogue, "Der Blick und der and Video, MFA, Ohio State University Congregation, Philadelphia; Whitman Park, forum, "The Circular Text". Journal of Film the Experience: printer for screen editions by Pat Steir Philadelphia; Thompson, Ramo, Woodridge Corp.; "Autonomy/Community: Marginality and New Cinematograph, "Beyond Narra- and Jules Olitski, and Edgar Heap-of-Birds; Redevelopment Authority of Philadelphia; Phila- Interactive Cinema", Theory of Interactive Cinema", illustrator for Delacourt Press (Doubleday/Dell) delphia Art Alliance; Glassboro State College; tive: Notes Toward a Videography including, children's alphabet book and "Boys and Faculty Group Show, PCA 1977, '81; American Millennium Film Journal, "Commentary: Leonardo, "The Economics Sex" and "Girls and Sex"; collaborations-Glen College in Paris, 1981; Venture Fund Award Exhibi- and Computer Graphics", Video and the Future of Alternative Vivian Museum, Swansea, Wales; Strozzi Palace, tion, 1986; Duchampidou, PCA, 1987; Faculty of Renewal: Music AFTERIMAGE. "DOUBLE YOU (and Florence Italy; visiting artist, Carnegie Mellon, Drawing Exhibition, 1989. Filmmaking, SPOT; "An Tulane University, Washington State University, X,Y,Z)"; Video's New Interactive Frontier," in Video", AFI Edu- Spokane Falls Community College. Consultant for Argument for a Foundation Course Art Teacher Hunt Manufacturing, Instrucitonal Video- cation Newsletter, "Adventures with Art," Waterbased Screenprinting

Exhibitions: Southern Alleghenies Museum of

Art; Glenbow Museum; Philadelphia Museum of

Art; Mississippi Museum of Art; Please Touch Museum, Philadelphia; "The Confectioner's Art," American Craft Museum, New York (3 year travelling exhibition)

73 Stephen Tarantal Sarah Van Keuren Jennifer Woods Dean, Philadelphia College of Art and Design Adjunct Associate Professor: Printmaking Senior Lecturer: Printmaking Professor: Illustration BA, Swarthmore College BFA, Philadelphia College of Art

BFA, Cooper Union School of Art and Architecture Philadelphia College of Art Mellon Internship, Folger Shakespeare Library, 1984 MFA, Tyler School of Art, Temple University MFA, University of Delaware Experience: chief of conservation. The Library Exhibitions: NY Historical Society: Guggenheim Exhibitions: The Book Trader, 'The Print Club Selects"; Company of Philadelphia Museum; Bertha Schaefer Gallery, NY; Richard "Challenge Exhibition," Fleisher Art Memorial; Organizations: Guild of Bookworkers, seminar

Rosenfeld Gallery, Phila. Swarthmore College; Philadelphia Art Alliance coordinator, 1985; American Institute of Collections: Guggenheim Museum, NY; North Grants: Philadelphia College of Art Venture Fund; Conservation; Designer Bookbinders American Phillips Corp., NJ; SmithKline Beckman, Brandywine Offset Institute Artist Fellowship; Philadelphia; Westinghouse Corp., Pittsburgh; US Pennsylvania Council on the Arts Photography Steven Yarnall Cultural Library, Bombay; Xerox Corporation, Fellowship Lecturer: Industrial Design

Stamford, CT; AT&T, NY; Time Life, Inc. NY; Phila- BFA, Philadelphia College of Art delphia National Bank. LeeWillett NAABB Architecture, University of Tennessee Publications: "42 Years of Graphic Covers"; work Assistant Professor: Graphic Design Lily Yen has been represented in numerous design arts Allgemeine Gewerbeschule, Basel, Switzerland Professor: Painting, Humanities publications including: Graphis Magazine and Ohio State University BA, National Taiwan University Graphis Annuals, Society of Illustrators Annuals, Experience: Hi. Chu & Co., NY; Principle, Harvey/ MFA, University of Pennsylvania NY and Phila. Art Director's Annuals, Print Maga- Willett Design New York. Visiting professor at Central Academy of Fine Arts in zine and Print Regional Annuals. Julian Winston Beijing and Tianjin Fine Art College in Tianjin, China. Awards: Fulbright Grant to India; UICA Faculty Associate Professor: Industrial Design Villege of Arts and Humanities, Philadelphia Research and Development Grant; Illustration/ BID. Pratt Institute Awards: The Pennsylvania Council on the Arts; Design Awards — NY and Phila. Art Director's Clients: Philo Records, Pixenbar Music, American The Pennsylvania Humanities Council; The Phila- Club, NY Society of Illustrators, Phila.; Vietnam Institute for Homeopathy, National Center for delphia Foundation, Philadelphia; The Asian Memorial Competition; Fountain of Freedom — Homeopathy, Creative Playthings American Art Center, NY; The Stockton Rush Bartol Monument to the US Constitution. Foundation. Joseph Wong Mark Tocchet Associate Professor: Architectural Studies Orly Zeewy Assistant Professor: Illustration B Arch, University of Kentucky Senior Lecturer: Industrial Design Illustrator, Creative Director, Tocchet Studio, Inc. M Arch, Cranbrook Academy of Art BS, University of Cincinnati BFA, School of Visual Arts Awards: International Student Studies; University BA University of Cincinnati Clients: Ash/Ledonne; BBD+O; Cunningham + of Kentucky travel award to study in England and Experience: Associate Professor Drexel University; Walsh; Doyle, Dane, Berbach; Oglivy & Mather; Western Europe principle, Zeewy Design. Wells, Rich, Greene, Inc.; American Diabetes Exhibitions/competitions: "Berlin Edge Project," Association; American Museum of Natural His- design team member with Daniel Libeskind, Christine Zelinsky tory; Citibank; The Meadowlands; Pepsi-Cola; exhibits and several publications; exhibition of Assistant Professor: Graphic Design Reebok; Resorts International; School of Visual drawings and paintings at the China Museum of MFA, Allgemeine Gewerbeschule, Basel, Arts Press; Seagrams; CBS; Dell; Holt, Reinhart & Art, Beijin, 1988; one man show, Tianjin College of Switzerland Winston; MacMillan; Random House; Rodale Fine Arts, University of Kentucky, Stoneman Publications: Graphis, Typographicsche Press; Sierra Club; Simon & Schuster; New York, Gallery, Washington, D.C., William Hunt Architec- Monatsblaetter, Publicite, Modern Publicity, ID, The New York Times: Viking/Penguin; Ziff-Davis tural Bookstore, San Francisco, CA; "Parameto," "Universal Unique, "Basel School of Design: The Awards: Society of Illustrators; Communication journal of Architecture and Urbanism Arman Hofman Years" Arts Magazine; Print Magazine; Master Eagle "15 Public lectures: Tianjin College of Fine Art, Chong Exhibitions: Graphic Designers," AIGA Merit Award; National Calendar Awards Medal Quing Institute of Architecture and Engineering, Invitational; group shows in Zurich, Switzerland, Winner; The Rhodes Scholarship Award for Out- Xian Fine Arts College, Qing Hua University, China; Philadelphia and New York City. standing Achievement in the Media Arts Chief speaker "Society for the Advancement of Exhibitions: Museum of American Illustration; Art Architecture and Culture in China," Beijin; Directors Club, NY; Master Eagle Gallery Pennsylvania Council of the Arts Grant Gotz Unger Publications: Unitas, Taiwan; Internationale

Senior Lecturer: Industrial Design Bauausstellung, Berlin; Deconstructivist Architecture, BS, Design, Gesamthechschule, Kassel; Domas, Italy; Outlook, Beijing, China; and others

MID, Royal College of Art, London Peter Wood Experience: Development Manager, Knoll Inter- Assistant Professor: Industrial Design national; Director, Design Development Dept., BA, Pennsylvania State University Wallace; Senior Lecturer, New York School of BA, Philadelphia College of Art Interior Design. Design Consultant Experience: partner, Sundberg & Wood, firm for special design

74 Emeritus Professors

Edna Andrade Foundation

Morris Berd Painting

William Dailey Crafts/Ceramics

Larry Day Painting

Benjamin Eisenstat Painting/Illustration

Albert Gold

Illustration

Jerome Kaplan Printmaking

Oscar Mertz Foundation

Richard Reinhardt Crafts/Metals

Petras Vaskys Crafts/Ceramics

75

I UNIVERSITY OF THE ARTS

PHILADELPHIA COLLEGE OF PERFORMING ARTS

vlv

Philadelphia College of The College School of Music

The Philadelphia College of Performing Arts is Performing Arts Undergraduate Programs comprised of the Schools of Dance, Music, and Bachelor of Music (BM) - Classical Music Theater Arts. Its curricula combine the Stephen Jay, Dean Bachelor of Music (BM) - Jazz/Commercial Music performance emphasis of the traditional Annette DiMedio, Assistant Dean Bachelor of Music (BM) - Theory conservatory, stressing individualized training, Bachelor of Music (BM) - Composition practice, and discipline, with a liberal arts Accreditation Diploma Program education. The Philadelphia College of Performing Arts (PCPA) Certificate Program Founded in 1870 as the Philadelphia Musical of The University of the Arts is accredited by the Academy, and merged with the Philadelphia Con- Middle States Association of Colleges and Graduate Programs servatory of Music in 1962, the College has long Schools, and the National Association of Schools Master of Music (MM) been regarded as one of America's foremost pro- of Music, and has approval of the Commonwealth Master of Arts in Teaching, Music Education fessional schools of higher education. Many of its of Pennsylvania for the granting of degrees in the Graduate Diploma early graduates and faculty were members and performing arts. founders of the Galley Philadelphia Orchestra Areas of Concentration

when it was formed in 1900. The Philadelphia Bassoon* Orchestra continues to play a significant role in Clarinet the life of PCPA with many of its members cur- Composition rently serving on the College faculty. The Academy Contra Bass of Music, home of the world-famous Philadelphia Electric Bass

Orchestra, is adjacent to the historic Shubert The- Flute ater building, headquarters of the Philadelphia French Horn* College of Performing Arts. Guitar In 1976 the institution was renamed the Phila- Harp* delphia College of the Performing Arts, thereby Oboe* signaling its intention to expand its program to Opera Singing+ include all three of the performing arts disciplines Organ* — Music, Dance, and Theater. In 1977, the Phila- Percussion delphia Dance Academy joined the College to Piano become the School of Dance. Founded in 1947, Piano Accompanying and The Philadelphia Dance Academy was one of the Chamber Music+ foremost conservatories of dance in the nation Saxophone and one of the first three institutions in the coun- Theory* try granting a degree in dance. The School of The- Trombone ater was initiated in 1983. Trumpet The Philadelphia College of Performing Arts Tuba* thus became Pennsylvania's first and only inde- Viola

pendent college dedicated exclusively to the per- Violin forming arts, and one of the first of its kind in the Violoncello United States. Its philosophy is founded on the Voice* principle that there is a common bond among Voice/Opera* artists, whatever their discipline, and that artists * Classical Only must interact with each other for their inspiration + Graduate Only and growth. Indeed, many of the College's stu- dents have developed interdisciplinary careers

which require familiarity with all the performing

arts. Its recent association with the Philadelphia School of Theater Arts College of Art and Design as part of The University Undergraduate Program of the Arts, adds an extraordinary new dimension Bachelor of Fine Arts (BFA) in Theater Arts to PCPA's artistic training by bringing performing Programs: and visual arts and artists together in a single Acting professional educational community. Directing Stage Combat Major Areas of Study Musical Theater

School of Dance

Undergraduate Programs

Bachelor of Fine Arts (BFA) in Dance

Bachelor of Fine Arts (BFA) in Dance Education

Certificate in Dance

Dance Majors Ballet Dance Education Modern Theater Dance/Jazz

79 . ..

Admissions Requirements Transfer Credits Graduate Admissions Students may receive credit for courses taken at Admissions decisions are based on an evaluation Applicants to the Graduate Programs in the School other accredited institutions that are similar in of artistic proficiency and potential together with of Music must complete an application file and an content, purpose, and standards to those offered academic performance. audition to be eligible for admission. at The University of the Arts. For credit to be Also refer to the sections on general admissions Auditions are scheduled by calling the Admissions granted, the student must submit official requirements for entrance to The University of the Office. A completed application must be on file in transcripts of all previous college study along with Arts, and to the sections concerning the particular the Admissions Office no later than two weeks current catalog(s) of the institution(s). A minimum School of Dance, Music, or Theater for additional prior to the scheduled audition date. In order to grade of "C" is required in order to present a information about Admissions, including Audition complete the application file, the student must course for transfer credit. The evaluation of credit requirements. submit the following: is made by the Division of Humanities faculty and 1 An Application for Graduate Admissions form

school directors in consultation with the Office of (available from the Admissions Office) along Undergraduate Admissions the Registrar. with the nonrefundable $30 application fee; To qualify for admissions to the Philadelphia Advanced standing credit in music perfor- 2. An essay (minimum length: 1,000 words) de- College of Performing Arts, students must have mance, music composition, theater and dance scribing your reasons for wishing to attend the graduated from an accredited high school and may be transferable. At the time of the en- University in terms of career goals and commit- taken an appropriate distribution of subjects, have trance audition, the appropriate faculty Audi- ment to training for the professional performing including four years of English. A General tions Committee will evaluate the student's arts; Education Diploma (GED) or completion of the performance with respect to the level of 3. Official copies of all transcripts from high College Level Examination (CLEP) Program may be achievement for advanced standing. Transfer schools, undergraduate and graduate schools substitutes for a high school diploma. accepted as credits are granted in the amount which would which were attended; The Admissions Office must have the com- normally be given for similar courses in the 4. Three letters of recommendation (two of these pleted application on file no later than two weeks curricula of the Philadelphia College of Per- must come from professionals in the major prior to the scheduled date of the audition. To forming Arts, up to the level of placement. area); complete the application, the following must be Should the amount of previously earned 5. Repertoire for the audition. submitted: credit be less than that awarded by PCPA for

1 A completed application form along with the similar work, Advanced Standing credit will be International Student Admissions nonrefundable $30 application fee. automatically granted. Students who are neither U.S. citizens nor resident 2. An official copy of the high school transcript, or Advanced Standing or transfer credits are aliens are considered international students. Inter- GED or CLEP certification. not normally awarded to students in graduate national students must comply with all provisions 3. Scholastic Aptitude Test (SAT) or American degree programs. of the Immigration Act, and may only be admitted College Test (ACT) scores. Final determination of transfer status cannot be on a full-time basis. All foreign transcripts and 4. A statement of purpose: One-page, type-writ- made until all final transcripts from previously other documents must be translated and certified ten essay describing the student's ambitions, attended schools have been received, and all by an embassy, legation, or consular officer of the goals, motivations, and commitment to training appropriate placement and entrance examinations United States. for the performing arts. have been completed. Application and audition procedures are identi- 5. A resume of performance experience and pri- cal to those of undergraduate, transfer, and gradu- vate training (include all applicable names and Additional Stipulations ate admissions listed above with the following dates). exceptions/additional requirements: 6. A letter of recommendation from the student's School of Music credits 1 The scores for the Test of English as a Foreign performing arts teacher. A maximum of half of the total required Language) TOEFL) are required instead of SAT Additional supportive materials are welcome. (two years) in Music may be transferable in the or scores. major in Instru- ACT Though not required, a personal interview in the major field of study such as study ment, Voice, Composition, Theory. 2. International students must file proof of ability Admissions Office is recommended. Interviews to support themselves from their own financial must be scheduled in advance by calling the Ad- School of Theater Arts resources or the resources of a sponsor. Docu- missions Office at 215-875-4808. A maximum of half of the total required credits mentation of these resources is required on Audition (two years) in Theater may be transferred in official bank stationery and must be stated in the major field of study: Acting, Speech, Move- U.S. dollars.The estimated annual expense for Every student applying to the Philadelphia College ment, Mime, etc. an international student is $18,000 (U.S. dol- of Performing Arts must pass an entrance audi- lars). The documentation is required as part of tion. An application must be completed and filed the Admissions application. in the Admissions Office before an audition will be 3. Official Transcripts of every academic record scheduled. Taped auditions should be accompa- since high school graduation must be submitted nied by a completed application. Specific audition with the application and fee. If the original requirements are presented in the sections con- records are not in English, a certified English cerning the Schools of Dance, Music, or Theater translation must also be included. Handwritten Arts. Applicants may audition in person at the documents are not acceptable. University, by submitting an audition tape, or audi-

tion in specified locations throughout the US.

Transfer Admissions

Students who have enrolled in a college-level program and completed more than twelve hours of

course work will be considered a transfer student. The admissions process for a transfer

student is the same as that outlined above under

"Undergraduate Admissions." In addition, transfer

students must submit official copies of all

post-secondary school transcripts.

80 . . .

Regulations Dean's List Graduation Requirements The Dean's List honors those students who meet

the following criteria: Attendance Undergraduate 1 Are full-time undergraduate degree candidates. To qualify for graduation, a student must fulfill the Professional Standards and Behavior (Candidates for Diploma and Graduate Degrees following requirements: It is expected that students of the Philadelphia are not eligible.) 1. Achieve a minimum cumulative grade point College of Performing Arts maintain high stan- 2. Have attained a minimum GPA of 3.60. average (CGPA) of 2.0 ("C" average). dards of professionalism with respect to studio, 3. Have received no grade lower than a "B" in any 2. Earn the total required credit hours for the par- classroom, rehearsal, and performance commit- course. ticular curriculum. ments. Regular and punctual attendance and 4. Have received no grade of "I" or "OF." appropriate preparation for lessons, classes, 5. Have taken a minimum of 12 credits for letter rehearsals, and performances are of the utmost grades (not "OP" or "OF"). Graduate importance to the attainment of professional Graduate Degree students are bound by the artistic goals. Faculty Advisory followign policies and requirements. 1 Achieve a minimum cumulative grade point Absence All students are assigned to a faculty advisor. Lists average (CGPA) of 3.0 ("B" average). An "excused" absence is one which has received are posted in the Shubert Student Lobby during 2. Pass a written comprehensive examination in the prior consent of the instructor; is due to illness the first week of the academic year. the final semester of residency. or emergency, appropriately documented by medi- Appointments will be made at the mutual 3. Courses in which Graduate student earns a cal certificate, etc.; or caused by performance at convenience of the student and the faculty grade of "C need not be repeated. Courses in an official school function with the approval of the advisor. which a grade of "F is earned must be re- appropriate School Director or Dean of PCPA. All Students should feel free to see their advisor at other absences are "unexcused." any time concerning problems they may encounter.

It is the responsibility of the student to arrange with his/her instructors to make up all missed Probation Graduation With Honors work. Failure to do so will result in lowered A candidate for the baccalaureate degree, only, Students whose semester grade point average is grades. Students are excessively absent will who may graduate with hoors if he or she achieves a below 2.0 and/or who receive the grade of D or receive an "F" in the course. (Due to the ensemble minimum cumulative GPA of 3.6 at the conclusion below in their major area ("B" in Theater), will be nature of the courses, work in Acting Studio and of the semester prior to graduation. placed on probation for one or two semesters, as musical ensembles cannot be made up.) Graduation honors apply only to undergraduate determined by the Scholastic Standing Students must notify PCPA concerning absences degree students. Committee. Failure to meet the stipulation for involving private lessons and/or rehearsals involv- removal of Probation by the end of the specified ing other participants. Messages should be di- period will result in dismissal from PCPA. rected to the office of the School Director.

Student Status Change of Major or Status Special Students Students wishing to change their major or pro- "Special" students are those not matriculated in a gram status must: degree, diploma or certificate program of the 1 Secure appropriate form from the Registrar; Philadelphia College of Performing Arts. Special 2. If approved by the appropriate School Director, students are not usually admitted to the School of take a special audition, as required; Theater Arts. 3. Return completed form to the Registrar.

Full-Time/Part-Time Status Class/Lesson Cancellations or Full-time undergraduate students are those who are enrolled for 12 to 18 credits per semester, Lateness of Instructor except for Double Degree students in the School Students must check every morning for notices of Music. regarding class or lesson changes. Such notices Part-time students carry fewer than 12 credits are posted in a designated area. If none is posted in any given semester. for the scheduled class or lesson and the instruc- Full-time enrollment for graduate students is tor is not present, students are expected to wait considered to be the maximum number of credits for 10 minutes for an hour-long class/lesson and proscribed in each semester of the student's par- 1 5 minutes for those of longer duration. In the ticular curriculum. event the instructor fails to appear within the 10- Students wishing to enroll for more than the 15 minute waiting period, students are to report to maximum credit load must receive approval from the appropriate School Director's office, and may the Dean PCPA, and a per-credit surcharge may be then leave without penalty. levied. Note: Only Full-time students are admitted to the School of Theater Arts.

81 The School of Dance Faculty by Department Facilities The three main studios of the School of Dance are Ballet Susan B. Glazer located at 309 South Broad Street. These spa- Edward Myers Director cious, bright, and well-lighted studios are fully Andrew Pap Edna Cohen equipped with barres and mirrors, huge windows, Barbara Sandonato Assistant Director pianos, audio consoles, and ceiling fans. Their Carol Luppescu Sklaroff Broad Street 309 South floors have been newly renovated with four-inch, Jon Sherman 215-875-2269 state-of-the-art suspension for the safest and Suzanne Slenn most comfortable dancing surface available. Lock- The School of Dance is dedicated to the training of Jazz/Theater Dance ers, dressing rooms, showers, and lounges are artists for careers as professional perform- young Peter Bertini found adjacent to the studios. Three additional ers, dance educators, and choreographers, and Beth Hirschhaut-lguchi studios are located at 313 South Broad Street. The provides an intensive exploration of dance in its Nancy Berman Kantra University has completely restored its historic physical, intellectual and creative aspects. The Ronen Koresh Shubert Theater, which serves as the institution's School provides an environment in which students Henry Roy major performance hall for students, as well as individual artistic vision while may develop an Wayne St. David "home" to a number of regional performing arts being exposed to a variety of artistic roles. Modern Dance organizations, including the Pennsylvania Ballet. Manfred Fischbeck The University's Drake Theater, a 250-seat theater, Naomi Mindlin is used for dance student performances, as is a Milton Myers 200-seat theater in the 313 South Broad Street building. The Albert M. Greenfield Library contains Faye B. Snow Pat Thomas books, journals, and videotapes devoted to dance, are available to students for research and JoAnn Tulli which coursework. Tap Dance Joan Lanning Visiting Artists

Michael Lanning Visiting artists are a continuous and significant compo-

LaVaughn Robinson nent of education in the School of Dance. Recent have master classes and work- Dance Studies guests who conducted shops have included Edward Villella, Donna Peter Bertini - Dance Notation McKechnie, Oleg Briansky, Gabriella Darvash, James Alice Bloch - Dance History Truitt, Meredith Monk, and Ronnie Favors. The profes- Robert Christophe - Mime sional dance community feels very much at home in Annette DiMedio - Music Survey the School's studios. Frequently dancers from touring Manfred Fischbeck - Eurythmics/lmprovisation/ companies surprise dance students by making Dance Composition unannounced appearances, taking class, sharing their Charles Gilbert- Voice professional experiences, and providing inspiration. Susan B. Glazer - Fundamentals of Dance Sherry Goodil - Dance Therapy

Julia Lopez - Spanish Dance

Rae Mangan - Nutrition Rachel Mausner - Alexander Technique

Gabriela Roepke - Dance in Literature

Pearl B. Schaeffer - Dance Pedagogy Connie Vandarakis- Anatomy/Kinesiology

Paul Wagar - Acting Kariamu Welsh-Asante - African Dance

Technical Jay Madara - Director Janette Howard - Assistant

Costumes Clyde M. Hayes - Director

82 ..

Programs of Study Admissions Requirements Scholarships

Bachelor of Fine Arts (BFA) in Dance In addition to the general application requirements Trustee Scholarship Bachelor of Fine Arts in Dance Education for all students to the Philadelphia College of Per- Each year the School of Dance awards a Trustee (BFA Dance Ed) forming Arts, applicants to the School of Dance Scholarship to an entering freshman. The award is Certificate in Dance - two-year program must submit the following: made on the basis of outstanding artistic and 1 A one-page (250 words) statement of purpose, Majors academic performance, and for promise as a fu- outlining the applicant's goals, expectations, Ballet ture dancer. Recipients must maintain a 3.0 cumu- and reasons for choosing the dance program. Jazz/Theater Dance lative grade point average. All auditioning stu- 2. A resume outlining all previous dance experi- Modern Dance dents will be considered for this award but must ence and instruction including performances,

Dance Education audition prior to March 1 . Notification of the names of teachers and studios, length of study, award is made in April. Bachelor of Fine Arts in Dance: Ballet and all applicable dates.

Modem, or Jazz/Theater Dance 3. A letter of recommendation from the current Talent Scholarships

The Bachelor of Fine Arts (BFA) in Dance is a program dance instructor. Talent Scholarships are awards to matriculating designed for those students who wish to prepare for students who give evidence of outstanding artistic Auditions professional careers in dance performance and/or ability. Recommendation for the Talent Scholarship An audition is required of all applicants to the choreography. The BFA in Dance program is normally is based on the audition as well as demonstrated School of Dance. The audition may be taken in completed in four years of full-time study with a total need. To maintain eligibility, the student must Philadelphia, at designated regional audition loca- requirement of 130-136 credits. participate fully in rehearsals and performances, tions, or submitted on VHS format video tape. The have a "B" or better in the Major area, and main- Bachelor of Fine Arts in Dance audition evaluates the applicant's current level of tain a minimum 3.0 cumulative grade point aver- Education technical proficiency and potential for professional age (2.75 minimum for Freshmen) in all Dance The Bachelor of Fine Arts (BFA) in Dance Education development. courses. is a program designed specifically for students The Philadelphia and regional audition consists of Students applying for Talent Scholarships must whose primary intention is to enter the profession four parts: file a Talent Scholarship Application as well as the as a teacher of dance. Although there is currently 1 one-half-hour ballet class taken with other A appropriate Financial Aid Form, obtainable from no Pennsylvania State certification for dance applicants. the Financial Aid Office. teachers, this program includes supervised class 2. A one-half-hour modern dance class taken with New students should audition prior to March 1 5. teaching in schools and/or private dance studios. other applicants. Those auditioning after March 15 will be considered The BFA in Dance Education is designed as a four- 3. A one-half-hour jazz dance class taken with for scholarships as funds become available. year program of full-time study with a total re- other applicants. Returning students applying for Talent Scholar- quirement of 130-136 credits. 4. prepared dance solo. The solo not be A may ships are subject to special audition and/or evalu- longer than two minutes in length, and may be Certificate in Dance ation of their work in Dance Studio and Ensemble. the choreography of the applicant or someone The Certificate in Dance is a two-year program else. Musical accompaniment must be provided The Curriculum intended for those students who wish to concen- by the applicant on cassette audio tape or The curriculum in the School of Dance has been trate exclusively on dance studies. This intensive record (audio equipment will be provided). The carefully organized to allow the student to grow to program is designed to develop the student's fa- dance solo should feature the area of dance in his/her maximum potential as a dancer. It has miliarity with and proficiency in a broad spectrum which the applicant is most proficient and with been developed over the years by professionals of dance styles. The Certificate in Dance is which he or she feels most comfortable. who are experienced with the world of dance and awarded in recognition of achievement, and does its demands. not constitute an academic degree. Video-taped auditions must show: Daily technique classes in ballet, modern 1 Ballet and either Modern or Jazz Dance. dance, and jazz dance are basic to all courses of 2. Warm-up including both floor work and barre: study. Electives include improvisation, repertory, Barre should be taped from the side and front, partnering, Spanish dance, ethnic dance, charac- and should include plies (demi- and grand-), ter, and mime. Through courses such as dance tendus, degages (battements jetes), ronds de history and score reconstruction the student will jambes, grand battements, developpes (exten- gain a historical perspective of different dance sions) en croix. traditions. Music, voice, and acting classes pro- 3. Center work should include small and large vide the necessary links to allied performing arts. jumps, pirouettes, adagio, and a modem or jazz The curriculum includes courses in the liberal arts combination. and social sciences, with special emphasis placed 4. Locomotor in modern or jazz — a combination upon the manner in which they relate to the arts. of at least eight measures which includes leaps and turns.

5. A short solo presentation, not longer than two minutes.

Video tapes should be VHS format; all tapes must be clearly labeled with name, address, and reper- toire descriptions.

83 ——9 ——

Core Curriculum Ballet Major Jazz/Theater Dance Major

The Core Curriculum is common to all Bachelor of The final two years of the Ballet major emphasize The Jazz/Theater Dance major emphasizes acting,

Fine Arts programs in the School of Dance for the advanced technique in ballet, including Pointe or music, and voice in addition to the technical study first two years. These required courses develop a Men's Ballet class. In addition, Ballet majors con- of jazz dance, and prepares students for dance solid foundation from which students pursue their tinue non-major studies in either Modem or Jazz careers related to theatrical performance. specific areas of interest. uance. Junior Year Semester Freshman Year Semester Junior Year Semester 1st 2nd

1st 2nd 1st 2nd DA 311 A&B Jazz Major l.ll 4 4 * DA101A&B Ballet HI 2 2 DA 301 A&B BalletMajorl.il 4 4 Ballet or Modem for * DA103A&B Modem Dance HI 2 2 Modern or Jazz for 1 1 Non-majors 1 1

DA113A&B JazzDanceHI 1 1 DA308A&B Dance Pedagogy l.ll 2 2 DA308A&B Dance Pedagogy I, II 2 2

DA123A&B Tap HI 1 1 DA307A&B Ballet Repertory l.ll 2 2 DA317A&B Dance Composition II, III 2 2

DA 107 Eurythmics 1 - DA309A&B Partnering l.ll 1 1 DA 319 Theater Functions - 2

- - DA 109 Improvisation I 1 DA 31 Theater Functions 2 DA323A&B Tap Dance IIIJV 1 1 - DA 1 1 6A&B Fundamentals of the DA 324 Character Dance 1 DA345A&B Voice l.ll 1 1 - Art of Dance HI 1 1 DA347A Acting I 1 DA347A&B Acting Ml 1 1

DA117A&B Survey of Music HI 3 3 DA 321 A&B Pointe I, II or 1 1 DA77- Dance Ensemble 1 1

Electives 1 1 DA327A&B Men's Class l,ll Elective 1

- — HU110A Language & Expression 3 DA77- Dance Ensemble 1 1 HU Humanities 3 3

HU103A&B Intro, to Modernism 3 Electives 1 3_ 17 18 HU — Humanities 3 3 18 15 17 18

Sophomore Year Senior Year DA201A&B Ballet IIHV 2 2 Senior Year DA 411 A&B Jazz Major IIIJV 4 4 * DA203A&B Modem Dance IIHV 2 2 DA401A&B Ballet Major IIIJV 4 4 Ballet or Modem for * DA213A&B Jazz Dance IIHV 1 1 — Modern or Jazz for non-majors

DA205A&B Dance Notation HI 2 2 non-majors 1 1 DA419A&B Dance Production l,ll

- DA 209 Anatomy 1 DA407A&B Ballet Repertory IIIJV 2 2 DA423A&B Tap Dance V,VI - DA 210 Kinesiology 1 DA419A&B Dance Production I, II 2 2 DA445A&B Voice IIIJV DA211A&B Dance History HI 3 3 DA421A&B Pointe IIIJV or DA447A&B Acting IIIJV

- DA 216 Music for Dancers 1 DA427A&B Men's Class IIIJV 1 1 DA 77- Dance Ensemble - 77- DA 217 Dance Composition I 2 DA Dance Ensemble 1 1 — Electives DA 77- Dance Ensemble 1 1 Electives 1 1 HU Humanities

Electives 1 1 HU— Humanities 3 3 HU Humanities HU— Humanities 3 3 HU Humanities 3 - 18 15 17 18 18 15 *DA 325A&B. DA 326A&B, DA 425A&B, DA 426 *DA 326A&B, DA 328A&B, DA 426 A&B, A&B, as appropriate. DA 428A&B, as appropriate 7 — 967 1

Modem Dance Major Dance Education Major Certificate in Dance Modern Dance majors further develop technique, Students choosing to pursue the Bachelor of Fine Total Credits: 55 repertoire, and composition in the area of Modern Arts in Dance Education continue dance technique First Year Semester Dance. In addition, Modem Dance Majors also studies in one major area and one non-major area 1st 2nd pursue non-major studies in either Ballet or Jazz of concentration. The culmination of the program DA 101A&B Ballet l-ll 2 2 Dance. is an internship as a student teacher. DA 103A&B Modem Dance l-ll 2 2

DA 107 Eurythmics 1 -

Junior Year Semester Junior Year Semester DA 109 Dance Improvisation 1 -

1st 2nd 1st 2nd DA113A&B Jazz Dance l-ll 1 1 DA303A&B Modern Dance Major V-VI 4 4 DA 3—A&B Major Technique 4 4 DA116A&B Fundamentals of the

Ballet or Jazz for DA 3 Non-major Technique 1 1 Art of Dance l-ll 1 1

Non-majors 1 1 DA 308A&B Dance Pedagogy l-ll 2 2 DA117A&B Survey of Music l-ll 3 3

DA305A&B Modern Repertory l-ll 2 2 DA 31 7A&B Dance Composition II- II 2 2 DA123A&B Tap Dance 1-111

DA308A&B Dance Pedagogy l-ll 2 2 DA319 Theater Functions - 2 DA 211 A&B Dance History l-ll 2 2

DA317A&B Dance Composition ll-l 2 2 DA 77- Dance Ensemble 1 1 Electives 1 1 DA 319 Theater Functions - 2 — Elective 1 - DA322A&B Improvisation ll-lll 1 1 HU Humanities 3 — 15 14 DA77- Dance Ensemble 1 1 HU Psychology 3 3

Elective 1 - HU- Humanities 3 3 Second Year 17 15 DA 201 A&B Ballet lll-IV 2 2 17 18 DA 203A&B Modem Dance lll-IV 2 2 Senior Year DA 207A&B Dance Pedagogy-ll 2 2 - Senior Year DA 4—A&B Major Technique DA 209 Anatomy 1

DA403A&B Modem Dance DA 4 Non-major Technique DA 210 Kinesiology - 1

Major VII-VIII 4 4 DA 408A&B Dance Symposium l-ll DA213A&B Jazz Dance lll-IV 1 1 i_ - Ballet or Jazz for DA 410 Student Teaching DA 21 Music for Dancers 1

- Non-majors 1 1 DA419A&B Dance Production DA 21 Dance Composition I 2

- DA405A&B Modern Repertory lll-IV 2 2 HU 4 Humanities DA 31 Theater Functions 2

DA 41 Dance Composition IV 2 HU 4 Humanities DA 77- Dance Ensemble 1 1

DA419A&B Dance Production l-ll 2 2 Electives 2 1 16 17 DA77- Dance Ensemble 1 1 12 14 Electives 1 1 HU — Humanities 3 3 HU — Humanities - 3

16 17

*DA 325A&B, DA 328A&B, DA 425A&B, DA 428A&B, as appropriate.

85 .

Special Class/ Senior Dance Concert Graduation Requirements Performance 1 Preparation for the senior Requirements concert takes place In addition to the general PCPA requirements during the two-semester Dance Production Dance Technique Class for graduation, each Dance Major must fulfill course under the supervision of a senior faculty the Senior Dance Concert Presence in Dance Technique class is especially requirements, as member. Each student may select an advisor previously vital to the student's professional development. described. who will assist in the choreographic and tech- Dance Technique classes meet up to five times nical production of the concert. Performance per week depending upon the course and level. dates are chosen in September. Most concerts Absences must not exceed twice the number of Dance Extension are shared by several seniors and are per- weekly class meetings per semester for the par- 309 South Broad Street formed in the Drake Theater. ticular course. Extensive absences, whether "ex- 215-875-2269 2. Jury: All senior dance students will present their cused" or "unexcused," will adversely effect the The Dance Extension Division offers credit and finished concert three weeks before their sched- course grade. noncredit dance courses for students of all ages, uled date of performance to a jury consisting of from beginner through advanced levels. The pro- Dance Ensembles three faculty members and the Director and Assis- Dance are grams enable students to explore their potential in majors expected to actively participate tant Director of the School of Dance. During this a stimulating professional each semester in and environment. The a Dance Ensemble. (Note: There presentation, all technical cues should be in place Extension Division presents a wide variety of is no performance requirement for freshmen.) and announced, and the technical crew must also Dance Ensembles are courses, taught by the same highly qualified in- performance-oriented be present. A draft of the program copy is to be structors who work with our full-time students of groups in Ballet, Jazz, and Modem Dance. Reper- submitted for review. the School of Dance. These courses for non-Dance tory for Dance Ensembles may be an original work 3. Requirements: Majors are open to all University of the Arts stu- by a faculty member, an exceptional student work, a. Choreography — Modern majors must cho- dents for elective credit. or one reconstructed from dance notation. reograph a solo work and a large or small Students are expected to complete six en- group piece. Ballet majors must choreograph semble credits (one each semester). The require- one work, either solo or small group. Jazz ma- ment may be fulfilled by participation in Consort, jors must choreograph one solo and one group the student performing dance company. Consort piece, or two group pieces. If any singing is carries variable credits and may, with special included, the School of Dance vocal coach must permission of the Director of the School of Dance, be consulted and approve the work. also fulfill certain curricular requirements such as b. Performance — All students must perform in Repertory and Partnering. at least one work of their own choreography

Required Performance credit may also be and one work of a fellow student. Additionally, satisfied by participation in Senior Concerts, Ballet majors must perform in a piece from the Composition Concerts, and approved outside standard ballet repertory. professional work. c. Technical Assistance — Each student must

Additionally, Seniors may earn Performance fulfill a technical-personnel requirement either credit in conjunction with their Dance Production as Stage Manager, Lighting Technician/De- course. Sophomores and Juniors may be awarded signer, or Sound Technician. Personnel are ensemble credit by doing their own choreography selected well in advance of the concert date if the work is shown in concert form. and meet with the Technical Director of the

Theater early in the semester to set up re- hearsal dates.

4. Responsibilities: The University will provide the theater, a technical director, and the basic tech- nical facilities. Any additional support, special lighting, or sound needs must be provided by

the student. All programs, flyers, and promo- tional material can be duplicated by the Dance

Office if presented well in advance of the pro-

duction in finished (typed) state. 5. Evaluation: Most senior Dance students view

their Senior Concert as the culmination of their four years at The University of the Arts and a most important aspect of their college experi-

ence. The faculty, too, judges this performance as a serious demonstration of the student's

ability as a dance artist. Evaluations of the content of the performance are offered by at least three faculty members after the preconcert jury presentation.

The production aspect of the concert will be

graded by the faculty in charge of the course. The final grade thus reflects both the process and the

choreographic end result.

86 The School of Dance DA116A&B DA 211 A&B Fundamentals of the Art of Dance III Dance History III Course Descriptions 1 credit per semester 3 credits per semester DA101A&B This freshman course deals with basic aesthetic The study of the interaction between dance and

Ballet Ml considerations of the dance art form. The first the society in which it develops, emphasizing the semester examines the 2 credits per semester nature and forms of dance, changing role and nature of dance. Dance History I Fundamentals of ballet technique including barre dance in relation to other arts, and its language deals with dance from the Renaissance through

and center floor work. The course serves to intro- and literature. The second semester is an "Effort- Diaghilev's Ballet Russe. Dance History II surveys

duce and develop basic ballet technique and vo- Shape" course, based on the principles of Rudolph dance from pre-World War II to the present. Re-

cabulary. Body placement and alignment is Von Laban. Required of all Dance majors. quired of all Dance majors. stressed through an understanding and application DA117A&B DA 213 A&B of these basics. Continuous advancement and Survey of Music III Jazz Dance lll-IV development is provided from beginning to ad- 3 credits per semester 1 credit per semester vanced levels throughout this four-semester se- Study of rhythm, melody, harmony, tempi and dy- Continuation of DA 1 1 3 A&B. Required of all quence (Ballet l-IV). Required of all Dance majors. namics, and musical forms. The course also sur- Dance majors. veys the history of music from ancient to modern, DA103A&B DA 216 Modern Dance III including jazz. Musical rhythms and structures are Music for Dancers 2 credits per semester studied in the one-hour laboratory section. Re- 1 credit Basic technique of modern dance for the develop- quired of all Dance majors. An exploration of various kinds of musical materi- ment of skills, intellectual understanding, kinetic DA123A&B als and literature, from Gregorian chant to New perception, and maximum versatility. Includes Tap III Music, relating the selection of music to the cre- barre work, center floor, isolation, falls and recov- 1 credit per semester ation of dance composition. Improvisation utilizing eries, contractions and release. Part of two-year Basic vocabulary of tap, and development of rhyth- different sounds and instruments. Prerequisite to sequence (Modern Dance l-IV). Required of all mically accurate footwork and accompanying body Dance Composition (DA 217). Required of all Dance majors. movements. Required of all Dance majors. Dance majors.

