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^i*tTg*±i^0km TABLE OF CONTENTS

The College 1 Admissions 31 The Campus 4 Application Procedure 31 Board of Directors 5 Auditions 31 Administration and Staff 6 Audition Dates 32 Faculty 7 Graduate Studies 34 School of Music 10 Graduate Program in Music 35 Curriculum 12 Graduate Program in Opera 36 Degree Programs 12 Application Procedure 37 Music Education 12 Concerts and Events 39 Jazz/Commercial Music Studies 13 General Information 40 Opera Emphasis 14 Student Life 41 Admissions 15 Student Housing 41 Application Procedure 15 Summer Session 41 Auditions 16 ACT 101 41 Audition Dates 16 Pre-College Testing 41 Audition Repertoire 17 Early Admissions Program 42 School of Dance 20 Part-Time Students 42 Curriculum 21 Transfer Students 42 Degree Programs 22 Foreign Students 42 Dance Education 22 Financial Aid 43 Admissions 23 Scholarships 44 Application Procedure 23 Tuition and Fees 45 Auditions 23 Faculty Biographies 47 Audition Dates 25 PCPA Student Body 63 Facilities 27 Calendar 64 School of Theatre 28 Map 65 Curriculum 30 Application for Admission 66 Degree Programs 30 Tips to the Applicant 68 H X m o o o m > o mm (fi CT O 2 cr GDO COLLEGE OF THE PEI^FOI^DIHG AI^S

AN INUITATION TO ATTEND

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

Arts is dedicated to excellence in the training of phia College of the Performing Arts. This signified professional musicians, dancers, actors, music a new direction for the school, and in essence educators, and dance educators. The PCPA announced the College's intention to expand its curriculum combines the performance emphasis of curriculum to include all three of the performing a traditional conservatory approach, stressing arts —Music, Dance, and Theatre. individualized training, practice, and discipline, with in 1977, the College incorporated the School a liberal arts education. of Dance into its curriculum; the School of Theatre to the Founded in 1870 as the Philadelphia Musical opened in 1983, thus adding new dimensions Academy, the Philadelphia College of the Perform- College's program. The high standards of training ing Arts has long been regarded as one of and professionalism established by the School of America's foremost contributors of outstanding Music are an integral part of the dance and acting musicians. Many of the College's early graduates programs. and faculty became members and founders of the The Philadelphia College of the Performing and pioneer, is when it was formed in 1900. Arts, long regarded as a leader The Philadelphia Orchestra continues to play a 's first and only independent college arts. significant role in the life of PCPA with many of its dedicated exclusively to the performing One members currently serving on the College faculty. of the first of its kind in the United States, the Located in Philadelphia's historic Shubert Building, College is recognized as a school which is serving Its philosophy is founded PCPA is adjacent to the Academy of Music, home present and future needs. of the world-famous orchestra. on the principle that performing artists, whatever that In 1976, still offering only a music program, the their discipline, have a common bond, and they must reach out to each other for inspiration tory, Cleveland Institute of Music, Mannes School, and growth. Many of the College's students follow Manhattan School of Music, and Peabody interdisciplinary careers requiring familiarity with all C6nservatory. the performing arts. The Philadelphia College of the Performing The College is proud of its distinguished Arts offers the student the unique opportunity to faculty, most of whom are widely-recognized per- learn and grow creatively as an individual and as a forming artists. Because of this faculty, along with performing artist. The coeducational student body the College's philosophy that superior individual- is composed of students from across the United ized instruction is of the utmost importance, PCPA States and many foreign countries. All students has established a reputation for excellence in pro- receive personal attention, professional individual- fessional training. This reputation is strengthened ized training, and are regarded as unique individ- by the impressive and ever-growing list of PCPA uals possessing abilities and talents which must be alumni which includes pianists Andre Watts, guided, respected, and allowed to grow to full Eugene List and the late William Kapell, composer potential. Our goal is to assist each student to Vincent Persichetti, soprano Florence Quivar, realize the full attainment of his true potential. dancers Judith Jamison and Rodney Griffith, and Indeed, the Philadelphia College of the jazz artist Stanley Clarke. Performing Arts is a place where one can study The Philadelphia College of the Performing with a professional to become a professional, while Arts, a fully-accredited independent institution, is a earning a fully-accredited college degree. member of a unique consortium. The College The College looks forward to the future and shares membership with the Juilliard School, San invites young artists to consider becoming a part of Francisco Conservatory, New England Conserva- this exciting experience. THE PHILADELPHIA COLLEGE OF THE PERFORMING ARTS

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

Chartered by: The Commonwealth of Pennsylvania, 1915

Amalgamated with: The Philadelphia Conservatory of Music, 1962 The Philadelphia Dance Academy, 1977

Approved by: Pennsylvania Department of Education Accredited by: Middle States Association of Colleges and Secondary Schools National Association of Schools of Music THE CAMPUS

The Philadelphia College of the Performing equipped with grand pianos. Also available is a two- Arts is located in Center City Philadelphia, a manual Challis Harpsichord, an 8-track Moog location highly advantageous for the young Synthesizer, a complete computer laboratory for performing artist. Its buildings are in the center of student use and research, two harps, complete sets an area which serves as the focal point of the city's of percussion instruments, and more than 100 major performing arts activities. Within one block orchestral instruments which may be used on a loan of the College, one will find the permanent homes basis for rehearsals and class instruction. of the Philadelphia Orchestra, the Pennsylvania The Annex Building, located at 313 South Ballet, the Philadelphia Civic Ballet, the Phila- Broad Street, houses the jazz, and opera programs delphia College of Art, Philadelphia's High School of PCPA. This building has spacious dance studios for the Creative and Performing Arts, and Phila- and several smaller practice rooms. Studios are delphia International Records. Indeed, concen- equipped with sturdy barres, mirrors, and resilient trated within this small area, one finds more wood floors. Dressing rooms are available with professional music, dance, and theatre represented individual lockers and showers. Several rooms are than in any other part of the city. available as rehearsal space for large ensembles The home of PCPA is the modern seven-story and other functions. The building also houses the Shubert Building at 250 South Broad Street. Phila- Performing Arts School, PCPA's own private delphia's historic Shubert Theatre, owned and school for grades 5-12. operated by the College, is housed on the ground Theatre 313 is located in the Annex and floor of the building, and is today the major serves students and faculty as a recital hall for performance hall for PCPA students and faculty. student and faculty concerts and productions. With

At the same time, it is the permanent home of the a seating capacity of approximately 200, this