DA 107 DA201A&B DA 217 Eii rythmics Ballet lll-IV Dance Composition I 1 credit 2 credits per semester 2 credits A beginning course in dance theory and composi- Continuation of DA 101 A&B. Required of all The course integrates the improvisational skills tion which explores the development of rhythm Dance majors. acquired earlier in Eurythmics, Improvisation, and perception through movement improvisation. Stu- Music for DA 203 A&B Dancers. Designed to provide the begin- dents receive weekly movement assignments ning choreographer with the tools needed to struc- Modern Dance lll-IV directed toward specific rhythm and dance prob- ture a dance composition in solo and duet forms. 2 credits per semester lems. Required of all Dance majors. Required of all Dance majors. Continuation of DA 1 03 A&B. Required of all 109 DA Dance majors. DA 301 A&B

Improvisation I Ballet V-VI DA 205 A&B 1 credit 4 credits per semester Notation III This course comprises breathing and centering Continuation of DA 201 A&B. Required of students 2 credits per semester warm-ups, isolation exercises, and technical im- majoring in Ballet. Notation I is an introduction to the Laban system provisation on movement qualities, including of recording dance movement. The course deals DA 303 A&B swinging, gliding, falling, rising, slow motion. with the study of basic notation symbols for read- Modern Dance V-VI Students learn to develop choreographic ideas ing and writing movements involving steps, arm 4 credits per semester through group improvisational structures. A con- and leg gestures, turns, and rhythmic and spatial Continuation of DA 203 A&B. Required of students tinuation of the creative work of DA 107. Required patterns. Notation II comprises intermediate study majoring in Modern Dance. of all Dance majors. in reading and writing dance phrases including DA113A&B DA 305 A&B torso, parts of the limbs, and head. Required of all Modern Repertory III Jazz Dance III Dance majors. 2 credits per semester 1 credit per semester DA 209 A study of contemporary and/or classical repertory A presentation of styles designed to broaden Anatomy for Dancers by resident or guest choreographers or notators, knowledge and technique of concert and theater 1 credit as well as the viewing, discussion, and analysis of jazz dance. Classes employ floor stretches and A study of the structured makeup of the human great works on video and film. Required of Mod- center barre as warm-up procedures. Movement body, and the relationship of body systems to each ern Dance majors. patterns emphasize simultaneous coordination of other. Included is a study of the structure and func- multiple rhythm patterns in different parts of the DA 307 A&B tion of the nervous, pulmonary, circulatory, and body. Combinations advance from simple to com- Ballet Repertory III digestive systems. Required of all Dance majors. plex throughout this four-semester sequence (Jazz 2 credits per semester Dance l-IV). Required of all Dance majors. DA 210 The study and performance of dances of the Kinesiology Renaissance and Baroque periods, followed by

1 credit major classical and modern ballets. Required of A study of the mechanics of the body in motion Ballet majors.

based upon the background provided in Anatomy

for Dancers (DA 209). Muscular and biomechanical aspects are presented, with a stress on overuse

syndrome and prevention of dance injuries. Re-

quired of all Dance majors.

87 DA308A&B DA 323 A&B DA 401 A&B Dance Pedagogy III Tap lll-IV Ballet VII-VIII 2 credits per semester 1 credit per semester 4 credits per semester first year of a two-year sequence (DA 333- Continuation of DA 301 A&B. Required of students Dance I is an introduction to current philosophies The and practices of teaching dance, and a historical 334, 433-444). The study and practice of the majoring in Ballet. style of dance from simple rhythmic foot- survey of the role of dance in education. The sec- tap DA 403 A&B with identification and work to more complex multirhythms and reper- ond semester deals Modern Dance VII-VIII teaching dance, tory. Required of students majoring in Jazz/ exploration of basic concepts of 4 credits per semester the concrete Theater Dance. and application of these principles to Continuation of DA 303 A&B. Required of students development of lesson plans. Required of all DA 324 majoring in Modern Dance. Dance majors. Character Dance DA 405 A&B 1 credit DA309A&B Modem Repertory lll-IV The course deals with the study of the relation- Partnering III 2 credits per semester ship between ethnic styles and classical ballet, 1 credit per semester Continuation of DA 305 A&B. Required of students of adagio (pas de deux). Students and the proper technique for performing national The basic technique majoring in Modern Dance. perform major classical works. Required of Ballet dances stylized for the classical ballet repertory. DA 407 A&B majors. May be taken as an elective by other Dance Required of students majoring in Ballet. May be Ballet Repertory lll-IV majors with permission of the instructor. taken as an elective by other Dance majors with 2 credits per semester permission of the instructor. DA311A&B Continuation of DA 307 A&B. Required of students DA 325 A&B Jazz V-VI majoring in Ballet. 4 credits per semester Ballet for Non-majors V-VI DA 411 A&B Continued development of technique and various 1 credit per semester major- Jazz VII-VIII styles as introduced in DA 1 13 A&B. The course Continuation of DA 201 A&B. For students 4 credits per semester progresses from basic to complex rhythm and ing in Modern or Jazz/Theater Dance. Continuation of DA 31 1 A&B. Required of students exercises and movement combinations isolation DA 326 A&B majoring in Jazz/Theater Dance. of dynamics, as well as prepara- stressing subtlety Modern Dance for Nonmajors V-VI tion of repertory. Required of students majoring in DA 417 1 credit per semester Jazz/Theater Dance. Irrterarts Composition IV Continuation of DA A&B. For students majoring in 2 credits DA 317 A&B Ballet or Jazz/Theater Dance. This course is designed for choreographers to Composition 11—111 Dance DA 327 A&B work collaboratively with artists in related media 2 credits per semester Class Ml Men's such as video, photography, music, crafts, and/or Continuation of DA 230. Problem solving and 1 credit per semester text. Work is presented at the end of the semester. analysis of materials through individual projects. The technical movements of dance frequently Course may be team-taught. Required of Modem performed by the male dancer. Required of stu- DA 319 majors; open as an elective to all University stu- dents majoring in Ballet. May be taken as an elec- Theater Functions dents with permission of instructor. 2 credits tive by other Dance majors. DA 419 A&B A basic production course dealing with concepts DA 328 A&B Dance Production Ml of lighting and set design dance. Students are Jazz for Nonmajors V-VI 2 credits per semester required to gain practical experience by working in 1 credit per semester Designed to assist senior students in meeting their theater on dance concerts during the year. the for Ballet and Modern majors. The Designed graduation performance requirement. Each stu- Required of all Dance majors. course further develops the vocabulary and skills dent participates in the rehearsal, performance, in 213 A&B. DA 321 A&B learned DA and technical aspects of the senior graduation Pointe Ml DA 345 A&B concerts scheduled at the end of each spring. 1 credit per semester Voice Ml Students are expected to take major responsibili- Basic technique of dancing ballet on pointe. gradu- 1 credit per semester ties for the production of these programs. A Women dance variations from the classical reper- Vocal training for the non-Voice major. Designed ation requirement for all Dance majors. majoring in Ballet. May toire. Required of students meet both the to develop the vocal instrument to DA 421 A&B taken an elective by other Dance majors. be as musical and nonmusical vocal requirements of the Pointe lll-IV 322 theater. Required of students majoring in Jazz/ DA A&B 1 credit per semester Improvisation If— III Theater Dance. Continuation of DA 341 A&B. Required of students

1 per semester credit DA347A majoring in Ballet. May be taken as an elective by Individual improvisations are performed on themes Prerequisite: DA 342. Acting I other Dance majors. with objects in restricted or altered spaces and times. 1 credit DA 423 A&B for group improvisation. Various structures are used expression, improvisa- Techniques of theatrical Tap V-VI Free improvisation with live music is stressed. Re- tion, and interpretation. Required of students 1 credit per semester quired of students majoring in Modem Dance. majoring in Ballet and Jazz/Theater Dance. Open Continuation of DA 323 A&B. Required of students to Modern Dance majors as an elective. majoring in Jazz/Theater Dance.

DA347B DA 425 A&B Acting II Ballet for Non-majors VII-VIII

1 credit 1 credit per semester Continuation of DA 347A. Required of students Continuation of DA 325 A&B. For students major- majoring in Jazz/Theater Dance. Open to other ing in Modern or Jazz/Theater Dance. Dance majors as an elective. DA426A&B Dance Education Dance Electives Modem Dance for Nonmajors VII-VIII DA 308 A&B DA 111 1 credit semester Dance Pedagogy III Spahish Dance Continuation of DA 326 A&B. For students major- 2 credits per semester 1 credit ing in Ballet or Jazz/Theater Dance.

Dance I is an introduction to current philoso- A study of the basic techniques of playing casta- 427 DA A&B phies and practices of teaching dance, and a nets for the Sevillanas, as well as development of Men's Class lll-IV historical survey of the role of dance in educa- fundamental skills in footwork and handclaps for

1 credit per semester tion. The second semester deals with identifi- flamenco.

Continuation of 327 (1 hour weekly). Re- DA A&B cation and exploration of basic concepts of DA 115 quired of all male Ballet Majors. May be taken as teaching dance, and application of these prin- Mime an elective by other Dance majors. Prerequisite: ciples to the concrete development of lesson 1 credit DA 352. plans. Required of all Dance majors. An exploration of the commedia deH'arte, Kabuki, DA 428 A&B DA 408 A and twentieth-century techniques developed by Jazz for Nonmajors VII-VIII Dance Symposium I Decroux, Barrault, and Marceau. Emphasis is

1 credit per semester 3 credits placed on animals as the primary key to funda- Continuation of DA 328 A&B. For students major- A course designed specifically for those students mental movement, as well as analysis of human ing in Ballet and Modern Dance. who will be completing their student teaching movement, including elements of age, environ- DA 445 A&B requirement in the following semester. The course ment, body type, and facial features. includes observation techniques, source material Voice lll-IV DA 119 preparation, and evaluation criteria. Discussion 1 credit per semester Yoga Continuation of DA 345 A&B. sessions center around the application of dance 1 credit principles to the learning situation. The role of DA 447 A&B The study of a system of exercises to achieve dance teacher is examined. Acting lll-IV physical and spiritual well-being. DA 408 B 1 credit per semester DA 121 Dance Symposium II Continuation of DA 347 A&B. Required of students The Alexander Technique majoring in Jazz/Theater Dance. May be taken as 3 credits 1 credit Prerequisite: This course is designed to complement the actual an elective by other Dance majors. A method for moving with ease and grace which student teaching experience. Specific situations, DA 338. can be used in any situation (ballet, jazz, modern problems, and achievements of the student teach- DA 77- dance, and also everyday activities). By releasing ing process are discussed and evaluated. Dance Ensembles/Labs unnecessary tension in movement, the student learns to avoid injuries or change harmful 1 credit per semester DA 410 dance Student Teaching habits so that chronic injuries can heal. DA 771 8 credits Ballet Ensemble DA 124 Students teach under supervised direction for one Ethnic Dance DA 772 semester in a public or private school. If place- 1 credit Dance Consort ment for student teaching is not within a school The study of the contribution of black dance to the system, arrangements are made for the student to DA 773 development of American dance through the mas- do this supervised teaching through local dance Modern Ensemble tery of the technique. studios. Student Teaching must be taken concur- 774 126 DA rently with DA 408 B. Prerequisite: DA 408 A. DA Jazz Ensemble Dance Ethnology 2 credits DA 775 A survey of the broad perspectives of dance as an Tap Ensemble expression of culture through investigation of Western and non-Western dance forms.

DA 127 Stage Combat

1 credit

Introduces dancers to stage fencing techniques using courtswords, sabers, and daggers.

DA 129 Nutrition

1 credit

The study of nutrition and its application to food selection, with special emphasis on the nutritional needs of the dancer.

89 DA 130 DA101X Dance Therapy Ballet Elective

1 credit 1 credit per semester , An examination of the use of dance movements as A fundamental ballet technique course for non- therapeutic tools in working with the physically dance majors. and mentally handicapped. DA103X DA223A&B Modern Dance Elective

Tap lll-IV 1 credit per semester

1 credit per semester A fundamental modern dance technique course for Continuation of DA 123 A&B. non-dance majors.

DA 314 DA113X Score Reconstruction Jazz Dance Elective

2 credits 1 credit per semester .,..,, ., The application of Laban principles to the re-cre- A fundamental jazz dance technique course for ation of notated solo and/or group works. The non-dance majors. works studied are drawn from repertory of estab- DA 114X lished choreographers and include compositions in Karate Elective the various styles of dance. The course may in- 1 credit per semester clude performance of reconstructed works. DA123X DA 422 Tap Dance Elective Styles of Jazz 1 credit per semester 1 credit A fundamental tap technique course for non-dance An exploration of Jazz styles of historic and con- majors. temporary Jazz dance artists.

Note: The following courses, required of particular Dance majors, are open as electives to other Dance majors:

DA 345 A&B & DA 445 A&B Voice l-ll-lll-IV

DA 317 A&B

Dance Composition ll-lll

DA 324 Character Dance

DA 323 A&B & DA 423 A&B Tap lll-IV-V-VI

DA 347 A&B & DA 447 A&B Acting l-ll-lll-IV

DA 321 A&B & DA 421 A&B

Pointe l-ll-lll-IV

DA 327 A&B & DA 427 A&B Men's Class l-ll-lll-IV

90 The School of Music Faculty by Department Classical Applied and Bassoon Marc Dicciani Chamber Music Studies Mark Gigliotti Director 250 South Broad Street Strings Saxophone 215-875-2206 Marshall Taylor Violin William P. Zaccagni 'David Arben The School of Music is dedicated to the prepa- *Frank Costanzo Woodwind Chamber Music ration and training of young musicians for a "Jonathan Blumenfeld 'Robert de Pasquale professional career in performance, composi- "William de Pasquale Shirley Curtiss tion, music theory, and music education. The "Lorin Lind Chin Kim student's growth as a musician is the primary Adeline "Joseph Lanza Tomasone goal of the program. The School stresses indi- A. William Liva vidualized training in a conservatory atmo- Brass sphere in order to produce professional musi- Viola Trumpet cians and teachers of the highest caliber. "Leonard Mogill James Hala Undergraduate students in the School of Music Janee Munroe Anthony Marchione study the performance and composition of jazz or Violoncello "Seymour Rosenfeld classical music. All programs lead to an academic Ulrich Boeckheler Evan Solot degree, diploma, or certificate. Preparatory ""Lome Munroe Dennis Wasco courses for the MAT in Music Education are also "Deborah Reeder French Horn offered at this level. Francis Orval Graduate programs are available in instrumen- Contrabass "David Wetherill tal or vocal performance, opera, piano accompany- "Neil Courtney ing and chamber music, music education, and "Henry Scott Trombone Craig composition. These programs offer flexibility along Thomas "Tyrone Breuninger with intensive study in the major area. Harp Richard Genovese Performance opportunities play an important "Margarite Csonka Montanaro Dan Tomasone part in the student's education by sharpening tech- Classical Guitar Tuba nical skills and increasing the student's musical John Leonard Jay Paul Krush repertory. The School sponsors a student orches- Pat Mercuri "Paul Krzywicki tra, chamber ensembles (including a New Music Peter Segal Ensemble), jazz and fusion ensembles, and choral Brass Chamber Music Richard Genovese groups. Students are involved in a rigorous sched- String Chamber Music ule of performances, with over 125 concerts pre- "Robert de Pasquale James Hala sented each year. "William de Pasquale Jay Paul Krush The faculty of the School of Music is made up A. William Liva Percussion of experienced and practicing artists; included are String Orchestra Repertory Percussion members of the Philadelphia Orchestra and New "William de Pasquale "Michael Bookspan York Philharmonic, professional opera singers, and "Deborah Reeder Joseph Nero well-known soloists, composers, theorists, and "Neil Courtney "Anthony Orlando music historians. Classical Guitar Ensemble Close work with the faculty is supplemented by Percussion Ensemble Leonard the School's ongoing Master Class Series. Artists John Anthony Orlando Peter Segal who have participated in this series include pia- Keyboard nists Andre Watts and Victor Borge; trumpeter Woodwinds Wynton Marsalis; composers Pierre Boulez, John Piano Flute Cage, and George Crumb; singers Beverly Sills and Susan Starr, Chair ""Julius Baker Placido Domingo; conductors Klaus Tennstedt and Annette DiMedio Jeffrey Khaner Ricardo Muti; and jazz musicians Thad Jones, Mel Marina Gusak-Grin "Lorin Lind Lewis, Peter Erskine, and Stanley Clarke. David Hartl Adeline Tomasone To further prepare its students for careers in the Benjamin Whitten professional music world, the School of Music Oboe Piano Class provides electronic equipment and facilities in- "Jonathan Blumenfeld Annette DiMedio cluding synthesizers, an electronic studio, a com- "Louis Rosenblatt Mark Valenti puter laboratory, and a facility for computer musi- Clarinet cal calligraphy. Through a grant from the William Organ "Anthony Gigliotti Penn Foundation, the School of Music has recently Michael Stairs Guido Mecoli opened a state-of-the-art music technology facil- "Ronald Reuben ity, which includes a recording studio, three midi studios, an editing room, and a number of re- hearsal rooms.

Founded in 1871 as the Philadelphia Musical

Academy, and later merged with the Philadelphia Conservatory of Music, the School counts among

its alumni some of the nation's finest musicians, including pianist Andre Watts, composer Vincent

Persichetti, and jazz artists Stanley Clarke, John Davis, and Lew Taborkin.

91 Voice-Opera Music Studies Facilities

The School of Music is located in the Shubert Voice Composition and Theory Theater building at 250 South Broad Street and at Vivian Wagner, Chair Andrew Rudin, Chair 313 South Broad Street. Facilities include chamber Paula Brown Joseph Castaldo music studios, electronic music and recording Marianne Casiello Donald Chittum studios, computer studios, practice rooms, a class David Hartl Frederick Kaufman piano laboratory, and various-sized classrooms. Patricia Stasis Andrew Rudin Practice rooms are generous in size, and most are Carl Schmidt Opera equipped with grand pianos. Six new piano stu- Lee Silvan Vivian Wagner, Chair dios and a harpsichord studio have recently been Evan Solot Yoko Hashimoto-Sinclair (make-up) opened, reserved for private instruction and prac- Paula Mlinar (costume mistress) Computer and Electronic Music tice by keyboard majors. A two-manual Challis Leland Kimball (stage direction) George Akerley Harpsichord, two harps, and a complete set of Gary Magby (coaching and vocal literature) Andrew Rudin percussion instruments are available for practice. Richard Raub (Coaching) Musicianship The University's newly-restored, historic Paul Wagar (Acting) Shubert Theater and several smaller theaters Sean Deibler, Chair are used for student performances. There are Languages and Diction Ruben del Pilar Andino several studios for electronic music composi- Leila Calder Mark Valenti tion, equipped with computer hardware and Carmela Novielli Music History and Literature software, various synthesizers, and mixing, Therese Casadesus Rawson Donald Chittum recording, and monitoring equipment. The mu- Studies Gary John Magby Jazz Applied and Ensemble sic library, located in the Shubert building, con- Gabriels Roepke Evan Solot, Chair tains books, manuscripts, journals, and scores, Andrew Rudin Strings and listening and viewing facilities for the Carl Schmidt John Blake study of audio and video recordings. William Zaccagni Saxophone Performance Opportunities Recording Ronald Kerber Orchestra James Gallagher William Zaccagni Chorus Music Business Chamber Singers Trumpet Marc Dicciani New Music Ensemble Richard Kerber Stage Band Evan Solot Music Education- Undergraduate and Fusion Ensemble Dennis Wasco Graduate Studies Small Jazz Groups Douglas Medlin, Director Trombone String Trios and Quartets Leila Calder Richard Genovese Flute Ensemble Sean Deibler James Pugh Woodwind Quintet Marc Dicciani Saxophone Ensemble Keyboards Janice K. Goto Brass Ensemble Mark Valenti Richard Kerber Percussion Ensemble Guitar "Joseph Primavera Classical Guitar Ensemble Robert DiNardo William Zaccagni Jazz Guitar Ensemble Ed Flanagan Graduate Studies- Applied Music and Piano Chamber Music Thomas Giacabetti Composition Piano Accompanying Patrick Mercuri Carl Schmidt, Director Mixed Chamber Ensembles Contrabass Joseph Castaldo Opera Staging Craig Thomas Donald Chittum Aria Class

Percussion Kent Christensen Sean Deibler Joseph Nero Joseph Primavera Piano Orchestral Manager and Librarian Trudy Pitts Robert Loy Ensembles and Conducting Concert Manager Orchestra Richard Hotchkiss Sean Deibler Music Librarian Chorus and Chamber Choir Mark Germer Jeffrey Kern School of Music Accompanists Conducting Andrea Clearfield

Sean Deibler Reuben del Pilar Andino Janice Goto 'Denotes present or former member of the Jazz Ensembles Philadelphia Orchestra John Blake-Small Jazz Ensemble **Denotes present or former member of the Robert DiNardo-Jazz Guitar Ensemble New York Philharmonic Orchestra Ed Flanagan-Small Jazz Ensemble Craig Thomas-Small Jazz Ensemble Evan Solot-Fusion Ensemble William Zaccagni-Stage Band

92 Programs of Study Undergraduate Programs Bachelor of Music in Composition

Students in the Bachelor of Music in Perfor- Students enrolled in this program take both Major Areas of Concentration mance program may choose either a classical class and private instruction in composition in Accompanying/Chamber Music (graduate or jazz/commercial major. See "Major Areas of addition to courses in orchestration, computer only) Concentration." music composition, computer calligraphy and Bassoon conducting. Virtually all student compositions "Cello Bachelor of Music in Classical are read or performed, and frequent perfor- "Clarinet Performance mances of student's music highlight the "Composition The classical major offers concentrated studies in school's concert schedule. Student composers "Contrabass a major performance area and a solid background are also encouraged to collaborate with danc- Electric Bass (jazz/commercial only) in supportive musical areas. These include private ers, choreographers, filmmakers, and actors, "Flute lessons in the major area, coaching, large en- taking full advantage of the creative environ- French Horn semble activities, chamber music, and opportuni- ment of the University. Students may major in "Guitar ties for solo and ensemble performances. Classical or Jazz/Commercial Composition. Harp The Opera Emphasis program allows singers to Harpsichord Bachelor of Music in concentrate on opera studies. Beginning in the Theory The MIDI Emphasis (jazz/commercial only) third year, the curriculum includes special opera theory major prepares students to pursue graduate in theory Oboe courses in acting and staging, opera repertory, study or musicology. In addition to taking Organ opera preparation and additional coaching, dance, the core theory program, students take "Percussion and movement. The program also includes regular courses in the History of Theory, Advanced Tonal "Piano Theory, Set Theory, Reduction performance in aria classes, staged performances Theory, Serial Theory, a senior Piano Accompanying and Chamber Music of opera scenes, and presentations of full-length and do project in analysis, re- search, or (graduate only) operas in the Shubert Theater. composition. "Saxophone Bachelor of Music in Master of Arts in leaching- Co-requisite Theory Jazz/Commercial Program (MATPREP) "Trombone Music A seventeen-credit course of study designed to "Trumpet The Jazz/Commercial major provides a direct and satisfy co-requisite requirements for entrance into Tuba pragmatic education for students interested in the Master of Arts in Teaching in Music Education "Viola establishing a career as a performer, arranger, or program. Open to all undergraduate music majors, "Violin composer in jazz and/or commercial music. Stu- classes include an introduction to music educa- Voice dents receive lessons in both classical and jazz/ tion, basic conducting, lab teaching, functional Voice-Opera Emphasis commercial areas. Performance opportunities are available in the School's piano and classroom skills, psychology of music Woodwind Emphasis (jazz/commercial only) award-winning jazz en- sembles. Special courses include Jazz Arranging, teaching, and orchestration. Completion of the "May be studied as a classical or jazz major. MATPREP program with History of Jazz, The Business of Music, Computer an average of 3.0 or Otherwise, the listing is for classical only. Music Composition, MIDI Synthesis, and Record- higher in these courses satisfies most MAT en- ing Techniques. trance requirements. Students may elect to enroll in the MIDI em- Diploma Program phasis program which begins in the third year, This four-year program is designed primarily for in addition to their performance or composition students who wish to take the entire musical por- classes, students take courses in advanced tion of the undergraduate curriculum without hu- MIDI stynthesis and the analysis and composi- manities courses. Students wishing to transfer tion of commercial music. from this program to the Bachelor's degree pro- Woodwind majors may elect to enroll in a gram may do so in any year of their matriculation. woodwind specialist program which includes the study of various woodwind instruments. Certificate in Music The Certificate in Music program consists of the

musical studies normally taken during the first two years of the Bachelor of Music program. No hu- manities courses are required.

93 ......

Graduate Programs Undergraduate Audition Woodwind Instruments

Master of Music Requirements Flute 1 Major and minor scales, The Master of Music degree program is designed An audition is required of all applicants to the two octaves, with vari- ous articulations. for students who already hold a Bachelor of Music School of Music. The audition is designed to dem- 2. technical degree or its foreign equivalent. Intended for onstrate that an applicant's technical proficiency A study or etude. 3. solo those preparing for careers as professional musi- and potential for professional development are at One piece demonstrating technical ability, tone quality, cians, this two-year program provides superb the college level. The audition may be taken in musicality, and sense of style. 4. Sight-reading. musical training with renowned teachers and Philadelphia, at designated regional audition loca- intensive classroom study. Performance degrees tions, or may be submitted on audio cassette tape Oboe are offered in orchestral instruments, piano, piano or VHS format video tape (tape must clearly be 1 Major and minor scales, two octaves, with vari- labeled accompanying and chamber music, voice, and with name, address, and repertoire). ous articulations. opera singing. Audition Many students enrolled in the pro- requirements are the same for all 2. A technical study or etude. gram perform regularly in a variety of greater undergraduate programs: Bachelor of Music. Un- 3. One solo piece demonstrating technical ability, Philadelphia musical ensembles. dergraduate Diploma, Certificate in Music. tone quality, musicality, and sense of style. The School also offers a Master of Music de- Classical Auditions 4. Sight-reading. gree in composition. Students work closely with Clarinet their major teacher and are encouraged to draw String Instruments 1 Major and minor scales, two octaves, with vari- on the creative talents of a department rich in Violin ous articulations. compositional experience. 1 Major and minor scales, two or three octaves. 2. A technical study or etude (suggested: Close, Master of Arts in Teaching in Music 2. A technical study or etude (suggested: Cavellini, or Rose).

Education (MAT) Kreutzer). 3. One solo piece demonstrating technical ability,

The Master of Arts in Teaching in Music Educa- 3. Two solo pieces demonstrating technical ability, tone quality, musicality, and sense of style (sug- tion is a thirty-six credit program designed for tone quality, musicality, and sense of style gested: first and second movements of a con- students who have completed Bachelor's de- (suggested: a sonata by Handel or Mozart, and certo by Weber or Mozart). grees in applied music, music theory/composi- a concerto by Mozart or Haydn). 4. Sight-reading.

tion, music 4. history/literature, or other non- Sight-reading. Bassoon education curricula. The MAT can be com- Viola 1 Major and minor scales, two octaves, with vari- pleted in a summer-plus one academic year 1 Major and minor scales, two or three octaves. ous articulations. format, provided that co-requisite requirements 2. A technical study or etude (suggested: Kreutzer 2. A technical study or etude (suggested:

. have been met and placement testing does not or Mazas Special and Brilliant Etudes). Wiessenborn Studies, 1-50). indicate the need for supplementary studies. 3. Two solo pieces demonstrating technical ability, 3. One solo piece demonstrating technical ability, Undergraduate students in music at the Univer- tone quality, musicality, and sense of style tone quality, musicality, and sense of style (sug- sity may take advantage of the preparatory (suggested: Handel, Telemann, Stamitz). gested: one movement from both the Mozart program known as MATPREP, a seventeen- 4. Sight-reading. and Vivaldi Bassoon Concerti). credit course of studies which satisfies all co- 4. Sight-reading. Violoncello requisites. The MAT in Music Education leads 1 Major and minor scales, to teaching certification in the Commonwealth two or three octaves. Saxophone of Pennsylvania. 2. A technical study or etude (suggested: Popper). 1 Major and minor scales, two octaves, with vari-

3. Two solo pieces demonstrating technical ability, ous articulations. Graduate Diploma tone quality, musicality, and sense of style 2. A technical study or etude (suggested: Labanchi The Graduate Diploma is a two-year advanced (suggested: a movement from one of the Bach Concert Etudes). plan of study in performance. The curriculum is Suites, and a movement from any standard 3. One solo piece demonstrating technical ability, flexible in order to address the needs of the indi- concerto). tone quality, musicality, and sense of style (sug- vidual student. Admission to the program is lim- 4. Sight-reading. gested: Creston or Ibert). ited to students who possess a Bachelor's Degree, 4. Sight-reading. Contrabass College-Level Conservatory Diploma, or the for- 1 Major and minor scales, two octaves. eign equivalent of either, and who possess ad- 2. A technical study or etude (suggested: Simandl vanced performance ability. Specific and individu- Brass Instruments Exercises, Book I, pp. 74-75, 104-105). alized programs of study are developed in consul- 3. One solo piece demonstrating technical ability, tation with the Director of Graduate Studies for Trumpet tone quality, musicality, and sense of style. Master of Music and Graduate Diploma Programs. 1 Major and minor scales, two octaves, with vari- 4. Sight-reading. ous articulations. Guitar 2. A technical study or etude (suggested: Arban Characteristic Studies). 1 Major and minor scales with Segovia Fingering. 2. A technical study (suggested: Sor-Segovia Stud- 3. One solo piece demonstrating technical ability, tone quality, musicality, of style ies Nos. 1, 6, 9, or 10; Carcassi Op. 60, Studies and sense (sug- 20 or 23; Villa-Lobos Etudes). gested: Haydn or Hummel Concerti). 4. Sight-reading. 3. Two solo pieces demonstrating technical ability,

tone quality, musicality, and sense of style. One

piece should be from the sixteenth or seventeenth

century and the other from the twentieth century.

4. Sight-reading.

Harp

1 Major and minor scales, two octaves. 2. A technical study or etude.

3. One solo piece demonstrating technical ability,

tone quality, musicality, and sense of style. 4. Sight-reading.

94 ......

French Horn Voice and Opera Jazz/Commercial

1 Major and minor scales, two octaves, with vari- Voice ous articulations. Instrumental Performance 1. art One song in English. Except Guitar, Electric 2. A technical study or etude (suggested: Bass and Percussion Jazz/ 2. One art song in Italian. Commercial Kopprasch, Vol. 1, No. 15). 3. One art song in any other language. 3. One solo piece demonstrating technical ability, 1 Major and harmonic minor scales, two octaves. 4. Sight-reading. 2. minor arpeggios, tone quality, musicality, and sense of style (sug- Major and two octaves. 5. All selections must be memorized. 3. A technical study, etude, or solo piece from the gested: Mozart, Horn Concerto No. 3, or its equivalent). Voice-Opera Emphasis classical repertoire (see the audition require- for classical majors). 4. Sight-reading. 1 One art song in English. ments

2. One art song in Italian. 4. A prepared jazz solo or an improvisation over a Trombone 3. One art song in any other language. twelve-bar blues progression. 1 Major and minor scales, two octaves, with vari- 4. One operatic aria (optional). 5. Sight-reading. ous articulations. 5. Sight-reading. 2. A technical study or etude (suggested: Guitar 6. All selections must be memorized. 1 Kopprasch, Book I, or Rochut, Melodious Major and harmonic minor scales, two octaces, Etudes). two fingerings.

3. One solo piece demonstrating technical ability, 2. Major and minor arpeggios, two octaves.

tone quality, musicality, and sense of style. Composition 3. Melody and chord solo from the jazz or pop

4. Sight-reading. 1 Applicants must submit a portfolio of original repertoire.

compositions. Compositions should be for a 4. Improvisation on a blues progression or stan- Tuba variety of instruments. Suggested: solo piano, dard tune. 1 Major and minor scales, two octaves, with vari- voice, chamber ensemble, large ensemble, tape 5. Sight-reading. ous articulations. or computer pieces). 2. A technical study or etude (suggested: Cimera, Electric Bass 2. Some compositions may be presented in tape 1 Tuba Studies, 7 through 1 1 ). Major and harmonic minor scales, one octave. recordings, but at least one composition must 3. One solo piece demonstrating technical ability, 2. Major and minor arpeggios, one octave. be in fully notated manuscript form. tone quality, musicality, and sense of style. 3. Demonstration of knowledge of basic rhythm 3. Theory and Musicianship placement at the 4. Orchestral excerpt (suggested: Wagner, Over- section style, i.e., a bass line to a blues, stan- freshman level or higher. ture to Die Meistersinger. dard, or contemporary selection. 4. Performance of one piece on an instrument or 5. Sight-reading. 4. A prepared jazz melodic piece or solo, such as vocally. the melody and improvised chorus of a jazz Percussion Note: Composition portfolios must be on file in the standard or twelve-bar blues, (ex. So What, 1. Snare drum: rudimental study or orchestra solo, Admissions Office no later than two weeks Yardbird Suite, or tunes in The Real Book) open and closed rolls. prior to the scheduled audition date. 5. Sight-reading of a bass part from jazz ensemble 2. Mallets: all major and minor scales and arpeg- literature. gios, two octaves; solo or etude from the solo repertoire. Theory Percussion 3. Timpani: tuning two drums; solo for two or more 1 Snare drum: open and closed rolls, rudimental 1 Applicants must submit a portfolio of original drums. or orchestral solo. analyses, essays, exercises, and/or composi- 4. Sight-reading. 2. Mallets: (strongly recommended but not re- tions. Compositions should be for a variety of quired) all major scales and arpeggios, two instruments. octaves; solo or etude from the standard reper- 2. Performance of one piece on an instrument or Keyboard Instruments toire. vocally. 3. Timpani: (strongly recommended but not re- Piano 3. Theory and Musicianship placement at the quired) tune perfect 4th and 5th; solo for two 1 Major and minor scales and arpeggios in two freshman level or higher. drums from standard repertoire. octaves. 4. Applicants should understand that the main 4. Drum set: play a swing feel, latin (bossa nova 2. One work of J.S. Bach: a Three-Part Invention or thrust of the program is to prepare students to and samba), rock (slow-fund and moderate fast- a prelude and fugue from The Well-Tempered continue their training and education in theory fusion), and ballad (swing with brushes and Clavier. or musicology at the graduate level. rock with sticks); Optional-written out solo 3. Any sonata by Haydn (except C major H XVI:35); Note: Theory portfolios must be on file in the Ad- (rock, latin, or swing) or play through drum part Mozart (except C major, K 545); or Beethoven missions Office no later than two weeks prior with a tape or record. (except Op. 49). to the scheduled audition date. 5. Sight-reading. 4. A solo piece from the Romantic period (sug- gested: Chopin, Schumann, or Mendelssohn).

5. An impressionist or a twentieth-century work. If Composition a twentieth-century work is chosen, it is prefer- 1 Applicants should submit a portfolio of original able that it be by an American composer (ex- compositions, arrangements, and/or transcrip- cept the Gershwin Preludes). tions in a jazz/commercial style. Compositions 6. All selections must be memorized. should be arranged for a variety of instruments.

Organ Suggested: small jazz ensemble, large jazz 1 Piano: major and harmonic minor scales, major ensemble such as stage band, solo piano, and minor arpeggios, all in two or three oc- voice, tape or computer pieces.

taves; a study or etude; a Two- or Three-Part 2. Compositions may be presented in tape record- Invention first last by Bach; a or movement of a ings, but at least one composition must be in Classical or Romantic sonata, or a twentieth- fully notated manuscript form.

century piece. 3. Performance of one piece on an instrument or

2. Organ: two solo works for organ from two dif- vocally.

ferent periods. 4. Theory and Musicianship placement at the

3. Improvisation. freshman level or higher. 4. Sight-reading.

95 . .

Graduate Audition Performance-Accompanying/ Graduate Music Proficiency Chamber Music Emphasis Examinations - Master of Music Degree Requirements 1 One representative piano solo work not to ex- and Graduate Diploma Programs ceed ten minutes in length. Master of Music Degree Programs Graduate Proficiency Examinations are usually 2. One movement from the violin or violoncello Graduate Diploma Programs given on the day of audition. All deficiencies must of Beethoven, Brahms, Faure', Franck, sonatas be corrected before the Graduate Degree or Di- Performance-Instrument or Prokofieff. ploma can be awarded. 1. Applicants should prepare a full recital program 3. Three contrasting art song accompaniments and submit the repertoire list to the Admissions chosen from the works of Schubert, Schumann, Degree Programs Office one month prior to the audition. The Brahms, Richard Strauss, Wolf, Faure, Debussy, Musicianship and Functional Piano repertoire for this program should exhibit a Duparc, Rachmaninoff, Britten, and Barber. All Master of Music students will be examined in diversity of styles, periods, and technical de- These selections should show both lyrical and Musicianship to determine their level of profi- that at least mands. It is highly recommended dramatic qualities and include at least one of ciency. Students are expected to show an achieve- one piece be from the last fifty years. All major advanced technical difficulty. Suggested: ment equivalent to second year levels in the works should be learned in their entirety, and Schumann: Fruhlingsnacht School of Music. In addition, applicants in Compo- performed with piano accompaniment must be Brahms: Meine Liebe ist grijn sition, Voice and Voice Opera Emphasis will be where indicated. Performance of solo orches- Blinde Kuh examined in Functional Piano. If judged deficient, excerpts is optional. tral Wolf: Er ist's students may satisfy the requirements by taking should include pieces for Percussion applicants Der Rattenfanger recommended undergraduate courses, or by pass- drum, timpani, and a mallet instrument. snare Lied vom Winde ing special examinations, available each semester for solo multiple percussion instruments Pieces R. Strauss: Cacilie upon request through the Graduate Office. are optional. Standchen Music Theory. History, and Literature 2. Performance of all or a portion of the program Wiegenlied All students will be examined to determine their by memory is highly recommended but not Rachmaninoff: Floods of Spring competency in Music Theory and History/Litera- required. Pianists must present the entire pro- Duparc: L'invitation au voyage ture. Students found to be deficient in any of these gram by memory. Faure: Toujours areas may be required to do special work, to re- 3. The Audition Committee will select various Barber: Nocturne move the deficiencies. pieces from the program for performance at the 4. Sight-reading: equivalent to the difficultly of a audition. Faure or Schubert song. Languages

3. Sight-reading. 5. The applicant is expected to bring at least one Graduate students majoring in Voice and Voice/

4. Graduate interview. soloist to the audition if at all possible. Excep- Opera Emphasis are required to demonstrate profi-

in the case of great ciency in two languages: Italian and either French Performance-Voice or Voice Opera tions may be requested Those judged deficient will be advised Emphasis distance and/or financial burden. or German. of a proper course of action which may include 1 Applicants should prepare a full recital program Master of Music in Composition taking appropriate course work. and submit the repertoire list to the Admissions 1. Applicants should submit a portfolio of original Office two weeks prior to the audition. The compositions to the Admissions Office one Diploma Programs repertoire for this program should exhibit a month prior to the audition. These compositions Students are required to take Graduate Proficiency diversity of styles, periods, and technical de- should be for a variety of solo instruments and/ Examinations as determined by the Director of

mands. It is highly recommended that at least or ensembles (suggested: solo piano, voice, Graduate Studies. one piece be from the last fifty years. The pro- chamber ensemble, large ensemble, tape and gram must include one piece in English, one piece computer pieces). Scores or tapes should show in Italian, and one piece in either French or Ger- the date of composition. optional. man. Singing in other languages is 2. Compositions may be presented in tape record-

2. While the applicant in Voice Opera Emphasis ings, but at least one composition must be in

may include several selections from song lit- fully notated manuscript form.

erature, the emphasis should be upon operatic 3. Applicants are expected to be able to dis- arias and scenes. cuss their works and compositional style at 3. The program must be performed by memory. the audition.

4. The Audition Committee will select various 4. Applicants must be able to meet the course pieces from the program for performance at the requirements for the undergraduate program as

audition. outlined in the catalog. This includes orchestra-

4. Sight-reading. tion, 20th-century music, electronic and/or 5. Graduate interview. computer music, and new music performance.

96 .

Admissions Requirements: MAT in With the approval of the MAT in Music Education Scholarships Music Education Committee applicants who have completed most, but not all, co-requisite requirements may be ad- Trustee Scholarship 1. Successful completion* of an undergraduate mitted to the MAT in Music Education degree Each year the School of Music awards a Trustee degree in musical performance, composition, program. However, any additional work needed Scholarship to an entering freshman. The Trustee theory, or related applied field from a college or must be completed outside of credit requirements Scholarship totals half tuition for the four years university appropriately accredited by the Na- for the degree and may result in an increase in the the student is enrolled. The award is made on the tional Association of Schools of Music (NASM). length of study for the degree. basis of outstanding artistic and academic perfor- 2. Successful completion* of co-requisite course 3. Submission of all admissions forms, letters of mance, and for promise as a future musician. Re- work and/or acquired competencies as follows: recommendation, and supporting data as re- cipients must maintain a 3.0 cumulative grade a. an introductory course in Educational Psy- quired by the Division of Music Education, the .point average as well as a minimum grade of B in chology, focus upon theoretical foundations. MAT in Music Education Committee, the School the major area. High School Seniors who wish to b. a course in child growth and development, of Music, and the Office of Admissions. Such be considered for the Trustee Scholarship should focus upon contemporary theories and their data shall include: make formal application by March 1 . Notification applications. a. application form. of the award is made in April. c. a knowledge of current issues, trends, and b. three letters of recommendation. methods in music teaching. Talent Scholarships c. personal letter of interest and intent. d. actual field experience (practicuum) involving Talent Scholarships are awards to matriculating d. transcripts of all applicable post-secondary observation and teaching and the planning students who give evidence of outstanding artistic study. of lessons. ability. Recommendation for the Talent Scholarship e. high school transcript e. functional knowledge and performance skills is based on the audition. To maintain eligibility, the 4. Satisfaction of placement testing requirements on piano, guitar, and recorder. student must participate fully in rehearsals and in music theory, ear training, music history/ f. a course in basic conducting and score read- performances, have a "B" or better in the Major literature, and piano proficiency. Placement ing. area, and maintain a minimum 3.0 cumulative tests may be waived for Bachelor of Music g. a course in orchestration/arranging. grade point average (2.75 minimum for Freshmen) graduates of The University of the Arts at the in all Music courses. Scholarship students are discretion of the MAT in Music Education Com- Co-requisite requirements may be satisfied as expected to provide service to the School as as- mittee. Deficiencies in the above areas may not follows: signed by the School Director. necessarily disqualify an applicant for admis- a. through completion of The University of the Students applying for Talent Scholarships must sion to the MAT program, but additional studies Arts MAT in Music Education Preparatory file a Talent Scholarship Application as well as the outside credit requirements for the degree may Program (MATPREP). Entering freshmen appropriate Financial Aid Form each year. These be required and may result in an increase in the wishing to work toward the MAT in Music are obtainable from the School of Music and the length of time needed to complete the degree. Education may enroll in the MATPREP pro- Financial Aid Office. 5. Successful performance audition as adjudi- gram upon acceptance to the institution. New students should audition prior to March cated by the MAT in Music Education Com- Ongoing undergraduate music majors may 15. Those auditioning after March 15 will be mittee. Such audition may be waved for enter the MATPREP program at any time. considered for a talent scholarship if funds are Bachelor of Music graduates of The Univer- b. by examination based upon any of the crite- available. sity of the Arts, at the discretion of MAT in ria in item No. 2, above. Examinations shall Students applying for Talent Scholarships are Music Education Committee. be developed by Music Education Division subject to the following evaluations:

faculty and shall adhere strictly to current 1 Vocal and instrumental majors are subject to a * Applicants must present a 2.75 or higher under- course syllabi and program objectives. Ex- jury examination. graduate cumulative GPA (A=4.0), with a 3.0 aminations will cover cognitive as well as 2. Composition and theory majors are interviewed GPA in co-requisite courses and/or any gradu- psychomotor skills, where appropriate. and/or will have their work examined. ate work previously completed. These stan- c. through professional experience of the can- dards may be waived only by agreement of the School of Music Scholarships and Prizes didate. Such experience must by docu- MAT in Music Education Committee. The Joseph Cairns, Jr. and Ernestine Bacon mented to the satisfaction of the MAT in Cairns Memorial Scholarship Music Education Committee through the The Ezerman Piano Scholarship submission of employment records and let- The Jazz Department Scholarship ters of recommendation providing evidence The John T. Mathis Saxophone Award of the candidate's success in such requisite The Music Faculty Composition Prize professional experience. The Music Alumni Scholarships (two to five) d. through successful completion* of appro- The Music Excellence in Teaching Award priate courses at an accredited NASM The Music Education Scholarship institution other than The University of The Orchestra Soloist Prize the Arts. Course descriptions and relevant The Clement C. Petrillo Memorial Piano Prize transcripts from outside institutions must The Mary Luznicky-Poth Memorial Award be made available. The Presser Scholarship Award The Strine Graduate Piano Scholarship

97 Undergraduate Curricula

Woodwind, Brass, Percussion, String, Guitar Major Piano Major Harp Majors Total Credits: 125 Total Credits: 123 Total Credits: 125 Semester Semester Semester Freshman Year 1st 2nd Freshman Year 1st 2nd Freshman Year 1st 2nd MU191A&B Guitar Major 3 3 MU191A&B Piano Major 3 3 MU19XA&B Major 3 3 MU103A&B Musicianship l-ll 3 3 MU103A&B Musicianship l-ll MU 103A&B Musicianship HI MU 1 07A&B Freshman Theory l-ll 3 3 MU 07A&B FreshmanTheory l-ll

Class Piano l-ll 1 1 MU 772 Chorus 1 1 MU 1 07A&B Freshman Theory l-ll MU131A&B - 1 1 HU 1 1 0A Language Expression 3 MU131A&B Class Piano l-ll 1 1 MU 772 Chorus & MU 77X Ensemble 2 2 HU 1 1 0A Language & Expression 3 - HU 1 03A&B Intro, to Modernism 3 3

- 1 Intro, to Modernism 3 3 HU- Humanities - 3 HU 1 1 0A Language & Expression 3 HU 03A&B — Humanities - 3 001 Recital Attendance HU 1 03A&B Intro, to Modernism 3 3 HU MU - HU — Humanities - 3 MU001 Recital Attendance MU 002 Jury Examination Recital Attendance MU002 Jury Examination - MU 001 16 16 MU 002 Jury Examination - 17 17 Sophomore Year Sophomore Year MU291A&B Piano Major 18 18 MU291A&B Guitar Major 3 3 MU 203A&B Musicianship lll-IV Sophomore Year MU 203A&B Musicianship lll-IV 3 3 MU207A&B Sophomore Theory lll-IV MU29XA&B Major 3 MU 207A&B Sophomore Theory lll-IV 3 3 MU 237A&B Keyboard Harmony l-ll 1 1

lll-IV 1 1 772 Chorus 1 1 MU203A&B Musicianship lll-IV 3 MU 231A&B Class Piano MU

MU207A&B Sophomore Theory lll-IV 3 3 MU772 Chorus 1 1 HU 2XX Humanities 6 3 Humanities 3 001 Recital Attendance MU 231A&B Class Piano lll-IV 1 1 HU2XX 6 MU - Jury Examination MU 77X Ensemble 2 2 Electives 3 MU 002 -_ 0_ Humanities 6 3 MU001 Recital Attendance HU 2XX 17 17 MU 001 Recital Attendance MU002 Jury Examination - 002 Jury Examination Junior Year MU 17 17 MU391A&B Piano Major 18 15 Junior Year MU 301A&B Music History l-l Junior Year MU391A&B Guitar Major 3 3 MU431 Piano Literature MU39XA&B Major MU 301A&B Music History l-ll 3 3 Free Electives

I 2 Ensembles 1 1 MU301A&B Music History l-ll MU 327A&B Fingerboard Harmony 2 MU7XX MU 77X Ensemble MU7XX Ensemble HU3XX Humanities 3 3 HU3XX Humanities HU3XX Humanities 3 3 MU001 Recital Attendance Electives Electives 3 3 MU002 Jury Examination _- 0_ Recital Attendance MU001 Recital Attendance MU001 15 15 MU002 Jury Examination - MU002 Jury Examination _- 0_ Senior Year 15 15 14 14 MU 491A&B Piano Major 3 3 - Senior Year Senior Year MU401 Music History 3 MU49XA&B Major MU491A&B Guitar Major 3 3 MU432A&B Piano Pedagogy l-ll 2 2

- Accompanying 1 1 MU 401A&B Music History lll-IV MU 401 Music History 3 MU 773A&B Electives 3 3 MU77X Ensemble MU 425A&B Guitar Hist. & Lit. l-ll 2 2 HU4XX Humanities MU76 Guitar Ensemble HU4XX Humanities 3 3 Electives HU 4XX Humanities 3 3 MU001 Recital Attendance MU001 Recital Attendance Electives 3 3 MU002 Jury Examination _- 0_ Jury Examination MU002 15 12 15 12 14 14 Ensemble must include four semesters of Chorus and two semesters of New Music Ensemble.

98 Organ Major Voice Major Opera Major

Total Credits: 126 Total Credits: 125 Total Credits: 131

Semester Semester Semester Freshman Year 1st 2nd Freshman Year 1st 2nd Freshman Year 1st 2nd MU191A&B Organ Major 3 3 MU191A&B Voice Major 3 3 MU191A&B Voice Major 3 3 MU 103A&B Musicianship Ml 3 3 MU103A&B Musicianship Ml 3 3 MU 103A&B Musicianship Ml MU 107A&B Freshman Theory Ml 3 3 MU 107A&B Freshman Theory Ml 3 3 MU 107A&B Freshman Theory Ml

MU 772 Chorus MU 131 A&B Class Piano Ml 1 1 MU131A&B Piano Ml 1 1

HU 1 1 0A Language & Expression 3 - MU 772 Chorus 1 1 MU 772 Chorus 1 1

- HU 1 03A&B Intro, to Modernism 3 3 HU 1 1 0A Language & Expression 3 - HU 1 1 0A Language & Expression 3

— - HU Humanities 3 HU 1 03A&B Intro, to Modernism 3 3 HU 1 03A&B Intro, to Modernism 3 3 MU001 Recital Attendance HU — Humantities - 3 HU 1XX Humanities - 3 MU002 Jury Examination - MU001 Recital Attendance MU 001 Recital Attendance MU002 Jury Examination - MU002 Jury Examination 16 16 0_ 17 17 17 17 Sophomore Year MU291A&B Organ Major 3 3 Sophomore Year Sophomore Year

MU 203A&B Musicianship lll-IV 3 3 MU291A&B Voice Major 3 3 MU291A&B Voice Major

MU 207A&B Sophomore Theory lll-IV 3 3 MU203A&B Musicianship lll-IV 3 3 MU203A&B Musicianship lll-IV

MU 237A&B Keyboard Harmony 1 1 MU 207A&B Sophomore Theory lll-IV 3 3 MU 207A&B Sophomore Theory lll-IV

MU 772 Chorus 1 1 MU231A&B Class Piano lll-IV 1 1 MU231A&B Piano lll-IV 1 1

HU2XX Humanities 6 3 MU 772 Chorus 1 1 MU 772 Chorus 1 1

Electives 3 HU2XX Humanities 6 3 HU2XX Humanities , MU001 Recital Attendance Electives - 3 Electives MU002 Jury Examination - MU001 Recital Attendance MU 001 Recital Attendance MU002 Jury Examination - MU 002 Jury Examination 17 17 17 17 17 17 Junior Year MU 391 A&B Organ Major 3 3 Junior Year Junior Year MU 301 A&B Music History Ml 3 3 MU 391 A&B Voice Major 3 3 MU 391A&B Voice Major MU 254 Choral Conducting - 2 MU 301 A&B Music History Ml 3 3 MU 301 A&B Music History Ml

MU 255 Instrumental Conducting 2 - MU 341 A&B English Diction Ml 1 1 MU 341A&B English Diction 1 1

MU 772 Chorus MU7XX Ensemble 1 1 MU 344A&B Opera Staging Ml 2 2 HU 3XX Humanities 3 3 Electives 3 3 HU3XX Humanities 3 3

Electives 3 3 MU772 Chorus MU772 Chorus 1 1 MU 001 Recital Attendance HU3XX Humanities 3 3 Electives MU 002 Jury Examination - MU001 Recital Attendance MU001 Recital Attendance MU002 Jury Examination - MU002 Jury Examination 15 15 15 15 16 16 Senior Year MU 491 A&B Organ Major 3 3 Senior Year Senior Year MU401 Music History 3 - MU 491 A&B Voice Major 3 3 MU491A&B Voice Major 3 3

MU317 Orchestration 3 - MU401 Music History 3 MU401 Music History 3 -

MU313A&B Organ Literature 2 2 MU 342A&B Voice Pedagogy 1 1 MU444A&B Opera Staging 2 2

MU772 Chorus MU7XX Ensemble 1 1 MU446A&B Vocal Literature lll-IV 1 1

Electives 3 3 HU4XX Humanities 3 3 MU342A&B Voice Pedagogy 1 1 HU4XX Humanities 3 3 MU772 Chorus HU4XX Humanities 3 3

MU001 Recital Attendance Electives 3 3 MU772 Chorus 1 1 MU002 Jury Examination - MU001 Recital Attendance Electives 3 3 MU002 Jury Examination - MU001 Recital Attendance 18 12 MU002 Jury Examination 15 12

Humanities include one year of Italian, 17 14 French, and German. Humanities include one year each of

Italian, French, and German.

99 Composition Major Theory Major Jazz Composition Major Total Credits: 127 Total Credits: 127 Total Credits: 130

Semester Semester Semester Freshman Year 1st 2nd Freshman Year 1st 2nd Freshman Year 1st 2nd

MU191A&B Composition Major 3 3 MU 191A&B History of Theory l-ll 3 3 MU191A&B Composition Major 3 3

MU 103A&B Musicianship Ml 3 3 MU 103A&B Musicianship l-ll 3 3 MU103A&B Musicianship l-ll 3 3

MU107A&B Freshman Theory l-ll 3 3 MU 107A&B Freshman Theory l-ll 3 3 MU107A&B Freshman Theory l-ll 3 3

MU121 Calligraphy 1 MU 131A&B Class Piano l-ll 1 1 MU131A&B Piano l-ll 1 1

MU131A&B Piano l-ll 1 1 MU77XX Ensemble 1 1 MU772 Chorus 1 1

MU772 Chorus 1 1 HU110A Language & Expression 3 HU110A Language & Expression 3 HU110A Language & Expression 3 HU103A&B Intro, to Modernism 3 3 HU 103A&B Intro, to Modernism 3 3

HU103A&B Intro, to Modernism 3 3 HU1XX Humanities - 3 HU1XX Humanities 3 HU1XX Humanities 3 MU001 Recital Attendance MU001 Recital Attendance MU001 Becital Attendance MU002 Jury Examination - MU002 Jury Examination MU002 Jury Examination 17 17 17 17 18 17 Sophomore (Tear Sophomore rear

Sophomore /ear MU291A&B Adv. Tonal Analy. l-ll 3 3 MU 292A&B Composition Major 3 3

MU291A&B Composition Major 3 3 MU 203A&B Musicianship lll-IV 3 3 MU 203A&B Musicianship lll-IV 3 3

MU 203A&B Musicianship lll-IV 3 3 MU207 Theory 3 MU 307A&B Sophomore Theory lll-IV 3 3

MU 207A&B Sophomore Theory HI-IV 3 3 MU231A&B Class Piano lll-IV 1 1 MU 232A&B Jazz Piano 1 1

MU231A&B Piano lll-IV 1 1 MU317A&B Orchestration 3 3 MU765 New Music Ensemble 1

MU317A&B Orchestration 3 3 MU7XX Ensemble 1 1 HU2XX Humanities 6 3

MU772 Chorus 1 1 HU2XX Humanities 6 3 Electives 3 HU2XX Humanities 3 3 MU001 Recital Attendance MU001 Recital Attendance MU001 Recital Attendance MU002 Jury Examination - MU002 Jury Examination - MU002 Jury Examination 17 17 17 16 17 17 Junior Year Junior Year Junior Year MU391A&B Reduction, Set Theory 3 3 MU 392A&B Jazz Composition Major 3 3

MU391A&B Composition Major 3 3 MU301A&B Music History l-ll 3 3 MU315A&B Jazz Arranging l-ll 2 2

MU301A&B Music History l-ll 3 3 MU255 Basic Conducting 2 MU317A&B Orchestration l-ll 3 3 MU415 Computer Composition 3 MU254 Choral Conducting 2 MU 405A&B Jazz History 2 2

MU765 New Music Ensemble 1 1 MU7XX Ensemble 1 1 MU415 Computer Composition 3 Electives 3 3 Electives 3 3 Electives - 3 HU3XX Humanities 3 6 HU3XX Humanities 3 3 HU3XX Humanities 3 3 MU001 Recital Attendance MU001 Recital Attendanqe MU001 Recital Attendance MU002 Jury Examination - MU002 Jury Examination - MU002 Jury Examination -

16 16 15 15 16 16

Senior Year Senior Year Senior Year MU491A&B Composition Major 3 3 MU491A Serial Theory 3 MU 492A&B Jazz Composition Major 3 3 - MU401 Music History 3 MU491B Theory Project 3 MU410A&B Music History l-ll 3 3 - - MU255 Conducting 2 MU401 Music History 3 MU413A Recording I 2

HU4XX Humanities 3 3 MU415A Computer Composition 3 MU 420A Business of Music I 2

Electives 3 6 MU7XX Ensemble 1 1 HU4XX Humanities 3 3 MU001 Recital Attendance HU4XX Humanities 3 3 Electives 3 6 MU002 Jury Examination Electives 3 6 MU001 Recital Attendance MU001 Recital Attendance MU002 Jury Examination 14 12 MU002 Jury Examination - Ensemble must include one year of 16 15 Chorus and one semester of New Music 16 13 Ensemble must include four semesters of Chorus anr one semester of New Music Ensemble.

100 Jazz Composition/MIDI Major Jazz Instrumental Major Jazz Performance/MIDI Major

Total Credits: 130 Total Credits: 130 (Instrumental) Total Credits: 130 (Instrumental) 126 (Piano) 126 (Piano) Semester Freshman Year 1st 2nd Semester Semester

ML) 1 91 A&B Composition Major 3 3 Freshman Year 1st 2nd Freshman Year 1st 2nd

MU 103A&B Musicianship l-ll 3 3 MU192A&B Jazz Major 3 3 MU192A&B Jazz Major 3 3

Ml) 107A&B Freshman Theory l-ll 3 3 MU103A&B Musicianship l-ll 3 3 MU103A&B Musicianship l-ll 3 3

MU131A&B Piano l-ll 1 1 MU 1 07A&B Freshman Theory l-ll 3 3 MU 1 07A&B Freshman Theory l-ll 3 3 # MU 7XX Ensemble 1 1 MU 131A&B Piano 1 1 *MU 131A&B Piano 1 1 - HI) 1 1 0A Language & Expression 3 MU 7XX Ensemble 1 1 MU 772 Chorus 1 1 - - HU 1 03A&B Intro, to Modernism 3 3 HU 1 1 0A Language & Expression 3 HU 1 1 0A Language & Expression 3

HU 1XX Humanities 3 HU 1 03 A&B Intro, to Modernism 3 3 HU 1 03A&B Intro, to Modernism 3 3 MU 001 Recital Attendance HU 1XX Humanities 3 HU 1XX Humanities - 3 MU 002 Jury Examination - MU 001 Recital Attendance MU001 Recital Attendance MU 002 Jury Examination - MU002 Jury Examination - 17 17 17 17 17 17 Sophomore Year MU 292A&B Composition Major 3 3 Sophomore Year Sophomore Year

MU203A&B Musicianship lll-IV 3 3 MU292A&B Jazz Major 3 3 MU292A&B Jazz Major

MU 207A&B Sophomore Theory lll-IV 3 3 MU203A&B Musicianship lll-IV 3 3 MU 203A&B Musicianship lll-IV

MU232A&B Jazz Piano 1 1 MU307A&B Jazz Theory 3 3 MU307A&B Theory

MU7XX Ensemble 1 1 MU 21 3A&B Jazz Improvisation l-ll 2 2 *MU 232A&B Piano 1 1

HU2XX Humanities 6 3 *MU232A&B Piano 1 1 MU 7XX Ensemble 1 1

MU 001 Recital Attendance MU7XX Ensemble 1 1 HU2XX Humanities 6 3 MU 002 Jury Examination - HU2XX Humanities 3 3 MU 001 Recital Attendance MU 001 Recital Attendance MU 002 Jury Examination - 17 14 MU 002 Jury Examination - 17 14 Junior Year 16 16 MU392A&B Jazz Composition Major 1.5 1.5 Junior Year MU308A&B Analysis & Composition 1.5 1.5 Junior Year MU392A&B Jazz Major 1.5 1.5

MU315A&B Jazz Arranging l-ll 2 2 MU392A&B Jazz Major 3 3 MU 308A&B Analysis & Composition 1.5 1.5

MU415A&B Computer Composition 3 3 MU405A&B Jazz History l-ll 2 2 MU313 Jazz Improvisation 2 2 MU405A&B Jazz History 2 2 MU7XX Ensemble 2 2 MU 41 5A&B Computer Composition 3 1 1 MU7XX Ensemble I I HU3XX Humanities 6 3 MU405A&B Jazz History l-ll 2

HU3XX Humanities 3 3 Electives 3 3 MU 7XX Ensemble 1 Electives 3 3 MU001 Recital Attendance HU3XX Humanities 3 MU001 Recital Attendance MU002 Jury Examination - Electives 3 MU002 Jury Examination - MU001 Recital Attendance 16 13 MU002 Jury Examination - 17 17 17 17 Senior Year Senior Year MU492A&B Jazz Composition Major 1.5 1.5 MU492A&B Jazz Major 3 3 Senior Year

MU 401 A&B Music History l-ll 3 3 MU410A&B Music History l-ll 3 3 MU492A&B Jazz Major 1.5 1.5 - - MU413A Recording I 2 MU413A Recording 2 MU410A&B Music History 3 3 MU416A&B MIDI Synthesis 1.5 1.5 MU420A Business of Music 2 - MU413A Recording 2 - - MU420A Business of Music I 2 MU7XX Ensemble 2 2 MU416A&B MIDI Synthesis 1.5 1.5 HU4XX Humanities 3 3 HU4XX Humanities 3 3 MU420A Business of Music 2 - Electives 3 6 Electives 3 6 HU4XX Humanities 3 3 MU001 Recital Attendance MU001 Recital Attendance Electives 3 6 MU002 Jury Examination - MU002 Jury Examination - MU001 Recital Attendance

MU002 Jury Examination _- 16 15 18 17 0_ Ensemble must include two semesters Ensemble must include two semesters 16 15 of Chorus and one semester of New of Chorus and one semester of New Ensemble must include one year of Music Ensemble. Music Ensemble. Chorus and one semester of New *Not required of Jazz Piano Majors. Music Ensemble. *Not required of Piano Majors.

101 —

Diploma in Music — Diploma in Music — Diploma in Music — Performance Major Performance Major (Classical) Composition Major (Classical) (Jazz/Commercial)

This program is not available to Voice Majors or Total Credits: 102 Total Credits: 104 Voice-Opera majors Semester Semester Total Credits: 96 Freshman Year 1st 2nd Freshman Year 1st 2nd

Semester MU191A&B Composition Major l-ll 3 3 MU192A&B Jazz Major l-ll 3 3

Freshman Year 1st 2nd MU103A&B Musicianship l-ll 3 3 MU103A&B Musicianship l-ll

MU191A&B Major 3 3 MU107A&B Theory l-ll 3 3 MU107A&B Freshman Theory l-ll

MU103A&B Musicianship l-ll 3 3 MU121A&B Calligraphy 1 1 "MU131A&B Class Piano l-ll 1 1

MU107A&B Freshman Theory l-ll 3 3 MU131A&B Piano l-ll 1 1 MU 77- Ensemble 2 2

*MU 131A&B Piano III 1 1 MU 77- Ensemble 2 2 MU 001 Recital Attendance

MU 77- Ensemble 2 2 MU 001 Recital Attendance MU 002 Jury Examination - MU 001 Recital Attendance MU 002 Jury Examination - 12 12 MU 002 Jury Examination 0_ j 13 13 Sophomore Year 12 12 Sophomore Year MU292A&B Jazz Major lll-IV 3 3

Sophomore Year MU 291 A&B Composition Major I 3 3 MU 203A&B Musicianship lll-IV 3 3

MU291A&B Major 3 3 MU 203A&B Musicianship lll-IV 3 3 MU 207A&B Sophomore Theory lll-IV 3 3

MU203A&B Musicianship lll-IV 3 3 MU207A&B Theory lll-IV 3 3 *MU 232A&B Jazz Piano lll-IV 1 1

MU207A&B Sophomore Theory lll-IV 3 3 MU 231 A&B Piano lll-IV 1 1 MU 21 3A&B Jazz Improvisation l-ll 2 2

*MU231A&B Piano lll-IV 1 1 MU 77- Ensemble 2 2 MU 77- Large Ensemble 2 2 MU 77- Large Ensemble 2 2 MU 001 Recital Attendance MU 001 Recital Attendance MU 001 Recital Attendance MU 002 Jury Examination - MU 002 Jury Examination - MU 002 Jury Examination 0_ j 12 12 14 14 12 12 Junior Year Junior Year Junior Year MU 391 A&B Composition Major V-IV 3 3 MU392A&B Jazz Major V-VI 3 3

MU391A&B Major 3 3 MU301A&B Music History l-ll 3 3 MU307A&B Jazz Theory &

MU301A&B Music History l-ll 3 3 MU303A&B Musicianship V-VI 3 3 Ear Training l-ll

MU303A&B Musicianship V-VI 3 3 MU317A&B Orchestration l-ll 3 3 MU 313A&B Jazz Improvisation lll-IV

MU76- Chamber Ensemble 1 1 MU 77- Ensemble 2 - MU315A&B Jazz Arranging l-ll

MU77- Large Ensemble 2 2 MU 001 Recital Attendance MU764 Small Jazz Ensemble 1 1 MU 002 Jury Examination - MU 77 Large Ensemble 2 2 12 12 MU 001 Recital Attendance 14 12 Senior Year MU 002 Jury Examination - 0_ MU491A&B Major 3 3 Senior Year 13 13 MU407 Senior Theory V 3 - MU491A&B Composition Major Vll-V 1113 3

- - MU — Advanced Theory Elective 3 MU415A Computer Composition I 3 Senior Year MU401A&B Music History lll-IV 3 3 MU407 Senior Theory V 3 - MU492A&B Major VII-VIII 3 3

MU76- Chamber Ensemble 1 1 MU401A&B Music History lll-IV 3 3 MU 403A&B4 Jazz History l-ll 2 2

MU77- Large Ensemble 2 2 MU254 Choral Conducting 2 - MU410A&B Music History l-ll 3 3 MU001 Recital Attendance MU255 Instrumental Conducting - 2 MU413A Recording 2 - MU002 Jury Examination - Elective - 4 MU 420A Business of Music 2

MU001 Recital Attendance MU 76- Small Jazz Ensemble 1 1 12 12 MU002 Jury Examination - MU 77- Large Ensemble 2 2 *Piano majors substitute Keyboard MU 001 Recital Attendance Harmony MU 237A&B, MU 337A&B. 14 12 MU 002 Jury Examination _- 0_

15 11 *Piano majors will substitute MU 237A&B and MU 337A&B. Keyboard Harmony. Ensemble must include one year of Chorus and one semester of New Music.

102 Diploma in Music — Composition Major Certificate in Music — Certificate in Music — (Jazz/Commercial) Performance Major (Classical) Composition Major Total Credits: 104 Total Credits: 52 (Jazz/Commercial) Semester Semester Total Credits: 54 Freshman Year 1st 2nd First Year 1st 2nd Semester

MU191A&B Composition Class l-ll 3 3 MU191A&B Major 3 3 First Year 1st 2nd

MU103A&B Musicianship l-ll 3 3 MU103A&B Musicianship l-ll MU191A&B Composition Major 3 3

MU107A&B Theory l-ll 3 3 MU107A&B Theory l-ll MU103A&B Musicianship l-ll

MU121A&B Calligraphy l-ll 1 1 **MU 131 A&BCIass Piano III 1 1 MU107A&B Theory l-ll 76- MU131A&B Piano l-ll 1 1 *MU Chamber Ensemble 1 1 MU 121 A&B Calligraphy l-ll 77- 77- MU Large Ensemble 2 2 MU Large Ensemble 2 2 MU 131 A&B Piano l-ll 1 1 MU 001 Recital Attendance MU 001 Recital Attendance MU 77- Large Ensemble 2 2 MU 002 Jury Examination MU 002 Jury Examination - MU 001 Recital Attendance MU 002 Jury Examination - 13 13 13 13

Sophomore Year Second Year 13 13

ML) 291A&B Composition Major lll-IV 3 3 MU291A&B Major 3 3 Second Year MU203A&B Musicianship lll-IV 3 3 MU 203A&B Musicianship lll-IV 3 3 MU 291A&B Composition Major 3

MU207A&B Theory lll-IV 3 3 MU207A&B Theory lll-IV 3 3 MU 203A&B Musicianship lll-IV 3

MU 21 3A&B Jazz Improvisation l-ll 2 2 **MU231A&BCIass Piano lll-IV 1 1 MU207A&B Theory lll-IV 3 76- MU232A&B Jazz Piano lll-IV *MU Chamber Ensemble 1 1 MU 21 3A&B Jazz Improvisation l-ll 2

MU 77- Large Ensemble 2 2 MU 77- Large Ensemble 2 2 MU232A&B Jazz Piano lll-IV 1 MU 001 Recital Attendance MU 001 Recital Attendance MU 77- Large Ensemble 2 - MU 002 Jury Examination MU 002 Jury Examination MU 001 Recital Attendance MU 002 Jury Examination 14 14 13 13 'Voice majors substitute Foreign Language, 3 Junior Year 14 14 credits per semester, Total credits required: 60. MU 392A&B Jazz Comp. Major V-VI 3 3 "Keyboard Majors will substitute MU 237A&B, MU307A&B Jazz Theory & and MU 337A&B Keyboard Harmony. Ear Training l-ll 3 3

MU315A&B Jazz Arranging l-ll 2 2

MU 317A&B Orchestration l-ll 3 3 Certificate in Music — - MU765 New Music Ensemble 1 Performance Major - Elective 1 (Jazz/Commercial) MU001 Recital Attendance Total Credits: 52 MU002 Jury Examination 0_ j Semester 12 12 First Year 1st 2nd

Senior Year MU192A&B Jazz Major l-ll 3 3

MU103A&B Musicianship l-ll MU492A&B Jazz Comp. Major VII-VIII 3

MU107A&B Theory l-ll MU405A&B Jazz History l-ll 2 MU407 Theory V *MU131A&B Class Piano l-ll MU 77- Large Ensemble MU — Advanced Theory Elective 3 MU 001 Recital Attendance MU410A&B Music History l-ll MU 002 Jury Examination MU413A Recording I j 0_

MU 420A Business of Music I 12 12 MU 001 Recital Attendance Second Year MU 002 Jury Examination MU 292A&B Jazz Major l-ll

13 13 MU 203A&B Musicianship lll-IV

Ensemble must include one year of Chorus. MU 207A&B Theory lll-IV

MU213A&B Jazz Improvisation I-

*MU 232A&B Jazz Piano lll-IV MU77- Large Ensemble MU001 Recital Attendance Jury Examination MU002 _- 0_

14 14

'Keyboard Majors will substitute MU 237A&B and MU 337A&B, Keyboard Harmony.

103 MAT in Music Education Graduate Programs Preparatory Program (MATPREP) Master of Music — Performance All undergraduate degree students in music at The Total Credits: 42 University of the Arts may enroll in and take ad-

vantage of the MAT in Music Education Prepara- Semester tory Program (MATPREP). Completion of this pro- First Year 1st 2nd

gram allows students to satisfy all co-requisite MU591A&B Major 3 3

requirements for admission to the MAT in Music MU 501 A&B Seminar in Bibliography

Program. MATPREP is also an important means for and Writing 2 2 maintaining continuity between undergraduate MU521A&B Advanced Theory & and graduate experiences and for fostering com- Analysis munication between students and faculty in Music MU7XX Ensemble Education. MU523A&B Graduate Humanities

Admission to the University as a BM/MAT stu- 11 11 dent in Music indicates acceptance into the Bach- Year elor of Music program and into the MATPREP Second MU691A&B Major 3 3 program. Full admission to the MAT in Music Edu- 601 Seminar in Performance cation program must be granted prior to the begin- MU A&B Practice ning of graduate-level instruction on the same 3 3 603 Master's - bases as other MAT candidates. MU Project 1 Electives MATPREP courses are to be offered each aca- 2 1 Ensemble demic year. A suggested sequence for completing MU7XX 2 2 the program is shown: 10 10 At least one semester of Ensemble must be Total MATPREP Credits: 17 fulfilled by the New Music Ensemble (MU 765). Sem/Yr Keyboard majors generally take two semesters of Piano Accompanying (MU 773). MU151A Intro, to Music Educ. I 1 Fall/1

MU151B Intro, to Music Educ. II 1 Spring/1 MU357A Lab Teaching/

Practicuml 2 Fall/2 Master of Music—Piano Accompanying MU357B Lab Teaching/ and Chamber Music Performance Practicumll 2 Spring/2 Total Credits: 42

MU254 Basic Conducting Fall/2 2 Semester MU356A Music Teh. Skills I* 1 Fall/3 First Year 1st 2nd MU3568 Music Teh. Skills II* 1 Spring/3 MU 591 A&B Accompanying MU451A Psych, of Music 2 Fall/4 Major

Teaching I Theoretical *MU501A&B Seminar in Bibliography Foundations and Writing MU451B Psyc. of Music Teach- 2 Spring/4 MU 521 A&B Advanced Theory &

ing II Child Growth and Analysis 2 2 Development MU 523A&B Graduate Humanities 2 2 MU317A Orchestration 3 Fall/ MU 76- Ensemble 1 1 3or4 * 10 10 Incorporates advanced skills in functional piano, guitar, recorder, writing/arranging for elementary Second Year classroom ensembles, operation of basic audio/visual MU 691 A&B Accompanying Major 3 3 equipment establishment of classroom environment *MU601A&B Seminar in Performance Practice 3 3 - MU 765 New Music Ensemble 1 - MU 76- Chamber Music 1 HU — Foreign Language 3 3

10 10 *May be interchanged.

Special Requirements:

1 st Semester — Accompanying for teachers'- artist studios, and participation in school en-

sembles, as assigned. Performance in six repre-

sentative programs in remaining three semesters, including vocal and instrumental accompanying, and a minimum of three major chamber works. Performances are subject to approval by the major teacher and the Graduate Director.

104 — — —

Master of Music Master of Arts in Teaching in Graduate Diploma Voice/Opera Emphasis Music Education Performance Credits: 28 Total Credits: 44 Total Credits: 36 Total Semester Summer Session Semester 1st 2nd First Year 1st 2nd MU 551 Education in American First Year 1) Major 3 3 MU591A&B Voice Major 3 3 Society MU 591 A&B Ensemble 2 2 MU517A&B Opera History & Literature 2 2 MU 560 Workshop/lnst. MU 7XX 765 New Music Ensemble MU541A&B Repertory Coaching 1 1 Methods I MU J 1_ 552 Workshop in Vocal MU544A&B Staging 2 2 MU 6 6 HU *Foreign Language 3 3 Methods Second Year 11 11 MU 691 A&B Major 3 3 Second Year Fall Semester MU 7XX Ensemble 2 2 — 3 3 MU691A&B Voice Major 3 3 MU 554A Elementary Methods/ 3 MU Electives Materials MU 601 A&B Seminar in Performance 8 8 Practice** 3 3 MU 554B Secondary Methods/ 3

641 Repertory Coaching 1 1 Materials MU A&B Keyboard majors generally take two semesters of Staging III, IV 2 2 MU550 Adv. Conducting-Choral 3 MU644A&B Piano Accompanying (MU 773). MU523A&B Graduate Humanities 2 2 or Instrumental MU557 Music Admin./Supervision 3 11 11 MU 560B Workshop/Instrumental 2 year of a foreign language 'Students will take one Methods (6 credits). Students who cannot pass the profi- ciency examination in Italian will take Italian. 14 will substitute either Those who pass out of Italian Spring Semester Students who are able to pass French or German. MU 553 Music and Special all languages will take six credits out of of these Children to approved by the Graduate Direc- of electives be MU 555 Elementary Student year of Italian, tor, or, if it is offered, a second Teaching German. French, or MU 556 Secondary Student is only in alternate years and **MU 601 A&B offered Teaching year it is given. must be taken in the first available MU 558 Student Teaching Seminar and Major Project MU 559 Research, Evaluation and Master of Music—Composition Technology Total Credits: 42 Semester

First Year 1st 2nd MU 591 A&B Composition Major 3 3 MU 501 A&B Seminar in Bibliography 1 1 and Writing MU 521A&B Advanced Theory & 1 2 Analysis MU 531 A&B Conducting 1 1 MU 523 A&B Graduate Humanities 1 2

11 11

Second Year MU 691 A&B Composition Major 3 3 MU 601 A&B Seminar in Performance Practice 3 3

MU 765 New Music Ensemble 1 1 MU 61 5A&B Computer Composition 3 3

10 10

105 .

Regulations/Requirements Lessons missed due to the teacher's absence Performance Attendance Requirement will be rescheduled and made up by the teacher. Full-time, undergraduate music students are

Attendance Unless circumstances render it impossible, required to attend twelve musical performances in "make-up" lessons for the Fall Professional Standards and Behavior semester are to be each year (except the year in which the student's completed prior to the Spring semester; It is expected that students of the Philadelphia "make- Senior Recital is performed when only six are up" lessons for the College of Performing Arts maintain high stan- Spring should be complete by required). Performance Attendance credit will be dards of professionalism with respect to stu- June 15. given for presence at recitals, concerts, studio Normally, students entitled dio, classroom, rehearsal, and performance are to thirty, one- concerts, workshops, and lectures in which music hour lessons during the commitments. Regular and punctual atten- academic year (fifteen per is performed. All attendance requirements must semester). dance and appropriate preparation for lessons, be fulfilled in the year in which they are required. classes, rehearsals, and performances are of Class/Lesson Cancellations or Lateness of Failure to meet requirements will result in a fail- the utmost importance to the attainment of Instructor ing grade for Recital Attendance. Part-time undergraduate professional artistic goals. Students must check every morning for notices music students are responsible for attending a number of perfor- Excused Absence regarding class or lesson changes. Such notices mances in direct proportion to the number of cred- are posted on the official bulletin board in An excused absence is one which has received the its in which they are enrolled. The specific number lobby of the Shubert building. If none is posted for the prior consent of the instructor; and is due to the scheduled class lesson is assigned at the beginning of each semester. illness or emergency, appropriately documented or and the instructor is Students are required to attend not present, students are expected to wait a maximum of 42 by medical certificate, etc.; or is caused by perfor- 10 performances minutes for an hour-long during their undergraduate years of mance at an official school function with the ap- class/lesson and 15 min- study. At the beginning of every semester, stu- utes for those of longer duration. In the each proval of the appropriate School Director or Dean. event the dent will receive written notification of the number of instructor fails to appear within the 10-15 minute Unexcused Absence performances he/she is expected to attend. waiting period, students are to report to the appro- All other absences are "unexcused. "It is the re- priate School Director's Office, and may then leave Studio Concerts sponsibility of the student to arrange with his/her without penalty. Studio Concerts are designed to provide music instructors to make up all missed work. Failure to Change of Major Teacher students the opportunity to gain experience in do so will result in lowered grades. Students who Students who wish to petition for of public performance. All students are encouraged are excessively absent will receive an "F" in the a change major teacher must: to participate as often as possible, and to support course. (Due to the nature of the work in acting 1 Secure "Request for Change of Major Teacher" other students by their attendance. A minimum of studio and musical ensemble courses, work in form from the Director of the School of one performance per year is required of all sec- these courses cannot be made up.) Music 2. State reasons for requesting a ond-, third- and fourth-year students. Students must notify PCPA concerning ab- change of teacher Written consent of the major teacher or en- sences involving private lessons and/or rehearsals 3. Obtain the approval of the present semble director is necessary in order to be sched- involving other participants. Messages should be and the re- quested teacher uled for Studio Concert performance. The com- directed to the office of the School Director. 4. Obtain the approval of the Director of the pleted form must be returned to the Director of The number of hours of "Unexcused Absences" School of Music the School of Music no later than one month prior permitted per semester in the School of Music 5. Return the to the Registrar. to the requested date of performance. may not exceed the number of credits per course; completed form i.e., in a three-credit course no more than three Such changes are not usually effected during the Jury Recital Requirements hours of unexcused absences are permitted, in a semester, or in the final year of study. Regulations regarding Jury Examinations, Junior two-credit course, no more that two hours of and Senior Recitals are available in the office of Faculty Advisory unexcused absences are permitted, etc. the School of Music. All students are assigned to a faculty advisor. Lists

Attendance at Lessons are posted in the Shubert Lobby during the first Performance Hour

Students must attend all private lessons as sched- week of the academic year. Appointments can be Performance Hour is devoted to faculty and uled except in the case of illness or emergency made at the mutual convenience of the student guest recitals, lectures, master classes, and work- (see "Excused Absence"). It is the student's re- and the faculty advisor. shops, as well as student performances. sponsibility to notify the teacher if he/she is un- Students should feel free to see their advisor Music majors should not schedule other com- able to keep the appointment time. Failure to give at any time concerning problems that they may mitments during the time designated as the Per- at least 24 hour prior notice may mean forfeiture encounter. formance Hour. of the lesson. A maximum of three lessons per Students who are absent from the required Jury Examinations semester will be made up in the case of excused sessions (without special permission of the Direc- Each student takes a jury examination in the major absences. Lessons missed because of unexcused tor of the School of Music) have an opportunity to area at the end of each academic year. Students absences will not be made up. make up the absences by attending additional do not have to take a jury examination in the year recitals. If they are not made up, the student will that they play their graduation recital. receive a grade of "F" on their transcript for Per-

formance Hour attendance. Others will receive a grade of "P" A student may be excused from a required Performance Hour program by the Direc-

tor of the School of Music. In such cases the ex-

cused Performance Hour will be added to the number of required Recital attendances.

106 .. — ..

Graduation Requirements 5. A full-length recital will be presented in the final semester of residency. The content and In addition to the general PCPA requirements for length of the recital will be determined in con- graduation, the following must be fulfilled: sultation with the major teacher and must be Undergraduate Requirements approved by the Director for Master of Music All recitals 1 Performance Majors must present a satisfactory and Graduate Diploma Programs. Graduation Recital before a Faculty Jury ("satis- will be judged on a Pass/Fail basis by a faculty factory" performance to be determined by ma- committee appointed by the Director of Gradu-

jority vote of the Jury), as well as a public re- ate Studies and which includes the major

cital. teacher. It is expected that the program will

2. Theory Majors must submit a satisfactory major demonstrate a balance of styles and periods, will project in the Senior year. including the twentieth century. The recital

3. Composition Majors must submit a satisfactory normally be presented from memory.

substantial work in the Senior year, to be 6. Each degree candidate must pass three reper-

publically performed, and adjudicated by the tory listening examinations, one in each of the

faculty of the Composition Department. first three semesters.

Graduate Requirements Graduate Voice/Opera Emphasis Major participate in opera Master of Music Degree Programs 1 Students are expected to productions, as assigned. 1 Each student shall compete at least once in the workshops and preceding section Annual Concerto Competition which is held 2. Repertory for the recital (see should display the each year in the fall semester. Usually this is on "Graduation Recital") and dramatic ability. done during the second year of study. It is the student's full vocal range student's responsibility to discuss this activity Three languages, in addition to English, must with the major teacher. be represented. The recital must include at or extended solo 2. Each student must perform a first-year juried least four operatic arias one duration. recital of 30-45 minutes duration before a Com- operatic scene of equivalent

recital will graded and the mittee. This be Graduate Composition Major grade entered on the student's transcript. The 1 Students are expected to explore various com- program for this recital must be approved by positional media and techniques, and to com- the Committee in September (for fall receitals) pose at least six works for various media, and or in February (for spring recitals), and will not of various lengths. One of these compositions form part of the second-year Graduation Re- should be for a large ensemble. cital. Compositions requiring accompaniment 2. The student's progress will be evaluated at the must be performed with accompaniment and end of the second and fourth semester by a the program should be presented from memory. faculty committee which includes the major If student accompanists are not available, the teacher (chair) and other faculty members ap- School of Music will assign the music to a staff pointed by the Chair of the Composition Divi- member or other qualified accompanist. sion. It is this committee's responsibility to 3. In consultation with the major teacher, each determine if the composition requirements have student must submit a list of repertory to be been met in both quality and quantity. studied each semester. This list will be for- 3. The Graduate Division for Master of Music and warded to the Director of the Program for Mas- Graduate Diploma Programs desires that as ter of Music and Graduate Diploma Programs many student compositions as possible be after the third lesson (approximately the fourth performed and will make every effort to help week of the semester) for review by the Gradu- composition majors in this regard. It is the ate Committee for Master of Music and Gradu- student's responsibility to assist performers in ate Diploma Programs.. Evaluation will be made preparing new works for performance. at the end of the semester. in Repertoire over the normal four semesters of Exit Requirements for the MAT graduate study should exhibit a variety of Music Education Successful completion of all course and related genres (concerti, sonatas, etudes, etc.), style requirements shall lead to the granting of the periods (Baroque to the present, if applicable), Master of Arts in Teaching with a major in Music and composers. It is expected that orchestral provided that an overall GPA of 3.0 or excerpts will be included where appropriate, Education, maintained. However, approval of the and that sight-reading will receive stress in the higher is in Education Committee is required for lesson context. MAT Music recommendation for teacher certification. It should 4. Students are expected to perform either as soloists

noted also that the initial Instructional I Certifi- or in small ensembles as often as possible. be cate cannot be issued by the Commonwealth of Pennsylvania Department of Education unless PDE

testing requirements have been met.