Pennsylvania Ballet, and it is frequently a major theatre provides an intimate setting for small stop for pre-Broadway shows and national touring productions. companies. The opera/concert theatre has a The School of Dance at 309 South Broad seating capacity of 1800 persons and is considered Street, is one of the College's two new facilities. to be one of Philadelphia's finest. The building houses three spacious studios with On the third floor of the building is the Clara high ceilings, barres, mirrors, and resilient floors. and William S. Fishman Memorial Library. There are also dressing rooms, showers, office and This library houses more than 14,500 volumes and lounge areas. scores and over 10,000 records and tapes. In addi- The PCPA Residence Hall (Spruce Hall) is tion, the collection includes the Lattimore- located at 301 South 15th Street, one block away

Nahumck Library of Dance which is an exten- from the Shubert Building and offers students sive reference collection related to the art of dance. independent, double-occupancy apartments. The remainder of the building houses a full comple- PCPA is proud to offer to its students these ment of modern classrooms, chamber music three modern facilities located in the hub of Phila- studios, student lounges, and administrative offices. delphia's cultural and performing arts activities. In addition, there is an electronic music studio, Coupled with a dormitory and one of Philadelphia's class piano laboratory, and audio-visual equipment. finest theatres, the College offers an environment and Practice rooms are carpeted, have full-length location which will foster the professional and artistic mirrors, and individual heat controls. Many are development of each PCPA student. BOARD OF DIRECTORS

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

Charles W. Raison, Executive Director ADMINISTRATION AND STAFF

Charles W. Raison Executive Director/ Acting Director, School of Theatre Fredrick Kaufman Dean of the College/Director, School of Music Edward T. Brake Dean of Admissions, Director of Student Services Susan Glazer Director, School of Dance Carlton Jones Lake Director, Performing Arts School Elaine Evans Fredrick Kaufman, Dean of the College Director, New Studies Center Douglas Fitzgerald Director, Special Academic Programs/ Edna Cohen ACT 101, Conservatory Division Assistant to the Director, Dovie' R. Prather School of Dance Associate Director, Development/ Betti; Keiser Director, Publicity Director, Audience Development

Rita DiRenzo Barbara J. Silzle Registrar/ Placement Officer Administrative Assistant to the Executive Nadine Senyk Director and the Dean of the College Director, Student Residence Chris Blinebury Phoebe Law Administrative Assistant to the Librarian Dean of Admissions Michel Gbhler Joseph Castaldo Admissions Counselor President Emeritus Marv Cipriani-Price Maria Ezerman Drake Assistant Director of ACT 101/ Assistant Dean Emeritus Counselor Nadia Nahumck Dean Emeritus, School of Dance FACULTY KEYBOARD George Akerley (Piano) SCHOOL OF MUSIC Richard Alexander (Organ) Fredrick Kaufman, Director James Amadie (Piano) Coordinator, Division of Applied Studies Jeanne Behrend (Piano) WOODWINDS Allison Drake (Piano) Robert Elmore (Organ) *Adelchi Louis Angelucci (Bassoon) Frances Fanelli **Robert Bloom (Oboe) (Piano) Yoheved Kaplinsky Shirley Curtiss (Bassoon) (Piano) Robin Kissinger (Accompanist) Harold Karabell (Clarinet, Saxophone) Florenza D. Levengood (Piano) *Loren Lind (Flute) Kathleen Lawrence McKenna (Saxophone) S. Milly (College Accompanist) Dave Posmontier (Piano) Guido Mecoli (Clarinet) Michael Stairs (Organ) *Ronald Reuben (Clarinet) Susan Starr David Schneider (Oboe) (Piano) Benjamin Whitten **John Shamlian (Bassoon) (Piano) Joseph Smith (Saxophone, Clarinet) HARP Marshall Taylor (Saxophone) *Margarita Csonka Montanaro Adeline Tomasone (Flute) Karin Fuller William P. Zaccagni (Saxophone) STRINGS BRASS Robert Cerulli (Double Bass) *Roger Blackburn (Trumpet) *Frank Costanzo (Violin) *Tyrone Breuninger (Trombone) *Neil Courtney (Double Bass) Joseph DeAngelis (French Horn) *Joseph dePasquale (Viola) Richard Genovese (Trombone) *Julia dePasquale (Violin) *Frank Kaderabek (Trumpet) *Robert dePasquale (Violin) Jay Paul Krush (Trumpet) *William dePasquale (Violin) *Paul Krzywicki (Tuba) Domenick Fiore (Double Bass) Anthony Marchione (Trumpet) *George Harpham (Cello) Michael Natale (Trumpet) *Gloria Johns (Cello) Calvin Price (Trumpet) *Joseph Lanza (Violin) *Seymour Rosenfeld (Trumpet) '^*Dr. Leonard Mogill (Viola) *Charles G. Vernon (Trombone) '*Deborah Reeder (Cello) *David Wetherill (French Horn) *Henry G, Scott (Double Bass) PERCUSSION Craig Thomas (Double Bass) *Michael Bookspan '*Mihalay Virizlay (Cello) Nicholas D'Amico GUITAR Stephen E. Hudak Robert DiNardo Joe Nero Ed Flanagan John Leonard Patrick Mercuri Peter Segal VOICE JAZZ/COMMERCIAL MUSIC Paula Brown Evan Solot, Coordinator Marianne Casiello George Akerley Marion Harvey James Amadie Franco Iglesias Robert DiNardo Harold Parker Frances Fanelli Alan Wagner Domenick Fiore Vivian Wagner Ed Flanagan OPERA Richard Genovese Leone Kay Walker, Coordinator Gene Lawrence McKenna Lelia Calder (Vocal Pedagogy) Patrick Mercuri Larry Cannon (Make-Up) Michael Natale Allison Green-Kelley (Acting) Joe Nero Bruno Rigacci (Conductor, Visiting Artist) Schneider Gabriela Roepke (Opera, Theatre History) David Leon Unger (Coach) Fred Scott THEORY/COMPOSITION Adeline Tomasone William P. Zaccagni Dr. Donald Chittum, Coordinator Joseph Castaldo CONDUCTING Annette DiMedio Sean Deibler *Joseph Primavera Lilburn Dunlap Bruno Rigacci John C. Hodian Fredrick Kaufman MUSIC CRITICISM Jan Krzywicki Daniel Webster Yinam Leef ENSEMBLES Andrew Rudin Fredrick Kaufman, Coordinator Dr. Cad B. Schmidt Symphonv Orchestra MUSICIANSHIP Joseph Primavera, Conductor Symphonic Wind Ensemble Jan Krzywicki, Coordinator Roy McPherson, Conductor Lilburn Dunlap Chorus Janice Kestler Sean Deibler, Conductor Nadine Senyk Jazz Ensembles Michael Stairs Evan Solot, Director MUSIC EDUCATION William P. Zaccagni, Director Dr. Douglas S. Medlin, Coordinator Chamber Ensembles Nicholas D'Amico Fredrick Kaufman, Coordinator Mark Huxsoll Robert Bloom (Mixed Chamber) Dr. Carlton J. Lake Joseph dePasquale (String Chamber) Sandra Levinson Robert dePasquale (String Chamber) Roy McPherson William dePasquale (String Chamber) '*Joseph Primavera Robert DiNardo (Jazz Guitar Ensemble) TAP DANCE George Harpham (String Chamber) Lavaughn Robinson Stephen E. Hudak (Percussion Ensemble) Karen Vorkapich Jan Krzywicki (Renaissance Ensemble and DANCE STUDIES New Music Ensemble) Peter Bertini (Dance Notation) John Leonard (Classical Guitar) Annette DiMedio (Functional Music/Intro to Calvin Price (Brass Ensemble) Music) Joseph Primavera (Mixed Chamber) Manfred Fischbeck (Eurythmics) Michael Stairs (Piano Accompanying) Allison Green-Kelley (Acting) David Wetherill (Brass) Linda Haviland (Dance History) SECTIONALS Steven Kravitz, DPM (Anatomy, Kinesiology) DePasquale String Quartet (Strings) Gloria Lihotz (Voice) Joseph Primavera (Brass, Woodwinds and Rachel Mausner (Anatomy, Kinesiology) Percussion) Wendy Richman (Nutrition) SCHOOL OF DANCE Gabriela Roepke (Dance in Literature) Pearl Schaeffer (Dance Pedagogy) Susan B. Glazer, Director John Tacconelli (Mime) BALLET Joanne Tulli (Effort, Shape) Susan Gottlieb Andrew Pap SCHOOL OF THEATRE Barbara Sandonato Charles W. Raison, Acting Director Carol Luppescu Sklaroff Walter Dallas (Acting Studio, Musical Theatre) Marion Tonner Manfred Fischbeck (Movement) Alexei Yudenich Allison Green-Kelley (Speech) JAZZ/THEATRE DANCE Gabriela Roepke (Intro to Theatre) Peter Bertini John Tacconelli (Mime) Gary Flannery Nancy Berman Kantra Jose Meier HUMANITIES Robert Mikrut Dr. John F. DeWitt, Coordinator MODERN DANCE William Ashbrook Manfred Fischbeck Janice Bryson Kent JoAnn Fregalette-Jansen Christensen Susan Glazer Richard Everill Ronald Jackson Martin Kravitz Phoebe Law Naomi Mindlin Faye Snow Peter Rojcewicz Pat Thomas Joanne Tulli 'Member, The Philadelphia Orchestra **Former Member. The Philadelphia Orchestra ***Member. Baltimore Symphony -•-Graduate Composition Students Only N O S X o ro O