107 .

The School of Music MU415B MU 237 A&B Computer Composition II Keyboard Harmony III Course Descriptions 3 credits 1 credit per semester Composition Continuation of MU 41 5A, focusing on the un- Melody and figured bass harmonization; trans- derstanding and application of advanced tech- position; clef reading, and score reduction. MU 121 A&B niques using existing software and hardware. Required of Classical Piano Majors; open to

Calligraphy There is a strong emphasis on composition. other majors as an elective. 1 credit per semester Among the topics explored are integrating tape MU317A This course is aimed at teaching students profes- and computer functions, advanced music tran- Orchestration I sional methods of musical score and parts prepa- scription, programming drum machines, and 3 credits ration, both in the traditional way with paper and advanced FM. Individual work is encouraged. An introduction to instrumentation, designed to pen, and with computer programs. It is required for Prerequisite: MU 415 A or permission of the acquaint the student with ranges, transpositions, composition majors, and is an elective for all other instructor. and characteristics of individual instruments. Four majors. orchestration projects are scored, performed, re-

MU 191 A&B corded, and critiqued: 1 ) four woodwinds, 2) four

Composition Class III Music Theory woodwinds and seven brasses, 3) string en- credits per semester 3 MU007 semble, and 4) small orchestra with winds in pairs. The four components of MU 191 are: Required of Composition and Theory majors; open Introduction to Music Theory 1 An introduction to important twentieth-century to other music majors as an elective. 3 credits composers, their works, styles, and composi- Fundamentals of music theory designed to pre- MU317B tional methods. pare students for entrance into regular college- Orchestration II 2. The investigation of twentieth-century writing level music theory program. Credit is not appli- 3 credits techniques and modes of thought such as mod- cable to degree requirements. Primarily intended for composers and music theo- ern modalism, new scale formulation, rists, this course presents an analytical history of polytonality, serial techniques, and contempo- MU 107 A&B orchestration centering on the works of Ravel, rary harmonic usage. Theory III Schonberg, Prokofieff, Wagner, Strauss, Debussy, 3. Composition in small forms. 3 credits per semester and Stravinsky. Coursework culminates in a large 4. Studies in contemporary aesthetic and philo- An introduction to the principles of theory, includ- project for full orchestra which is scored, per- sophic thought as they relate to composition. ing scale structure, intervals, triads, and seventh formed, recorded, and critiqued. Composers are Required of first-year Composition majors. Avail- chords. A study of the basic principles of diatonic encouraged to orchestrate one of their own com- able as an elective for other Music majors with harmony, including chordal spacing, chordal pro- positions. Required of Composition and Theory permission of the instructor. gression, voice-leading, modulation and an intro- majors; open to other Music majors as an elective. duction to chromatic harmony. Harmonic analysis MU 291 A&B and the analysis of small forms. Required for all MU 327 A&B Composition Major lll-VIII Music majors. Fingerboard Harmony Ml 3 credits per semester 2 credits per semester Private composition lessons weekly throughout MU207A A survey of voice leading techniques through five course of study. General assignments and at least Theory III centuries of lute, vihuela, and guitar music. The one complete work in a variety of media are re- 3 credits course examines sixteenth-century intabulations, quired in each semester. A minimum of three A study of chromatic harmony, including aug- Baroque guitar accompaniment, figured bass and works written during the last four semesters re- mented sixth, Neopolitan, altered and added-tone the Baroque lute, harmonic and technical consider- ceive public performances. Scores of all works chords, irregular resolutions, and modolation prac- ations in nineteenth-century sonata forms, and written in fulfillment of Composition major re- tices of the late nineteenth century. In addition, a contemporary practices. The course includes both quirements are submitted to the Composition survey of the standard forms is covered (song writing and performance. Required of Classical faculty for review toward the end of the final se- forms, variation, sonata. Rondo, Minuet, and Guitar majors. mester of residence. Jazz/Commercial Music ma- Scherzo). Students are taught rudiments of score jors are required to take only Composition Major reading in this course (clefs, instrument names MU 337 A&B lll-IV. and terms in French, Italian, and German, and Keyboard Harmony lll-IV

transpositions of the orchestral instruments). 1 credit per semester MU 316 Composition Required of all music majors. A continuation of MU 237 A&B. 3 credits Composition Class for music students who are not MU207B MU407 Composition Majors. A study of formal organiza- Theory IV Theory V credits tions, musical materials, and compositional de- 3 credits , 3 vices as practiced in the twentieth-century, Beginning with the rudiments of melodic analysis, A study of twentieth-century literature, including counterpoint, form, and orchestration. MU415A the student proceeds to analyze and construct harmony, examples. The course then proceeds by writing Techniques discussed include bitonality, atonality, Computer Composition I and analysis through a study of sixteenth and and pantonality; serial technique; and minimalism. 3 credits eighteenth century practices. Analysis includes Both acoustic and electronic works are discussed A detailed "hands-on" examination of the use of works by Paletrina, Lassus, Josquin, Buxtehode, micro-computers in the present day composi- and Bach. Writing projects include 2-voice species The sequence of courses MU 1 91 -491 B may be tion environment. The course includes the uses counterpoint in Fux style, canon, motet, invention, rearranged according to background and interests of a computer, the language of MIDI, sequenc- and fugue exposition. The course ends with an of students. ing, FM and other types of synthesis, and a analytical survey of 20th-century contrpuntal ex- survey of currently available music software amples. Required of all music majors. packages. Students are strongly encouraged to engage in independent work based on their own compositional interests. No prior computer or synthesis experience is needed. Required of all Composition and Theory majors.

108 B

MU 191 A&B Musicianship Studies MU254 History of Theory Ml Basic Conducting MU 103 A&B 3 credits per semester 2 credits Musicianship Studies III A survey of the history of music theory including A study of fundamental conducting skills and tech- 3 credits per semester the Greeks, the Early Christian Era, Anonymous IV, niques with emphasis upon physical aspects of This course centers on tfie establishment of funda- Boethius, Cassiadorus, Guido, Odo of Cluny, conducting, score reading and preparation, and mental skills through the singing and recognition of Franco of Cologne, de Vitry, Apel, Waite, Zarlino, rehearsal principles. Undergraduate co-requisite diatonic materials, i.e., scales, intervals, triads, and Glareanus, the Camerata, Arnold, Rameau, Fux, for full acceptance into the MAT in Music Educa- seventh chords, both as isolated phenomena and in C.P.E. Bach, Riemann, Reti, Sachs, Yeston, Walker, tion program. Open to all candidates for the Bach- musical contexts. Solfeggio performance of diatonic and Toch. Required of Theory majors. elor of Music degree. melodies and rhythmic performance in all basic meters MU 291 A&B MU 256 A&B is emphasized, as well as the dictation of these mate- Advanced Tonal Analysis III Music Teaching Skills I & II rials. Required of all Music majors.

3 credits per semester 1 credit per semester 203 A&B A study of analytical techniques related to the MU Incorporates advanced skills in functional piano, Musicianship Studies lll-IV form, harmony, thematic unity, melody, rhythm, guitar, recorder, writing/arranging for elementary 3 credits per semester and tonal organization of music from the Baroque classroom ensembles, operation of basic audio/ Continuation of MU 103 A&B to include compound to late nineteenth century. Special emphasis on visual equipment, establishment of classroom intervals, ninth chords, and chord progressions. reinforcement and development of concepts intro- environment. Projects include arranging, perform- Performance and dictation materials include chro- duced in Theory lll-IV which is normally taken ing, and simulated teaching. matic melodies with modulations and more ad- concurrently. Required of Theory majors. vanced rhythmic exercises that include MU317A MU391A Orchestration polyrhythms. Required of all Music majors. Reduction Theory 3 credits 303 A&B 3 credits MU Basic orchestration and arranging techniques with Musicianship Studies V-VI A survey of the principles, terminology, and appli- special emphasis on their application within an 3 credits per semester cation of Reduction Theory, including those of educational setting. Required of all Double Degree Continuation of MU 203 A&B. Performance mate- Forte, Hindemith, Katz, Reti, Salzer, Schenker, and candidates except Composition and Theory majors rials progress from increasingly chromatic melo- Warfield. Required of Theory majors. who take MU 317 A&B. dies to nontonal ones in single and multivoice 327 MU391B contexts. Advanced rhythmic materials include MU A&B Set Theory Lab Teaching/Practicum I— II changing meters and beat values, as well as more 3 credits 2 credits per semester complex beat subdivisions. Dictation skills focus survey of the principles, terminology, and appli- Observation and introduction toteaching in the A on harmonic progressions with modulations and cation of Set Theory, including those of Babbitt, schools. Minimum of one field experience plus altered chords, and two- and three-part melodic Forte, Gauldin, Lewing, Martino, Morris, and one required seminar per week. Schedule to be textures. Materials from all musical perids includ- Teittlebaum. Required of Theory majors. arranged between student and cooperating ing Jazz. Also included are skills in vocal develop- teacher/institution. MU491A ment, improvisation and score reading. Serial Theory 451 A MU 403 A&B MU credits of Music Teaching I 3 Musicianship Studies VII-VHI Psychology A survey of the principles, terminology, and appli- 2 credits 3 credits per semester cation of Serial Theory, including the writings of The first of a two-semester sequence required of An elective course designed to provide advanced Babbitt, Smith-Brindle, Leibowitz, Perle, Rochberg, all students in the MATPREP Program and open by work in multivoice performance and dictation, Rufer, Searle, Schoenberg, and Spinner. Required elective to all Bachelor of Music Degree candi- score-reading, pitch, and rhythmic performance of of Theory majors. dates. Focus is upon behavioral, gestalt, and field all musical styles, with an emphasis on twentieth- theories of learning, and associated concepts and Mil 491 century materials. the application of theory to practice in the music Theory Project classroom. 3 credits A major research, compositional, or analytical Music Education- MU 451 B year. Project Psychology of Music Teaching II study undertaken during the senior MATPREP Courses must be approved by department chairman and 2 credits supervising instructor. Required of Theory majors. MU 151 A&B Emphasis is placed upon the application of learn- Introduction to Music Education ing theories to practical considerations of teach-

1 credit per semester ing, including motivation, learning sequence, stu-

A two-semester sequence required of all candi- dent-teacher interaction, and classroom manage- dates for the BME degree, and open to any stu- ment. Developmental theories, like those of Piaget

dent interested in exploring Music Education as a and Erikson, are explored with attention to select-

career option. Introduction to Music Education is a ing learning experiences in the music classroom. survey course designed to provide an overview of Prerequisite: MU 451 A. music teaching — past, present, and future — and to serve as an introduction to the philosophy, methodology, and professional role of the music

teacher. MU 151 A is prerequisite to MU 151B.

109 A

Jazz/Commercial MU 313 A&B Music History Jazz Improvisation lll-IV MU 301 A&B, MU 401 A&B MU 131 A&B 2 credits per semester Piano III This four-semester Music History and Literature Continuation of MU 213 A&B. Required of all sequence is designed to define the major style 1 credit per semester Jazz/Commercial Music majors. Introductory and elementary keyboard training periods from Greek times to the present in terms MU 315 A&B using basic theoretical, harmonic, and technical of their philosophies, accomplishments, and inter- Jazz Arranging concepts in practical keyboard application: trans- relationships. Composers, performers, and theo- 2 credits per semester position, melody harmonization, elementary jazz rists are examined in the context of musical litera- A functional approach to ensemble scoring includ- improvisation, technique and repertoire. Required ture with emphasis upon styles, forms, and tech- ing score analysis, combo arranging, arranging for of non-Keyboard Jazz/Commercial Music majors; niques of composition as they evolve and change. mixed instrumentation, musical settings for vocal- open to other majors as an elective. The sequence puts into historical perspective the ists, string writing, writing for pop recording, and materials presented in the Music Theory courses. MU 213 A&B for multitrack recording. Re- special techniques Through listening assignments, students are ex- Improvisation Ml Jazz quired of all Jazz/Commercial Music majors. pected to further develop their aural skills and 2 credits per semester MU 392 A&B knowledge of musical literature. Required of all The application of improvisational techniques Jazz Composition Major l-IV music students, except Jazz/Commercial Majors. encompassing all standard forms and styles. Per- 3 credits per semester formance practices are related to the individual Ml) 301 A two-year specialized course for Jazz/Commer- student's abilities, background, and experience. Music History I: Medieval — Renaissance cial Music Composition majors which follows a Coursework includes solo transcription and analy- 3 credits two-year concentration in classical composition. sis, a comparison of improvisational methods, and MU301B (See course descriptions for Composition Class a survey of educational resources. Required of all Music History II: Baroque — Classical MU 1 91 A&B and MU 291 A&B.) MU 392 is an Jazz/Commercial Music majors. 3 credits applied course of study designed to familiarize the 232 MU A&B student composer with the styles and techniques MU401A Jazz Piano lll-IV of composition in the jazz idiom and related Music History III: Classical — Romantic

1 credit per semester genres. Included is an analysis of a broad spec- 3 credits Harmonic concepts in keyboard application for trum of musical models illustrative of the develop- popular music; chord voicings for popular MU402B jazz and mental roots through contemporary trends. Em- Music History IV: Post-Romantic — Twenti- tunes, standards, and original harmonizations; phasis on writing for various combinations both for eth Century continuation improvisation. Requirements of jazz acoustic and electronic (MIDI) use and as they 3 credits include completion of juried Jazz Piano Proficiency might be used in the recording studio. Examination. Required of non-Keyboard Jazz/ MU 403 A&B MU 405 A&B Commercial Music majors; open to other majors History of Jazz History of Jazz as an elective. 2 credits per semester (Refer to Music History and Literature section) of jazz from its African and MU 307 A&B A two-semester study MU 413 A&B European roots through its emergence at the turn Jazz Theory and Ear Training III Recording of the twentieth century as a unique and distinc- 3 credits per semester 2 credits per semester tive American art form. The various styles of jazz A practical study of jazz and pop theory combined A study of the recording process and the many are studied (ragtime, New Orleans Dixieland, Chi- with an advanced ear-training program, emphasiz- facets of the recording studio. Designed to famil- cago style, swing, be-bop, cool, hard-bop, free- ing instrumental application. Students are re- iarize the student with conventional and creative form, third stream), including their effect on the quired to bring their instruments to class. recording techniques through practical experience popular music with which jazz has coexisted. The Coursework includes recognition, writing, dicta- in the studio. Required of all Jazz/Commercial course includes in-depth study of the primary ex- tion, and sight reading of: advanced chords, chord Music majors. ponents of the various styles. Audio and video additions and alterations, chord substitutions, materials are used to provide students with a progressions, and rhythm. Required of all Jazz/ MU 416 A&B better understanding of jazz and its influences on Commercial Music majors. MIDI Synthesis the music industry. Required of all Jazz/Commer- 1 .5 credits per semester MU 308 A&B cial Music majors. Students will become proficient at the skills nec- Analysis and Composition of Commercial Music essary to work creatively in the MIDI studio. Infor- MU 410 A&B mation presented will include current synthesis Music History 1.5 credits per semester methods and programming of original sounds and 3 credits per semester An examination of compositional techniques used drum machines; sampling procedures; collecting A one-year survey of music history designed for in pop songs, jingles, soundtracks, and under- and editing original samples; MIDI studio record- Jazz/Commercial Music majors. The course en- scores for radio, TV, records, films, shows and ing processes; the use of sync codes. compasses music history and literature from antiq- industrials. Students will investigate the ways in uity through the contemporary period with particu- which music serves to enhance the overall goals MU 420 A&B lar emphasis on history and literature since the of the product or project. Musical analysis will Business of Music Classical period. Required of and limited to stu- serve to demonstrate how each style is created. 2 credits per semester dents majoring in Jazz/Commercial Music. Students produce their own musical compositions An examination of the legal, practical, and proce- in each media context. dural problems encountered by the practicing MU 425 A&B musician. Specific course content varies each year Guitar History and Literature according to the needs of the students and their 2 credits per semester

particular career goals. Required of all Jazz/Com- A study of the history of the guitar and music lit-

mercial Music majors. erature written for, or adaptable to, the classic

guitar. The development of the guitar is surveyed, including the 4 course Renaissance guitar, the 5 course Baroque guitar of Corbetta, and Classical guitar of Sor and Giuliani to the present. Required of Guitar majors.

110 Music Literature MU412 Piano Studies Twentieth Century Music II MU 131 A&B Mil 311 3 credits Operatic Literaure Piano Ml Masterpieces of Music since 1945. A study of musical literature 1 credit per semester 3 credits since Webern, which includes movements toward of operatic largely from the Introductory and elementary keyboard training An examination works, tonal organization, chance and indeterminacy, of five great using theoretical, harmonic, and technical con- standard repertory and a closer study musique concrete, and electronic music, multi- attendance at specified cepts in practical keyboard application: transposi- operas. Three papers and media, and the music of the avant garde. operatic performances are required. tion, melody harmonization, elementary improvisa- MU421 tion, technique, and repertoire. Required of non- MU318 Symphonic Literature Keyboard Music majors; open to non-Music ma- Medieval Music 3 credits jors as an elective. 3 credits A survey of symphonic literature from the 1 8th Century in-depth study of the vocal and instrumental MU 231 A&B An to the present, dealing largely with the standard reper- music of the Medieval Period. Special emphasis Piano lll-IV tory. Assignments in listening and analysis. will be given to the development of Plainsong and 1 credit per semester Mil 423 the schools of Ars Antigua and Ars Nova. Students Continuation of MU 131 A&B from elementary to Late Romantic Music will be expected to do outside listening, research, intermediate level. Requirements include comple- 3 credits and analysis. tion of the juried Piano Proficiency Examination. A survey of the works of Wagner, Richard Strauss, MU 431 A&B Mil 319 Mahler, Bruckner, Brahms, Debussy, and early Piano Literature Ml Renaissance Music Schoenberg, with special attention paid to stylistic 2 credits per semester 3 credits developments from the early Romantic Period to of the vocal and instrumental music A survey of keyboard literature of various periods An in-depth study the Twentieth Century as shown in the composi- of the Renaissance Period. Special emphasis will be and styles through performance and analysis. tions of these late Romantic composers. given to the works of Dufay, Dunstable, Obrecht, Required of Piano majors. MU424 Ockeghem, Isaac, Josquin, Palestrina, G. Gabrieli, MU 432 A&B Wagner and the Ring Cycle Gesualdo, and Monteverdi. Students will be expected Piano Pedagogy Ml 3 credits to do outside listening, research and analysis. 2 credits per semester An in-depth study of Wagnerian Opera with spe- A variety of methods and materials used in teach- Ml) 320 cial emphasis on the four operas that constitute and Analysis ing piano at the various levels of development Chamber Music-Performance the Ring Cycle. Lectures and discussions will cover credits from beginner to artist. Discussion is based on 3 libretti, harmonic idiom, staging and symbolism. A course open to all students who wish to both required texts, supplementary books, articles, and MU426 perform and analyze works from the chamber magazines, including the major philosophies of The String Quartets music literature. Students will elect to prepare past and present pedagogical thought. In the sec- 3 credits specific chamber works for performance, which ond semester, student teaching in class and in Analysis of the quartets with emphasis on the compo- will also be analyzed and discussed in class. private lessons is observed and evaluated provid- sitional techniques used by Beethoven; harmony, ing practical experience in a constructive format. MU321A&B thematic unity melody, form, rhythm and meter, and Required of Piano majors; open as an elective for J. S. Bach I -II will be discussed in an integrated fashion. other qualified students. 3 credits each semester MU427 Bach's works surveyed and analyzed, with particu- MU 773 A&B Diaghilev and His Time lar attention to the organ works and cantatas. Piano Accompanying 3 credits Aspects of Bach scholarships are treated such as 1 credit per semester This course will investigate the role of Serge source materials, reference tools, editions, prob- Designed to provide theoretical knowledge and Diaghilev and his famous Ballet Russes in shaping lems of interpretation and performance. Papers practical experience in vocal, instrumental, and the course of music and dance from c. 1909-1929. are required on instrumental work, organ chorale, dance accompanying. The course includes histori- Special emphasis will be placed on the works of prelude and cantata. cal information, stylistic guidelines, vocal diction reference to his music for the Igor Stravinsky with training, and coaching techniques, in addition to MU323 interrela- stage. Time will also be devoted to the regular class performances and studio accompany- Classical Music tionships between various artists, dancers, and ing for major teachers. In addition, a sight-reading 3 credits such as Picasso, Cocteau, Nijinsky, Bakst, writers lab is required to facilitate the learning and prepa- A course concerned with composers from the others active in Paris. Massine, and who were ration of music for class and studio assignments. Mannheim School through Haydn, Mozart, studied will be looked at from the perspec- Works The final project includes a public performance Beethoven and Schubert. The literature covered choreographer, the set tive of the composer, the demonstrating accompanying skills. music includes the dramatic, symphonic, chamber and costume designer, the dancers and the audi- and solo works of these composers. ence. Literature to be studied includes Stravinsky Mil 328 (Firebird, Petrushka, Rite of Spring, Les Noces, Beethoven Pulcinella, Oedipus Rex), Debussy (Jeux), Ravel Falla (The 3 credits (Daphnis and Chloe), Satie (Parade), De An in-depth analysis of selected works from the Three-Cornered Hat), Milhaud (Le Train Bleu, La Biches) and piano, vocal, chamber music, symphonic and dra- Creation du Monde), Poulenc (Les

matic literature. Prokofiev. MU411

Twentieth Century Music I 3 credits

A study and analysis of the music of the first half of the twentieth century, such as Schonberg, Berg, Webern, Stravinsky, Hindemith, Varese. Bartok, Copland, and Messiaen.

111 Voice MU 446 A&B Courses for Non-Music Majors Vocal Literature lll-IV MU143A&B MU 123 A&B 1 credit per semester Italian Diction Guitar Class for Non-Music Majors A continuation of Vocal Literature l-ll. Semester

1 credit per semester 1 credit per semester III is centered around middle and late Romantic The objective of the course is fluency and a firm This course is designed for literature, and late 19th century French litera- non-music majors who grasp of the language in general with strong em- wish to learn how to play folk/pop guitar. The ture. Semester IV is centered around late 20th phasis on mastery of a native speaker's diction in course will deal century literature. with chords, single-line melody, particular. The International Phonetic Alphabet is reading pitch and rhythmic notation and chord used to ensure proper pronunciation. Required of symbols, and various strumming styles. Students

Voice and Voice/Opera majors. must have their own guitars. Opera MU243A&B MU 130 A&B MU 344 A&B German Diction Piano Class for Non-Music Majors Staging l-ll 1 credit per semester 1 credit per semester 2 credits per semester The objective of the course is fluency and a firm This one semester course which meets one hour The interpretation and performance of opera roles. grasp of the language in general with strong em- weekly begins with the rudiments of piano play- Technical and artistic preparation for public perfor- phasis on mastery of a native speaker's diction in ing. The following areas will be covered: learning mance from workshops to particular. Oral drills based in part upon the texts the keyboard and the musical alphabet, rhythmic major productions of full operas. Required of of lieder and arias. Required of Voice and Voice/ notation, pitch notation; playing melodies harmo- Voice/Opera majors. Opera majors. nized with chords as well as easy popular and classical repertoire; scales, arpeggios, MU 341 A&B MU 417 A&B and chords. Opera Literature l-ll English Diction 111 MU 141 A&B 3 credits per semester 1 credit per semester Voice Class for Non-Music Majors Survey of operatic styles and genres. Emphasis is The study and performance of English diction for 1 credit per semester placed on the cultural and social contexts of a singers, emphasizing the correct formation and One hour class of voice instruction in the classical wide diversity of operas, and projection of vowels and consonants in singing. training of voice. Course will cover proper tech- upon character analysis. Intensive examination of The International Phonetic Alphabet is utilized. nique of breathing, support, focus of tone, produc- complete operas. Required of Voice/Opera majors. Required of Voice and Voice/Opera majors. tion of clear vocal line, and some musical interpre- MU342A MU 444 A&B tation of literature. Staging lll-IV Voice Pedagogy I MU 190 A&B 2 credits Der semester 1 credit Applied Instruction for Non-Music Majors Continuation of MU 344A&B. Required of Voice/ An in-depth study of the anatomy and physiology 1 .5 credits per semester Opera majors. of the voice; its structure and function. Required The primary purpose of this course is to provide of Voice majors. music instruction in the areas of instrumental, MU342B vocal, and compositional studies for non-music Music Ensembles majors. However, it may also be taken by music Voice Pedagogy II

MU 761 Chamber Ensemble 1 credit majors as well. Students receive fifteen half-hour 1 credit

MU 761 Classical Guitar Ensemble 1 credit lessons per semester, given by members of the A continuation of MV 361 . The study and evalua- 761 Percussion Ensemble 1 credit School of Music faculty and/or advanced students tion of various pedagogical theories of voice train- MU

MU 762 Chamber Singers 1 credit in the school's graduate program. The material ing based upon the knowledge gained in Voice

MU 764 Small Jazz Ensemble 1 credit covered in these lessons is tailored to the level Pedagogy I. Required of Voice majors.

MU 764 Jazz Guitar Ensemble 1 credit and experience of the student. The course may be MU 343 A&B MU 765 New Music Ensemble 1 credit continued for credit. An extra fee is required. French Diction MU771 *Orchestra 1 credit Rates may be obtained from the business office. 1 credit per semester MU772 Chorus 1 credit MU 306 A&B The course focuses mainly on diction, stressing 773 Piano Accompanying 1 credit MU History of Rock Music phonetics, fluent reading aloud, and translation of MU 774 Fusion Ensemble 1 credit 3 credits per semester aria and art song texts. Emphasis is placed upon MU 774 Large Jazz Ensemble 1 credit This course investigates the History of Rock from the literary vocabulary used in French vocal reper- MU344A&B **Opera Staging 2 credits its inception in the 1950s to the present. It begins toire. Students are coached in correct pronuncia- MU444A&B **0pera Staging 2 credits with the important antecedents of Rock and Roll tion when singing, and taught proper interpreta- MU544A&B "Opera Staging 2 credits and then historically traces the various styles that tion of French vocal repertoire. Required of Voice MU644A&B "Opera Staging 2 credits evolved from that time to the present. There will and Voice/Opera majors. *ln conjunction with Orchestra, MU 771, Orchestra be live demonstrations and illustrations by guests MU 346 A&B Repertory Class 0.0 credit. in class. May be taken for elective credit. Vocal Literature Ml **ln conjunction with Staging, MU 344A&B, Aria 1 credit per semester Class 0.0 credit. The purpose of the course is to develop a greater knowledge of the vocal literature of all periods.

The course is arranged to complement both the Music History and the Opera History courses.

Semester I is centered around early Italian and

Baroque literature. Semester II is focused on Clas- sical Viennese literature.

112 Nineteenth MU 641 A&B Graduate Course Idea of the Artist in Renaissance, Century, and Today Repertory Coaching lll-IV semester Descriptions Decadence in Twentieth-Century Art 1 credit per Continuation of ML) 545A&B. Required in Voice/ MU 531 A&B Master of Music Degree and Opera Emphasis. Conducting Ml

Graduate Diploma Programs 2 credits per semester MU 644 A&B The study of conducting and rehearsal techniques, Staging lll-IV MU 501 A&B score analysis, and musical interpretation of works 2 credits per semester Seminar in Bibliography and Writing in Voice/ from the Classical, Romantic, and contemporary Continuation of MU 544A&B. Required 1 credits per semester periods. Required of Graduate Composition ma- Opera Emphasis. Introduction to the elements of musical bibliogra- jors. phy. Basic bibliographic materials are stressed, and a series of topics are investigated which are MU 541 A&B of in Teaching in designed to further the student's ability to use the Repertory Coaching Ml Master Arts include music library at the graduate level. Topics 1 credit per semester Music Education encyclopedias and dictionaries, collected editions The course deals with role preparation and score MU550 and editing, periodicals, general bibliography, analysis, as well as aspects of diction and inter- Advanced Conducting - histories of music, introduction to biographies, pretation. It involves independent study, coaching, Choral or Instrumental thematic catalogs, bibliographies of music theory and ensemble work. Required in Voice/Opera 3 credits and analysis, discographies, and iconography. Emphasis. Advanced conducting techniques and applications Required of all Graduate Degree Music majors MU 544 A&B of these techniques to instrumental or choral mu- except Voice Opera Emphasis. Staging Ml sic teaching at the secondary school level. Empha-

MU 517 A&B 2 credits per semester sis will include the selections of appropriate litera-

I— IB Opera History and Literature A study of the practical aspects of stagecraft ture, style and interpretation, rehearsal planning 2 credits per semester (make-up, acting, movement, and projection of and implementation, evaluating performance out- The course explores the relationship of opera to theatrical meaning) as they apply to operatic per- comes, and special considerations relative to the well to his- literature, visual art, and ballet, as as formance. Audition techniques are developed. The teaching of music through the vehicle of perfor- philosophy. Operas Required tory, drama, psychology, and course includes numerous performances. mance. Students will select either instrumental or repertory for study are chosen from the standard in Voice/Opera Emphasis. choral emphasis. Required of all candidates for the opera houses; recorded of the world's leading in Music Education. Prerequisite: A course in MU 601 A&B MAT past are chosen excerpts by great singers of the Basic Conducting; full admission to the MAT pro- Seminar in Performance Practice for comparison with today's singers; and more gram or consent of the Director of Music Educa- 3 credits per semester obscure or neglected operas that deserve exami- Focuses on performance practice for the contem- tion. nation because of their cultural contribution are porary performer. Emphasizes the study of Ba- MU551 studied. Required in Voice/Opera Emphasis. roque, Classical, Romantic, and Twenthieth-Cen- Education in American Society semester, MU 521 A&B tury performance practice. In the first 3 credits Analysis in detail. In the Advanced Theory and Ml selected major works are studied The course utilizes lecture/discussion, seminar, performing 2 credits per semester second semester, students prepare field and research presentation experiences to contemporary meth- studied. An intensive investigation of editions and perform some of the music address historical, philosophical, and contempo- study of recent compo- translation, with stress ods with emphasis on the Period writings are read in rary issues in American Education. Students are all De- sitional techniques. Required of Graduate on theories of ornamentation. Required of all required to complete four major papers dedicated Voice/Opera Emphasis. gree Music majors except Graduate Degree Music majors. to the aforementioned issues and present them and MU 523 A&B MU603 during seminar sessions. Assigned readings keeping of a notebook devoted to current Graduate Studies in Humanities Ml Graduate Project the events in education are required. Students are 2 credits per semester 1 credit granted released time from class to complete This two-semester course may take several ap- This course is usually taken in the semester in research papers and are counselled individually to proaches depending on the needs and interests of which the student performs the Graduate recital. It class meets once per investi- facilitate their projects. The the class: 1 ) the survey of a particular period, em- provides an opportunity for the student to in a three-hour block. Guest speakers typi- phasizing ideas, currents, and tendencies influenc- gate the musicological and cultural aspects of week cally include a school administrator, counsellor/ ing the various arts of that period; 2) the study of a repertoire in his or her major performance area, social worker, a supervisor or teacher from another particular artist, with attention to the oeuvre and especially that which has been chosen for perfor- curricuiar area other than music, and related chief critical studies of that artist; and 3) the study mance in the recital. The results of this study are school personnel. of a particular style or stylistic development and customarily presented in the form of an essay or Required of all candidates for the MAT in Music its manifestation in several arts. program notes on the recital program. The course Education degree. Prerequisites: full admission to Individual projects are assigned in which stu- also assists the student in preparing for the Gradu- the MAT program or consent of the Director of the dents study a single major artwork and the litera- ate Comprehensive Examination. Required of Music Education Division. ture about it, working toward their own evaluative Graduate Performance majors. analysis of the artwork. Required of all Graduate MU 615 A&B Music majors. Computer Composition The following are examples of the subjects 3 credits per semester covered in recent years: Computer application to musical composition. The first Stylistic Change in the Nineteenth-Century: Litera- semester concentrates on the basic principles of com- ture, Music, Visual Arts. puter operation, tape recording, and digital sound The Arts Before and After World War I synthesis. The second semester is devoted to creative Twentieth-Century Opera Based on Significant work in the computer/tape idioms. Students are ex- Literature pected to complete one large compositional project Wagner's Ring in His Time and Ours Required of Graduate Composition majors

113 . .

MU552 MU554B MUS59 Workshop in Vocal Methods Secondary Methods and Materials Research, Evaluation, and Technology in 2 credits 3 credits Music Education

Class instruction and participatory experiences in A concentrated study of methods and materials 3 credits voice theory, vocal production, teaching methods, involved in planning, implementing, and evaluat- The course has three primary foci: and instructional materials for use in elementary ing instructional programs in secondary music 1 Examination of the role of research in music and secondary schools. The physiology of the education. Lecture, workshop, and simulated education, sources of research, analysis of voice is studied with reference to principles of teaching sessions. Required of all candidates to research types and methods, and the criti- choral singing. Special problems of the child and the MAT in Music. Prerequisite: full admission to cism of research in terms of internal and adolescent voice are considered. Required of all the MAT program. external criteria. candidates for the MAT in Music Education. Pre- MU555 2. Principles of effective evaluational strategies requisite: full admission to the MAT program or in music education; standardized and Elementary Student Teaching consent of the Director of Music Education. teacher-constructed approaches to evaluat- 4 credits ing music teaching and learning in the cogni- MU553 Taken concurrently with ML) 556 and MU 558. tive, psychomotor, and affective domains. Music and Special Children Offered only during the spring semester to stu- 3. Study of computer applications and related 2 credits dents in their final semester of study. The equiva- technological advances relative to the teach- The course meets for one two-hour session each lent of six weeks experience at the elementary ing and administration of programs in music week for one semester. level is required. Placement in schools is deter- education. Required of candidates for the Through readings, discussions, guest speakers, mined by the Director of Music Education. MAT in Music Education. Prerequisite: Ac- classroom observations and simulated teaching, MUS56 ceptance into the MAT program. the goals of the course are: Secondary Student Teaching 1 to define and examine various types of dis- MU560A 4 credits abilities. Workshop in Instrumental Methods I Taken concurrently with MU 556 and MU 558. 2. to offer a background on special education 2 credits Offered only during the spring semester to stu- practices and laws in America. Class instruction and participatory experiences in dents in their final semester of study. The equiva- 3. to aid students in developing an appreciation performing on woodwind and string instruments lent of six weeks experience at the secondary of the needs of handicapped persons in gen- and teaching woodwinds and strings in elemen- level is required. Placement in schools is deter- eral society, in education, and in music edu- tary and secondary schools. The class will consti- mined by the Director of Music Education. cation. tute a lab ensemble for exploring methods and

4. to guide music education students in devel- MU557 materials. Full class sessions will be supple-

oping goals and objectives, adapting lessons Music Administration and Supervision mented with small-group instruction, and clinics

and preparing meaningful lesson plans for 3 credits will focus on instrument care and repair, instru-

special students in the music classroom. Course addresses issues and concerns of adminis- ment selection, developing beginning instrumental tering school music programs program planning — programs in schools, and related issues. Required Participation in class discussion based on as- development, finance, facilities, and budget and of all candidates for the MAT in Music. Prerequi- signed reading, a written/verbal presentation on a relations, equipment, public scheduling, concert site: full admission to the MAT program or consent specific disability, field observations, and two planning, and related matters. Principles and of the Director of Music Education. written examinations provide bases for evaluating methods of effective supervision of programs and student achievement. MUS60B personnel constitute a second focus of the course. Required of all MAT in Music Education degree Workshop in Instrumental Methods II Required of all candidates for the MAT in Music candidates. Prerequisites: full acceptance into the 2 credits Education. Prerequisite: full admission to the MAT MAT program or consent of the Director of the Class instruction and participatory experiences in program. Division of Music Education. performing on brass and percussion instruments MU558 MU554A and teaching brass and percussion in elementary Student Teaching Seminar and Major Project Elementary Methods and Materials and secondary schools. The class will constitute a 2 credits lab ensemble for exploring methods and materials. 3 credits Taken concurrently with MU 555 and MU 556. Full class sessions will be supplemented with A concentrated study of methods and materials Required of and limited to students who are prac- small-group instruction, and clinics will focus on involved in planning, implementing, and evaluat- tice teaching. Discussion and analysis of filed instrument care and repair, instrument selection, ing instructional programs in elementary music trips. experiences, special workshops and field developing beginning instrumental programs in education. Lecture, workshop, and simulated Major paper comprises a thorough status study schools, and related issues. Required of all candi- teaching sessions. Required of all candidates for in each and evaluation of the programs which dates for the MAT in Music. Prerequisite: full ad- the MAT in Music. Prerequisite: full admission to student in interning. mission to the MAT program or consent of the the MAT program. Director of Music Education.

114 Music/Voice School of Theater Arts Faculty The Annette DiMedio - Introduction to Music Acting Studio - Voice Walter Dallas Barbara Washington-Grant Irene Baird Director Musical Theater James Cunningham Barbara Washington-Grant Charles Gilbert Johnnie Hobbs, Jr. Managing Director Tonda Hannum DiPasquale Drucie McDaniel 313 South Broad Street Terry Boyle Greenland Alexandra Toussaint 215-875-2232 Mary Ellen Grant Kennedy H.German Wilson Theater Arts of The University of the The School of Advisory Board of the School of Theater Arts Directing Studio Arts is committed to developing the skills, craft, Walter Dallas - Tutorial John Allen and attitudes of its students to prepare them for Artistic Director Charles Conwell - Studio careers in the professional theater. The training of Theatre Don Auspitz - Studio New Freedom the actor is different from most other professional Philadelphia training in that the instrument of the training is the Voice Production/Speech human being itself - the body and soul of the actor Susanne Case Irene Baird Actress/Director/Professor of Theater - and that the work is done from the inside out Deborah Stern in. actor has to be Villanova rather than from the outside An Paul Wagar trained in a variety of disciplines, each vital in Earle Gister Stage Combat/Fencing itself and intimately related to all the others. The Associate Dean Charles Conwell curricula acknowledges that the focal point of the Yale School of Drama James Murray training is the Acting Studio; that voice and body New Haven training are the principal support areas; that all Performance Coaching/Audition Techniques Bernard Havard other curricular programs address themselves to Irene Baird Executive Director the basic knowledge of techniques necessary to Walter Dallas Walnut Street Theater produce the craft. The training is based on the Johnnie Hobbs Philadelphia conservatory approach combining studio training Alexandra Toussaint Leslie Lee with rehearsal and performance in varying kinds of Don Auspitz which challenge the actor's ability to Playwright productions Rehearsal/Performance (1991-92 Season) York City perform demanding roles. The highly focused and New Don Auspitz demanding training is enhanced by appropriate Stephanie Powers Irene Baird courses in the humanities. Actress/Producer Deborah Block Los Angeles Daniel Burke Charles Conwell Mary B. Robinson Walter Dallas Artistic Director Manfred Fischbeck Philadlephia Drama Guild '91 Scott Hitz Marjorie Samoff Johnnie Hobbs, Jr. Producing Director Langford Louise American Music Theater Festival Vladimir Prahcharor Barbara Silzle Paul Wagar Artistic Associate Jacquelyn Yancy Philadelphia Drama Guild Mask Characterization Ellen Stewart Walter Dallas Artistic Director Make-up La Mama Theater Chris Whelen - Make-up New York

Theater Studies Robert Wagner Barbara Leiland - Script Analysis Actor/Producer Gabriela Roepke - Dramatic Literature Los Angeles

- Currents in Contemporary Theater Jane Marie Glodek - Theater History Staff - Dramatic Criticism and Theory Dance/Movement Nancy Kantra - Modern Dance/Ballet Manfred Fischbeck - Movement Vema Leslie - Movement Rachel Mausner - Alexander Technique Phuoc Phan - Tan Vo Dao LaVaughn Robinson - Tap Dance

Lisa White -Jan Dance

115 Facilities Programs of Study Bachelor of Fine Arts (BFA) Stage Combat Program The School of Theater Arts is located in the 31 3 South Bachelor of Fine Arts (BFA) The Stage Program at the University Broad Street building. Facilities include classrooms for Combat Acting Program includes instruction for all theater arts students in Acting Studio classes and Stage Combat classes. The four-year BFA Acting Program prepares stu- unarmed combat, knife, nineteenth-century saber, Large dance studios and music facilities are also used dents for careers in the professional theater or for samurai sword, rapier and dagger, and two- by acting students. Two theaters in the 313 South continued study in graduate school. In the first handed broadsword. These styles of fighting are Broad Street building are available for School of The- finding of year, students concentrate on the "core taught in two mandatory semesters of combat. ater performances. The first is the Black Box theater, improvisation, the actor" through the study of All theater students choose to take the an exciting, flexible space that allows for theater- in- may mask characterization, speech, and movement. certification test in stage combat-sponsored and the-round, 3/4 thrust, environmental, and many other The first year of training in the acting program is adjudicated by the Society of American Fight possible arrangements. The second is an intimate 200- to in-depth self-analysis of designed encourage Directors that results in a nationally-recognized seat proscenium theater. In addition, and truly the the student's commitment to the craft as well as certificate of competency. This certification can be most attractive facility available for student produc- foster the development of particular acting skills. helpful in getting acting and/or choreographing tions, is the University's newly renovated historic Progress from one semester to the next is by involving violence. Shubert Theater, located at 250 South Broad Street. jobs staged The student may faculty invitation and is based not only on the select to continue studies in stage combat by successful completion of the course work, but also choosing the stage combat program. The pre- Visiting Artists on the faculty's assessment of the student's poten- requisite for this program is Certification as an Each year, various professionals are guests, lectur- tial for a career in the professional theater. Actor-Combatant by the Society of American Fight third to ers, or performers at the School of Theater Arts. The second and years are devoted addi- Directors (SAFD). The certification test is given at

Some of these artists have participated formally tional study to establish depth of characterization the end of the sophomore year. Students are with the program; others have visited informally and to refine physical and vocal technique. The strongly encouraged to attend the National Stage and shared experiences with the students and focus of the fourth year is on performance, testing Combat Workshop in the summer following their faculty. Some of the visiting artists in the recent the student's ability to achieve the full dimension sophomore year and the SAFD Advanced Teacher past have been: of a characterization and to sustain that character Training in the summer following their junior year. over the length of a play. Joseph Papp-producer of the New York These experiences will expose the student to the Shakespeare Festival and the Public Theatre Bachelor of Fine Arts (BFA) varying fighting and teaching styles of the leader- ship of the SAFD. The Advanced Teacher Training James Baldwin-the novelist, playwright Directing Program provides an opportunity to be certified as stage Each year a few exceptionally talented students Laurie Anderson-performance artist — Home of combat instructors. will be admitted to the School of Theater Arts as the Brave candidates for the Bachelor of Fine Arts in Theater Bachelor of Fine Arts (BFA) David Henry Hwang-playwright, M. Butterfly; WOO Arts in Directing. The goal of the Directing Pro- Musical Theater Program Airplanes on the Hoof gram is three-fold: to prepare students for careers The four-year BFA Musical Theater Program Hicks-star of Spike Lee's She's Gotta Have It Tommy as director in the professional theater, to prepare prepares students for professional careers as

for level professional training in Elizabeth Ashley-actress in theater, television, film students graduate performers in the musical theater or for continued the School of Theater's directing, and to enhance study in graduate school. The program defines the Maryann Plunkett-Agnes in Agnes of God incorporat- concept of the performing ensemble by term "musical theater" in a way that embraces the Greg Poggi-directorof the Philadelphia Drama Guild ing directing students into the acting ensemble richness and diversity of this challenging interdis-

Mercedes McCambridge-internationally renowned represented by each first-year class. ciplinary art form, which includes musical comedy, Broadway star The training of directors is closely related to musical drama, "Broadway opera," cabaret and the training of actors. In the first year, directing Bernard Havard-producing director of The Walnut revue. Students receive the same "core" of tech- students participate in all courses required of first- Street Theater nique training as other Theater Arts students; this year acting students. In the second, third, and training is complemented by training in vocal tech- Blanka Ziska-director of the Wilma Theater fourth years, directing students study other disci- nique, musicianship and dance, and the study of Erika in theater, television, film for of craft. Alexander-actress plines necessary the development the the repertoire of the musical theater in print, in Courses in directing, theater history, movement Clarice Taylor-actress in theater, television, film recordings, and in rehearsal and performance. and dramatic literature are reinforced with studies The Musical Theater Program features a part- These professionals have been able to share with in sociology, philosophy, psychology and solid nership with Philadelphia's acclaimed American our students an insider's viewpoint of what the practical directing experience. Music Theater Festival, which has earned interna- acting field is really like. tional praise for its productions of works by artists

such as Philip Glass, William Bolcom, and Anthony Davis. Opportunities for master classes, guest speakers, internships, apprenticeships and observerships are among the professional experi-

ence open to students in this program.