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

function as musicians and as productive citizens. Jazz Ensemble I '^- The traditional conservatory approach, that Jazz Ensemble II which stresses the importance of individualized Guitar Ensemble

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

instruction, the College is strongly performance- assist in the fullest development of each student's oriented. Performance and involvement in perform- potential.

11 CURRICULUM DEGREE AND CERTIFICATE PROGRAMS The PCPA curriculum stresses individualized Bachelor of Music

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

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

12 post-baccalaureate instruction. In this sense, PCPA Students receive performance opportunities offers a most effective program for those who through the College's award-winning performing recognize the desirability of teaching and the jazz ensembles, including three big bands and attractiveness of an applied career. numerous small ensembles.

For its Music Education majors, the College Jazz scholarship auditions are scheduled for offers excellent physical facilities, up-to-date April 2, 1984. Jazz auditions after that date are curriculum laboratory, closely-supervised lab school considered non-scholarship and may be scheduled and student-teaching experiences, a curriculum according to the audition calendar on page 16. emphasizing practical as well as theoretical approaches to the basics of accepted educational techniques, a faculty widely-experienced in public school and private teaching, and a policy of close individual career and college counseling. Certificate in Performance The Certificate in Performance program is a two-year program designed for the student who wishes to concentrate exclusively on musical studies without requirements in the Humanities.

Jazz/Commcrcial Music Studies

This four-year program is intended to provide a direct and pragmatic educational approach for those students who wish to pursue careers as performers, arrangers, and composers in the jazz and commercial music areas. The program carries a total graduation requirement of 128 credits as well as a Senior Recital of which half must be traditional repertoire. The curriculum includes courses in jazz piano, jazz improvisation, jazz theory and ear training, jazz arranging and film scoring, history of jazz, business of music, jazz lab, and recording, using the 48-track facilities of Sigma Sound Studios.

13 Opera Emphasis The Opera emphasis program exposes the undergraduate student to the rigors and literature of the operatic world before they continue with advanced work in this field. Voice majors may elect this program during the final two-years of a four- 1 year degree program at the College. Courses K#^ include acting, staging, acting Improvisation, opera literature and special musical coachings with the l,^<^ '*>9^| opera department faculty. ^^^^^^^^

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14 ADMISSIONS

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

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

career and as an art. recommended. It is not mandatory. Secondary School Requirements Because College enrollment quotas may be filled early, applications should be filed as soon as Applicants must complete requirements for the possible, in order to avoid the possibility of being high school diploma, GED, or the foreign equival- placed on a waiting list. ent prior to actual enrollment in the College, with the exception of those accepted under the Early Admissions Program. Proof of completion of the secondary school requirements must be submitted to the Office of Admissions before enrollment. Application Procedure

All applicants must submit: 1. A completed Application for Admission and a check or money order to cover the non- refundable $30 application fee. 2. Official transcripts from all secondary schools or colleges attended. 3. SAT or ACT test results. (Requests for waiver will be given consideration.)

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

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

15 MUSIC AUDITIONS Music Scholarship Auditions

All audition dates on or before April 4th are considered scholarship auditions. Those auditioning after that date may be considered for awards depending on the availability of funds. Resional Auditions

Regional Auditions will be conducted in the following cities in Spring 1984.

Atlanta Los Angeles Chicago Cincinnati Pittsburgh Dallas St. Louis Denver Washington, D.C.

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

Philadelphia Music Audition Dates

Listed below are the Philadelphia Audition Dates for admission to the 1984-85 and 1985-86 Academic Years. The applicant should indicate the desired audition date in the appropriate space on the Application for Admission.