The Bachelor of Fine Arts in Theater Arts nor- mally takes four years of full-time study to be completed and carries a total graduation require- ment of 124-133 credits.

116 .

Admissions Requirements focus on fundamental technical skills. Students The Curriculum auditioning out of town or on videotape are Students are admitted to the School of Theater An actor must be well versed in a variety of disci- asked to present a prepared dance solo demon- Arts in the Fall Semester only. Admission to the plines, each vital in itself and intimately related to strating their level of proficiency in dance and School of Theater Arts is highly competitive and the others. Training in voice, movement, dance, movement. This solo, which may be choreo- based on talent. speech, improvisation, masks, combat, music, graphed by the applicant or someone else, must Due to the strenuous physical demands of the mime, history, and literature supports work done in not exceed two minutes in length. Students program, general fitness is a prime requisite for the acting studio, the heart of the curriculum. Stu- auditioning in Philadelphia also have the option successful completion of the programs in theater dents are exposed to a variety of methods and of presenting such a solo in addition to their arts. Applicants should be physically able to par- approaches to acting, and encouraged to utilize group audition. ticipate in all aspects of the training. that which works best for them. Two semesters of If a video tape is submitted, clearly state your In addition to the general PCPA application stage combat are required. Combined skills are name at both the beginning and end of the taped requirements, applicants to the School of Theater tested through the rehearsal and performance of audition. Combine full body and close-up shots. Arts should submit the following: productions that challenge the student's ability to Perform two solo scenes as described above. 1 A statement of purpose: a one-page description perform a variety of demanding roles. Electives are During the interview portion of a taped audition, of the student's ambitions, goals, motivations, offered that emphasize directing and dramatic applicants should speak to the camera regarding and commitments to training for the profes- criticism, and appropriate courses in the humani- current and past theater activities, future aspira- sional theater. ties provide a sense of the history of the craft and tions, and career goals in theater. Tapes must be 2. A letter of recommendation concerning dra- its impact on other disciplines. submitted on VHS format video tape and should matic ability. This letter may be written by a be clearly labeled with name, address, and reper- high school acting coach, or by a theater toire being performed. director or producer.

3. A one-page resume of previous theater train- ing, including the names of teachers, studios, Scholarships length of study, and performance experience. Trustee Scholarship 4. A recent photograph. Each year the School of Theater Arts awards a Trustee Scholarship to one returning sophomore. Auditions The Trustee Scholarship totals $1 2,000 over the audition An is required of all applicants to the three years the student is enrolled. The award is

School of Theater Arts. The audition may be taken made on the basis of outstanding artistic and in Philadelphia or at designated regional audition academic performance and forpromise as a future locations (contact the Admissions Office for dates actor. Recipients must maintain a 3.0 cumulative and locations). Video-taped auditions may be grade point average. submitted instead of a live audition. Director's Scholarship The audition evaluates applicants on technique, Each year the School of Theater Arts will award a quality of expression, imagination, motivation, Directors Scholarship to a newly entering student. talent, and physical agility. The Director's Scholarship totals $10,000.00 over The Philadelphia and regional auditions are the four years. The scholarship winner will be identical in content and consist of two parts. selected on the basis of outstanding audition re- 1. Applicants must prepare and perform two con- view and academic achievement. Recipients must trasting monologs from memory, each lasting maintain a 3.0 cumulative average. no more than two minutes. Scenes must be selected from published plays and should be Talent Scholarships

contrasting in character, style, or tone (e.g., a Talent Scholarships are awards to matriculating

comedy and a drama; a contemporary piece students who give evidence of outstanding artistic

and a classical piece). Each scene must not ability. Recommendation for the Talent Scholarship

exceed two minutes in performance time. is based on the audition. To maintain eligibility, the 2. For the second part of the audition, applicants student must participate fully in rehearsals and

participate in a personal interview with the performances, have a "B" or better in the Major Theater faculty. area, and maintain a minimum 3.0 cumulative

3. In addition, students applying to the Musical grade point average (2.75 minimum for Freshmen)

Theater Program will be required to present in all Theater Arts courses. two musical theater songs in contrasting Students applying for Talent Scholarships must styles. One may be an operatic aria. At least file a Talent Scholarship Application as well as the one of the songs must have a strong emotional appropriate Financial Aid Form, obtainable from

content. Auditioners should be prepared to the Financial Aid Office.

discuss their choice of material and their inter- New students should audition prior to March pretation. Combined performance time for the 1 5. Those auditioning after March 1 5 will be con- two songs is not to exceed five minutes. An sidered as funds become available.

accompanist will be provided for Philadelphia Returning students applying for Talent Scholar- auditions; students auditioning out of town ships are subject to yearly review by the School of should provide a pre-recorded accompaniment. Theater Arts Scholarship Committee. Students auditioning in Philadelphia will par-

ticipate in a group dance audition which will

117 —— — —

Theater Arts Major, Theater Arts Major, Theater Arts Major, Acting Program Stage Combat Program Directing Program

Total Credits: 133 Total Credits: 133 Total Credits: 137

Freshman Year Semester Freshman Year Semester Freshman Year Semester 1st 2nd 1st 2nd 1st 2nd

TH 101 A&B Dramatic Literature l-ll 2 2 TH 1 01 A&B Dramatic Literature l-ll 2 2 TH101A&B Dramatic Literature 2 2

TH103A&B Acting Studio l-ll 3 3 TH103A&B Acting Studio l-ll 3 3 TH103A&B ActingStudiol.il

TH103L Crew TH 103L Crew TH105A&B Stage Combat I, II

TH105A&B Stage Combat l-ll 2 2 TH105A&B Stage Combat l-ll 2 2 TH107A&B Modern Dance 1 1

TH107A&B Modern Dance l-ll 1 1 TH107A&B Modern Dance l-ll 1 1 TH109A&B SpeechfortheActorl.il 3 3 - TH109A&B Voice Production TH109A&B Voice Production TH 1 1 4B Mask Characterization 2

for Actors l-ll 3 3 for Actors l-ll TH115A&B Movement 1 1 TH 114 Mask Work - 2 TH 114 Mask Work TH119A&B Business of the Arts - TH115A&B Movement for Actors l-ll 1 1 TH 1 1 5A&B Movement for Actors I HU1 1 0A Language & Expression 3 TH119A&B Business of the Arts TH119A&B Business of the Arts HU1 03A&B Intro, to Modernism 3 3

- HU110A Language & Expression 3 HU 1 1 0A Language & Expression 18 17 HU103A&B Intro, to Modernism 3 3_ HU 1 03A&B Intro, to Modernism Sophomore Year 18 17 18 17 TH205A&B Stage Combat Sophomore Year Sophomore Year TH211A Makeup

TH241A&B Voice (Singing) l-ll 1 1 TH 241 A&B Voice (Singing) l-ll 1 1 TH213A&B ScriptAnalysisl.il

TH203A&B Acting Studio lll-IV 3 3 TH203A&B Acting Studio lll-IV or 3 3 TH217A&B Directing Studio

TH207A&B Jazz Dance l-ll 1 1 TH217A&B Directing Studio TH219A&B Business of the Arts TH 209A&B Voice Production TH205A&B Stage Combat lll-IV 2 2 TH220A&B Dramatic Criticism 3 3 - for Actors lll-IV 3 3 TH207A&B Jazz Dance l-ll 1 1 HU274B Intro, to Philosophy 3

- - TH211 Make-up 1 TH 209A&B Voice Production HU315B Contemporary Drama 3

TH213A&B Script Analysis l-ll 2 2 for Actors lll-IV 3 3 HU2— Humanities 3 3 - TH215A&B Movement for Actors lll-IV 1 1 TH211 Make-up 1 17 16 TH208A&B Intro, to Music l-ll 2 2 TH213A&B Script Analysis l-ll 2 2

TH219A&B Business of the Arts TH215A&B Movement for Actors lll-IV 1 1 Junior Year HU2— Humanities 3 3 TH219A&B Business of the Arts TH311A&B Theater History 3 3 HU2— Humanities 3 3 TH313A&B Rehearsal & Performance 5 5 17 16 TH317A&B Directing Studio 3 3 17 16 Junior Year TH319A&B Business of the Arts - TH 303A&B Acting Studio V-VI 2 2 Junior Year HU316B American Playwright 3 — - TH 307A&B Tap Dance l-ll 1 1 TH303A&B Acting Studio or 2 2 HU Sociology Elective 3 — - TH 309A&B Voice Production (Lab) 1 1 TH317A&B Directing Studio HU Psychology Elective 3 — - TH 311 A&B Theater History l-ll 3 3 TH305A&B Competitive Fencing 2 2 HU Electives 3

TH313A&B Behearsaland TH 307A&B Tap Dance l-ll 1 1 17 17 Performance l-ll 5 5 TH309A&B Voice Production (Lab) 1 1

TH315A&B Movement for Actors V-VI 1 TH 311 A&B Theater History l-ll 3 3 Senior Year - TH417A&B Directing Studio 3 3 TH316 Mime 1 TH313A&B Combat Rehears. & Pert. 3 3 the Arts TH319A&B Business of the Arts TH315A&B Movement for Actors V-VI 1 1 TH419A&B Business of HU 3 Humanities 3 3 TH316 Mime - 2 TH420A&B Audition Techniques 1 HU Shakespeare 3 - TH319A&B Business of the Arts TH411A&B Currents in Contemp. HU3— Humanities 3 3 Drama 19 17 — TH 421 A&B Directing Thesis HU Shakespeare _3 ^_ Senior Year Electives 19 18 TH413A&B Rehearsal and HU 4 Humanities

Performance lll-IV 6 6 Senior Year 17 18 TH415A&B Movement for TH414A&B Combat Thesis l-ll 6 6

Actors VII-VIII 1 1 TH415A&B Movement for

1 1 TH 41 1 A&B Currents in Contemp. Actors VII-VIII

Theater l-ll 2 2 TH 41 1 A&B Currents in Contemp.

TH419 Business of the Arts Theater l-ll TH 420 Auditioning Techniques TH419 Business of the Arts Electives 3 3 TH 420 Auditioning Techniques

HU 4 Humanities 3 - Electives HU 4 Humanities 15 13 15 13

118 ——— .

Theater Arts Major, Performance Requirements Directing Studio Musical Theater Program The School of Theater Arts restricts student per- Advanced students in the Directing Program are short play Total Credits: 142 formance in the first year, permits outside perfor- required to direct at least one each mances in the second year by faculty approval, semester. The process is supervised by the faculty Freshman Year Semester and carefully governs third and fourth-year student and the plays are cast from students in the School 1st 2nd involvement in University-based and outside pro- of Theater Arts and are performed before an audi- TH101A&B DramaticLiteraturel.il 2 2 fessional productions. ence. A critique which focuses on the director's TH103A&B ActingStudiol.il 3 3 Theater students in the Acting Program are craft and process follows each production. Third TH109A&B SpeechforActorsl.il 3 3 expected to participate in solo and ensemble pro- and fourth year directing students earn Rehearsal TH115A&B Movement for Actors 1 1 ductions in the third- and fourth-year Rehearsal and Performance credits through directing pro- TH118A&B Musical Theater Dance 1 1 and Performance sequence. jects, stage management and, in the fourth year, TH140A&B Voice for Musical Theater 2 2 Prerequisites for participation in Rehearsal and thesis production. The Director of the School of HU110A Language & Expression 3 - Performance sequences are minimum grades of "B" Theater Arts supervises thesis projects. HU103A&B Intro, to Modernism 3 3 in the previous semester's Acting Studio, Speech, and HU Humanities Elective - 3 School of Theater Arts Regulations Movement, and/or special permission of the faculty 18 18 and Director of the School of Theater Arts. Absences

Each third-year acting student is required to Students in the School of Theater Arts are ex- Sophomore Year successfully produce and perform a 45 minute pected to attend all classes, studios, workshops, TH203A&B ActingStudiolll.lV 3 3 theatrical solo performance. Under the close rehearsals and crews for which they are regis- TH209A&B SpeechforActorslll.lV 3 3 supervision of the faculty and staff, and with the tered or otherwise committed. The school does - TH211 Makeup 1 assistance of a fourth-year student advisor, this not permit lateness except for unavoidable and TH218A&B Musical Theater Dance 2 2 rite of passage into the fourth-year ensemble unforeseeable emergencies. TH215A&B Movement for Actors 1 1 reflects the synthesis of theory, technique, and In case of emergencies, the Director, Assistant TH222A&B Theory & Ear Training 3 3 individual growth. to the Director, Technical Director, or the faculty TH240A&B Voice for Musical Theater 2 2 Each production in the Rehearsal and Perfor- member should be contacted immediately. HU2— Humanities 3 3 mance sequence is followed by an open critique of On the occasion of the second absence, the 17 18 the production. student will receive a verbal warning from the Certain professional work outside the School of instructor and a letter of warning from the Assis- Junior Year Theater Arts can be directed toward completion of tant to the Director of the School of Theater Arts. TH312A&B Musical Theater History 3 3 the Rehearsal and Performance sequence through On the occasion of the third absence, the stu- TH313A&B Rehearsal & Performance 5 5 special permission of the Faculty and the Director dent will receive a deficiency notice and will be TH318A&B Musical Theater of the School of Theater Arts. Students must asked to meet with the Director. At this time the Dance Rep 2 2 secure written permission to participate for credit student will be placed on departmental probation. TH322A&B Theory & Ear Training 3 3 in work outside the School of Theater Arts prior to A student who is absent a fourth time may be TH340A&B Voice for Musical Theater 2 2 committing to the outside project. The faculty's dropped from the course with a grade of "F" and HU3 Humanities 3 3 in decision is based on two factors: placed on academic probation. If the course is or 18 18 1 the project must contribute to the student's one of the major areas (Studio, Speech, Move-

ment) the student, if on academic probation, may Senior Year continued growth; 2. the project must be supervised by a responsible be asked to leave the program. TH413A&B Rehearsal & Performance 6 6 person who has been approved by the School of TH419 Business of the Arts Advisors

- Theater and who will report on the student's work. TH420 Audition Techniques 1 Students are assigned advisors when they enter First year students in good academic and depart- TH411A&B Curr. in Contemp. Theater 2 2 the School of Theater Arts. Advisory lists are mental standing may, in the Spring Semester, with MU Music Elective - 3 posted in the theater lounge during the first week faculty approval, audition for and perform in Electives 3 3 of the academic year. The advisor conveys infor- University of the Arts productions. HU4 Humanities 6 3 mation from the faculty to the students and coun- Master Class Productions sels the student in artistic and academic matters. 17 18 student, however, is fully responsible for ful- Each year, members of the theater faculty, profes- The obligations sional directors, cast major productions from the filling his or her artistic and academic graduation. entire student body of the School of Theater. and for meeting the requirements for

These productions, in addition to being valuable Call Boards

learning experiences, allow students from each Call boards are located in the theater lounge on

year to form ensembles outside of the normal the first floor of 313 South Broad Street, next to

third- and fourth-year Rehearsal and Performance the Theater Offices, and near the Production Office

sequences. just outside the Black Box Theater. The call boards

In some cases, third- and fourth-year students are used for the posting of all rehearsal and crew may receive Rehearsal and Performance credit for notices, as well as School and professional audi-

participation in Master Class Productions. First- tion notices.

and second-year students receive no grade for All Theater students must check the call boards

participation. daily and will be responsible for all official notices posted there within 24 hours.

119 .

Crew Assignments Student Evaluations: Warnings, The probationary period shall last from the date All first-year students are required to serve on produc- Probations, Dismissals of the meeting until the next evaluation meeting scheduled (approximately 6 or 7 weeks). tion crews. Crew assignments and calls are Each student is evaluated twice each semester by and monitored by the Technical Director. the School of Theater Arts faculty and the Director. A senior placed on probation during the Spring semester fails to successfully address his or All crew persons are expected to be prompt for The School of Theater Arts recognizes that in this who calls. Lateness will not be tolerated and her deficiency by the end of the semester will not crew art form it is possible for a student to receive an action may be taken against anyone who misses adequate grade for a specific course, but not show be allowed to graduate. Counseling instructor will formally an assigned call. A student who misses a crew promise for a future career in the theater as an — The meet the Technical with the student at least twice before the next call without prior permission from actor. The School's obligation to its students, required evaluation to apprise the student of his or her Director may be dropped from crew and therefore, is to keep them abreast of their pro- to serve on crew in the second year. gress by personal contact and review. progress. These meetings are documented and copied to the Assistant to the Director. Extra-Curricular Activities In addition to demonstrated ability and progress Final Evaluation Session— At the next evaluation in the Major areas- Studio, Speech, and Move- Students in the School of Theater Arts sometimes later, the major and ment-the student's attitude and seriousness of session, approximately six weeks accept jobs or roles in extra-curricular projects. At no Progress from one full-time faculty will again discuss the pro-gress of time should a student accept an activity which con- purpose are also evaluated. each student Those students who are to be placed or semester to the next is by invitation only. flicts with a class, rehearsal, crew assignment, etc., or are three academic/artistic reasons why continued on probation, or asked to leave the program, which prevents the student from being fully prepared There will come before the committee. student in the School of Theater Arts might be for class, rehearsal, and/or performance. a placed on probation or not invited to return for A student who has shown improvement in rela- Observation of Classes and Rehearsals probation next additional study: tion to the terms of the by the Some classes in the School of Theater Arts are evaluation, but who has violated another rule 1 receiving a grade of "B-" or lower in one or open for observation only by prior arrangement could result in probationary status, may be more of the Major area courses (Studio, which with the instructor and/or the Director of the Speech, Movement); asked to leave the program. School of Theater. In each case, the student will receive a letter 2. conduct which proves disruptive to the educa- All rehearsals are open unless otherwise an- explains faculty's decision and their tional process and/or the overall well-being of which the nounced and/or posted, although a director may the ensemble; recommendation to the Dean of the Philadlephia declare a rehearsal closed at any time. College of Performing Arts. 3. the realization that the program offered by the

It is expected that all visitors to classes or re- School of Theater Arts does not or cannot ad- hearsals will appear prior to the beginning of that dress the specific needs of the student. In this activity and will remain quietly in place until a instance, the faculty will work with students break is called. and parents to find an appropriate alternative Physical Demands of the Program theater or related training.

The Theater Arts program is physically demanding. It is expected that the student's commitment

Good health and its maintenance are of para- to professional training will be clearly reflected in

mount importance to an actor. the quality of work in each studio and class.

No smoking will be allowed in any classroom or Warnings— In addition to cases of absences, a

rehearsal space. student will be verbally warned if his or her perfor-

Students should be in good health and have no mance in class is below par as defined by the medical or psychological problems which impair or instructor's expectations expressed in the class jeopardize his or her safety, performance, or the syllabus, rules, etc. More specifically, a student

safety of others. will receive a verbal warning, followed by a defi-

If a students physical condition changes in any ciency notice from the Director's Office if he or she

significant way, he or she must immediately inform the is not demonstrating ability, lacks seriousness of

Director of the School of Theater Arts in writing so that purpose, demonstrates attitudinal behavior which

the student's participation in the program may be re- proves disruptive to the ensemble or educational

evaluated by the Theater Arts faculty. process, is excessively tardy, is not prepared to

Occassional illness or injuries are, of course, work in class, or who is not seriously committed to

justification for short-term absences. Specific professional training. chronic physical or emotional disorders which Evaluations — Students who receive unfavor-

impair attendance or ability to function within the able evaluations (i.e. recommendation for proba- program over a longer period of time should be tion) will meet with the full-time and major faculty covered by a formal leave-of-absence. (Studio, Speech, and Movement) to clarify and

In either case, the student should confer with discuss problem areas and strategies for improve-

his or her advisor as soon as a potential health ment. At the conclusion of the session, the student problem arises. will be given two copies of a letter from the Direc-

tor detailing the reasons and the conditions of the Professional Standards and Behavior probationary status. The student will be asked to It is expected that students maintain high standards sign both copies of the letter indicating that he or of professionalism with respect to studio, classroom, she understands the reasons, conditions, and rehearsal, crew, and performance commitments. possible consequences of the probationary status. It is important that each student realize that he The student will keep one copy; the other will be or she represents the School of Theater Arts at all placed in the student's file. times, on stage and off. Students are expected to Except in unusual circumstances, a student who maintain and cultivate their unique individuality receives an unfavorable evaluation should have while exhibiting the highest standards of charac- received at least one verbal warning from the ter, behavior, and personal hygiene. instructor and a copy or copies of the instructor's

deficiency notice(s).

120 The School of Theater Arts TH114 TH 203 A&B Mask Characterization Acting Studio IIMV Course Descriptions 2 credits 3 credits per semester

THUD Introductory course in character development This course continues the work started in TH 103

Acting for Non-Majors focuses on a process designed to release and A&B. Sensory work and its relationship to charac-

3 credits open the student's emotional and physical range, ter work is further explored, leading to an in-depth TH101A&B stimulate the imagination, place great emphasis study of motivation and subtext through sensory on physical actions, acting with the whole body, and adaptation exercises. Monologues and, Dramatic Literature Ml and ridding the student of self-conscious manner- finally, two-character scenes are used to deepen 2 credits per semester isms. Through the use of oversized masks (and a the actor's ability to execute honest and purpose- An introductory course that places emphasis on series of challenging exercises), the student is ful stage action and communication. Actor's logs the rale of the actor at the center of artistic move- allowed the freedom to become someone else. are maintained on a daily basis, and extensive ments throughout the centuries, from the Greek to The work aims to integrate the student's skills outside rehearsals on scenes are expected. All the modern playwrights; on the importance, under- with his/her instincts, allowing impulses and the scene work is directed by the instructor. standing, and assimilation of a given text; on imagination to flow in conjunction with a flexible learning how to read and what to look for in a play TH205A and vulnerable body. The work culminates with and the means of communicating this knowledge Stage Combat III the presentation of a fully realized character; a to an audience through character portrayal. 2 credits synthesis of the entire semester's work. TH103A&B This course continues the work started in TH 105 TH115A&B A&B. Introduces the student to stage fighting with Acting Studio Ml Movement for Actors Ml broadswords and rapiers. 3 credits per semester 1 credit per semester An introductory studio focusing on the fundamen- TH205B Introduces basic movement vocabulary in Modem tals of acting, basic skills for stage communica- Stage Combat IV Dance using, primarily, basic improvisational tech- tion, voice and movement exercises, centering 2 credits nique. Course designed to provide the student with techniques, and exercises designed to increase This course specifically prepares the student for awareness of his/her body and the basic skills of physical and emotional stamina, identify and the certification test of the American Society of movement and dance, such as stretching, breathing, strengthen poor technique, develop focus and Fight Directors. Fights are choreographed and posture, coordination, balancing, etc. Course also concentration, and to introduce the student to the perfected using several weapons and unarmed allows student the experience of creative application demands of the theater. In the process of demysti- techniques in a credible, clear, and exciting stage of movement and movement expression through vari- fying the craft, the student discovers the energy, fight in the context of a theatrical scene using ous forms and structures of improvisation. Each power, and vulnerability of self. dialog. Students admitted by invitation. Prerequi- semester concludes with a presentation of a creative site: minimum grade of B in TH 205 A. TH106A&B project which emphasizes movement in conjunction Stage Combat Ml witfi other theatrical forms. TH 207 A&B 2 credits per Jazz Dance semester TH118A&B Ml An introductory course focusing on the basic skills 1 credit per semester Dance for Musical Theater Ml of stage combat. Introduces exercises designed to Introduction to jazz movements and vocabulary, em- 2 credits strengthen concentration, stamina, economy of phasizing basic improvisational technique. Movement Dance technique training oriented to the specific movement, flexibility, and coordination. Physical patterns, combinations of varying difficulty, and exer- needs of the musical theater performer. Classes in and mental agility are strengthened and the cises to develop strength and coordination lead to jazz, tap, movement, improvisation and related student masters skills in unarmed combat, knife structured improvisations which unite the skills of jazz subjects build strength and awareness and extend fighting, and dueling with quarterstaffs, with those of character development, exploring given the student dancer's physical and expressive courtsword, and nineteenth-century saber. and specific circumstances, objectives, and playing range. Required of all musical theater majors. Students are expected to perform safe, credible, actions and intentions. Semester culminates with a and exciting stage combat. TH 119 A&B, 219 A&B. 319 A&B, 419 A&B showcase performance. Business of the Arts TH107A&B TH 208 A&B credit Modern/Ballet Introduction to Music Ml Exploration of the business and legal aspects of 1 credit per semester 2 credits per semester theater and the actor's career: the roles of agents, Introduction to modern and ballet dance tech- An introductory course focusing on developing under- managers, producers, and managing directors are niques and improvisation to develop the skills, standing of rhythm, note values and meter, tempi and explored. Guest lecturers from the field conduct kinetic perception, stamina, agility, and flexibility dynamics, and the development of the student's ability seminars on various topics such as unions, con- of the actor. Includes isolations, center floor, falls to read and play songs on the piano. The course also tracts, and starting theater companies. and recoveries, leaps, and other exercises de- involves listening, and surveys the history of music. signed to make the actor aware of his/her power TH 140 A&B Musical rhythms and structures are studied in the one- and beauty of movement through time and space. Voice for Musical Theater Ml hour laboratory section. TH109A&B 2 credits Vocal technique training for musical theater stu- Speech for Actors Ml dents. Individual coaching sessions are combined 3 credits per semester with group sessions in which students rehearse The first year will be devoted to creating an and perform solo and ensemble musical theater awareness of the vocal instrument and exploring repertoire. Each student will develop a working its operation, as well as developing ways of understanding of vocal anatomy, breathing, sup- communication through application of technique port, placement, resonance and diction and a regi- forwarded by Kristin Linklater. These would in- men for out-of-class practice. Students work with clude: standing awareness, physical relaxation, cassettes outside of class. Required for all musical breathing awareness, touching sound, amplifica- theater students. tion, facial awareness, channeling sound, the jaw, the tongue, soft palate, resonance, range breath power, resonators, articulation, text work, floor work exercises, and standing exercises. V —

TH 209 A&B TH218A&B TH303A&B lll-IV Acting Studio V-VI Speech for Actors 111—1 Dance for Musical Theater 2 credits per semester 3 credits per semester 2 credits per semester

for Musical Theater l-ll. A This studio advances the work begun in TH 203 The first semester is spent restrengthening muscles, Prerequisite: Dance training. through more challenging exploration of correcting pronunciation and placement, and redevel- continuation of the previous year's dance A&B ballet related technique leading to consistent open and honest oping range. Strict attention is paid to Standard En- Technique training in jazz, tap, and technical communication on stage. Special emphasis is glish pronunciation. The student is also drilled in and subjects is continued, with focus on the Required placed on physical actions and their attendant expected to be proficient in General American pronun- needs of the musical theater performer. psychological actions, imagination cultivation and ciation both Polished and Common. The second se- of all musical theater majors. development, adjustment, inner objects, objec- mester continues the work of the first and begins the TH219A&B tives, and communion. Acting Studio V will en- study of vocal interpretation from scripted material, Dramatic Criticism and Theory the student in an investigation of his/her both poetry and prose. Using unfamiliar texts, the gage 3 credits per semester instrument, internally and externally interpret vocal character and develop acting both actor is asked to A systematic introduction to the scope and range through a variety of acting exercises and tech- vocal emotional line. The final step in the process is to of thinking about the nature of theater through niques based on Western, Eastern, and European train the actor to add the physical character without readings, discussions, and reports on major theo- theories of the art of acting. These techniques will undermining vocal placement or creating strain. rists and playwrights. Students will attempt to then be researched and performed by the student TH211 discover the underlying assumptions about life through the use of monologues and scene work. Make-up and art that affect each theorist in his time, and to Incorporates advanced scene work and problem yet essential unity, 1 credit note the major controversies, solving using selected texts. The course focuses on the theory and execution of of dramatic thought through the centuries. Major 305 make-up techniques including aging, thinning, pros- concepts considered for all periods include: the TH A&B art; nature of Competitive Fencing thetics, facial analysis, and character study. At purpose of art; the test of good the credits per semester semester's end, the student should be able to execute audiences and artists; and the proper language, 2 costumes, acting style, etc., for the drama. character make-up in a consistent and effective way. setting, TH306 The student will develop a professional make-up kit TH222A&B Competitive Fencing-Foil and will maintain a make-up log. Theory and Ear Training 2 credits per semester TH213A&B 3 credits per semester TH 307 A&B Skill training in sight reading, ear training, key- Script Analysis Ml Tap Dance l-ll board and music theory, oriented to the needs of 2 credits per semester 1 credit per semester musical theater performer. First year focuses Introduces the student to practical analysis of the An introduction to the basic vocabulary and tech- on rudiments of notation, pitches, intervals, texts/scripts for enhancing the move from script to niques of tap dance. Exercises designed to de- simple chords. Students learn to read performance. The course explores the concepts of rhythms and velop rhythmically accurate footwork and accom- Examples are drawn conflict, human action, character, action/reaction from "lead sheet" notation. panying body and arm movements lead to mastery from the musical theater repertoire. In-class exer- cycle, objective, dramatic structure, translations, of simple combinations and time-steps. and resources external to the script (historical cises and drills are supplemented with computer- theater TH 309 A&B perspective). At course's end, the student should based instruction. Required of all musical Speech for Actors (Lab) V-VI possess a firm understanding of the process in- students. 1 credit per semester volved in script analysis, be thoroughly familiar TH240A&B The purpose of this course is to give the student a of dramatic literature, with the composite types Musical Theater lll-IV Voice for thorough and practical understanding of the voice begin to understand the nature of an informed 2 credits per semester and how it works as applied to Acting. Starting aesthetic, and to understand the consequences of Prerequisite: Voice for Musical Theater l-ll. Indi- with physical awareness, the aim is, through tech- performance on its audience. each element of vidualized coaching session are used to solve niques of self-sensing, to uncover and dismantle vocal problems and continue develop- TH215A&B individual tensions which prohibit primary impulses. As the of the student's unique instrument. Students Movement for Actors lll-IV ment main element in the function of support, much also meet weekly in group sessions to rehearse 1 credit per semester emphasis is placed on spinal alignment and ensemble musical theater Movement for actors utilizing intensive physical- and present solo and lengthening of the vertebral structure so the repertoire. Listening assignments introduce stu- emotional improvisation work, including exercises in breathing is able to operate with more efficiency dents to the artistry of significant musical theater calisthenics, aerobics, rhythmic movement, combina- and economy. The goal is to undo blocks so that past and present. Required of all mu- tions, center floor work, stretches, and the use of performers, each area-jaw, tongue, soft palate-are systemati- students. physical impulse to expand emotional range. sical theater cally examined and specific exercises are done TH217A&B TH241A&B which are designed to create a full awareness and of how these muscles function. Directing Studio Ml Voice Ml understanding semester 3 credits per semester 1 credit per TH 311 A&B Vocal training for theater students. Introduction to An introduction to the basic fundamentals of di- Theater History l-ll technique. Course designed to enable the recting including a thorough investigation of the singing 3 credits per semester performance that he/ directing vocabulary, exercises in space and com- student to demonstrate by A two-semester survey of the history of theater director's is able to produce vocal tones that are position, exploration of scripts from the she its dramatic literature, theater structures and by a singing pofnt of view, and practical experience with pointed, developed, and supported production methods, styles of acting, and histori- that is consistent. The student will dem- ground plans. Finally the student will be asked to technique cal trends — through readings, discussions, and his/her capability by applying the tech- demonstrate his/her understanding of blocking onstrate lectures. The course will explore the history of vocal repertoire. Student works values and textual analysis by conceptualizing and nique to standard theater through its artistic, spiritual, political and outside of class. then staging simple scenes. The second semester with cassettes cultural sources of empowerment. Students are introduces the basics of acting coaching and is provided with the historical background to apply

coordinated with the script analysis and dramatic acting, directing, and designing techniques to

criticism. Semester culminates with student stag- theater of other periods of history. ing and coaching a medium-length scene from a

modern play.

122 TH312A&B TH 317 A&B TH405B Musical Theater History Ml Directing Studio lll-IV Competitive Fencing — Epee 3 credits per semester 3 credits per semester 2 credits

A two-semester survey of the history of the This studio advances the work of TH 21 7 A&B. Each course provides the technique and tactics for

American musical theater in the nineteenth and The Stanislavski method is examined further and the particular weapon. Training stresses coordina-

twentieth centuries. Students develop insight into the student continues to explore the world of tion, subtlety, speed, and quick decision making. the writers, performers and theater artists who dramatic literature by extensive readings and by Prerequisites: TH 105-106-205.

created the legacy of the musical theater in directing several scenes in the course of the year. TH 406 A&B America, and examine representative works from Students cast and rehearse members of the acting Competitive Fencing-Elective a variety of periods. Students will undertake re- ensemble for in-class scene presentations. In 2 credits per semster search projects focusing on major performers, second semester, each student will direct at least writers, directors and choreographers. Artists and one production, guided by a faculty advisor, as a TH408

their work will be studied in print and on audio work-in-progress presented before an audience. Combat Review and Choreography credits and video recordings. Work in this class is 2 TH 318 A&B complemented by rehearsal and performance of Prerequisite: TH 206. Musical Theater Dance Repertory repertoire in a variety of periods and styles. 2 credits per semester TH 411 A&B Currents in TH313A&B Prerequisite: Dance for Musical Theater lll-IV. Contemporary Theater l-ll Rehearsal and Performance Ml Continued warm-ups and barre work offer the 2 credits per semester 5 credits per semester student the opportunity to develop strength and This course explores dramatic literature that re-

Preparation and presentation of three faculty- range and avoid injury. Combinations are drawn flects the current trends in contemporary produc-

directed works-in-progress acting projects. In from the diverse styles of the musical theater tion. The plays read are selected from those writ-

addition, each student will prepare and present a repertory, enabling the student to develop versatil- ers whose plays are being produced on Broadway,

solo performance. ity and a sense of style. Required of all musical Off-Broadway, and/or at major regional theaters. theater majors. The course is designed to give the student a prac- TH 313 A&B (Combat Program) tical and intellectual knowledge of the works of Stage Combat Rehearsal and Performance TH320 contemporary playwrights representing and ad- Ml Musical Theater Performance dressing important issues, themes, and characters 3 credits per semester 2 credits and ideas of the seventies and eighties. An advanced course for combat majors including a An elective course for actors, singers and dancers

review of fighting styles taught in the freshman in which students can explore the craft of the TH 413 A&B

and sophomore years. Training in sword and singing actor through exercises, improvisations Rehearsal and Performance lll-IV

bockler, samurai sword, and quarterstaff. Students and repertoire study. Students will learn and re- 6 credits per semester will publically perform at least two major fights hearse solos, scenes and ensembles from the Preparation and public performances of faculty- guest-directed each semester. musical theater repertoire. Emphasis is on devel- and theater productions. Faculty

oping honesty, ease and expressiveness in coach works with students on an individual basis TH 315 A&B musi- cal theater performance. Prerequisite: one year of in problem solving and strengthening technique Movement for Actors V-VI voice training, one year of acting training. related to the work in production. 1 credit per semester

A course sequence designed to aid the student in TH 322 A&B TH 414 A&B developing ease and flexibility of movement Theory and Ear Training Senior Combat Thesis Ml through increased awareness of habitual move- 3 credits per semester 6 credits per semester

advanced course in fight direction ment patterns. The student is guided through the Prerequisite: Music Skills for Musical Theater l-ll. An and stage com- instruction process of substituting useful movement patterns Continued skill training in sight reading, ear train- bat for senior combat majors. Each student for those that interfere with comfort and freedom ing, keyboard and music theory, oriented to the will research, notate, and choreograph at leaset two, of expression. A vocabulary and a consistent tech- needs of the musical theater performer. Second related, major fights per semester. These fights will

nique is developed which the student can apply to year focuses on the ability to read more complex be publically performed. Students will teach School of

stage movement, vocal work, dance, etc., and a melodies, harmonies and rhythms at sight. Stu- Theater Arts freshman and sophomore combat greater kinesthetic sense enhances expressive dents learn to transpose melodies and chords. courses with appropriate lesson plans. movement and relaxed, controlled speech. Theory studies include concepts of harmonic ten- TH 415 A&B sion and repose and elements of traditional song TH316 Movement for Actors VII-VIII structure. Examples are drawn from the musical Mime 1 credit per semester theater repertoire. In-class exercises and drills are 2 credits Continuation of TH 31 5 A&B. supplemented with computer-based instruction. Course designed to help the student become more TH420 Required of all musical theater students. aware of his/her body, how it works, how to con- Auditioning Techniques trol its parts, and ultimately, how to express TH 340 A&B 1 credit thoughts, feelings, and intentions with the body. Voice for Musical Theater V-VI Techniques of relaxation, resume preparation, and Uses basic mime techniques such isolations, credits per as 2 semester cold readings. Practice sessions with casting rotations, resistance, and juggling to develop Prerequisite: Voice for Musical Theater lll-IV A directors, producers, and agents give the student coordination, eye-hand flexibility, concentration, continuation of the musical theater vocal training the necessary experience and technique to handle kinesthetic sense, and the ability to express physi- sequence. Students work on more demanding and the challenge, stress, and fear of auditioning for cally the essence of reality as well as reality. diverse literature in individual and group sessions. the professional theater. Students are coached on vocal skills pertinent to

repertoire being represented in productions. Re-

quired of all musical theater students. TH405A Competitive Fencing — Saber 2 credits

123 Philadelphia College of George Akerley Irene G. Baird Adjunct Assistant Professor Adjunct Associate Professor Performing Arts Faculty Computer/Electronic Music Acting Studio BM, Philadelphia Musical Academy BFA, Carnegie-Mellon MM, Philadelphia College of the Performing Arts MFA, New York University

Studied composition with Joseph Castaldo and Recipient of Ford Foundation acting fellowship. As Andrew Rudin. Has worked as synthesist- Fulbright scholar, acted with the Bristol Old Vic performer, studio musician, and conductor with Theatre in England. Performed with the American many entertainers, including singers Gloria Loring Shakespeare Festival in Connecticut, New York's

and Silvi Vartan, and Milton Berle and Henny Institute for Advanced Studies in Theatre Arts, and

Youngman; and in productions such as Cats, Evita, Circle in the Square Theatre; and in repertory with and Do Black Patent Leather Shoes Really Reflect the Cleveland Playhouse, New York's Province- Up? Composer of electronic scores for dance town Playhouse, and the Oregon Shakespeare companies, including Group Motion, and commer- Festival. Studied ballet with Leon Fokine and act-

cials. As member of Small Computers for the Arts ing with Allan Miller, Lee Strasberg, and Allen Network (SCAN), presents workshops in use of Fletcher. Studied in Paris at the International Cen-

computers in the recording studio. ter for Theater Research under the supervision of Operates Independent Sound East, which special- director Peter Brook. Serves on the advisory board

izes in commercial and noncommercial music. As of The Philadelphia Company. Associate Professor, harpsichordist, has frequently performed with graduate theater department of Vlllanova Univer-

Spectra Musica. sity, and directs for Vlllanova Theater.