1984-'85 ACADEMIC YEAR |

(Piano, Percussion *February 1, 1984 (Jazz Music) *April 2, 1984 (Strings, Guitar, Harp, Composition, Theory) (All Majors) *April 4, 1984 *February 15, 1984 (All Majors) April 18, 1984 (Voice, Opera, Organ) *March 7, 1984 (All Majors) May 2, 1984 (Brass, Woodwinds) *March 14, 1984 (All Majors) May 23, 1984

1985-86 ACADEMIC YEAR

November 7, 1984 *March 6, 1985 April 17, 1985

December 5, 1984 *March 20, 1985 May 1, 1985 *Fcbruary 6, 1985 *April 1, 1985 May 23, 1985 *Fcbruary 20, 1985 *April 3, 1985

*SCHOLARSHIP AUDITIONS 16 AUDITION REPERTOIRE The repertoire listed below is recommended Classical Guitar— Diatonic major and minor for the audition, although equivalent literature may scales (Segovia Fingering); one of the following

be substituted where necessary. Performance of studies of Sor (Segovia Edition): Studies No. 1, 6, segments from any or all of the selections may be 9, 10 or Carcassi Op 60, Studies No. 20 and 23, or requested. The candidate may also be asked to any of the Villa Lobos Etudes; Pieces representing

sight-read, if time permits. An accompanist will be the 16th and 17th Centuries and the 20th Century. provided, although applicants may bring their own Jazz Guitar— Diatonic major and minor scales, if desired. If there are any questions or desire you arpeggios, and chord inversions. A jazz solo specific information, the more please contact selected by the applicant. Admissions Office. Harp—Demonstrate general musicianship and Bassoon Major and minor scales; one study — ability to sight reading; two etudes or sonatinas from Wiessenborn Studies (1-50), Op. 8; one move- comparable to Bochsa or Nademan; a solo selected ment of the Mozart Concerto; the first third and or by the candidate. movement of a Vivaldi Bassoon Concerto. Oboe—Major and minor scales; a movement from Cello Major and minor scales and arpeggios; a — any concerto or sonata for the oboe. Popper etude; any movement from the first three Organ J. S. Bach Major Prelude and Fugue, Bach Suites; any sonata comparable to Sam- — Toccata and Fugue, or Fantasy and Fugue; Bach martini's Sonata in G Major; any standard concerto. Trio Sonata movement; a movement from a Clarinet —Major and minor scales; first and French organ symphony or suite. On piano: any second movements from of the following Bach Prelude and Fugue from the Well-Tempered concertos: Weber, First or Second Concerto; Clavier; Chopin Prelude. Mozart, Concerto in A Major, Op. 107, K. 622; Piano Major and minor scales and arpeggios; a Weber Concertino, Op. 26; any advanced study — work of J. S. Bach (three-part inventions. Preludes from H. Klose, Cavellini, or C. Rose. and Fugues, W. T. C); any sonata by Haydn Composition Applicants will submit a portfolio — (except C major, H XVI:35), Mozart (except C of original scores and will be interviewed by Major, K. 545) or Beethoven (except Op. 49); a members of the composition faculty. composition from the Romantic period (Chopin, Double Bass—Major and minor scales; Simandl Schumann, etc.); an Impressionist or Exercises, Book No. 1, pp. 74-75, 104-105; solo Contemporary composition chosen by the selected by the candidate. candidate (preferably a work by an American Flute—Major and minor scales; J. S. Bach, slow composer other than the Gershwin Preludes) to be movement from one of the Six Sonatas, and a performed from memory. piece demonstrating technical proficiency. Saxophone—Major and minor scales and French Horn—Major and minor scales; arpeggios; one study from Labanchi Concert Kopprasch, Vol. 1, No. 15; composition compar- Etudes, Book 1; a solo selected by the candidate. able to Mozart Third Horn Concerto. Theory—Applicants will be interviewed by AUDITION TAPES members of the theory faculty and are encouraged Applicants who are unable to audition in to bring any supporting materials such as original person may submit a tape recording. Audition analytic essays. tapes should meet the following standards:

Trombone—Major and minor scales; Kopprasch, 1. Tapes should be clear and relatively free of Book I; Rochut, Melodious Etudes; and a solo static or surface noise. selected by the candidate. 2. Recording speed should be 7 1/2 ips using a 7" Trumpet—Major and minor scales; any one of standard reel. the Arban Characteristic Studies; a solo selected 3. The tape reel and box should be clearly by the candidate. marked indicating the performer's name, instrument, and program including names of Tuba— Major and minor scales; Cimera, Tuba composers, opus or other appropriate Studies, exercises 7 through 11; Wagner, Overture numbers, and movements played. to "Die Meistersinger" and a solo to be selected by 4. The audition tape should not 15 the candidate. exceed minutes in length. Do not send a tape of a Percussion— Snare Drum: Loud roll, soft roll; concert or recital performance. prepared solo and sight-reading. Mallets: Marimba, The College reserves the right to rehear any Xylophone or Vibraphone prepared solo; major person admitted on the basis of a taped audition. and minor scales and arpeggios. Timpani: tuning of In such cases, the School also reserves the right to timpani at several intervals; prepared solo or etude. reconsider, and to negate if necessary, the original Viola—Major and minor scales and arpeggios; one offer of admission. of the Kreutzer Etudes or Mazas Special and Brilliant Etudes; one of the following: Handel, Concerto in B Minor; Telemann, G Major; or Stamitz, A Major; or Hoffmeister Concerto.

Violin —Major and minor scales (preferably in three octaves); selection from the Kreutzer Etudes; a sonata by Handel or Mozart, or a concerto by Mozart or Haydn. Voice—Three classical songs; one early Italian song, and two in English.

Jazz/Commercial Music— Suggested repertoire listed above for your instrument; jazz solo or improvisation on a 12-bar blues Maestro Riccardo Muti, Music Director and Conductor of the progression. Demonstration of improvisational Philadelphia Orchestra, conducts the PCPA Orchestra during ability is recommended, but not mandatory. rehearsal. PLACEMENT TESTING PROGRAM

Following admission to the college, a series of

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

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

3. The Basic Piano Placement Exam (for non-keyboard majors only) reviews the

applicant's ability (if any) to play the piano.

Placement Exam results are used as a general index of musical accomplishment, and as a specific mechanism for class assignments. The tests allow us to place students in class sections with students of similar ability.

19 Pianist Susan Starr, faculty, coaches student oC/i o o r O n m

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

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

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

Certificate in Dance 3. SAT or ACT scores. (Requests for waiver will be given consideration.) The two-year Certificate program is designed 4. one-page resume of previous dance train- specifically for those students who wish to concen- A ing including the of teachers, studios, trate on dance studies without a liberal arts names requirement. This program gives students concen- length of study, and performance experience. trated study in the broad spectrum of dance styles This should be attached to the application. and develops students' familiarity, proficiency, and DANCE AUDITIONS performing ability in these areas. Graduation The dance audition is of major importance in requirements include the successful completion of the admissions process. Selection is based upon the performance requirement as well as the the applicant's current level of technical proficiency prescribed course of study. and potential for professional development. The audition consists of one-half hour class each in Ballet, ADMISSIONS Modern Dance, and Jazz Dance. Applicants must Admission to the College's degree and certifi- also perform a dance composition limited to two cate programs is determined by a review of the minutes which may be the applicant's own choreog- applicant's secondary school record, SAT or ACT raphy. Musical accompaniment must be provided on scores, and audition results. The admissions a cassette tape or record. program seeks to determine the applicant's tech- VIDEO-TAPED AUDITIONS nical and artistic grasp of his or her major perform- If distance makes a personal audition ance medium and of dance fundamentals as a impossible, two letters of recommendation from whole. It also evaluates the applicant's ability to dance teachers with whom the applicant has function in a college environment and overall studied and a video tape of performance will be commitment to dance as a career and as an art. acceptable. We request that video tapes submitted In special cases the SAT or requirement ACT be either in Beta-I Format or VHS Format. of Admissions. may be waived by the Director No All video-taped dance auditions must show: specific or cut-off is by the SAT ACT employed College. 1. Ballet and either modern or jazz. Applicants must complete requirements for the 2. Warm-up including both floor work and high school diploma, or the foreign GED, barre. Barre to be taped sideways and equivalent prior to actual enrollment in the College, frontwards and should include: plies-demi with the exception of those accepted the under and grand, tendues, degages (battement Early Admissions Program. Official transcripts of jetes), ronds-de-jambes, grands battements, secondary school credits earned must be submitted developpes (extensions) —en croix. to the Admissions Office before enrollment. 3. Center work should include small and large Application Procedures jumps, pirouettes, adagio and a modern or All applicants must submit: jazz combination. 1. A completed Application for Admission and 4. Locomotor in jazz or modern dance — a check or money order to cover the non- combination of at least 8 measures which refundable $30 application fee. includes leaps and turns. 2. Official transcripts from all secondary 5. A short work of your own, not longer than schools or colleges attended. two minutes. DANCE AUDITIONS Dance Scholarship Auditions All auditions on or before April 4tlTare considered scholarship auditions. Those auditioning after that date may be considered for awards depending on the availability of funds. Regional Auditions

Regional auditions will be conducted in the following cities in Spring 1984.

Atlanta Los Angeles Chicago New York City Cincinnati Pittsburgh Dallas St. Louis Denver Washington, D.C.

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

«i Philadelphia Audition Dates

Listed below are the Philadelphia Audition Dates for admission to the 1984-85 and 1985-86 Academic Years. The applicant should indicate the desired audition date in the appropriate space on the Application for Admission.

1984-85 ACADEMIC YEAR

"Fcbruarv 1, 1984 *April 4, 1984 "February 15, 1984 April 18, 1984 "March 7, 1984 May 2, 1984 "March 14, 1984 May 23, 1984

1985-86 ACADEMIC YEAR

November 7, 1984 *February 20, 1985 "April 3, 1985 December 5, 1984 *March 6, 1985 April 17, 1985 "February 6, 1985 *March 20, 1985 May 1, 1985 May 23, 1985

*SCHOLARSHIP AUDITIONS 24 Facilities

The School of Dance is housed at 309 South Broad Street and in the Annex Building at 313 S. Broad. These buildings house six spacious studios equipped with barres, mirrors and resilient floors. Dance administrative offices, dressing rooms, lockers, showers, and lounges are also located in these buildings.

In addition to the main PCPA Library, students have available to them one of the largest and most diversified collections devoted to dance in the United States. Books, films, records, and journals are available to students for research Barbara Sandonato, faculty studies and coursework.

25 CAMPUS VISITS

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

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

Barbara Sandonato and Alexei Yudenich, faculty

26 Manfred Fischbeck, faculty 27 W A- ^s • n X o o r O H X fib iffi m m/m,#i m %

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

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

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

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

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

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

Theatre Scholarship Auditions

All auditions on or before April 4th are considered scholarship auditions. Those auditioning after that date may be considered for awards depending on the availability of funds. Regional Auditions

Regional auditions will be conducted in the following cities in Spring 1984.

Atlanta Los Angeles Chicago New York City Cincinnati Pittsburgh Dallas St. Louis Denver Washington, D.C.

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

Philadelphia Theatre Audition Dates

Listed below are the Philadelphia Audition Dates for admission to the 1984-85 and 1985-86 Academic Years. The applicant should indicate the desired audition date in the appropriate space on the Application for Admission.

1984-'85 ACADEMIC YEAR

*Februars' 1, 1984 *April 4, 1984 *Februars' 15, 1984 April 18, 1984 *March 7, 1984 May 2, 1984 *March 14, 1984 May 23, 1984

1985-86 ACADEMIC YEAR

November 7, 1984 *Februarv 20, 1985 * April 3, 1985 December 5, 1984 *March 6, 1985 April 17, 1985 "February 6, 1985 *March 20, 1985 May 1, 1985 May 23, 1985

*SCHOLARSHIP AUDITIONS ..-^^ ftl o G H* mW-^

H G O m C/5

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

1. To broaden the student's compositional skills with reference to compositions written for voice, acoustical instruments, and the electronic idiom. 2. To acquaint the student with basic skills of research and to assist him in furthering his knowledge of music theory and music history/literature through the application of

these basic research skills. 3. To develop the student's ability to conduct, coach, and to prepare a composition for performance. 4. To develop effective skills in writing and critical inquiry such that the student's

perspective of music is broadened through studies in the humanities.

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

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

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

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

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

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

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

34 Application Procedure Audition Repertoire

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

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

4. Three letters of recommendation from Taped auditions will be accepted only at the current or past teachers, school officials, or discretion of the Graduate Policy Committee and prominent musicians must be submitted on by prior arrangement. Any acceptance by tape will the appropriate forms. be tentative pending a live audition upon arrival at 5. An essay (1000 word minimum) explaining the College. how study at PCPA will help the applicant achieve his or her career goals must be submitted with the application. 6. Foreign students must take the TOEFL examination (Test of English as a Foreign Language).

Following the completion of the application procedure outlined above, the applicant will be auditioned by the Graduate Committee and appropriate members of the applied faculty. Applicants will have a fifteen-minute interview with members of the Graduate Policy Committee. The Committee will then review all of the application materials and a decision will be made.