David Arfaen Julius Baker Adjunct Professor Adjunct Professor

Violin Flute Graduate, Curtis Institute of Music Graduate, Curtis Institute of Music

Early musical education at Chopin Academy of Former member, Cleveland Orchestra under Artur Music, Warsaw, Poland; continued studies at Rodzinski; former member, Pittsburgh Symphony

Mozarteum in Salzburg, Austria and Geneva Con- under Fritz Reiner; solo flutist of the Columbia servatory of Music, Switzerland. Studied violin Broadcasting Symphony Orchestra, New York City. with Efrem Zimbalist. Former member of Detroit Former member, for eighteen years, of Bach Aria Symphony Orchestra and Cleveland Orchestra. Group; former solo flutist with the Chicago Presently Associate Concertmaster of Philadelphia Symphony Orchestra; principal flute position with

Orchestra. Solo career in Europe, Far East, Mexico, the New York Philharmonic until September 1983. South America. Solo appearances with Philadel- Peter Bertini phia Orchestra, Cleveland Orchestra, the Orchestre Assistant Professor de la Suisse Romande, Hong Kong Philharmonic, Dance, Notation Philadelphia Chamber Orchestra. Premiered with Jazz Coordinator: Jazz/Theater Dance Philadelphia Orchestra the violin concerto by BS, State University College at Brockport, NY Andrzej Panufnik. Recorded for Hellenic Broad- MFA, Philadelphia College of the Performing Arts casting Corporation in Athens and was soloist at

Athens Festival. Inaugurated the First International Studied in New York with JoJo Smith, Frank Music Festival at Santorini, Greece. Hatchet, and Ligia Baretto. Performed with Garth Fagan's Bucket Dance Theatre in Rochester, NY,

Don AuspHz the Great Chazy Dance Company in Philadelphia, Lecturer and as soloist and choreographer for Consort Advisor Directing Studio/Solo (PCPA). Has performed in Sydney, Australia, BFA, Brandeis University Buenos Aires, Paris, and Rio de Janeiro.

Since playing Ben in the 1962 Society Hill John Blake, Jr. Playhouse American premiere of Harold Pinter's Adjunct Associate Professor The Dumbwaiter, he has split his time between Jazz Violin theater and a variety of other activities such as the BM, West Virginia State University. Peace Corps and criminal justice reform. At Brandeis he studied with Morris Carnovsky and Studied at the Institute for Advanced Musical

Charley Moore. Directed thirty-five professional Studies in Switzerland. Recipient of grant from the productions including Pinter's Old Times at Society National Endowment for the Arts to study the

Hill Playhouse. He has acted at most of the profes- Southern Camatic violin style of India. Awarded

sional theaters in the Philadelphia area and was special scholarship for study with violinist Zino

Jacob Kahn in Chaim Potok's Sins of the Father, at Francescatti. Recordings with saxophonist Archie the Festival Theatre for New Plays. Don is the Shepp. Has toured nationally and abroad with

co-author With Albert Einstein, which he also Graver Washington, Jr., and McCoy Tyner. performed at Princeton University and the Walnut Member of ASCARBMI. Street Theater.

124 Alice Bloch Tyrone Breuninger Donald Chittum Lecturer Adjunct Associate Professor Professor Dance History Trombone Theory BA, University of Florida BS, West Chester State College BM, MM, DM, Philadelphia Conservatory of Music Temple University MA, UCLA MM, Studied with Boris Koutzen and Vincent Doctoral Candidate, Temple University Studied with Henry C. Smith III. Associate princi- Persichetti. Liberal Arts studies at Temple Univer-

Ed.D Dissertation: The Art of Duncan and Nijinsky. pal trombone with the Philadelphia Orchestra. sity. Articles on music theory and analysis and

Lecturer and performer; presented "Isadora criticisms and reviews appear in the British Music Paula Duncan: Art of Embracing Life" throughout Penn- Brown Review, The Musical Quarterly, Current Musicol- sylvania and the Midwest. Adjunct Assistant Professor ogy, MLA Notes, The MENC Journal, and The Voice American Music Teacher. Article on Berg's Diploma, Curtis Institute of Music Jonathan Blumenfeld Wozzeck was cited and reprinted in Zur Musik- Adjunct Associate Professor BM, Peabody Conservatory alischen Analyse by Der Wissenschaftliche

Oboe Studied with Raquel Adonaylo. Soloist with the Phila- Buchgesellschaft of Darmstadt. Past president of Curtis Institute of Music BM, delphia Singers, Pennsylvania Pro Musica, Music the Pennsylvania Music Teachers Association; BA, Haverford College Group of Philadelphia, Choral Arts Society of Philadel- president. Eastern Division, MTNA; National Studied with John DeLancie, John Mack, and phia, The Pennsylvania Opera Theater, as well as the Theory-Composition Chair, MTNA; Task Force on Richard Woodhaus. Member of the Philadelphia Concerto Soloists, Kennett Square Symphony, and the Technology in Education, MENC; Fine Arts Advisor Orchestra. Former principal oboe of the Savannah Los Angeles Master Chorale. Performed on National and Civil Service Examiner, State of Pennsylvania; Symphony and member of the Concerto Soloists Public Radio and Television. Has presented recitals State Arts Council Music Panel; Music Advisory of Philadelphia. Has performed in numerous festi- throughout the United States. Board Archdiocese of Philadelphia; recipient of vals, including Tanglewood, Spoleto, Blossom, Pennsylvania's Distinguished Service Award and Colorado, and Chautauqua. Lelia Calder Teacher of the Year, and awards from the Adjunct Assistant Professor Pennsylvania Music Teachers Association and the Ulrich Boeckheler Vocal Pedagogy/English Diction Alumnus of the Year Award from the Alumni Adjunct Assistant Professor BA, Harvard University Association of the Philadelphia Colleges of the

Violoncello MM, Temple University Arts. Serves as chair of the Music Department of Post-graduate Diploma, Juilliard; the Pennsylvania School. Certified teacher of the Alexander Technique. Re- Governors Concert Exam, Detmold Academie, Germany citalist; former soloist with Singing City, Philomel Trio. Honorary degree, Accademia Chigiana, Siena/Italy Kent Christensen Former member of the Philadelphia Singers. Has Associate Professor Studied with Andre Navarra and Leonard Rose. taught at Swarthmore and Haverford Colleges. Humanities Has appeared as soloist at the Florence (Italy) BA, Columbia University Maggio Musicale and toured with conductor Susanne Case Lecturer MA, University of Connecticut Helmuth Rilling and the Bach Collegium of Doctoral studies, University of Pennsylvania and Stuttgart. Served as principal cellist of the Royal Speech Lab New York University Philharmonic Orchestra of Flanders. Has received BFA, University of the Arts numerous awards including those bestowed by Cum laude graduate of the University of the Arts Authority on opera and recorded vocal music. the International Tchaikovsky Competition in in the spring of 1988, with an emphasis in acting. Andrea Clearfield Moscow and the Gaspar Cassado Competition of While attending, spent two years as a teaching Staff Accompanist Florence. In United States, the has performed at assistant in Speech for the Actor I & II. Since BA, Muhlenberg College the Marlboro Music Festival and the Grand Teton receiving degree, performing member as well as MM, Philadelphia College of Performing Arts Music Festival. Presently a member of the vocal coach for the Philadelphia Area Repertory

Concerto Soloists of Philadelphia. Theatre (PART.) Has taught for the Freedom The- Was awarded first prize in performance and

ater as well as the University of the Arts. musicianship from Muhlenberg College. Studied

Michael Bookspan with Susan Staff and Margaret Garwood. In Adjunct Professor Marianne Casiello addition to being the Staff Accompanist at The Percussion Adjunct Associate Professor University of the Arts, School of Music, teaches at

BS, Juilliard School of Music Voice Drexel University and is the Master Class Coordi-

Studied with Morris Goldberg, Saul Goodman, and Graduate, Curtis Institute of Music nator and Accompanist for the Sarasota Music

Fred Albright. Principal percussionist and associ- Professional engagements include operatic roles Festival. Performer of classical and contemporary ate principal timpanist of the Philadelphia Orches- of Mimi, Violetta, Micaela, Nedda, and Marguerite music, has worked in the Philadelphia area with tra. Former xylophone soloist with the U.S. Air (Faust). Has taught at Curtis Institute of Music and Relache, Philadelphia Singers, Group Motion Force Band; former member of the Little Orchestra Settlement Music School. Multi-Media Theater, Philadelphia Festival Chorus, Society of New York, the New York City Ballet American Music Theater Festival, Philadelphia Orchestra, and the Goldman Band. Joseph Castaldo Improvisational Music Collective, West Jersey

Recipient of the C. Hartman Kuhn Award of the Professor Chamber Chorus, Wilma Theater and the Susan Philadelphia Orchestra. Composition Hess Dance Studio. BM, MM, Philadelphia Conservatory of Music

Studied at St. Cecilia Academy in Rome, and the Manhattan School of Music. Student of Vittorio Giannini and Vincent Persichetti. Numerous com- positions performed throughout the United States and abroad. Former founder and president of the Philadelphia Composers Forum. President Emeritus of the Philadelphia College of Performing Arts;

served as president from 1966 to 1983.

125 Charles Conwell Wayne St. David Marc Dicciani Associate Professor Lecturer Director, School of Music Stage Combat/Competitive Fencing/Rehearsal and Jazz Dance Technique Adjunct Assistant Professor Performance Choreographic credits include extensive musical Business of Music BS, Northwestern University theater work including Nunsense, Philadelphia's BM, Philadelphia Musical Academy MFA, Brandeis University longest running musical, Washington Ballet Music and record producer, conductor, arranger, Certified recommended actor-combatant of the Company, Maryland Youth Ballet, Society Hill composer, performer for albums, commercials, and Society of Fight American Directors. Directed the Playhouse. Has taught in Paris, France and Wash- soundtracks in California, New York, Philadelphia, wrestling match in As You Like It for the Hartford ington, DC at the Capitol Ballet. Currently Director Canada and Europe. Has conducted and performed Stage Company, and the violence in Geniuses for of the Jazz Dance Department of Community internationally with Ben Vereen, Dionne Warwick, the Philadelphia Company. Directed Hamlet, College of Philadelphia. Joel Grey. Owns a record production and publish- Macbeth, Twelfth Night, The Taming of the Shrew, ing company and operates a computer-based MIDI The Cherry Orchard, Island, Sean Deibler Treasure and A Lesson digital audio production facility. Drummer with Associate Professor for Aloes for the People's Light and Theatre Com- numerous jazz and fusion bands, and house drum- pany; and for Head, Classical Music Division God's Attic the Philadelphia Festival mer at Caesar's Hotel and Casino in Atlantic City. Theatre for New Plays. Has taught stage combat Orchestra Conductor at Temple University. BS, Susquehanna University Annette DiMedio Graduate diploma, Kodaly Musical Training Assistant Professor

Frank Costanzo Institute Musicianship for Dance, Theater

Adjunct Associate Professor Graduate certificate, Franz Liszt Academy, Assistant Dean, Philadelphia College of Violin Budapest Performing Arts BM, University of Pennsylvania BA, Swarthmore Founder and director of the Music Group of College Member of the Philadelphia Orchestra, retired. Philadelphia; artistic director of Choral Arts Soci- MM, Temple University PhD, Bryn College Founder of the American String Orchestra. Recipient of ety of Philadelphia. Prepares choruses for the Mawr

the C. Hartman Kuhn Award from the Philadelphia Philadelphia Orchestra. Guest conductor of Euro- Studied with Clement C. Petrillo, Philippe Orchestra. Has taught at Bryn Mawr Conservatory. pean orchestras, including the Budapest Philhar- Entremont, Claudette Sorel. First to win all three monic and Warsaw Symphony. Philadelphia Orchestra Student Division Competi- Neil Courtney tions, performing with the orchestra on each Adjunct Associate Professor Robert de Pasquale occasion. Concert pianist experience includes Double Bass Adjunct Associate Professor performances in recital and soloist with orchestra BM and Performer's Certificate, Eastman School of Violin nationally and internationally. As piano-duo with Music Graduate, New School of Music sister Regina has performed and directed the

Studied with Oscar Zimmerman and Roger M. Studied with Jascha Brodsky. Assistant principal sec- Department of Defense Overseas Tour in Germany

Scott. Member of the Philadelphia Orchestra. ond violin of the Philadelphia Orchestra. Violinist with and Egypt. Grand Prize winner of International Former member of the U.S. Marine Corps Band the dePasquale String Quartet. Former member. New Piano Recording Competition. Two piano record- and the Rochester Philharmonic under Erich York Philharmonic and U.S. Navy Band. ings and book "France McCollin" published by Leinsdorf; former principal bass with the National Scarecrow Press. Symphony Orchestra. William de Pasquale Adjunct Professor Robert DiNardo

Walter Dallas Violin Adjunct Assistant Professor Associate Professor Jazz Guitar Studied with Veda Reynolds at the Curtis Institute Director, School of Theater Arts of Music. Associate concertmaster of the Philadel- Active studio musician; has performed with such BA, Morehouse College phia Orchestra. Received Fulbright Scholarship to artists as Tony Bennett, Ella Fitzgerald, Vic MFA, Yale Drama School study in Salzburg, Austria. Former concertmaster Damone, Joel Grey, and Shirley MacLaine. Additional studies at Harvard University, of the New Orleans Philharmonic; former concert- Frequent performances with Atlantic City casino show University of Ghana at Legon master and violin soloist with the St. Louis orchestras. Former staff guitarist of 'The Mike Dou-

Has directed regionally, including Baltimore's Sinfonietta. Violinist with the dePasquale String glas Show." Has performed with the Philadelphia Center Stage, San Francisco's Lorraine Hansberry Quartet. Author of "Preparation of Orchestral and Chamber Orchestra under Anshel Brusilow. Theater, Philadelphia Festival Theater for New Concertmaster Auditions." Has taught at Manfred Fischbeck Plays, The Philadelphia Drama Guild and New Haverford College and New York State School of Freedom Theatre, and Atlanta's Alliance Theatre; Orchestral Studies. Associate Professor Off-Broadway, including New Federal Theater, Coordinator: Modern Dance; Artistic Director: Negro Ensemble Company, Hudson Guild Theatre, Ruben del Pilar Andino Consort New York Shakespeare Festival, and Astor Place Lecturer Studied at Freie University, Berlin Musicianship Theatre. Founder of Atlanta's Proposition Theatre Codirector, dancer, and choreographer of Phila- in Piano, University of the Arts Company and Drama School, and Yale's Black BM delphia's Group Motion Multi Media Dance Theatre in Voice, University Ensemble Theatre Company. Member, National MM of the Arts Company and School, which has toured nationally and

Endowment for the Arts Expansion Arts Panel; Vocal soloist with the Choral Arts Society of Phila- internationally, and has received grants from the Pennsylvania Council for the Arts Theatre Panel; delphia. Regular accompanist, The Music Group of Pennsylvania Council on the Arts and the National American Theatre Wing Panel; consultant, South- Philadelphia. Active voice/operatic and instrumen- Endowment for the Arts. Teaches and directs in the ern Arts Federation. Former National Endowment tal accompanist. Major operatic roles include: School of Theater Arts, University of the Arts, and in for the Arts Director Fellow. Recipient of Atlanta Guglielmo, Bob (The Old Maid and the Thief), the Theater Department, University of Pennsylvania. Critics Award for "Best Director" and "Creative Marco (Gianni Schicchi), Bartalo (The Marriage of Served as a dance panel member for the Pennsylvania Genius"; two Bronze Jubilee Awards for Theatre Figaro), Masetto (Don Giovanni), Sang world pre- Council on the Arts. Excellence; an Atlanta Mayoral Proclamation, miere of Boyle's Sonata for Singer. "Walter Dallas Day"; and a California Emmy nomi- nation. Taught theater at Antioch College, OH, and University of California, Berkeley. Member of the Society of Stage Directors and Choreographers.

126 Sherry Goodill Ed Flanagan Mark Gigliotti Lecturer Lecturer Adjunct Assistant Professor Jazz Guitar Bassoon Dance Therapy MA, Temple University BA, Theater Arts/Dance and Psychology, Hollins BA, La Salle University Charles Gilbert College, VA Program Head, Musical Theater Program, MCAT, Hahnemann University Studied guitar with Robert DiNardo and Dennis ADTR, Academy of Dance Therapists, Registered Sandoli; solfege with Evelyn Crochet and Annie School of Theater Arts MFA, Carnegie-Mellon University Petit. Has performed with the Philadelphia Director of Movement Therapy Education, University of Delaware Orchestra, and with Peter Nero and the Philly BA, Hahnemann University. Pops, as well as numerous Broadway shows. Has Additional studies: Wilma Theater Playwrights worked with leading entertainers including, Liza Workshop, BMI Musical Theater Workshop Marina Gusak-Grin Adjunct Associate Professor Minnelli, Joel Grey, Steve Lawrence, Eydie Gorme, Has directed productions for American Music Theater Piano and Vic Damone. Numerous television and radio Festival, OperaDelaware, Delaware Theater Company, Graduate of Moscow State Conservatory performances. Recorded album with Mike Dou- Theatre Express, Pittsburgh Park Players. Original glas. Has taught at Temple University and Bucks musical theater works include Assassins (rights to the Piano studies with Lev Oborin, Ensemble training

County Community College. idea from this 1979 musical obtained by Stephen with David Oistrakh, Leonid Kogan and Yuri

Sondheim as the basis for his new musical), A Is For Yankelevitch. Recipient of Special Diploma at the James Gallagher Anything (commissioned by the Delaware Institute for 1970 International Tchaikovsky Competition. Adjunct Assistant Professor the Arts in Education), Goosefeatos(Comrnissioned Extensive solo chamber music and orchestral per- Recording Studio Techniques by the Reho-both Summer Childrens Theater), B.G.D.F. formances throughout the United States, Canada, BA, Temple University (New York showcase, Douglas Fairbanks Studio, Europe, Central and South America. Former faculty

Studio manager and chief engineer-Philadelphia Inter- 1983). Has served as musical director and/or pianist member of Moscow State Conservatory. national Records Studio 309. Producer and director of synthesist for the Walnut Street Theater, Society Hill numerous films and videos; "Mainstream," winner of Playhouse, American Music Theater Festival, Opera James W. Hala Senior Lecturer I.A.F grant from WHYY-TV1 2 aired on local cable and Delaware, Theater Express. Formerly Associate public TV. Audio engineer in Los Angeles, New York Professor and Head of Musical Theater Program, Syra- Trumpet and Sigma Sounds, Philadelphia working with Stevie cuse University; formerly Assistant Professor of The- BME, Temple University. Wonder, Dionne Warwick, Teddy Pendergrass, the atre, University of Delaware; visiting faculty member Studied trumpet with Seymour Rosenfeld, Gerard Spinners, Lou Rawls, O'Jays. at Temple and Villanova Universities. Schwarz, and Frank Kaderabek; conducting with

Gerard Schwarz. Member of Pottstown, Delaware, Richard Genovese Susan B. Glazer and Reading Symphony Orchestras. Has per- Senior Lecturer Adjunct Associate Professor formed with the Brass Quintet in residence at the Trombone Director, School of Dance University of Delaware. Former member of the Graduate, Curtis Institute of Music BA, American University U.S. Army Band, Concerto Soloists, and Pennsylva- MA, Temple University Studied with Glen Dodson, Charles Gusikoff, and nia Pro Musica. Member of the Performance Additional studies at the Sorbonne, University of Gordon Pulis. Freelance musician in Philadelphia Organization. Has taught at Immaculata College Pennsylvania, and UCLA and New York areas. Substitute trombone, Phila- and University of Delaware. delphia Orchestra. Has performed with orchestras Dance studies with Virginia Freeman, Paul of the Opera Company of Philadelphia, Marlboro Sanasardo, Pearl Lang, and Dan Waggoner. Mem- David Haiti Festival, Forrest Theatre, and Stuttgart Ballet. ber of the Pennsylvania Council on the Arts advi- Lecturer Piano sory panel. Has performed in and choreographed

Mark Germer for companies in Philadelphia, Washington, DC, Yoko Hashimoto-Sinclair Senior Lecturer Los Angeles, Germany.and France. Founder and Lecturer World Music Artistic Director of Mosaic Repertory Dance Com- Makeup Music Librarian pany. Former editor of Dance Dialogue and autnor MA, PhD, University of Michigan of articles on contemporary issues in dance. Has Thomas Giacabetti BA, MA, Aoyama Gakuin University, Tokyo, Japan taught at Drexel University and Harcum Junior Lecturer College; past president Philadelphia Dance Alli- Holds two theater certificates from Oxford Jazz Guitar ance. Current Editor of American Dance, publica- University (Exeter College) and London University. tion of the American Dance Guild. Makeup designer for more than one hundred-fifty Anthony M. Gigliotti plays, musicals, operas and operettas including A Adjunct Professor Janice K. Goltz Mid-Summer Night's Dream, The Threepenny Clarinet Assistant Professor Opera, Man ofLaMancha, Carmen, and Madam Graduate, Curtis Institute of Music Music Education/Musicianship Butterfly. Artist-in-Education with Delaware State Studied with Curtis Institute Daniel Bonade at The BM, BME, cum laude, Philadelphia College of the Arts Council from its inception to present. Visited of Music. Principal Clarinet of the Philadelphia Performing Arts more than twenty schools in Delaware presenting Orchestra since 1949. Member of the Philadelphia Kodaly studies with Erzebet Hegyi, and at the workshops on stage makeup, mask and Japanese Woodwind Quintet. Former member of the Ballet Kodaly Musical Training Institute. Solfege instruc- folk dance and/or performing Japanese traditional Russe de Monte Carlo Orchestra and the Little dance. president of RICE-Repertory of Interna- tor, Choral Arts Society. Composer of children's As Orchestra Society of New York. Soloist with the musicals. Former general music teacher, director tional Cultural Exchange, organized two perform- Philadelphia Orchestra. Well-known recitalistand of Concert Choir and Chamber Singers, and direc- ing tours to Japan. Also organized several East clinician. Designer and manufacturer of patented tor of Theater Ensemble at Myers Elementary Coast tours. Worked several productions with clarinet mouthpiece and ligature. Consultant for School, Cheltenham Township School District. Opera North and Opera Delaware. the Selmer Instrument Company. Faculty member General music teacher, St. Barnabas Episcopal of The Curtis Institute and Temple University. School, Philadelphia.

127 Linda Haviland Stephen Jay Richard Kerber Dance History Professor Lecturer BA, Adelphi University Dean, Philadelphia College of Performing Arts Jazz Trumpet fvl Ed, Temple University Musicianship BM Ed, Temple

Doctoral candidate in aesthetics. Temple BM, MM, Manhattan School of Music Active freelance trumpet player in the University Former president of the St. Louis Conservatory and Philadelphia-Atlantic City area. Has performed Performs with Zero Moving Company. Has taught Schools for the Arts and the Wisconsin Conserva- with Tony Bennett, Burt Bacharach, Crystal Gayle, at BrynMawr College. tory of Music; former dean of Cleveland Institute Dionne Warwick, and Maureen McGovem on

of Music. Former dean and chairman of Depart- stages in Philadelphia, Atlantic City, and Las Ve-

Beth Hirshhaut-lguchi ments of Theory and Composition of Manhattan gas. Performs in productions at the Walnut Street

Adjunct Associate Professor School of Music and associate professor and Theater since 1 984. Jazz work includes participa- Jazz Technique, Jazz Ensemble chairman of the Music Department of University tion with the group Trumpets East at the New York BFA, MA University of Massachusetts College of Arts and Science of New York Univer- Brass Conference and performances at the Mellon

Taught at Baltimore School for the Arts, Towson sity. Former evaluator and member of the Expan- Jazz Festival. Has recorded on the Philadelphia State University, and Dean Junior College. Assis- sion Arts Panel of the National Endowment for the International, Atlantic, MCA, and Columbia labels. tant Artistic Director of the Danny Sloan Dance Arts; evaluator for the National Association of His musical arrangements have been recorded by Company. Founder and Artistic Director of Schools of Music; member of the NASM Commis- Kool and the Gang, Stephanie Mills, and Phyllis "Paradign Dance" and performed nationally with sion on Non-Degree Granting Institutions. Trustee Hyman. Has appeared in numerous television the Impulse Dance Company and Danny Sloan. of the National Guild of Community Schools for productions including the Philadelphia Freedom the Arts. Member of Advisory Board of Young Festival (1989) and the Mel Torme Special (1989). Johnnie Hobbs, Jr. Audiences of Eastern Pennsylvania. First president Was formerly on the faculty of the University of Assistant Professor of the Organization of American Kodaly Educators. Nevada, Las Vegas.

Acting Studio Author of Theory for Children; coauthor of Chro- Ron Kerber Director and teacher of Philadelphia's New Freedom matic Harmony and Sight Sound. Senior Lecturer Theatres training program. Performance credits in- Nancy Berman Kantra Jazz Saxophone clude frequent key roles in New Freedom productions, Adjunct Associate Professor BM, Philadelphia Colleges of Arts including Zooman and the Sign, the Philadelphia pre- Modern/Jazz Dance miere of Langston Hughes' Simply Heavenly, Julius Studied with Vince Trombetta and Marshall Taylor. BA, University of Colorado Caesarax the Philadelphia Drama Guild, and Black Has performed in orchestras of the Forrest and MFA, Philadelphia College of the Performing Arts Picture Show, directed by Walter Dallas. Guest-artist Walnut Street Theatres, and in touring bands and MEd Candidate, La Salle roles at Temple University and the Philadelphia Drama orchestras in Philadelphia, Atlantic City, and other

Guilds "POP. Festival of New Plays." Selected for Principal dancer with the Philadelphia Dance cities throughout the USA and Canada. jingles, 1 987-88 Artist in Education Residency Program of the Company (Philadanco) since 1978. Scholarship Recordings and commercial work include

Pennsylvania Council on the Arts. recipient Pennsylvania Ballet Dance Theatre of films, and television programs. Featured rock and Harlem and Harkness Ballet. Former director of the jazz performer with his own and other bands. A Susan Hudson Powelton Mantner Educational Fund. Honored by former member of the Philadelphia Saxophone

Lecturer Girl Scouts of Greater Philadelphia for her contri- Quartet, frequently performs with chamber groups.

Vocal Coaching bution to dance. Fellowship recipient from Penn- sylvania Council on the Arts. Teaches extensively Jeffrey Kem Judith Jamison Lecturer throughout the tri-state area. Distinguished Visiting Professor of Dance Musicianship Modern Dance Technique/Guest Choreographer Fredrick Kaufman Choral Conductor

Studied at the Philadelphia Dance Academy (now Professor Jeffrey Khaner the School of Dance of The University of the Arts) Theory/Composition Adjunct Professor and the American Ballet Theatre. Made her debut BM, MM, Manhattan School of Music Flute with the American Ballet Theatre in 1965 and Compositions performed by orchestras including BM.Julliard subsequently joined the Alvin Ailey American the Israel Philharmonic under Zubin Mehta, Orchestra beginning Dance Theatre where she became internationally Pittsburgh Symphony under William Steinberg, Principal flute of Philadelphia 1990-91 season. Has been principal flute and has acclaimed. Ms. Jamison inspired some of Alvin Jerusalem Symphony, St. Paul Chamber Orchestra, appeared soloist with the Cleveland Orchestra Ailey's most enduring choreography, including his and the Los Angeles Philharmonic. Ballet scores as Pittsburgh Mostly Mozart seminal tribute to black women, "Cry." She has performed by the Royal Swedish Ballet, Royal (1982-1990), Symphony, Festival, Atlantic in Scotia. Past danced with two of today's leading male dancers Winnipeg Ballet, and Bat Sheva Dance Company. Symphony Nova flute department of Cleveland Institute of in works specially created for them by Mr. Ailey: Author of The African Roots of Jazz and Diatonic head of Faculty of Curtis Institute. Mikhail Baryshnikov in "Pas de Duke" and Harmony. Music recorded by Orion Masterpiece Music. member Alexander Godonov in "Spell." Has made numer- Records. Awards from the National Endowment Chin Kim ous appearances with ballet companies, including for the Arts; University of London; National Asso- Adjunct Assistant Professor American Ballet Theatre, Harkness Ballet, San ciation of Jazz Educators; California, Montana, and Violin Francisco Ballet, and Maurice Bejart's Ballet of the Pennsylvania Arts Councils; Norwegian Govern- 20th Century. Has choreographed work for the ment; and Wisconsin Composers League. Recipi- Alvin Ailey American Dance Theatre, Washington ent of Fulbright Fellowship, and Darius Milhaud

Ballet, Ballet Nuevo de Caracas, and Maurice Award in Composition from the Aspen Music Fes-

Bejart. Recipient of three honorary doctorates, tival. Former resident composer. University of including one from the Philadelphia Colleges of Wisconsin; formerly on faculty of the Rubin Acad- the Arts. She has served as presidential appointee emy of Music in Israel, and resident composer and to the National Endowment for the Arts. chairman of Music Department, Eastern Montana College. Former dean, Philadelphia College of the

Performing Arts.

128 Leland Kimball Joan Lanning Amadeo William Liva Adjunct Assistant Professor Tap Dance Adjunct Assistant Professor Opera Staging Violin Tap training with Michael I. Lanning, Charles Kelly, BS, Juilliard School of Music BA, Pomona College Phil Black, and Bob Audi of New York. Pennsylvania MA, Columbia University MA, University of Certified member of Dance Educators of America, Mischa Opera director and director of development, Opera Inc., Dance Masters of America, and International Studied with Theodore Pashkus, Delaware. Has stage directed and designed numerous Teachers of Dance, Inc. Taught at various conven- Mischakoff, Edouard Dethier, and Vladimir Scholarship, productions for Opera Delaware, including Aida. and tions along the east coast and various dance Blumberg. Recipient of the NDEA

Help, Help, The Globolinksas assistant to Gian Carlo studios in the tri-state area. University of Florence, Italy; and Ford Foundation Menotti. Designed and directed for Kentucky Opera, Scholarship in Chamber Music, Oberlin Conserva- Michael Lanning Providence Opera, Opera on the Sound, and Virginia tory. Former concertmaster of Binghamton Sym- Senior Lecturer violin of Opera. During the 1987-88 season, directed A Masked phony, Huntington Philharmonic, and first Tap Dance String Quartet. Former of fia//for Opera Delaware and La Boheme for the Dela- the Long Island member Association, Baltimore Sym- ware Valley Lyric Opera. Has sung with the Washing- Performer in and choreographer of numerous National Orchestra Trio. Served on faculties of ton Opera, the Opera Company of Philadelphia, and productions in the Atlantic City and Philadelphia phony, and Ars Musica College. the Philadelphia Singers. area. Among his students are Frankie Avalon and Peabody Conservatory and Man/wood Joey Lawrence. Ronen Koresh Julia Lopez Adjunct Assistant Professor Joseph Lanza Lecturer Jazz/Theater Dance Adjunct Associate Professor Spanish Dance

Violin received her training Studied at the Bat Sheva Dance School in Israel. Has Julia Lopez of Madrid, Spain, BS, Juilliard School of Music such notables performed with companies in Israel on stage and in traditional flamenco dance from

television. Soloist with Waves Jazz Dance Company Violin studies with Joseph Fuchs and Frank as Antonio Marin, La Quica and Ciro. She has and performs with the Evening Magazine Dancers. Costanzo; chamber music with Hans Letz, Edouard danced in the Spanish cinema and in cabarets in the Americas. Has taught at the Pennsylvania Ballet School, Jazz Dethier, and members of the Juilliard String Quar- Madrid, Paris, Haiti and throughout performed as dance partner with Jose Unlimited, and the Jazz Dance Center. tet. Member of Philadelphia Orchestra. Former She has in the member of U.S. Navy Band and Orchestra. Greco and as a featured dancer Boston Jay Paul Krush Flamenco Ballet, the Philadelphia Academy of Senior Lecturer Barbara Leiland Music's Carmen and various presentations of Tuba Adjunct Assistant Professor Pennsylvania Civic Ballet. BM, Eastman School of Music Script Analysis MM, Northwestern University BA, Beaver College Jay Madara University Senior Lecturer Studied tuba with Arnold Jacobs, Abe Torchinsky, MA, Villanova Technical Director, Theater Functions and Cherry Beauregard; composition with Joseph Professional experience in areas of dramaturgy, BFA, SUNY Purchase, Theater Design Technology Schwanter, Samuel Adler. Warren Benson, and directing, acting, stage management, as well as design technical direction Alan Stout. Member of Chestnut Brass Company. teaching of drama, including the Wilma Theatre, In addition to lighting and Mr. Performs with Concerto Soloists and the orchestra Villanova University's Contemporary Shakespeare for all University of the Arts productions, Madara consultant in the of the Pennsylvania and Milwaukee Ballet. Direc- Company and Michael Bennett's Dreamgirls. is a free-lance lighting designer and projects include designs for the tor of Wind Ensemble, Haverford College. Former tri-state area. Past Center, Opera Delaware, principal tuba of Eastman Wind Ensemble and John Leonard Wilma Theater, Painted Bride Yale/Norfolk Brass Quintet. Recipient of composi- Adjunct Assistant Professor Westchester Lyric Opera and the Rutgers Fine Arts tion awards from National Society of Arts and Classical Guitar Center in Camden, New Jersey.

Letters, National Endowment for the Arts, Nation- BM, MM, Philadelphia Musical Academy Gary John Magby al Association of College Wind and Percussion Studied with of Robert DiNardo; student of plec- Adjunct Assistant Professor Instructors, and the Bicentennial Anthem Prize. trum guitar with Joseph Sgro and Dennis Sandole. Vocal Literature Has taught at Temple University. BM, Boston Conservatory (Voice and Piano) Vema Leslie MM, New England Conservatory (Vocal Coaching) Paul Krzywicki Lecturer Adjunct Professor Movement for Actors Musical Director. Chautanqua Opera. Former Tuba Coach/Assistant Conductor of Washington Opera, Studied dance, voice, and acting at New Freedom BM, MM, Performer's Certificate, Indiana St. Louis Opera; former Principal Coach, Wolf Trap Theatre where she frequently performs and University Opera, The Juilliard School. teaches movement and jazz dance. Directs work- Teaching assistant to William Bell; studied with shops and lecture demonstrations in dance pro- Joseph Novotny, Lloyd Geisler, Abe Torchinsky, duction and theater movement. Formerly instructor

and Leo Romano. Member of Philadelphia Orches- in Philadelphia Summer Youth Program.

tra. Member of Philadelphia Brass Soloists.Former member of the Buffalo Philharmonic, Portland Loren Lind Symphony, Youngstown Symphony, Boston Ballet, Adjunct Associate Professor Boston Opera Company, and the U.S. Military Flute

Academy Band. Has performed in the Tanglewood BM, Temple University and Aspen Music Festival orchestras. Has taught Graduate studies, University of Hawaii

at Curtis Institute of Music and Temple University. Student of Murray Panitz. Member of the Philadelphia Orchestra. Former member of the

Lyric Opera Orchestra and Honolulu Symphony.

129 Anthony Marchione Paula Jean Mlinar James Murray Adjunct Assistant Professor Costumer Adjunct Associate Professor Competitive Fencing Trumpet Costume design, construction and coordination for Curtis Institute of Music BA, lona College Graduate, productions at York Little Theater, Ephrata Play- Diploma, American Fencing Academy, Cornell Musical director, conductor, and principal trumpet, house in the Park, Columbia Little Theater, and University Valley Forge Music Fair. Former principal trumpet opera programs in Shubert Theater. Does free- with the CBS Symphony Orchestra, Philadelphia lance costume design and construction; maintains Fencing Master certified by the International

Lyric and Grand Operas, and Philadelphia Little personal costume inventory and rental business. Academy of Arms, was exchange student in Symphony. Has performed and recorded with the fencing at the Institute National de Sport in Paris. Metropolitan Opera and Stuttgart Chamber Sym- Leonard Mogill Certified by the U.S. Fencing Coach's Association, Associate Professor phony. Performed as principal trumpet under Bruno Adjunct is a member of the United States Fencing Asso- Walter, Leonard Bernstein, and Josef Krips. Former Viola ciation Olympic coaching staff. Former instructor Philadelphia Musical principal trumpet at many theaters, including the BM, Academy at the Academy of Fencing in Boston. Assistant of Graduate, Curtis Institute of Music Shubert, Forrest, and Walnut Street theaters. Has Maestro Lajo Csiszar, University of Pennsylvania. taught at Temple University. Studied with Louis Bailly. Member of the Philadel- Head fencing coach at Haverford College.

phia Orchestra for 48 years (assistant solo viola for Mausner Edward Myers Rachel 25 years), retired. Soloist with the Philadelphia Lecturer Adjunct Associate Professor Orchestra in Bach Brandenburg Concerto. Former Alexander Technique Ballet, Repertory member of Musical Fund Quartet. Publications by College BA, Swarthmore G. Schirmer include Orchestral Studies of 20th Principal dancer with the National Ballet of MFA, Temple University Century Composers, Mogill Scale Studies, and Washington, DC and the Pennsylvania Ballet from Studied the Alexander Technique with Mi. many transcriptions. Recipient of Honorary Doctor 1974-87. His repertory includes major roles from

Barstow and the Alexander School in Philadelphia. of Music degree from Philadelphia College of the Swan Lake. Sleeping Beauty, Giselle and most of Has taught dance and movement at Community Performing Arts. Has taught at Temple University. the great classics. Has guest taught, performed College of Philadelphia. and choreographed throughout the United States. Margarita Csonka Montanaro Guido Mecoli Adjunct Associate Professor Milton Myers Adjunct Assistant Professor Harp Adjunct Associate Professor Clarinet Graduate, Curtis Institute of Music Modern Technique, Repertory

Curtis Institute of Graduate studies at Vienna Music Conservatory Graduate, Music Artistic director and choreographer of the Joyce

Studied with Ralph MacLean, Jules Serpentine, Studied with Carlos Selzedo and Marilyn Costello. Trisler Company for six years and company

Ignatius Gennusa, and Anthony Gigliotti. Member Member of the Philadelphia Orchestra. Has per- teacher and choreographer for the Alvin Ailey of the Pennsylvania Ballet Orchestra. Former prin- formed in the Marlboro Festival. American Dance Theater. Former faculty member cipal clarinetist with the Philadelphia Lyric and of NYU Tisch School of the Arts. Co-Director of Grand Opera companies; former member of Read- Janee Munroe the Modern Department at Jacob's Pillow. Inter- Professor ing Symphony and Trenton Symphony Orchestra; Adjunct Assistant nationally recognized master teacher who is reg- Viola guest soloist with Curtis String Quartet. ularly invited to teach in Europe, South America

Studied viola with William Primrose at the Curtis and Canada.

Douglas S. Medlin Institute of Music and with Boris Kroyt of the Associate Professor Joseph Nero Budapest String Quartet. First deskviolist, Na- Head, Music Education Division Adjunct Assistant Professor tional Symphony, Washington, DC; first violist and BM, University of Georgia Jazz Percussion soloist, European tour, Juilliard String Ensemble; East Carolina University Graduate, Curtis Institute of Music MM, principal violist and soloist, North Carolina Sym- EdD, University of Illinois phony. Violist Masters Festival of Chamber Music, House drummer/percussionist, Forrest Theatre and Former director of music education at West Hidden Valley Music Seminars, Monterey and Trump Plaza Hotel-Casino in Atlantic City. Freelance Virginia Wesleyan College, music instructor at Carmel Valley, CA, June 1982-84. Member of studio musician in commercial and jazz music. Has Macon Junior College, and public school teacher Goffriller Piano Quartet. Has taught at Juilliard toured nationally with Burt Bacharach, Anthony in Connecticut and Virginia. School precollege division. Newley, Bette Midler; internationally with Bobby

Rydell. Played many New York City jazz nightclubs

Pat Mercuri Lome Munroe and theaters; former house drummer, Waldorf

Adjunct Assistant Professor Adjunct Professor Astoria. Has performed with Pennsylvania Ballet and

Jazz Guitar Cello Philly Pops orchestras. BM, BME, Philadelphia Musical Academy Student of Ivor James at Royal College of Music

Student of Robert DiNardo and Dennis Sandole. in London. Studied with Felix Salmond and Gregor Performer on fretted instruments with the Phila- Piatigorsky at the Curtis Institute of Music. Princi- delphia Orchestra, Opera Company of Philadel- pal cello, New York Philharmonic. Has made over phia, The Pennsylvania Opera Theater, and the 85 solo appearances with the New York Philhar- Forrest Theatre. Has taught at Cabrini College and monic, and has appeared as soloist with many Eastern College. other orchestras, including the Philadelphia Orchestra, Winnipeg Symphony, Kansas City Sym- Naomi Mindlin phony Orchestra, and Long Island Symphony.

Adjunct Associate Professor Has performed with chamber music groups and in

Modern Dance Technique recitals throughout the United States, Canada, and BA, Brandeis University Europe. Has toured Europe as conductor-soloist MA, New York University with the America String Ensemble. Has taught at

Performed with the Boston Ballet Company, New Julliard School. England Dance Theatre, Bridgeport Ballet, and Jose Limon Dance Company; has choreographed solo work.

130 Maria Carmela Novielli Stea James Pugb Ronald Reuben Senior Lecturer Adjunct Assistant Professor Adjunct Associate Professor Italian Diction Trombone Clarinet

BA, Temple University BM, Eastman School of Music Graduate, Curtis Institute of Music; Temple MA, Umversita di Bari, Italy University New York recording and jazz artist. Five-time Diploma, Institute Sacro Cuore Bari, Italy recipient of the National Academy of Recording Studied with Joseph Gigliotti and Anthony Gigliotti.

Has taught elementary and intermediate courses Arts and Sciences' Most Valuable Player Award. Member of the Philadelphia Orchestra (bass clarinet). in Italian at Temple University, Chestnut Hill Has been featured soloist on tours and recordings Former member of the Stan Kenton Band, Chicago

College and Villanova University; currently with Woody Herman, Chick Corea, Don Sebesky, Little Symphony, and Chamber Symphony of Philadel-

teaches elementary, intermediate and advanced Barbara Cook, William Galison, Dave Matthews phia. Has taught at Temple University. courses in Italian at the America-Italy Society. and Eileen Farrell. Featured on two Grammy Served as interpreter/translator for the Institute Award winning albums with Woody Herman, LaVaughn Robinson for the Achievement of Human Potential, Nation- Giant Steps and Thundering Herd. Soundtrack Adjunct Professor alities Service Center, Council for International credits include such films as Brighton Beach Tap Dance

Visitors, and the Opera Company of Philadelphia. Memoires, The After, Biloxi Morning Blues, and Performed in Apollo Theatre in New York City and Is a member of the America-Italy Society and Family Business. Frank Palumbo's clubs in Philadelphia. Performed American Association Teachers Italian. of of with the Dancing Jets and South Sydney League Trudy Pitts in Australia, and with Wayne Newton's show for Anthony C. Orlando Adjunct Assistant Professor several years. Now performing internationally as a Adjunct Associate Professor Jazz Piano representative of the State Department. Percussion Recipient of the 1989 National Heritage Award. BM, Philadelphia Musical Academy. Richard A Raub Adjunct Assistant Professor Studied with Michael Bookspan, Fred Hinger. Gabriela Roepke Vocal Coach/Accompanist Member of the Philadelphia Orchestra. Former Senior Lecturer BS, MM, West Chester University Principal Percussion and/or Timpanist with Grand Literature/Opera Literature/Dramatic Literature Teton Music Festival, Pennsylvania Ballet Orches- Studied with Benjamin Whitten and Martin Katz. and Contemporary Theater tra, Greater Trenton Symphony Orchestra. Active Frequently performs with singers in recitals in the Studied in Santiago, Paris, and at the University of clinician and recitalist, featuring ragtime xylo- USA, Canada, and Europe. Has worked with many North Carolina. Author and producer of over fifteen phone and avant-garde music for marimba area opera companies, including The Hollybush and original plays in Latin America, the United States, and solo percussion. Former Associate Fellow at Festival in New Jersey. Has taught at Academy of Spain. Numerous articles in publications, including: Tanglewood. Vocal Arts, Temple University; opera workshop San Diego Opera Magazine, Opera News, New York music director, Blossom Festival School at Kent City Opera Spotlight and The Opera Magazine. Lec- Andrew Pap State University. tures for New York City Opera Guild. Former faculty Associate Professor member of the Juilliard American Opera Center; Ballet Therese Casadesus Rawson former visiting lecturer at New York's New School for Senior Lecturer Studied at Scoala de Coreografie in Romania. Social Research, and the Society for Ethical Culture. French Language and Diction Former member of the Romanian State Opera and Recipient of two Fulbright Fellowships, The Roland MA, Sorbonne, Paris Ballet; taught at Scoala de Coreografie, the Italian Holt Playwright Award, and a Guggenheim Fellowship. Ph 0, University of Pennsylvania Dancers Union, Saratoga Ballet Center, Interna-

tional Dance Center in Rome, and The Alvin Ailey Language coach for professional singing organiza- Louis Rosenblatt American Dance Theatre and Ballet Companies. tions, including the Opera Chorus of Philadelphia Adjunct Associate Professor Has choreographed for opera and ballet compa- and the Philadelphia Singers. Active church solo- Oboe, English Horn nies. Faculty of Pennsylvania Ballet School and ist. Has taught at Haverford College and Bryn Graduate, Curtis Institute of Music Artistic Director of the Volshky Dance Mawr College. Has taught at Curtis Institute of Company. Joined the Philadelphia Orchestra in 1959 when Music and Academy of Vocal Arts. his former teacher John Minsker retired as English Phuoc Phan Homist. Studied oboe at Curtis under Marcel Lecturer Deborah Reeder Tabuteau. Was first oboist in the U.S. Army Field Than Vo Dao Adjunct Associate Professor Band, English Hornist in the Houston Symphony, BFA, University of the Arts Cello and the New Orleans Philharmonic. Has made Certificate, Nguyen Lahn Martial Arts School, BM, MM, Philadelphia Musical Academy numerous solo appearances with the Philadelphia Viet Nam Studied with Luigi Lome Munroe and Salva. Orchestra and three recordings as soloist: Sibelius' Martial arts studies at the Hong Van Studio in Principal cello, The Opera Company of Philadel- The Swan of Tuonela, Honeggar's Concerto da phia, Trenton Society of Phila- Bahat. Has studied fine arts, graphics, illustration, Symphony, Mozart Camera for Flute, English Horn, and String Orches- delphia. Pennsylvania and interior design at Saigon's National University Member of and Milwaukee tra, Skrowaczewski's English Horn Concerto, of Art. Taught calligraphy at Temple University, Ballet company orchestra; cellist of The Philadel- Persichetti's English Horn Concerto, and Diamond's phia Trio String Quartet. Former and arts and crafts in Hong Kong. Founder and di- and Amadio Elegies for Flute, English Horn, and Strings. Soloist of Princeton rector of the only Than Vo Dao martial arts school member the Philadelphia Orchestra, with the Philadelphia Orchestra in Fiala's English Chamber Orchestra, Concerto Soloists, Pennsylva- in the United States. Horn Concerto during 1 989-90 season. nia Contemporary Players, Cheltenham Trio, and

American Society of Ancient Instruments (viola da

gamba). Cofounder of Music in the Mountains. Concert Artist Guild Award winner. Has taught at Haverford College and Temple University.

131 ,

Seymour Rosenfeld Carl B. Schmidt Carole Luppescu Sklaroff Adjunct Associate Professor Professor Adjunct Associate Professor Trumpet Chair, Classical Performance Graduate Studies Ballet Graduate, Curtis Institute of Music Theory and History Studied with Margaret Craske and Anthony Tudor BA, Stanford University Studied with Saul Caston. Member of the Philadelphia at the Metropolitan Opera Ballet School. Former MA, PhD, Harvard University Orchestra; founding member of the Philadelphia Brass member of the Metropolitan Opera Ballet touring roles in Ensemble. Former first trumpet St Louis Symphony, Studied with Nadia Boulanger. Scholar of group and the Ballet Rambert, dancing and member of the Ballet Russe de Monte Carlo. seventeenth-century Italian and French opera and Coppelia and Giselle; principal dancer with the Winner of three Grammy nominations and the ballet; recipient of research awards from the Pennsylvania Ballet Company, dancing leading roles in Lilac Garden, Sleeping Beauty, Mignon Grammy for Best Classical Music Record of 1 969 in American Philosophical Society, the American the Antiphonal Music of Gabrielli. Author of Thirty-Six Council of Learned Societies, and the National pas de deux, Le Corsaire pas de deux. Donizetti Elementary Studies for Trumpet Endowment for the Humanities; general editor of Variations and Concerto Barocco. Taught ballet the New Lully Edition. Articles and editions pub- classes at the Pennsylvania Ballet School and the

Henry Roy lished in Journal of the American Musicological Ballet Studio. Has taught at the School of the

Jazz Dance Society, Hivista Italiana di musicologia, Current Pennsylvania Ballet Company. BFA, Temple University Musicology, Recherches, The New Grove Dictio- Suzanne Slenn An apprentice with The Alvin Ailey Dance Com- nary, A-R Editions, Dix-septiem Steele, and Music Adjunct Assistant Professor pany and has performed with Joan Kerr Dance Library Association Notes. Ballet Company, Sybil Dance Company and Civic Ballet. Henry Scott Early ballet training with Ballet Jeunes and at Is on the faculties of Glassboro State College and des Adjunct Associate Professor Bryn Mawr College. the Interlochen Arts Academy. Studied with Double Bass Rosella Hightower. Also studied at the Harkness University of Rochester, Eastman School of Andrew Rudin BM, Ballet; trainee with the Joffrey Ballet Company. Professor Music Former member of the Indiana Ballet Company and

Theory/Composition Student of Ferdinand Maresh, Oscar G. the Pennsylvania Ballet; former principal dancer BM, University of Texas Zimmerman, and Roger M. Scott. Member of the for NBC Entertainment Corporation. Has per- MA, University of Pennsylvania Philadelphia Orchestra. Former member of the formed as guest artist with the New Jersey Ballet. Toured extensively throughout the USA, Canada, Studied composition with Kent Kennan, Paul Pisk, Rochester Philharmonic, the Chamber Symphony Australia, and the Orient. George Rochberg, and Karlheinz Stockhausen. of Philadelphia, the Baltimore Symphony, and the Mexico, Europe, of Line Electronic music compositions heard in the film New York Philharmonic. Conductor Main Psychoanalysis, Faye B. Snow Fellini Satyricorr, has composed for the Pennsylva- Symphony. Director of Heed University. Adjunct Associate Professor nia Ballet, Murray Louis, and the Alwin Nikolais University. Has taught at Temple Jazz and Modern Dance Technique/Composition Dance Theatre; musical contributions to Tennes- Peter Segal BS, West Chester State College see William's play Outcry. Adjunct Associate Professor MA, George Washington University

Barbara Sandonato Classical Guitar Studied Horton Technique with Joan Kerr and ballet University Assistant Professor BA, MM, Temple with Marion Cuyjet; also studied with James Truitte at

Ballet Studied with Jose Tomes, Alirio Diaz, and Oscar Alvin Ailey American Dance Center. Choreographed for Joan Kerr Dancers. Danced with Arthur Hall Studied with George Balanchine at the School of Ghiglia. Affiliate artist performances throughout the Juba and African-American Dance Ensemble and the Copper- American Ballet. Former principal dancer and as- USA and Europe as chamber music recitalist, and

1 tone Review Worked with Duke Ellington and Count sociate founder of the Pennsylvania Ballet Com- soloist with orchestra. Wnner of 2nd Prize, 971

Italy. Basie bands. pany. Former principal dancer with the National International Competition for Guitarists,

Ballet of Canada. Featured guest artist with the Jon Sherman Evan Solot Boston Ballet Company, the Wisconsin Ballet with Ballet-Dance Extension Professor Rudolph Nureyev, and the New York City Opera BS, Temple University Head, Jazz/Commercial Music Division Company. Has taught at the Pittsburgh Ballet The- BM, MM, Philadelphia Musical Academy atre and the Pennsylvania Governor's School for Studied at the Pennsylvania Ballet, American Bal- record- the Arts. Teaches at the Pennsylvania Ballet, Alvin let Theatre, and the Philadelphia College of the Composer/arranger for bands, orchestras, Ailey American Dance Center and Philadanco. Has Performing Arts. Performed with the Opera Com- ings, and artists-including Stan Kenton, Bette

choreographed for opera ballet and ballet compa- pany of Philadelphia, Danceteller, and Ballet Klos. Midler, Sister Sledge, Clark Terry, Ben Vereen-as nies here and abroad. Recipient of bronze medal well as jingles, commercials, and special material Silvan senior division-1970 International Ballet Competi- Lee for shows. On trumpet, toured with Burt Adjunct Associate Professor Midler, tion, Varna, Bulgaria. Bacharach, Henry Mancini, Bette and Lou Theory Rawls. Has performed with Count Basie, Tony Pearl B. Schaeffer BM in Composition, Summa cum laude, Bennett, Woody Herman. Lena Home, Frank

Adjunct Associate Professor Philadelphia Musical Academy Sinatra, Diana Ross, and Dionne Warwick. Free-

Dance Pedagogy MA in Composition, University of Pennsylvania lance performer in theaters and recording studios. Association of BS, Drexel University Student of George Rochberg. Associate Professor Former chairman of the National Philadelphia College of the Performing Arts editor of Billy MFA, of Music and former Chairman, Community Col- Jazz Educators Composition Contest Taylor's Improvisation Videotape: special mention Executive director of the Philadelphia Dance lege of Philadelphia. Former Vice Chairman for in Ellington's book Music Is My Mistress, Alliance. Has performed with the Opera Company Theory and Composition, Music Teachers National Duke downbeat magazine for "making PCPA of Philadelphia, the Duncan Centenary Ensemble; Association. honored by education in the has performed and worked with Mudra, the one of the best sources of jazz country." Voting member of the National Academv School of Maurice Berait, Opera Ballet of Lyon, Recording Arts and Sciences (Grammys). France, the Academy of Vocal Arts, the Performing of Arts School of Philadelphia.

132 Michael Stairs Craig Thomas Joanne Tulli Adjunct Assistant Professor Adjunct Assistant Professor Adjunct Associate Professor Organ Jazz Contrabass, Electric Bass Modern Dance, Labanotation, Effort/Shape Artist Diploma, Curtis Institute of Music BM, Philadelphia Musical Academy BA,SUNYatBrockport, BM, Westminister Choir College MFA, Philadelphia College of the Performing Arts Studied with Robert Cerulli, Roger Scott, Eddie Studied organ with Alexander McCurdy; piano Gomez, Rufus Reid, Dennis Sandole (composition). Performed with Garth Fagan's Bucket Dance with Mathilde McKinney and Vladimir Sokoloff; Accompanist to many artists including Buddy Rich, Theatre, Ann Vachon's Dance Conduit, Philadel- composition with Warren Martin and Matthew Mel Lewis, and "Philly" Joe Jones, Freddie phia Dance Company, Great Chazy and the Ballet Colucci. Associate organist of the John Hubbard, Lee Koenitz, Ted Curson, Bobby Watson, des Jeunes of Philadelphia. Reconstructed Doris

Wanamaker court organ; organist/choirmaster at Anita O'Day, Mose Allison and Billy Eckstine. Has Humphrey's Life of the Bee and Air for the G String the Church of the Redeemer, Bryn Mawr. recorded on Acoustical Concepts, Inner City and for Consort, the Dance Company of PCPA. Has

Optimism labels with "Abstract Truth," "52nd performed Sydney, Australia, Buenos Aires, Paris,

Susan Starr Street," and Michael Pedicin, Jr. Studio musician and Rio de Janeiro. Professor for Music Minus One, Inc. Contributing bassist for Piano Valenti "Standing in the Shadows of Motown, the Life Mark Graduate, Curtis Institute of Music and Music of James Jamerson." Senior Lecturer Jazz Piano Studied with Eleanor Sokoloff and Rudolf Serkin. Con- Pat Thomas BM, Philadelphia College of the Performing Arts cert pianist experience includes performances in re- Assistant Professor cital and as soloist with orchestras throughout the Studied with Benjamin Whitten. Appears in area Instructor USA and abroad. Over forty performances with the clubs. Recipient of the 1 982 PCPA Jazz Award. Modern Dance Technique Philadelphia Orchestra with which she made her debut Performed at the White House for Mrs. Bush. at the age of six. Numerous recordings on RCA and Trained with Martha Graham. Taught and per- Connie Vandarakis Orion Labels. Winner of 1 962 second prize Silver formed with Alvin Ailey; performed with Yuriko Medal in Second Tchaikovsky Competition in Moscow. Senior Lecturer Dance Company and the Swedish Modern Dance Anatomy, Kinesiology Appeared in command performance at the White Company. Has performed and taught in Japan, House for President Jimmy Carter. BS, Exercise Physiology, Northern Illinois Hong Kong, Malaysia; taught in Spain and in University Patricia Stasis Israel where she performed with the Bat Sheva M.ED., Exercise Physiology Adjunct Assistant Professor Dance Company. Visited China in 1987 as dance Candidate Ed.D., Temple University, Sports

Certificate, Curtis Institute of Music consultant. Medicine and Dance.

Certificate, Conservatory of Music, Munich, Has researched areas of sports medicine, Adeline Germany Tomasone curriculum, and dance. Performed with indepen- Adjunct Associate Professor Has performed with the Tanglewood and Marlboro dent artists in Philadelphia and Chicago. Flute Music Festivals singing under Eugene Ormandy, BM, Curtis Institute of Music Leonard Bernstein, Pablo Casals, Maurice Paul Wagar

Studied with Murray Panitz, Kenton F. Terry, and Abravanel, Joseph Primavera, Max Rudolf, and Adjunct Associate Professor Julius Baker. Solo flutist of Opera Company of for Actors/Acting for Dancers and Opera Seigi Ozawa. Has participated in master classes Speech Philadelphia, Davidsbund Chamber Players, The with Martial Singher, Phyllis Curtin, Pierre Bernac, Singers Performance Organization, Bach Chamber Consort, Sir Richard Lewis, and Maria Callas. Received the Studied at the University of Toronto and the Weber- and Mozart Society of Philadelphia; member of Lotte Lehmann Award for outstanding achieve- Douglas Academy of Dramatic Art, London. Private Fairmount Woodwind Quintet with Young Audi- ment at the Music Academy of the West, Santa study with Vivian Matalon. Coartistic director of the ences, Inc. Regular substitute with the Philadel- Barbara, CA. Winner of the International Music Philadelphia Area Repertory Theatre. Former company phia Orchestra. Theater and studio work in Phila- Competition of the German Radio, Munich. member of the Royal Shakespeare Company and the delphia and New York. Solo appearances with the New Shakespeare Company, London; and the Strat- Marshall Taylor Philadelphia Orchestra, Lansdowne Philharmonic, ford Festival, Canada. Founding member of the Ameri- Senior Lecturer and Bricktown Philharmonic. Conducts clinics and can Repertory Theatre, London. Past artistic director of Saxophone workshops throughout region. Former member of the Toronto Repertory Theatre. BME, Wheaton College Philly Pops and Delaware Symphony. MM, Northwestern University Vivian Wagner Dan Tomasone Assistant Professor Additional studies at Conservatoire National Lecturer Curtis Institute of Superieur de Musique, Paris; and Universite de BM, Music Trombone Paris on a Fulbright Fellowship Studied with Richard Bonelli and Euphemia Giannini

Gregory; coached with Leo Rosenek, Vladimir Sokoloff, Studied with Theodore Varges, Russell H. Platz, Alexandra Toussaint Extensive performances in Fred Hempke, Marcel Mule, and Henry Schumann. Assistant Professor and Martial Singher. solo USA and abroad. Has been master-teacher of operatic Has performed in recital throughout the USA and Acting Studio/Audition Techniques/Rehearsal and principals of opera companies in Germany. Recipient Europe. Former member of U.S. Military Academy Performance of the Whitney for Excellence of the Boston Band; formerly on faculty of Ithaca College. Has BS, Temple University Award Conservatory of Music. taught at Temple University. MA, California State University

Extensive experience in acting, directing, and

teaching theater in California and Philadelphia.

Performances include the roles of Simmone in

Marat/Sade at the Wilma Theatre; Holga in After

the Fall at the Walnut Street Theatre; as Bobbie in Bern Here Tonight at the Theatre Center Philadel-

phia, and as the title role in Sister Mary Ignatius

Explains It All for Youal the Blushing Zebra.

133 Dennis Wasco Christopher Whelan H. German Wilson Senior Lecturer Senior Lecturer Adjunct Assistant Professor Jazz Trumpet Make-up Acting Studio/Rehearsal and Performance Philadelphia College of the Performing Arts BA, Allentown College BM, Actor, singer, dancer, teacher; was the first Black MFA, Pennsylvania State University Studied trumpet with Vincent Penzarella, Seymour Director for the Berkshire Theater Festival, the first Rosenfeld, Roger Blackburn, Carmine Caruso and Extensive experience in make-up for theater, film, director for the Eakins Workshop (an outreach

Donald S. Reinhardt; studied jazz improvisation and television; credits include design and execu- program of the Philadelphia Museum of Art), with Al Stouffer, Denis Sandole, Michael Pedicin, tion of make-up for KYW's "Evening Magazine," drama teacher at the Yale University International

Jr. and Vincent Trombetta. He toured nationally taking the show's host, Ray Murray, through differ- High School. Mr. Wilson has performed locally, as with the orchestras of Henry Mancini, Thad Jones- ent stages of aging, from age thirty to eighty. Has well as in New York. New Jersey, Tennessee, and

Mel Lewis, Burt Bacharach, and Si Zentnor. Has acted in over sixty stage productions, twelve films, toured with the Fisk Jubilee Singers throughout performed in numerous showroom orchestras, and numerous television shows, including the Europe. In 1986, Mr. Wilson directed to critical theater orchestras, and musicals. Recordings in- mini-series "George Washington." Scenic design acclaim Do Lord Remember Me at the Black Play clude I Am In Love Again. Patti Labelle; All Things credits include works for Glassboro State College Festival. He was Artistic Director for the Kopia in Time, Lou Rawls; 1982, The Stylistics; My Favor- Opera Company and the Curtis Institute Opera Theater and presently teaches a drama workshop ite Person, The Ojays; Life Is A Song Worth Sing- Department; and world premiere of the opera at Community College of Philadelphia. He recently ing, Teddy Pendegrast; City Song, Michael Pedicin, Rappaccini's Daughter by Sam Dennison and the co-founded Venture Theater with Black to Play or

Jr., Heavy Vibes, Vince Montana, and the musical Philly's Best. Othello's Occupation as its first production, featur- soundtrack for the Prime Time television show. ing Mr. Wilson as Ira Aldridge and directed by Lisa Denise White Walter Dallas. Barbara Washington-Grant Senior Lecturer Adjunct Associate Professor Jazz Dance William P. Zaccagni Voice for Actors BFA, Philadelphia College of Performing Arts Adjunct Associate Professor Jazz Saxophone/Jazz Ensemble BS, MS, Juilliard School Dance studies with the Dance Theatre of Harlem, Performances with the New York Philharmonic Philadelphia Dance School, and the Faye Snow Studied at Temple University with Ron Reuben and under Bernstein, the San Francisco Orchestra un- Dance Studio of Philadelphia. Has performed at privately with vince Trombetta and Harold Karabell. der Ozawa, and the Symphony of the New World. the New Freedom Theatre of Philadelphia. Has Active performer and arranger in the Philadelphia and

Recordings for the Strada East label. Formerly taught the Graham technique of Modern dance at Atlantic City areas. Recordings on CBS, Atlantic, and soprano staff soloist at New York's Riverside the New Freedom Theatre. Philly International labels. Has toured with Burt Church; featured staff soloist for Radio City Music Bacharach and Anthony Newley. Benjamin Whitten Hall. Has taught at Delaware State College. Adjunct Associate Professor Kariamu Welsh-Asante Piano Adjunct Assistant Professor BM, MM, Peabody Conservatory of Music

African Dance Studied with Austin Conradi, Leon Fleisher, and BA, MA, SUNY Buffalo Emerson Meyers. Has appeared with orchestras DA, NYU throughout the USA, Canada, Panama, South

Author of African Culture: Rhythms of Unity, two America, and Europe. Recipient of the Tiffany volumes of poetry, numerous articles on the African Scholarship, the Paul Thomas Award, the Mason aesthetic and various short stories. Senior Fulbright and Hamlin Award; designated as a Danforth

Scholar at the University of Zimbabwe. Presently, Foundation Associate. Current faculty member of

Director of the Institute of African Dance, Research Wilmington Music School and West Chester and Performance and Temple University. University. Named Teacher of the Year by the Pennsylvania Music Teachers Association in 1970 David Wetherill and 1 979. Serves on the executive board of the Adjunct Professor Music Teachers National Association and National French Horn Scholarship Foundation. Graduate, Curtis Institute of Music

Studied with Mason Jones. Co-principal horn of the Philadelphia Orchestra. Frequent soloist with area symphonies, and active clinician and per- former in horn workshops throughout the USA.

Guest artist at festivals, including Marlboro, Saco

River, and Les Arcs in France. Former principal horn, Teatro alia Scala in Milan; former solo horn,

Ensemble Intercontemporain in Paris, directed by Pierre Boulez.

134 I UNIVERSITY OF THE ARTS

DIVISION OF HUMANITIES

n n

Division of Humanities Humanities Requirements Electives Please note that humanities requirements differ Approximately one-third of the credit hours

Robert Ackerman between the two colleges and that the curriculum is required in the Humanities Division for all students Director now being reviewed. Students are expected to meet are electives, to be chosen from among the offer-

215-875-1077 with their advisors regularly and are responsible for ings in any of the categories. This furthers the op-

knowing and fulfilling their humanities requirements. portunity for visual and performing arts students to The Humanities Division at The University of the Currently, all students at The University of the study common interests, fostering the exchange of Arts is responsible for approximately one-third of Language and Expression and ideas for collaboration and growth. There is also each student's requirement for graduation, reflect- Arts must take Introduction to Modernism. an independent study program to permit upper- ing the University's conviction that the Humanities Freshmen at PCAD take two semesters of class students to work with a faculty member on a are essential for the education of artists, design- English composition (HU 110A, HU HOB); fresh- special project. ers, and performers. The aims of the division are men at PCPA take one semester of English compo- to develop students' powers of critical thinking Normal Progress sition (HU 1 10A). Based on transcripts, SAT score, and their understanding of the history and criti- To make normal progress toward graduation, TSWE score on the verbal text of TOEFL (Test of cism of the creative arts, to introduce them to PCAD students should register for 6 Humanities English as a Foreign Language), and initial essay philosophic and scientific modes of thought, and credits per semester; PCPA students should assignments, students may be placed in HU 008 or to the study of human cultures and societies-in register for 3 Humanities credits, excepting spring HU 009. These courses do not satisfy the Lang- sum, to refine students' perceptions of both their semester of freshman year and one semester of uage and Expression requirements. Students will inner world and the outer world and to help make senior year when 6 credits are required. Students be given Language and Expression credit for HU them both intellectually responsible and creative. may register for more credits provided they have 109B, an English composition course offered in the The Humanities Division represents a common received permission from their department chair or second semester for all HU 009 students. ground in the curriculum where students from both school director. Freshmen from both colleges take two semes- colleges meet. It thus offers a unique forum for ters of Introduction to Modernism (HU 103A & B). Transfer Requirements artistic and academic exchanges. Students in HU 008 (English as a Foreign Lang- The University of the Arts will accept transfer Faculty uage) and HU 009 begin the Introduction to credit for Humanities courses completed else- Robert Ackerman, Director Modernism sequence in the second semester of where, after review, provided that the course Stephen Berg, Professor their program at the University. work completed is determined to be equivalent Yongming Cai, Senior Lecturer Studies in the Humanities are divided into four to University of the Arts offerings, is from an Kent Christensen, Associate Professor categories: Language and Literature, History and accredited college or university, and a grade of Cathryn Coate, Senior Lecturer Social Studies, Art History, and Philosophy and "C" or better is earned. Students are required Robert Crites, Senior Lecturer Science. Students must satisfy the credit total for to present official transcripts of courses taken Lawrence Curry, Associate Professor each college as indicated below. In addition to the at other institutions as well as course bulletins Nancy Davenport, Associate Professor required and elected humanities courses, students in order for evaluation of transfer credits to Francis Devlin, Senior Lecturer will also be taking discipline history courses in take place. Contact the Office of the Registrar John DeWitt, Associate Professor their majors. for further information. Mary Ellen Didier, Senior Lecturer Once they have matriculated, students in PCAD Richard Farnum, Assistant Professor HU110A&B may transfer up to 15 credits in the Humanities; Katherine Finney, Senior Lecturer Language and Expression (PCAD) 6 credits students in PCPA may transfer up to 9 credits. Anne Marie Flanagan, Senior Lecturer HU110A Students who wish to take Humanities credits at Hays, Lecturer Ronald Senior other colleges must secure prior written approval Language and Expression (PCPA) 3 credits Nancy Heller, Assistant Professor from the Director of the Division of Humanities. Houston, Senior Lecturer HU103A&B Dorine S. Such courses may not duplicate courses already Linnet Jones, Senior Lecturer Intro, to Modernism (PCAD, PCPA) 6 credits taken for credit at The University of the Arts. Anne Karmatz, Adjunct Associate Professor HU151 Leonard Kress, Senior Lecturer Language of Art History (PCAD) 3 credits Sharon Lefevre, Senior Lecturer Art History (PCAD) 6 credits Sherry Lyons, Adjunct Professor History and Social Studies (PCAD) 6 credits Mary Martin, Adjunct Assistant Professor Language and Literature (PCAD) 6 credits Martin Novelli, Adjunct Professor Philosophy and Science (PCAD) 6 credits Camille Paglia, Associate Professor Humanities Electives (PCAD) 6 credits Diane Perkins, Adjunct Assistant Professor Sophomore level courses (PCPA) 6 credits Ruth Perlmutter, Adjunct Professor Junior level courses (PCPA) 6 credits Gabriela Roepke, Senior Lecturer Senior level courses (PCPA) 9 credits Ward Stanley, Professor

Patricia Stewart, Adjunct Assistant Professor

David Taf ler, Associate Professor Anita Tiambeng, Senior Lecturer

Fabian Ulitsky, Associate Professor Susan Viguers, Associate Professor Joanne Walsh, Senior Lecturer Stanley Ward, Adjunct Assistant Professor William Webster, Associate Professor Carla Weinberg, Adjunct Associate Professor Burton Weiss, Adjunct Professor

Lily Yeh, Professor Toby Silverman Zinman, Professor

137 Humanities HU101&102 HU210A&B Art and Civilization of the Western World American Writers Course Descriptions 3 credits/semester 3 credits

This course sequence offers a historical survey of The first semester examines the major ideas and HU008 western culture, organized as a sequence of trends in nineteenth-century American literature, Language and Expression discrete "Golden Ages." For each "Golden Age," including works by Poe, Hawthorne, Melville, 3 credits/semester: fall or spring e.g., Classical Greece, Renaissance Florence, Dickinson, and James. The second semester Note: Credits do not count toward graduation culture is presented as a coherent whole, empha- focuses on twentieth-century American writers This course prepares students for whom sizing interrelationships among visual art, archi- and includes works by Wharton, Lewis, English is not a native language to produce the tecture, music, drama, literature, science, philo- Hemingway, Fitzgerald, and Steinbeck. kinds of writing expected of them on the col- sophy, social thought, and religion. Students are lege level, and to improve their reading, study, encouraged to see art in the context of the culture HU212 and test-taking skills. The concepts of para- Introduction to Mythology in which it was produced, as an expression of the graph unity, coherence, and outlining are credits distinctive "world view" of the age. Materials 3 introduced through the chief methods of com- defining mythmaking include literary and philosophical texts, slides of This course begins by position development. Further, the course (a creative process essential to all societies, past visual arts, and recorded music. provides a review of those principles of English and present) and by analyzing the different difficulty to grammar that present the greatest HU103A&B approaches to myth. It moves on to examine non-native speakers. Standard English punctu- Introduction to Modernism creation myths from around the world and, finally, ation practice is also stressed. Five essays and 3 credits/semester a selection of myths from three different cultures: a series of shorter written assignments are A course with an explicitly multi-arts viewpoint Greek, Norse, and Native American. required. Attendance is mandatory. Grades in that explores the historical and cultural inher-

Hll 008 will be assigned on a pass/no grade itance of the West over the last two centuries. HU216 Short Story basis. A student who successfully completes The first semester concentrates on the period The the course enters HU IIOA. 1776-1914 and examines the complex movements 3 credits short story from to the present known as romanticism and realism; the second A study of the Poe HU009&HU109B from British, the American, the semester covers the next half century of high Samplings the and Language and Expression European, with particular attention to the major modernism and its consequences. 3 credits/semester: fall and spring authors who reinvented the genre. At the end of the Required of all freshmen. Note: HU 009 credits do not count toward semester, students will look at developments in graduation; HU 109B credits count toward gradu- contemporary fiction, the antistory, the new wave, the Literature ation. These courses are designed to help stu- Language and surreal, the minimal, the funny, the mythic. dents improve reading, writing, and study skills.

The emphasis is on the technical aspects of HU130A&B HU218 writing, specifically grammar, punctuation, French I Superheroes: From Beowulf to Spiderman 3 credits spelling, and paragraph construction along with 3 credits reading comprehension, vocabulary, sentence Students study the basic elements of French This course examines the most important heroes grammar through conversation and drills derived structure, logical relationships, and usage. of popular culture in the Middle Ages — Beowulf, from readings of easy modern prose and from a Students may work on particular problem areas in Roland, Siegfried, and King Arthur. What do these cultural reader. the Learning Resource Center. Grades in HU 009 heroes and the epics in which they appear reveal about their culture? How do they compare to will be assigned on a pass/no grade basis. HU131A&B Students completing HU 009 enter HU 109B, credit modern popular superheroes? German I for which counts toward graduation. PCAD 3 credits HU219 students successfully completing HU 109B will Children's Literature enter HU 1 10B in the following semester. HU132A&B 3 credits

Italian I HU110A&B This course investigates the anonymous oral 3 credits Language and Expression traditions of world literature, which continue to This course covers conversation about everyday 3 credits/semester: fall and spring nurture the imagination and sense of identity of Italian life and culture and basic grammar through These courses offer concentrated training and children today, and the modern tradition of child- reading of Italian prose. practice in expository and argumentative writing. ren's literature. The course focuses on children's literature as an introduction to the principles and HU 1 10A (for all PCAD and PCPA students) HU151 concentrates on critical thinking and writing about forms of art and to the rule of the imagination in Language of Art History literature. HU 1 10B (for PCAD students) is an child development. 3 credits introduction to literature combined with further This course provides an introduction to the HU230A&B work in composition. A research paper completes language of art history, emphasizing concepts of French II the spring semester's work. Students who are style, iconography, and historical context. A basic 3 credits required to register for these courses must satis- vocabulary is developed to permit students to Open to students who have completed French I factorily complete HU 1 10A or HU 109B before describe and analyze works of art. Required of all or have had two or more years of high school registering for HU 11 0B. All PCAD students must students in PCAD. French. Students read modern French short stories satisfactorily complete HU 1 1 0B before gradu- and a novel, La Princesse de Cleves, by the ation. HU 1 10B must be taken in the semester HU201 eighteenth-century writer Mme. de la Fayette. following completion of HU 1 10A. Lyric Poetry

3 credits

A survey of lyric poetry from medieval times to the twentieth century.

138 HU232A&B HU315A HU411A

Italian II Modern Drama Renaissance Literature Exclusive of 3 credits 3 credits Shakespeare of credits Open to students who have completed Italian I or A study of the modern theater from the end 3 have had two or more years of high school Italian. the nineteenth century to the present. Students Works by Boccaccio, Machiavelli, Erasmus, will read some of the world's most famous play- Rabelais, Cervantes, Jonson, Calderon, and others HU310 wrights: Ibsen, Strindberg, Chekhov, Shaw, are read to explore the remarkable contribution

The Stories of Chekhov Pirandello, Lorca, Brecht, and Beckett. Three of these writers and to develop an understanding

3 credits theater trips. and appreciation of the Renaissance. Anton Chekhov is among the world's greatest writer of short stories. His presentation of human HU315B HU411B

relationships is profoundly humane and revealing. Contemporary Drama Shakespeare

The readings will include most of Chekhov's best 3 credits 3 credits

stories, excerpts from his letters, some critical A study of the experimental developments in This course examines the dramatic works of the interpretations, and supplementary material on today's theater, both on Broadway and off, from supreme writer of the English Renaissance — family life. We will consider the literary merits of Waiting for Godot Xo the present moment. Shakespeare. A selection of his comedies, his stories and explore what goes on between the Students will read some of the most famous histories, tragedies, and romances are read. The

people in them. playwrights of our time: Genet, Beckett, lonesco, course focuses on the plays not only as literary Albee, Pinter, and Shepard, as well as some not so accomplishments but also as theatrical ones —

HU311 famous. Theater trips. performances existing in three-dimensional space.

Greek Drama Thus the course is concerned both with the 3 credits HU316 parameters of the original Renaissance stage and Plays by Aeschylus, Sophocles, Euripides, and American Playwrights with modern translations and transformations

Aristophanes are examined to understand their 3 credits of the plays. Required of all students in the School

own integrity as works of art and to develop an A study of the American theater in the past fifty of Theater Arts. appreciation of the extraordinary accomplishment years, looking at the works of such authors as of Greek drama. O'Neill, Miller, Williams, Albee, and Shepard. HU412 Theater trips as well as showings of filmed plays. American Modernism HU312 3 credits

British and American Modernist Literature HU317A In reading and discussing key works of three 3 credits Romanticism American novelists- Fitzgerald, Hemingway, and The poet Ezra Pound declared to the writers of 3 credits Faulkner-the student considers to what extent and

his time that they should "make it new." This A study of the Romantic movement in England, how they reflect such modernist concerns as style, course will examine the success of modernist including the major poets (Blake, Wordsworth, language, narrative point of view, myth, psych-

literary innovation by reading selected works by Coleridge, Byron, Shelley, and Keats), several novelists ology, and history. In addition, students will lead

such writers as Joyce, Eliot, Lawrence, Woolf, (including Bronte's Wuthering Heights and Mary discussions of selected short fiction by Hemingway, Stein, and W.C. Williams. Attention Shelley's Frankenstein), and samplings from the letters Hemingway and Faulkner supported by research will also be given to the broader social and cul- and essays. Some of the predominant Romantic into criticism conducted at a major research tural influences on modernist thought. themes — the artist as outcast, revolution, man's library, and will finish the course with an essay on relation to nature — will be addressed. one additional major work by the writers studied. HU313 Poetry Writing Workshop: Composition and HU320A HU414A Theory Western Literary Masterpieces I: Ancient Contemporary Fiction 3 credits through Renaissance 3 credits Students write poems that are brought into class, 3 credits A study of the contemporary novel as represented by discussed, criticized, and put through some of the A selection of the greatest literary works of an international selection of authors from North and stages of revision that would improve the poems ancient Greece through the Renaissance. The South America, Eastern and Western Europe.

and help the students to bring them to a further course focuses on the perspectives and values Students will read some of the newest, best, and most

degree of excellence. Principles governing the de- those works reveal: what questions the different exciting fiction written in recent years; these novels

cision to change a poem in various ways, the cultures asked; how they approached and defined are often experimental, often difficult, never dull. This

study of poems by American and English poets, human potential, fate, reality; and, finally, how is the course for people who like to read. the reading of some criticism, concentration on the they defined art and the artist's role — enter- nature of and on some of the basic principles of tainer, recorder, shaper, conscience, or hero. HU414B

craft. Theory involves, primarily, sound, content, Studies in the Novel: The Big, Fat Famous meaning, and purpose of student poems and of HU320B Novel Literary Masterpieces II: poetry in general. The poet's sense of an audience Western 3 credits

also figures in the discussion. Neoclassic, Romantic, and Modern We will read three of the world's best and most 3 credits important novels: Tolstoy's War and Peace. HU314 A continuation of Humanities 320A, focusing on Melville's Moby Dick, and Joyce's Ulysses. Each Literature and Film: Images of Vietnam the same issues but from the seventeenth through provides great pleasure to the serious reader and 1950-1980 the twentieth centuries. Readings include works much material for intense discussion. Each novel

3 credits by such writers as Moliere, Voltaire, Austen, will have the equivalent of its own little course, Using a combination of films (documentary and Goethe, and others, and end with two twentieth- about one month long and requiring one paper. entertainment) and readings (fiction, memoirs, century writers, D. H. Lawrence and James Joyce,

history), this course explores the involvement of who represent two significantly different modern

the United States in Vietnam from the early 1950's traditions. tothelate 1970's.

139 HU415A&B Ait History HU245A&B Contemporary Poetry History of Western Architecture 3 credits HU240 3 credits This course consists of the reading and Ancient Art In the first semester, this course surveys the de- interpretation of major poets—Eliot, Stevens, 3 credits velopment of Western architecture from the Williams, Whitman, Bishop, for example —and An investigation of the art and architecture of the ancient world of the Greeks and the Romans some important contemporary poets such as ancient world, concentrating on the classical art of through the Renaissance and from the Renais-

Kinnell, Levertov, and Wright. Foreign poets in Greece and Rome, but also considering the arts of sance to the post-modern architecture of today. translation are also part of the course: Milosz, Mesopotamia and Egypt. In the second semester, emphasis is on the

Pavese, Hikmet, Akhmatova, to name four. Prose twentieth century. This course should be taken in by most of the poets concerning poetry is included HU241 sequence, as the second semester is dependent as an important part of understanding and inter- Medieval Art upon knowledge of the first semester's work. preting the readings. Several of the poets have 3 credits written important criticism. Analysis of each poet's The sculpture, architecture, painting, and decor- HU246 style and why the poet has developed it form part ative arts of Europe from the early Christian period Nineteenth-Century Painting and Sculpture: of the course. Aesthetic theory and the function of in the third century A.D. to the proto-Renaissance 1776-1900 poetry as a social force will also be considered. in Italy in the fourteenth century, observing the 3 credits emergence and flowering of a northern European Painting and sculpture made in the modern age

HU417 mystical Christian vision separate from the in the West are examined in an international

Lyric monumental classical vision of Greece and Rome. context. Emphasis is on the works of the major

3 credits French, English, German, and American artists.

A study of how contemporary song lyrics HU242A The variety of subjects these artists explored and developed from the tradition of lyric poetry and Northern Renaissance Art the new styles they developed as they responded folk ballads. Line-by-line analysis of famous lyric 3 credits to the world of the nineteenth century will be poems from literary history. Popular songs of the The painting of the late Gothic illuminators among the topics discussed. past fifty years are used in the discussion of the and the fourteenth-century German and Flemish problems and challenges of putting words to Mannerists such as Cranach, Brueghel, and Bosch. HU247 music, with special attention paid to Bob Dylan. Students investigate the complex symbolism of Modern Art

Other artists include Billie Holiday, Simon and northern iconography, the new techniques de- 3 credits Garfunkel, the Mamas and the Papas, the Rolling veloped, and the historical background of a style At the beginning of the twentieth century, artists responded Stones, Led Zeppelin, and Stevie Wonder. There is often called Northern Realism. to new technological forces and the a substantial writing requirement: students may pressures of mass culture in styles such as cubism, HU242B elect to study poetry, librettos, or song lyrics or to constructivism, and surrealism — styles that are still Italian Renaissance Art write original song lyrics of their own. being explored by ourcontem-poraries. The course 3 credits surveys the period 1880-1980, emphasizing the

HU418 The major figures in the artistic centers of Italy continuity of the modem artist's situation and role. Literature and Opera: 20th Century from Giotto in the fourteenth century to the early 3 credits work of Michelangelo at the end of the fifteenth HU248A A study of twentieth-century opera's treatment of century. The architects, sculptors, and painters of Film History major literature. Florence are the focus, but artists in Venice, 3 credits Padua, and Rome are discussed as well. A survey of the history of film. Films to be shown HU419 will be selected from the following categories:

James Joyce HU243 early film forms (Lumiere, Griffith, and De Mille); 3 credits Baroque Art Dada and Surrealist influences (Leger, Bunuel,

A seminar on the works of James Joyce (1 882- 3 credits Marx Brothers, and Resnais); the impact of

1 941 ), a key figure in literary modernism, and The works of the major European artists of the Constructivism and the Machine Aesthetic generally on the subject of modernism in all the seventeenth century: Bernini, Rubens, Velasquez, (Eisenstein, Vertov, and Chaplin); German arts. Close attention will be paid to Dublinersand Rembrandt, Poussin, and Vermeer. Through the Expressionists' influence on Hollywood (Ford,

A Portrait of the Artist as a Young Man, with brief genres of landscape, still life, and portraiture, all Welles, Wyler, and Hitchcock); modern European consideration given to Joyce's play Exiles and to mature by the seventeenth century, other artists and American films (Bergman, Godard, Kubrick, his poetry. Most of the seminar will be devoted to such as Hobbema, Ruisdael, Zurbaran, and Hals and Altman); and avant-garde art influences on a study of Ulysses. are also studied. new American cinema (Deren and Brakhage).