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

CONCERTS AND EVENTS, 1983-84

Oct. 31 FCPA Symphony Orchestra, Harold Feb. 20 PCPA Symphony Orchestra Karabell clarinet soloist Newman Award Concert

Nov. 1 Dance/Jazz Ensemble Concert Feb. 24 New Dance— New Music Performance Nov. 7 Faculty Composers Concert April 2 PCPA Symphony Orchestra, Sergiu Nov. 18 Opera "Agrippina" —Handel Comissiona Conductor, Mihaly Dec. 4 Big Band Jazz Virizlay, cello soloist. Premiere Dec. 5 Wind Ensemble Concert Performance of Joseph Castaldo's Dec. 9& 10 Dance Productions of the Broadway Cello Concerto Stage April 7 & 8 Spring Dance Concert Dec. 11 Winter Dance Concert April 28 & 29 Opera Performance Dec. 12 PCPA Symphony Orchestra Concert May 12-18 IN-CONCERT CELEBRATION Dec. 15 New Music Concert including Dec. 16 Opera "Liederabend" May 12 & 13 Dance Concert Jan. 28 Dance Alumni Performance May 15 & 16 Opera "Magic Flute" Feb. 11 & 12 Opera Performance May 17 Jazz Concert Feb. 15 Black History Month Dance May 18 Orchestra/Chorus Concert Celebration

This is a representative schedule of major concerts and events. Student and faculty concerts, recitals, workshops, dance programs and guest performances are scheduled throughout the year in PCPA facilities and at various locations in the Philadelphia area. V-

^--^^4^ mm A Student Life the courses on a regular credit basis. A list of course offerings may be obtained from the The focal point of most student life at PCPA is Registrar after May 1st. involvement in the various ensembles and productions. In addition, students maintain the ACT 101 Student Government Association, electing student Made possible through a grant from the officers annually. An active student chapter of Commonwealth of Pennsylvania Office of Equal is integral Music Educators National Conference an Opportunity, ACT 101 is geared to assisting part of student life for many at PCPA, while educationally and economically disadvantaged additional student organizations are available. students to the completion of the certificate or The Center City location offers a variety of bachelor's degree. restaurants, movies, professional touring company The Program provides for specialized tutoring productions, all types of shopping, museums, and counseling in select courses in music, dance, libraries, historical of interest, other areas and and the humanities. In addition, if enrollment merits of entertainment. All of these are within forms it, a six-week pre-college summer preparatory walking distance of the College. session is offered. All services offered by ACT 101 Student Housing are free of charge, and every effort is made to distribute available financial aid in such a way as to The PCPA Residence Hall (Spruce Hall) is arrange adequate aid packages to all ACT 101 located at 301 S. 15th Street, about one (1) block students. Those who qualify for participation in the from the main college facilities. The dormitory program must be residents of the Commonwealth offers all of the regular dormitory services including of Pennsylvania and must demonstrate economic a professional live-in director/counselor, student and educational need within the regulations assistants/counselors, 24-hour security, laundry specified in the program guidelines. Interested facilities, and a student lounge. persons are encouraged to contact the ACT 101 All rooms are double occupancy, with the Coordinator. exception of a few triples. All rooms are furnished with a study desk, chest of drawers, bed and Pre-College Training mattress, chair, private bathroom, and small built-in The College has found that the applicants who kitchen. No food service is available. are best prepared for its programs of study are All new freshmen and transfer students are those who have had a minimum of two to five expected to live in the Residence Hall during the years of serious study prior to matriculation. first year of attendance/enrollment at PCPA. PCPA offers pre-college level training in music The Summer Session and dance to persons of all ages on a non-credit basis in the Music Conservatory and Dance The College offers a three-week and a six- Extension Divisions of the school. Instruction is week Summer Session. Students may register for

39 available on all instruments, voice, theory, Transfer Students composition, ballet, modern dance, and jazz dance. Students wishing to transfer to PCPA from PCPA applicants are not required to study in another college should follow the same application one of the School's pre-college divisions, however procedures as outlined on pages 15-16 for music many have found it to be an excellent preparation majors, pages 23-24 for dance majors and pages for the college bound student. Additional SC- SI for theatre majors. information is available from the Admissions Office, Any credits earned at another institution other Conservatory Division, or the Dance Extension than in the applicant's major area will be evaluated Division. and validated by the PCPA Applied Music, Early Admissions Program Theoretical Studies, General Studies/Humanities,

The Early Admissions Program is available to Music Education and/or Dance Division before those who have completed the sophomore year of they will be accepted for credit toward a PCPA high school with at least a B average. This special degree. Advanced standing in the major area is program allows the student of exceptional talent determined as a result of the audition. The and ability to complete high school and begin applicant may be asked to take tests which will aid college simultaneously. Those accepted into the in the evaluation of skill and knowledge. In no case program are not eligible for college graduation until will credit earned with a grade below "C" be

which time all high school graduation requirements accepted. Transfer students may receive no more have been completed and a diploma awarded. than four semesters advanced standing in the This program is available ONLY to those who major area. have exceptional talent, ability, and potential in an Foreign Students area of performance as well as high academic Foreign students who wish to enter PCPA achievement and the full cooperation and approval must comply with all provisions of the Immigration of the College, the applicant's high school and Act and will be admitted only on a full-time basis. parents. Immigration information is available from U.S. Those interested should arrange for a personal Embassy offices in foreign countries. interview with the Dean of Admissions. Foreign students aie required to take the TEST Part-Time Students OF ENGLISH AS A FOREIGN LANGUAGE (TOEFL) or provide proof of English proficiency. Part-time study is available to degree and non- degree students each semester. Interested persons The College requires a TOEFL score of 450 or higher. is available should contact the Dean of Admissions for TOEFL information from the information regarding registration procedures and Educational Testing Service, Box 899, Princeton, instructions. New Jersey, 08541, USA. The 1-20 Form, issued by the College for immigration purposes, will not be forwarded until the applicant has been fully admitted, provided an acceptable TOEFL score or the equivalent, and submitted the required advance tuition deposit. 40 FINANCIAL AID PCPA offers financial aid to qualified students 2. The PCPA Financial Aid Application to the to help defray educational expenses. Some of the Director of Financial Aid. awards may be offered singly or in various 3. The appropriate federal or state applications "package" combinations. Last year, over 53% of for individual programs. the College's entering class received aid through PCPA institutional grants and employment, state NOTE: Those who wish to be considered for and federal need-based programs (grants, loans, a Tuition Remission Grant and/or employment), private grants and scholarships, or a private scholarships and awards must combination of all types of aid. apply for admission and complete the required audition prior to April I. The standard FEDERALLY-SPONSORED PROGRAMS at PCPA are: *Basic Educational Opportunity Grant ALL QUESTIONS OR PROBLEMS (BEOG/PELL Grants) PERTAINING TO FINANCIAL AID OR *Supplemental Educational Opportunity Grant APPLICATION PROCESSES SHOULD BE (SEOG) ADDRESSED TO THE DIRECTOR OF *College Work-Study Program (CWSP) FINANCIAL AID. *National Direct Student Loan (NDSL) *Federally-lnsured Loans The following STATE PROGRAMS are available at PCPA: *PHEAA (Pennsylvania residents only) *Guaranteed Student Loan (GSL) The following INSTITUTIONAL PROGRAMS are available at PCPA: *Tuition Remission Grants (TRG) *Private scholarships and awards To be considered for any or all of the above types of student aid, applicants must submit:

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

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

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

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

42 1983-84 TUITION AND FEES TUITION Undergraduate Full-Time Schools of Dance and Theatre Per Semester $2860.00 Full-Time School of Music Per Semester $2860.00-$3 170.00

Part-Time Rates Individual Major Instruction Per Hour Class Instruction Per Credit Hour $200.00 Graduate Full-Time School of Music Per Semester $3340.00

Part-Time Rates Individual Major Instruction Per Hour Class Instruction Dance & Theatre Per Credit Hour $375.00 Music Per Credit Hour 350.00 Opera Per Credit Hour 350.00

COLLEGE HOUSING (Room Only), 1983-84 Double-room occupancy Per Semester $1000.00 FEES AND CHARGES, 1983-84 Application Fee | ^^ Registration Fee (Per Semester, Part-Time Only) $ 100 Tuition Deposit (Not refundable after July 1) $ ^0 Examination for Advanced Standing * ^0 Late Registration Fee ^ ^0 Late Tuition Payment Fee ^ 25 Special or Make-Up Examination * Returned Checks $ °0^ Graduation Fee ^ Transcripts (each) ^ 25^ Instrumental Rental Fee (Per Semester) $ For Double Degree Students Only) ^0 Instrument Deposit (Per Semester) ^ (For Double Degree Students Only) ^0 Ensemble Library Deposit (Per Semester) $ 200 Course Overload Fee (Per Credit Hour— Undergraduate) $ (Per Credit Hour— Graduate) *

*A variable rate, dependent upon Individual Major Instruction. **A variable rate, dependent upon specific Graduate Program. 43 TUITION DEPOSIT

A tuition deposit is required of all new The refund policy at PCPA applies only to a students when accepted and is credited to the first complete withdrawal from all courses for which semester's tuition. It is not refundable after July 1 either a full-time or part-time student is registered. for students entering in the Fall Semester or Any partial withdrawal (i.e. from individual courses)

December 1 for students entering in the Spring will not result in a partial refund of tuition. A Semester. change in tuition assessment status from full-time A tuition deposit is also required of all return- to part-time will not be permitted on or after the ing students in November for the spring semester first day of classes. and prior to registration in April for the fall Any student who withdraws from the College semester. The deposit is credited to the following before the first day of classes will receive a 100% semester's tuition. Financial aid recipients who refund of tuition paid (excluding fees and charges). have confirmed grants, scholarships or loans for the For those who withdraw on the first day of full tuition amount will not be subject to this classes or anytime thereafter, an administrative requirement after they have received written con- committee may review refund requests. When firmation from the Director of Financial Aid. approved, the refund schedule allows for up to 80% PAYMENT OF FEES refund during the first week of classes; 60% during the second week; 40% during the third week; 20% Tuition and fees are payable on or before during the fourth week; and no refund after the August 1 for the Fall semester and on or before fourth week of classes. December 1 for the Spring semester. Credit will be No refunds are allowed for Dormitory allowed for amounts paid at registration. Charge(s) after the student has moved into the Students who are delinquent in payment of Residence Hall. financial obligations will not be permitted to attend In computing refunds, the date of withdrawal is classes or register for the following semester and the date on which the Registrar receives written will be subject to appropriate late payment and late notice from the student, his parents, or his registration fees. No transcript, grade report, guardian. If notice is received after withdrawal, degree or certificate will be issued to a student refunds cannot be made retroactive to date leaving. until all tuition, fees, fines, emergency loans and No refunds will be made to students dismissed any other assessed charges are paid in full. or COLLEGE REFUND POLICY at any time for unsatisfactory academic standing infraction of regulations. The College must engage its faculty and make Refunds for students receiving financial other financial commitments in advance of each assistance from scholarships, grants, or loans will in with the of students term accordance number be returned first to the grantors in accordance with have expressed their intent to enroll. When who their requirements, and the difference, if any, will students withdraw from the College, vacancies are be refunded to the student. created which cannot be filled and the College's

financial commitment must still be honored.

POLICY STATEMENT—The Philadelphia College of the Performing Arts adheres to a nondiscriminatory policy with regard to race, color, sex. national It to ethnic origin, and religious affiliation with regard to the review, consideration, and final disposition of applications for admission to the College. adheres college-administered programs and a full nondiscriminatory policy in the administration of its educational programs and policies, financial aid, and all other at any time activities. The College reserves the nght to change the regulations, tuition, fees, faculty, and other information contained in this publication 44 without pnor notice. However, in the event that any such changes become necessary, attempts will be made to publicize them adequately. FACULTY BIOGRAPHIES

RICHARD ALEXANDER (Organ) - BM, Curtis Institute of ROGER BLACKBURN rirumpetj-Graduate, Curtis Music; MM, Yale University; Research Fellow. Institute of Institute of Music; student of Samuel Krauss; member of the Sacred Music of the Yale University School of Divinity; organist Philadelphia Orchestra since 1974; received a Fulbright

and choirmaster of St. Paul's Church, Chestnut Hill. Scholarship to study with Helmut Wobisch at the Academy of Music, Vienna; former Principal Trumpet with the Israel Phil- JAMES V. Af^ADIE (Modern Harmony and Jazz harmonic Orchestra; former member of the St. Louis and the Houston Symphony, Theory.) — BME, Philadelphia Musical Academy (Philadelphia Symphony College of the Performing Arts); former jazz pianist with the (OboeJ-Graduate, Curtis Institute of Woody Herman Orchestra; performed at New York's ROBERT BLOOM Music; student of ; former member of the Copacabana; accompanist for Mel Torme, Bobby Rydell and Al former solo oboist with the Martino; performed with the Philadelphia Orchestra Brass Rochester Orchestra; NBC Orchestra under the direction of ; Ensemble; composed for Woody Herman, Oscar Peterson and Symphony the Bach Aria and served as solo oboist; Charlie Byrd; conducted score for National Football League toured with Group Professor Emeritus at Yale University; former faculty member films- at the Juillard School of Music; former students include solo ADELCHI LOUIS ANGELUCCI (BassoonJ Graduate, oboists in the Chicago, Los Angeles, Pittsburgh, Toronto, San Curtis Institute of Music; member of the Philadelphia Orchestra Francisco, Rochester Philharmonic, Vancouver, St. Paul, since 1950; former member of the Pennsylvania Symphony and Orlando, Tampa, and New Haven Symphony Orchestras. the National Symphony Orchestra; former member of ballet and opera orchestras of Philadelphia. MICHAEL BOOKSPAN (Percussion)-BS, Juilliard School of Music; studied with Morris Goldberg, Saul Goodman, WILLIAM ASHBROOK (Opera H,storv)-BA. University and Fred Albright; Principal Percussionist and Associate of Pennsylvania; MA and post-graduate studies, Harvard Tympanist with the Philadelphia Orchestra; and former University; contributor to Grove's Dictionary and Opera News: xylophone soloist with the US Air Force Band; former member author of numerous books on opera history. of the Little Orchestra Society of New York, the New York City Ballet Orchestra, and the Goldman Band; current faculty JEANNE BEHREND fPiano)— Graduate, Curtis Institute of member of the Curtis Institute of Music. Recipient of C. Music; studied piano with Josef Hofmann and composition with Hartman Kuhn Award of the Philadelphia Orchestra. Rosario Scalero; received the Distinguished Daughter of