HU420 HU244 HU248B On the Nature of Poetry and Art Mythology in Oriental Art Issues in National Cinemas: Political and 3 credits 3 credits Critical An exploratory course on the nature of poetry An introduction to the symbolism of mythology in 3 credits and art in which a variety of texts will be used — Oriental art. The course investigates myths in the The course selects films from modern European literature, philosophy, art, letters, criticism. We major Oriental cultures, their basic patterns, and emerging national cultures that demonstrate will contend with some major figures, including functions, and meanings. both their interaction with postmodern politics,

Wallace Stevens, Rilke, Eliot, Giacometti, Monet, theory and culture, and the development of an and van Gogh. Contemporary artists such as alternative discourse to Hollywood commercial Sidney Goodman, Warren Rohrer, Ray Metzger, filmmaking. Films are selected from the following: and Tom Chimes will be discussed; some may 1920s Soviet cinema; Italian Neo-Realism; themselves join in our discussion. anthropological documentaries; French New

Wave; postwar/holocaustal cinema in Europe; other national cinemas (Spain, Hungary, Japan,

etc.); colonialist struggles in films from India,

Egypt, Argentina, Chile, Brazil, Senegal, Cuba; and new women filmmakers.

140 HU2S1A&B HU347 HU355 History of Design African, Pre-Columbian, and Native Dada and Surrealism 3 credits American Art 3 credits

This course sequence investigates the develop- 3 credits The history of the post-World War I antirational Since these ment of design in the nineteenth century (first Artistic, religious.sociological, and geographic movements Dada and Surrealism. well artistic semester) and its growth and development in the aspects of societies in sub-Saharan Africa will were literary and political as as twentieth century (second semester). All areas of be studied in order to establish continuity as well movements, attention is given to texts by such Rimbaud, design — architecture, fine art, applied and indus- as distinction between their art forms. Black authors as Artaud, Breton, Freud, Jarry, Tzara, as well as to works of art. trial art, the crafts, and graphic art — will be American folk art, an extension and transform- and covered. This course should be taken in sequence, ation of African art, will also be analyzed. The HU358 as the second semester is dependent upon several aspects of pre-Columbian and Native Romanticism knowledge of the first semester's work. American art that emphasize stylistic distinctions 3 credits and trends will be studied chronologically. HU2S6A&B Painting, sculpture, and architecture from the late History of Nineteenth- and Twentieth- HU348 eighteenth to the mid-nineteenth centuries in France, Century Photography American Art from the Colonial Period to England, Germany, Spain, and the United States. The

3 credits World War II concepts of Romanticism are discussed as they apply Objectives: to provide an introduction to the sig- 3 credits to this art and to the contemporary environment of nificant photographers and their work in the A survey of American art, architecture, and social and political revolution. history of the medium, to describe technical de- design, emphasizing the nineteenth and twentieth HU448 velopments and their impact, to discuss the major centuries. The material covered is divided into a American Art since 1945 visual and aesthetic trends in the development of series of sections or themes and is considered in 3 credits photography and their relationship to art in gen- relation to tradition. Each section or theme is

In 1945, World War II ended and the focus of eral, and to describe the larger social context in studied through the work of the major artists who modern art shifted from Paris to New York City. which photography has developed. best represent it. The course begins with Abstract Expressionism; HU342 HU351 studies other major American styles, such as pop Art of China The History and Aesthetics of Electronic art and minimalism; and concludes with post- 3 credits Cinema modernist development such as performance Painting, sculpture, architecture, and decorative 3 credits and decoration by artists. arts from the Neolithic period (sixteenth century The course traces the history of video as an art HU450 B.C.) to the Ching dynasty (eighteenth century form from the early 1 960s to the present. Basic Art of India A.D.). Special em-phasis is placed upon Shang film concepts are reviewed in their application to 3 credits bronze ware, H'an and T'ang sculpture, and Sung emerging new electronic formats. Video art is Painting, sculpture, and architecture from the and Ching pottery. The various art styles are examined in all of its aspects as computer art, Indus Valley civilization of the second millennium related to their historical, religious, and social installation, and sculpture. The survey will explore B.C. through the different periods of Buddhist, background, with particular emphasis on the the variety of styles, genres and forms which Hindu, and Islamic dominance to the Rajput impact of Confucianism, Taoism, and Buddhism constitute the distinctive achievement of Amer- painting of the eighteenth century A.D. The on Chinese art and architecture. From time to time, ican video art. The videotapes and documentation different art styles are related to their historical, Eastern and Western cultures will be compared of artists' projects will be examined and placed religious, and social background. to understand better the similarities and differ- within the social and cultural context in which between the two. they were produced. The market forces and the ences HU452 political/psychological systems shaping the Topics in Design HU343 audience and creating an increasingly problematic 3 credits Art of Venice role for artists will be an important consideration. A seminar in the history of design. Each semester 3 credits the course is taught, a different aspect of design An emphasis on light an apparent spontaneity of HU353A history is studied. Individual designers under con- organization, and a delight in richness and sensuality Impressionism sideration have been Wright, Le Corbusier, and guided the development of painting in Venice from 3 credits Aalto; other topics have been particular design Bellini through Tiepolo. The course presents Venetian The nineteenth-century style known as Impres- histories: crafts history, graphic design history, painting from the mid-1 5th to the later 1 8th century, sionism is often considered to be the foundation of industrial design history; and particular styles of pausing to focus especially on the art of Titian, European modern art. The course chronologically design: the Arts and Crafts movement Art Veronese, and Tintoretto, and themes peculiar to investigates Impressionism in its historical and Nouveau, Bauhaus, de Stijl and Constructivism, Venetian art the female figure poesia; Venetian light cultural context. The technical and conceptual Art Deco, and Post-Modemism. and landscape; portraiture; courtiers, humanists, and philosophies that underlie its development will

beauties; the confraternity narratives; and the fresco also be considered.

decoration of the Venetian villas. HU353B HU345 Post-Impressionism Modern Architecture 3 credits 3 credits Post-Impressionism will be chronologically inves-

The course investigates modem architecture, its tigated with respect to its historical, cultural, and

theoretical premises and the social context that gener- aesthetic context. The technical and philosophical

ated it Students will also inquire into modem archi- concepts that underlie Post-Impressionism's

tecture's legacy; post-modem architecture. development will also be explored. Although it is not a prerequisite, the student would do well to

take HU 353A first.

141 HU453 HU260A HU268 Ait of Japan Human Origins Introduction to the Bible 3 credits 3 credits 3 credits Painting, sculpture, architecture, and minor arts of An introduction to the history of ideas with The main themes of the Bible are explored from

Japan from the Neolithic period to the eighteenth emphasis on the theory of evolution; an intro- a modern, critical, nondenominational point of century A.D. The emergence and the development duction to the order Primate; and a survey of living view. No knowledge of the Bible is assumed. of a unique national style from an art world domin- nonhuman primate species from prosimians to the Using historical and literary analysis, continuities ated by Chinese influence. The development of great apes, stressing general characteristics and as well as differences between the Hebrew and painting from the medieval Yamoto-e narrative evolutionary trends of the order. Christian testaments are examined. scrolls through the fifteenth century. The evolution of various architectural styles from the great HU260B HU359 Buddhist temples of the seventh century to the Human Origins Sociology of Politics majestic castles of the seventeenth century. In 3 credits 3 credits sculpture and pottery, the technical improvements An introduction to human biological and cultural Interaction of political and social forces with the and the change of aesthetic values from the evolution, a survey of the major evolutionary American community and the resultant impact on Jomon and Yayoi phases to the porcelains of the stages in hominid evolution, an introduction to government structure and process are analyzed. Paleolithic technologies, discussion Factors such population "suburbanites," seventeenth century are analyzed. A brief histor- and a of and as profiles, of societies elite groups, public opinion, party organization, ical and social background of Japan accompanies comparison contemporary Stone Age the study of the various art styles. Special atten- with Paleolithic populations. elections, and reform movements are studied. tion is given to the influence of Zen Buddhism on HU262A&B HU360A Japanese culture. History of China, History of Japan Renaissance and Reformation: 1400-1648 HU456 3 credits 3 credits Major Artists The history of China (first semester) and the The intellectual and cultural explosion that semester). era in civilization. 3 credits history of Japan (second In each case, heralded the modern Western Political, philosophical, religious, The course concentrates on a single artist and the time span is from the earliest days to the economic, and present, special is cultural will stressed. his work. Among the artists who have come under but emphasis placed on the developments be period relations with the United this intense investigation have been Donatello, modern and HU360B Michelangelo, Rembrandt, and Picasso. Others States and other Western powers. Intellectual and Age of Science and Enlightenment 1600-1815 may be chosen by the faculty for future classes. cultural developments will take precedence over 3 credits The course has been designed to give students an political and economic history. The dramatic intellectual revolution of the age of in-depth knowledge of one artist's life and art. HU266A science and the applications of the revolution to every HU457 The Classical World province of human experience. The Enlightenment Cubism and Twentieth-Century Art 3 credits and the French Revolution, which are also part of the civilization in the transformation of Europe, are studied from the per- 3 credits A survey of the history of ancient near East and Europe. The focus is on Greek and spective of their consequences for the modem world. Cubism is one of the most important, if not the most Roman history, mythology and culture. important, of the foundations of twentieth-century art. HU361A&B This course surveys the development of the style from HU26GB Criminology its beginnings in the work of Picasso and Braque to Medieval Europe 3 credits the dissemination of the style in the later twentieth 3 credits This course divides the major sociological disci-pline century. Cubism's impact on abstract art, sculpture, A survey of the leading themes in the history of of criminology into its major areas. An in-depth study architecture, design, and, to a certain extent, literature medieval Europe: the classical inheritance, the of the general causes of crime and the methods of is explored. primacy of the Church, feudalism. studying the offender. Students in the second semester study the correctional system, focusing on History and Social Studies HU267 penology and alternatives to incarceration. Introduction to Cultural Anthropology HU162 3 credits HU362A&B

Individual and Society The nature and variation in human culture and American Civilization: 1608-1815

3 credits various explanations of these differences (i.e., 3 credits An introduction to the sociological perspective symbolic, functional, and historical). This survey An in-depth study of the origins of American that views the "social" as a distinctive aspect of of culture in Western and non-Western societies society with an emphasis on the particular poli-

the human condition, through an examination of considers religion, mythology, and art; marriage, tical, social, and cultural patterns that shaped

patterns of human interaction in modern societies. kinship, and group organization; ecological the course of American development. The first

The course seeks to develop a sensitivity to the adaptation, economic and political organization; semester surveys the process of settlement,

ways in which group norms and roles shape indi- and the relationship of culture to personality. colonial societies, independence, the growth of vidual behavior and thought as well as an under- Readings and films will be chosen to illustrate the the egalitarian spirit, and the Civil War. The

standing of the structure and function of some of effect of variations of size, environment and second semester studies American society in

the basic institutions of society. Topics will be subsistence and social complexity on cultural the modern period. From the perspective of

drawn from the following: social solidarity, norms expression within groups. today, the course examines the legacy of and values, socialization, deviant behavior, family Reconstruction, the Industrial Revolution, the

and kinship, social class, morality, ethnicity, Reform Movements, the World Wars, and the

religion, and education. Cold War. The factors in the past that have shaped contemporary society will be stressed.

142 A

HU363 HU462 Philosophy and Science Modem Culture American Social Values 3 credits 3 credits HU 181 An exploration of various aspects of the condition The cultural values of any society provide the Child and Adolescent Psychology of culture in modern society. Topics include the fundamental principles around which it is organized 3 credits nature and rise of mass or popular culture and its and patterned; at the same time they justify the so- This course is developmentally oriented and relationship to high culture, advertising and the ciety by investing it with meaning and purpose toward focuses upon Erikson's psychosocial stages of life cultural critique of capitalism, modernism and the which its members orient their actions. This course from birth to adolescence. Major topics include avant-garde in the arts, the intellectual's role in attempts to understand the nature and meaning of pregnancy, the birth process, and the physical, society, and the relationship between culture and American society at the highest level of generality intellectual, emotional, and social development of politics. As this is a course in sociology, the con- through an examination of some of its central value the child. Family life and parent-child relationships nections between culture and society are empha- orientations. These include individualism, equality, are also examined, with particular attention given sized in every instance. achievement, activism, practicality, progress, materia- to the impact of our social institutions upon lism, freedom, democracy, and secular rationalism. parents and children. HU364 The origin and meaning of some of these orientations

Sociology of Art are developed as well as their consequences both for HU181B

3 credits the quality of American society as a whole and for the Adult Psychology examination of the relationships that exist An character of individuals trying to live their lives in it 3 credits between art and society. The course will focus on the today. This course is developmentally oriented and focuses social influences that shape the creation and recep- upon Erikson's psychosocial crises from adolescence to tion of artistic works. Topics include the social role of HU464 death. Major topics include career choice, human the artist art as a socially organized form of work; the The Holocaust sexuality, love, marriage, values, mental health and social institutions of artistic production, transmission, 3 credits mental illness, aging, and death. and audience reception; and the understanding of art The Holocaust is a watershed event in modem history. in terms of its social context. This traumatic episode left indelible marks on Western HU270A

society, probably for generations to come. It was Introduction to Aesthetics

HU365A&B caused by factors that still exist in the world. This 3 credits

History and Culture of Latin America course examines the history that led to the Holocaust, An introduction to the philosophy of art After

3 credits and will attempt to understand what happened and a brief examination of analytic philosophical methods The history and culture of Latin America, including what meaning it has for us today. and the history of aesthetics, we consider some of indigenous as well as European cultural sources. the fundamental problems in aesthetics, such as the

National distinctions and the origins of modern HU493 intention of the artist, the physical object/aesthetic society in the area will be developed. Middle Eastern Art and Culture object distinction, and the nature and comparison of

3 credits different kinds of media. The relationship between HU369 An introduction to the art and culture of the Middle language and art will be central to the course. Cultural Ecology East through the perspective of anthropology and art

3 credits history. The course examines design, symbol, and HU274A

A review of the various cultural adaptations found techniques of Middle Eastern art, particularly painting, Introduction to Philosophy in different environments deserts, grass- such as architecture, ceramics, glassware, textiles, and metal 3 credits lands, circumpolar regions, tropical and temperate work. These arts are examined in their social, cultural, A course specifically tailored to students with no forests, islands, altitude and high and urban and historical context, which will include: the role of experience in reading philosophy. Several basic areas. These adaptations include hunting and the artist and craftsman in Middle Eastern society, the issues in philosophy are considered, including gathering, fishing, agriculture (shifting, irri- and influence of Islam on ritual and symbol, the influence freedom, God, morality, death, mind, appearance, gated, and industrial). The attitude toward the of environment on materials and architecture, urban- and reality. In addition to brief readings of primary population the of environment, growth, and use rural traditions, trade patterns and market organiza- sources, we read discussions of these issues plus labor, technology, energy, and other resources will tion, diffusion of design and materials. innovative fiction illustrating salient points. be considered. HU282A HU373A&B Fundamentals of College Mathematics Comparative Religion 3 credits 3 credits An introduction to the fundamental mathematical

A study of the world's major religions through principles and operations used in undergraduate their historical development, beliefs, sacred courses in the physical and social sciences. Topics literature, and the works of contemporary writers. include sets, logic, probability, statistics, number

The first semester is concerned with Eastern theory, algebra, and geometry. religions such as Hinduism, Buddhism, and Taoism; the second semester deals with Judaism, HU282B Christianity, and Islam. Calculus 3 credits HU393 An introduction to calculus with emphasis on the African-American Culture applications of differential and integral calculus 3 credits to the physical and social sciences. Prerequisite: An examination of the distinctive qualities of HU 282A, equivalent college-level mathematics, or African-American culture; the effects of slavery on precollege advanced algebra and geometry. family life; contribution of African-Americans in the arts and culture.

143 HU285A HU383 Related Arts Life Science Personality and Adjustment 3 credits 3 credits Ml 293 personality, the patterns of behavior The study of life as it evolved from unicellular The study of Dance and Expressive Culture organisms to humans. Special emphasis on and predispositions that determine how a person 3 credits behavior, instinct and learning, aggression and will perceive, think, feel, and act. The inner life of Dance is woven into the mythology, theater, human nature, and ecology. men and women, the quality of their character, music, poetry, and literature of many cultures.

their adjustment to their social milieu, and their The course considers dance as it has influenced

HU285B potentialities for self-fulfillment are all explored. and has been influenced by these forms of

Physical Science Special attention is given to adjustment problems creative expression in the Western world.

3 credits of artists in work and in love. An investigation of astronomy, geology, and other HU342

physical sciences, including the origin of the universe HU384 Mass Media and the Arts and solar system and the nature of physical science, Abnormal Psychology 3 credits matter, and energy. This course provides a background 3 credits The purpose of this course is to develop an for understanding the problems of the impact of Human development and abnormal psychology: understanding of mass media and popular culture, science on human values. ego defenses, emotional disorders, therapeutic primarily in the United States since the 1890s. Various theories, and treatment techniques. Clinical forms of mass media will be defined and the shared mi 3io diagnosis and classification of mental disorders. techniques by which these forms seek to communi-

Greek Philosophy: Thales through Aristotle Prerequisite: HU 1 81 A or HU1 81 B. cate will be analyzed. Finally, the values, both

3 credits aesthetic and social, embodied in both these media

We examine fragments from pre-Socratic philos- Ml 388 and popular culture will be examined in relation to

ophers, following which we consider the writings of Perception social and economic change. Rata, including three or four dialogues and the 3 credits vision, Republic. Finally, we read selections from Aristotle's The structure and function of the senses of Ml 432 writings on physics, the soul, and aesthetics. audition, olfaction, gustation, touch, temperature, Vienna and Berlin: 1900-1925 kinesthesis, time, and the brain and nervous system 3 credits Ml 372 are considered as they relate to perception. At the beginning of the twentieth century, Vienna Continental Philosophy and Existentialism and Berlin were important centers during one of

3 credits HU478 the richest periods in cultural and artistic history Continental philosophy examined as a Western Aesthetics Seminar of the Western world. Much of the science and art

alternative to the analytic method. Following some 3 credits of this century was given its focus and thrust by course in the philosophic problems historical background, the concentration is on the An advanced the men of genius working in these two cities. In about works works of Jean-Paul Sartre; readings from both his related to works of art and discourse this course, students study the works of Einstein, of philosophic works as well as his literary works. of art. Students will review the analytic method Freud, Mahler, Schoenberg, Wittgenstein, Kafka, inquiry will discuss the philosophy philosophic and and the German Expressionists. This is an inter- twentieth-century HU374 of Wittgenstein and other disciplinary course involving the visual, musical, Personality and Creativity philosophy of philosophers interested in the and literary arts, as well as philosophy. 3 credits language. A central text will be Languages ofArt Through readings of works of major theorists on the by Nelson Goodman. HU494 nature of personality and on creativity, the course Aestheticism and Decadence poses two major questions: "What do major theorists Ml 480 3 credits Creativity have to say about the human personality?" and "What Psychology of A study of the rise and fall of decadent late romantic

do major theorists have to say about what it means to 3 credits literature and art in the nineteenth century. The involved in be a creative person?" There are a number of ways of This course examines the problems readings are from the Marquis de Sade, Poe, creativity. The answering these questions and it is not the purpose defining and attempting to measure Baudelaire, Balzac, Gautier, Huysmans, Swinburne, oriented, focusing on of the course to choose the "best" answer, but rather, course is developmentally Pater, and Wide. Slide lectures on Romantic, Pre- to put the student in a better position to make his/her relationships between creativity and normal Raphaelite, and Symbolist art from Delacroix to Klimt intelligence and own decisions. growth and development, and Course restricted to juniors and seniors and requires encounters personality. Problems that the artist permission of the Director of Humanities. HU382 with productivity are explored, as well as the Social Psychology values of society toward creativity and the artist. HU497 3 credits Women and Sex Roles A survey of major social problems today and an HU481A&B 3 credits analysis of society's resistance to implementing Physics An interdisciplinary course combining history, the necessary painful solutions. Students will 3 credits psychology, literature, and art which investigates study the current status of major social institu- An introductory college physics course. The first the connection between theories of gender and kinematics, dynamics, energy, tions and their increasing failure to meet and semester covers the arts. Uses material from high art to Hollywood. satisfy human needs. Some of the other areas that structural analysis, and waves; the second semes-

will be studied are mental health and mental ter concentrates on a study of light, electricity, and HU999

illness, human values, love and marriage, dreams, magnetism. Both semesters will include frequent Independent Study and preventive programs. references to architecture, design, and the fine 3 credits arts. A background in algebra is required. 3 hours An independent course of study is offered that considers a particular issue of interest to student

and one or more faculty that is not covered in a regular course. Prior approval by the Director of

Humanities is required.

144 Graduate Courses in the Humanities

PCAD students in the graduate program are required to complete the graduate seminar sequence. These courses permit discussion of contemporary issues in the arts on an interdisciplinary graduate level.

GR691A University Graduate Seminar Structure and Metaphor 3 credits

GR691B University Graduate Seminar Art and Society 3 credits GR791A&B University Graduate Seminar Criticism 3 credits

PCPA students in the graduate program are required to complete the graduate humanities sequence. MU523A&B Graduate Studies in Humanities 2 credits

This two-semester course may take several approaches depending on the needs and interests of the class: 1 ) the survey of a particular period, emphasizing ideas, currents, and tendencies influencing the various arts of that period; 2) the study of a particular artist, with attention to the oeuvre and chief critical studies of that artist; and

3) the study of a particular style or stylistic development and its manifestation in several arts.

Required of all graduate music majors.

145 Humanities Faculty Robert Ackerman Lawrence Curry Director: Humanities Associate Professor BA, College of the City of New York History and Social Studies MA, PhD, Columbia University BA, MA, University of Pennsylvania

Awards: ACLS Fellowship; NEH Fellowship; Editor: The Bulletin of the Montgomery County Fellow, Institute for Advanced Study Historical Society, The Valley Forge Journal

Publications: J.G.Frazer: His Life and l/IM(1987); Publications: "Disruption of the New Deal Coali- numerous articles and reviews on the history of tion"; "Political Consequences of the Canadian classical scholarship, the history of anthropology, Campaign, 1775"; "Early Anti-Slavery Movement

and mythology. in Pennsylvania"; "Keeping the Poor: A History of

the Montgomery County Institution District"; Stephen Berg Mirror of the Republic. Professor Language and Literature Nancy Davenport BA, State University of Iowa Associate Professor Art History Awards: Guggenheim Fellowship in Poetry, Frank BA, MA, Bryn Mawr College O'Hara Memorial Prize, NEA Fellowship in Poetry, Rockefeller Fellowship, PCA Venture Fund PhD, University of Pennsylvania

Publications: "Armand Desforges, a 19th C. Art Publications: The Daughters: Nothing in the Word, Dealer," Gazette des Beaux Arts, 1982; "Theroigne Clouded Sky by Miklos Radnoti (trans.); Grief. de Mericourt as Liberty, the Person and Poems and Versions of Poems; Oedipus the King the Symbol," The Valley Forge Journal, 1982; "Notes by Sophocles (trans, with Diskin Clay); With on Gericault's Portraits of the Insane," Akhmatova at the Black Gates: Variations Founder Source, 1983; "Le Dernier Appel des History and coeditor of The American Poetry Review. Condamnes: Painting at Mid-Century," Gazette des Beaux Arts, Yongming Cai 1987; "At Work for the Company: CI. Muller's Senior Lecturer Projects for the Louvre," Bulletin de la societe de Philosphy and Science I'histoire de I'art Francais, 1987; "Napoleonic PhD, University of Pennsylvania Allegory, CI. Muller's Vive L'Empereur, 30 mars, 1814," Consortium on Revolutionary Europe Kent Christensen Proceedings, 1987. Associate Professor BA, Columbia University Francis Devlin MA, University of Connecticut Senior Lecturer Language and Expression Authority on opera and recorded vocal music. BA, LaSalle University Karen Ciark-Schock MA, UCLA Senior Lecturer John F. DeWitt Art Therapy Associate Professor BA, Rosemont College BA, Northeastern University MS, Hahnemann University MA, PhD, University of Connecticut Registered art therapist; program coordinator, Three collections of poems: Designs For/On Ahti, Paoli Memorial Hospital, 1977-89; teaching facul- Animals, and Finger Food, poems have also ty, Hahnemann University; cofounder Intraspect, a appeared in numerous magazines. Winner of personal and professional development company. Wallace Stevens Poetry Prize. Invited to two NEH Cathryn Coate summer seminars; served as a consultant to the Senior Lecturer Pennsylvania Department of Higher Education. Language and Expression Mary Ellen Didier BA, University of Denver Senior Lecturer MSW, University of Pennsylvania History and Social Studies

Douglas Collins BA, University of Wisconsin Senior Lecturer MA, University of Chicago

Language and Expression Professional interests: archaeologist with research

BA, SUNY in cultural process in eastern United States and

MA, University of North Carolina Near East, lithic technology, and interdisciplinary research between the sciences and archaeology. Robert Crites Senior Lecturer Art History BFA, The Ohio State University MFA, University of Delaware

146 Richard Farnum Leonard Kress Camille A. Paglia Assistant Professor Senior Lecturer Professor History and Social Studies History and Social Studies BA, Harpur College, SUNY Binghamton AB, Princeton University MA, University of Illinois M Phil, PhD, Yale University PhD, University of Pennsylvania Woodrow Wilson Fellowship Designate; Yale Sharon Lefevre Publications: "The American Upper Class and Higher University graduate fellowship. Taught at Senior Lecturer Education, 1880-1970," in Harold Bershady, ed., Bennington College, Wesleyan University, and Language and Expression Studies in American Democracy, 1 987; "Prestige in the Yale University. BA, Princeton University Ivy League: Democratization and Discrimination at MA, MPhil, Columbia University Publications: Sexual Personae, 1989; numerous Penn and Columbia," in Paul Kingston and Uonel essays, reviews, and encyclopedia articles on Lewis, eds.] The High Status Track Studies of Elite Sherry J. Lyons literature, psychology, art history, and popular Schools and Stratification, 1987. Adjunct Professor culture from Renaissance to the present. Director: Art Therapy Katherine Finney BA, University of Pennsylvania Diane D. Perkins Senior Lecturer MS, Hahnemann Medical College Adjunct Assistant Professor Language and Expression Language and Literature BA, Smith College Assistant professor, Hahnemann University and BA, MA, Temple University M Ed, Harvard University Hospital; registered art therapist, Ashbourne

MA, Temple University Day School, 1 967-72; lecturer and author on art Supervisor of composition program.

therapy with children; consultant for Arts in Temple University Anne Marie Flanagan Special Education Project of Pennsylvania. Senior Lecturer Ruth Perlmutter Language and Expression Mary Martin Adjunct Professor BA, MA, Temple University Adjunct Assistant Professor Art History History and Social Studies BA, New York University Ronald E. Hays BA, Macalester College MA, PhD, University of Pennsylvania Senior Lecturer MA, Washington University Publications: "Hollywood and the Jew," Film Art Therapy Experience: coordinator of Middle East Center, Reader 5, 1982; "West German Women's Films," MS, Hahnemann Medical College University of Pennsylvania Film Criticism, 1984-85; "Hitchcock's Rear Win- Experience: assistant professor and director, dow," Journal of Film and Video, 1985; "Bette Publications: articles on pastoral and agricultural Creative Arts in Therapy Education, Hahnemann Gordon's Working Girls," Postscript, 1986; "Woody strategies in Turan, Iran, for UNESCO Man and the University; consultant, Arts in Special Education Allen's Zelig According to Bakhtin," Quarterly Biosphere Project #1 1 : The Ecology of Settlement, Project of Pennsylvania; past president, Associ- Review of Film Studies, 1987; "Edgar Reitz's Heresies, 1978; "Ecological Consequences of ation for Care of Children's Health. Heimat," Wide Angle, 1987; "Fassbinder's Bitter Sedentarization of Nomads," (with F Darling in The Tears," Cinema Journal. Careless Technology); "Conservation at the Local Nancy Heller Level," in Desertification and Deue/opmenf(Academic Assistant Professor Gabriela Roepke Press); "Case Studies of Traditional Marketing," in Art History Senior Lecturer Proceedings of3rd International Conference on Goat AB, Middlebury College Literature/Opera Literature/Introduction and Production and Disease; "City and Country Rural MA, PhD, Rutgers University Contemporary Theater Textile Production," catalog for the Safavid-Qujar Assistant professor, University of Maryland; Studied in Santiago, Paris, and at the University of Exhibit, Textile Museum, Washington, DC; "Peasants Smithsonian Fellow, Hirshhorn Museum and North Carolina. Author and producer of over fifteen and Revolution in Class, Faith and Ideology in Revo- Sculpture Garden. original plays in Latin America, the United States, and lutionary Iran and the Middle-East"; "Smallholder Spain. Numerous articles in publications, including: Publications: Women Artists: An Illustrated History Management of Mixed Agricultural Resources in San Diego Opera Magazine, Opera News, New York (1988); The Regionalists, with Julia Williams (1 982). Desert Regions —Problems and Prospects," in City Opera Spotlight, and The Opera Magazine. Proceedings of the Second International Conference Dorine S. Houston Lectures for New York City Opera Guild. Former faculty Senior Lecturer member of the Juilliard American Opera Center

Language and Expression Martin Novelli former visiting lecturer at New York's New School for BA, MA, Temple University Adjunct Professor Social Research, and the Society for Ethical Culture. Language and Literature Recipient of two Fulbright fellowships, the Roland Holt Linnet Jones BS, St. Joseph's University Playwright Award, and a Guggenheim fellowship. Senior Lecturer MA, Purdue University Language and Ward M. Stanley Expression PhD, JD, Temple University BA, University of London Professor Former associate dean of academic affairs at PCA; Art History editorial board, The American Poetry Review, fiction Anne Karmatz BA, University of Hawaii reviewer, Philadelphia Inquirer, author, "Re-Visions," Adjunct Associate Professor MA, University of Pennsylvania radio documentary Language and Literature series on American history. Past president, PCA Faculty Council, 1980-81; BA, University of Pittsburgh founder of Design History Forum, 1 983 MS, University of Pennsylvania Awards: Fulbright Exchange Professor in England, MA, Villanova University 1973-74; UICA Grant, 1968; PCAD Venture Fund, Dean of women, Penn State University, 1985. Delaware County Campus

147 Patricia Stewart Joanne E. Walsh Lily Yen Adjunct Assistant Professor Senior Lecturer Professor: Painting, Foundation, Humanities Art History Language and Expression BA, National Taiwan University

BA, University of Pennsylvania BA, College of Mt. St. Vincent MFA, University of Pennsylvania Graduate study at Columbia University, University MA, Marquette University Lecturer: "Contemporary American Art," Beijing, of Pennsylvania Editor, Pappas Visiting Fellow publications, 1984, Central Institute of Fine Arts, and Zhejiang Insti- Curator, Museum of Contemporary Art, Chicago; 1985, 1986 (Penn Publications). tute of Art. China; Rutgers University; University of editor, Arts Exchange. Pennsylvania; Walpack Center, NJ Stanley Ward Publications: articles and reviews in Art Express, Exhibitions: Please Touch Museum, University City Adjunct Assistant Professor Art in America, Arts, Art Exchange. Science Center, Marian Locks Gallery, Philadel- Language and Literature phia; J.B. Speed Art Museum, Louisville, KY; BA, David Tafler Duke University Reading Museum, Reading, PA PhD, Harvard Associate Professor MA, University Awards: "Response Competition," Please Touch Art History, Photography/Film/Animation, Art Editor, Philadelphia Gay News. Museum, 1982; PCA Venture Fund Education Publications: work in journalism and two volumes of BA.Harpur College, SUNY Coordinator: art exchange program between PCA poetry, Crookshank, 1981, and Virgil's Lovers, 1983. MFA, Columbia University and the Tianjin Fine Art College, Tianjin, China MA, University of Wisconsin William Webster Toby Silverman Zinman PhD, Columbia University Associate Professor Professor Philosophy and Science Anita Tiambeng Language and Literature BM, Curtis Institute of Music Senior Lecturer BA, MA, PhD, Temple University BA, University of Iowa Language and Expression PhD, University of Pennsylvania Publications: articles primarily on contemporary BA, Beaver College drama and fiction in Modem Drama, Modem Designer and builder of fine houses, one of which MA, Temple University Fiction Studies, American Theater, and others on was featured in Fine Homebuilding Annual, 1988. the works of Samuel Beckett, Harold Pinter, Sam Fabian Ulitsky Publications: reviews in Journal ofAesthetics and Shepard, among others Associate Professor Art Criticism, referee for above journal. Lectures: papers presented Philosophy and Science at professional conferences on topics in contemporary drama of Sam BA, M Ed, Temple University Carla Weinberg Shepard, Iris Adjunct Associate Professor Tom Stoppard, Murdoch, Samuel Beckett, Licensed clinical psychologist in private practice; and Ernest Hemingway Language and Literature director, group process and group psychotherapy Doctorate in Foreign Language and Literature, Series of public lectures for the Philadelphia Master of Science program. Graduate School of University of Pisa, Fulbright Grantee, 1964-65 Drama Guild Hahnemann University. Publications: "Guido Gozzana a cent'anni, dalla sua Grants and Awards: director, NEH summer Publications: "Interfaces of Creativity," Art nascita," Atti del Convegno, Florence, 1985; "Due seminar for high school teachers, 1989. 1991; NEH Psychotherapy, an international journal, 1979. Autografi di G. Mazzini," The Italian Quartedy, 1987 Summer Seminar, Columbia University, 1987, 1984; NEH Panel on the Arts, Washington, DC, Susan T. Viguers Translations: "The Falling Tower," artists' 1986; Professor of the Year, Rutgers University, Associate Professor statement by Anne and Patrick Poirer, PCA Gallery, 1974; Doctoral Fellowship, Temple University, Language and Literature 1979; "Art-sound," essay by Germano Celant, 1967-70; scholarship, University of London, 1969 BA, BrynMawr College published by Soundings, Neuberger Museum, NY, MA, University of North Carolina at Chapel Hill 1981. PhD, Bryn Mawr College Awards: Lilly Fellow in Medieval History, 1982-83 Publications: With Child, Harcourt Brace Jovanovich, 1986. Articles include "Nonsense and Burton Weiss the Language of Poetry," Signal 42, 1983; 'The Adjunct Associate Professor

Presenter of the Battle of Alcazar," The Explicator, Philosophy and Science 1985; "Fairytales, Authorship and Aesthetic Res- BA, MA, PhD, Princeton University ponse," The Journal ofAesthetic Education, 1986; Associate professor of psychology, Drexel University. "Cornelia Meigs," Writers for Children, ed. Jane Interests and research primarily in the areas of physi- Bingham, "Staging in 1987; as a Key to Meaning ological and comparative psychology. The Alchemist," Theatre Survey, 1987; "The

Separation of Art and Reality in George Peele's Araygnement of Paris and David and Bethsabe,"

CIA Journal, 1 987, book reviews in The Journal of

Aesthetics and Art Criticism, 1983, and Philosophy and Literature, 1984.

Awards: Katharine E. McBride Fellow, 1971;

Whiting National Foundation Fellow in the

Humanities, 1974-75; Lilly Pennsylvania Fellow,

1977-80; University of Pennsylvania, 1977-80; Philadelphia College of Art Venture Fund Award, 1983,1987.

148 I UNIVERSITY OF THE ARTS

ADMINISTRATION AND BOARD OF TRUSTEES

n n

The University of the Arts The University of the Arts Administration Board of Trustees Dorrance H. Hamilton, Chairman Peter Solmssen, AB. JD President Peter Solmssen, President Virginia Red, BA MA, M Mus. Provost I. Gary Bard

Patricia M. Woldar. BA. MPA Assistant Provost. Mary Louise Beitzel Acting Registrar Irvin J. Borowsky Nathaniel R. Bowditch Stephen Jay, BM, MM Dean. Philadelphia College Ira Brind of Performing Arts Edward Cantor Stephen Tarantal, BFA, Dean, Philadelphia College of MFA W. HerbertCrowder.lll Art and Design Eleanor Davis

Robert Ackerman, BA, MA, Phd. Director, Division Philip J. Eitzen

of Humanities Anne F. Elder

John C. Goodchild, Jr. Barbara Elliott Director of Admissions Frederick S. Hammer John Musto, BA Director of Financial Aid Marvin D. Heaps

John Klinzing, BS, MA Ed.D. Dean of Students Stephen R. Holstad Judith Jamison Janet B. DeVries, BA Director of Planning Barbara J. Kaplan Marcia Atcheson Director of Development The Honorable Bruce W. Kauffman Louis J. Mayer, BS.CPA Director of Finance Raymond Klein Stephen Bloom. MA, MSLS Director of University Libraries Harold E. Kohn, Esq. Berton E. Korman

Irving S. Kosloff

William G. Krebs

Thomas V. Lefevre

Al Paul Lefton, Jr.

Elaine Levitt

Seymour G. Mandell Noel Mayo

Francis J. Mirabello. Esq.

Ronald J. Naples Adolf A. Paier

John C. Pemberton, Jr. Ronald Rubin

Dr. Hubert J. P. Schoemaker

Jay T. Snider Ambassador Daniel J. Terra Harry Waldman

Harriet G. Weiss George A. Weymouth

Albert E. Wolf

Life Trustees H. Ober Hess, Esq.

Sam S. McKeel John W. Merriam

Emeritus Trustees Schuyler G. Chapin Bodine Lamont Sondra Myers

Ronald K. Porter William L Rafsky

Roger L. Stevens PhilipH.Ward.lll Dorothy Shipley White

Ex Officio Trustees The Honorable Augusta A Clark The Honorable Vincent J. Fumo

The Honorable Joan L. Specter

151 Location 1 Fairmount Park

2 Philadelphia Museum of Art Travel Directions 3 Rodin Museum

The Office of Admissions of the University is 4 Logan Circle located in Haviland Hall on the Northwest corner of 5 Please Broad and Pine Streets. If you have any questions, Touch Museum

please feel free to call the Office of Admissions for 6 Franklin Institute/Science Museum assistance at 21 5-875-4808. 7 Academy of Natural Sciences By Bus 8 Philadelphia Visitors Center Greyhound/Trailways Bus Terminal—see map. 9 Pennsylvania Academy of the Fine Arts By Train 10 Penn Center/Suburban Station From Amtrak 30th Street Station—Transfer to Commuter Train to the Penn Center/Suburban 11 Amtrak 30th Street Station Station—see map. Taxi service is available from 12 City Hall 30th Street Station to Center City.

From New Jersey—PATCO Hi-Speed Line to 13 Greyhound/Trailways Bus Terminal 15th & Locust Streets—see map. 14 Reading Terminal Market

By Airplane 15 The Gallery Mall/Market East Station From Philadelphia International Airport—Follow signs to concourse to Airport Express Train. Trains 16 Franklin Square

leave every 30 minutes. Depart train at Penn 17 Liberty Bell Center/Suburban —see map.

Limousine or Taxi service ($20-30) from airport is 18 Rittenhouse Square

available from the baggage claim area to the Hilton 19 Philadelphia Art Alliance Hotel, Center City—see map. 20 Patco Hi-Speed Line to NJ By Car 21 Hilton Hotel From North travel south on the NJ Turnpike to

Exit 4 Camden/Philadelphia, follow signs to 22 Academy of Music Ben Franklin Bridge Philadelphia—see map. 23 Shubert Theater

From South travel north on 1-95 to Philadelphia's 24 Proposed site of new Philadelphia Orchestra Hall Broad Street exit (Rt 291 N). Travel north on Broad Street for about 2.5 miles—see map. 25YMAVHA

26 Philadelphia International Airport From East travel to the Ben Franklin Bridge Philadelphia, take I-676 west to Broad Street 27 Thomas Jefferson University Hospital exit—see map. 28 Forrest Theater Travel to the Walt Whitman Bridge Philadelphia, take I-76 west to South Street exit—see map. 29 Walnut Street Theater

30 Washington Square From West travel east on the PA Turnpike to exit

24 (1-76 east Schuykill Expressway) travel east on 31 Independence Hall Expressway (approx. 30 minutes) to South Street 32 South Street Scene exit Make a left and cross the South Street Bridge. Travel to Broad Street—see map.

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The University of the Arts Campus Map

1 Furness Hall

2 Haviland Hall 3 Anderson Hall

4 31 3 South Broad

5 Wagman Hall 6 309 South Broad 7 Merriam Theater 8 Arco Park 9 Delancey House 10 Fifteen Hundred Pine

11 Drake Theater Non Profit Organization • » US Postage PAID l*1 Phila., PA Permit No. 1103

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The University of the Arts The University of the Arts is accredited by the Middle States Association of Colleges and Schools, Office of Admissions the Commonwealth of Pennsylvania, the National 320 South Broad Street Association of Schools of Art and Design, and the Philadelphia, PA 19102 National Association of Schools of Music. 215-875-4808 The University of the Arts gives equal consideration

to all applicants for admission and financial aid

regardless of race, color, sex, religion, national or

ethnic origin, or handicap. Direct inquiries to the Office of Personnel, The University of the Arts, 320 South Broad Street, Philadelphia, PA 19102 215-875-4838.