Pennsylvania award in 1978. EDWARD T. BRAKE (Dean of Admissions, Director of Student Seri'icesj BS, Artist's Diploma in Voice, Southwest PETER BERTINI (Modern DanceJ-Graduate, SUNY at Missouri State University; MS, Southern Illinois University; Brockport and Philadelphia College of the Performing Arts; Dean of Students and Instructor in Psychology, Bethany additional study at the Clark Center for the Performing Arts and College, Lindsborg, Kansas (1966-70); Directorof Financial Aid, Jo Jo's Dance Factory; performed with The Great Chazy State College, Trenton, New Jersey (1970-76); served Dance Company and the Schuylkill Valley Regional Dance Trenton Advisory Committee on Financial Aid, Theatre. on Special Presidential

45 CUoicej-Graduate, Curtis Washington. DC. ( 1972-73); studied and performed with MARIANNE CASIELLO Marjone Lawrence; studied with Robert Ruetz; appeared in Institute of Music; professional engagements include operatic musicals as actor singer in Equity productions. Starlight roles such as Mimi, Violetta, Micaela, Nedda and Marguerite Theatre, Kansas City (1964-70); has performed with Duke (Faust); faculty member of Curtis Institute of Music and Settle- Ellington (on tour), and with Shirley Jones, Donald O'Connor, ment Music School. Pernell Roberts, Giorgio Tozzi, Molly Picon, John Davidson, JOSEPH CASTALDO (President Emeritus Composition) Sandy Duncan, Ginger Rogers; currently Vice President, Board —BM, MM, Philadelphia Conservatory of Music (Philadelphia of Directors of Philadelphia Boys Choir; adjudicator for College of the Performing Arts); student at St. Cecilia Academy numerous talent and scholarship competitions; Outstanding in Rome and the Manhattan School of Music; student ofVittorio Educator in America (1971); listed in Who's Who in the East Giannini and Vincent Persichetti; numerous compositions (1973-83); Outstanding Young Man of the Year Award (U.S. performed throughout the world; served as a founder and Presi- Jaycees. 1977). dent of the Philadelphia Composers Forum. President of the PAULA BROWN (l/oice)-Graduate, Curtis Institute of Philadelphia College of the Performing Arts, 1966- 1983. Music; studied with Raquel Adonaylo; appeared as soloist with L. CERULLI (Double BassJ-Graduate, Curtis the Philadelphia Singers, the Pennsylvania Pro Musica and the ROBERT Institute of Music; BM, Philadelphia Musical Academy (Phila- University of Pennsylvania Collegium Musicum; also has delphia College of the Performing Arts); MA, Trenton State appeared with the Pennsylvania Opera Theatre as Paquette in College; student of Roger M. Scott; former member of the Bernstein's Candide: has performed recitals throughout the Buffalo Philharmonic Orchestra; current member of the United States. Trenton Symphony, the Delaware Symphony, New Jersey Master Bass teacher for the JANICE BRYSON (German)— BM. Philadelphia College of State Opera Orchestra; served as the Performing Arts; MM, Temple University; PhD candidate, 19th International String Conference. Bryn Mawr College; member of the Philadelphia Singers. DONALD CHITTUM (Coordinator. Theory Composition Diiisioni^BM, MM, DM, Philadelphia Conservatory of Music LELIA CALDER iVocal Pedagogy English Diction)-BA. (Philadelphia College of the Performing Arts); studied with Harvard University; MM, Temple University; private voice Vincent Persichetti and Boris Koutzen; former president of the instructor at Swarthmore College; teacher of class and private Pennsylvania Music Teachers Association and the Pennsyl- voice, lecturer on vocal literature. Temple University; formerly vania Council on Music and Education; former chairman of the a soloist with Singing City and Philamel; member of the Pennsylvania Fine Arts Project; current chairman of the Music Philadelphia Singers. Teachers National Association; recently named Teacher of the LARRY CANNON (Make-Upj— Designer and make-up for Year by the Pennsylvania Music Teachers Association; numerous opera companies throughout the U.S., Canada, and chairman of the Music Department of the Pennsylvania South America, including the San Francisco Opera and the Governor's School for the Arts. New York City Opera; currently, the Master of Wigs and Make- up, Opera Company of Philadelphia.

46 KENT CHRISTENSEN (Humanities)-BA, Columbia and Creative Genius Awards from Atlanta Critics, two Bronze University; MA, University of Connecticut, Jubilee Awards for Theatre Excellence and a California Emmy nomination; among his original plays which have been FRANK COSTANZO (Violin)-BM. University of produced, Willie Lobo/Manchild is regularly aired in California Orchestra since Pennsylvania; member of the Philadelphia and New York. 1941; former member of the American String Orchestra; received the Hartman Kuhn Award of the Philadelphia NICHOLAS D'AMICO, JR. (Percussionj-Graduate, Orchestra in 1959. Curtis Institute of Music; free-lance percussionist throughout the East including engagements with the Pennsylvania Ballet NEIL COURTNEY (Double BassJ-BM and Performer's Company Orchestra. Certificate, Eastman School of Music; studied with Oscar Zimmerman and Roger M. Scott; member of the Philadelphia JOSEPH DeANGELIS (French Horn}-BM, Juilliard Orchestra since 1962; former member of the US Marine Band School of Music; student of James Chambers; former member and the Rochester Philharmonic under Eric Leinsdorf; former of the New Orleans Philharmonic; current Principal Horn with Principal Bassist with the National Symphony Orchestra. the Philadelphia Opera Orchestra and the Pennsylvania Ballet Company Orchestra; has played extra horn with the NewYork State SHIRLEY CURTISS fBassoonj-BM, BMEd, Murray Philharmonic for the past 20 years. University; MM, University of Miami; former student of Sol Schoenbach; students and ensembles include numerous JOSEPH de PASQUALE (Wo/a) -Graduate, Curtis Insti- winners of Youth Concerts of the Philadelphia Orchestra, New tute of Music; studied with Louis Bailly, Max Aronoff and York Philharmonic and other orchestras in the Delaware William Primrose; Principal Violist with the Philadelphia Valley; former students also hold positions in major symphony Orchestra since 1964; former Principal Violist of the orchestras and universities in the United States and abroad. Symphony; former member of the US Marine Band; violist with the DePasquale String Quartet; current faculty member of the WALTER DALLAS (Acting S/udioJ-BA, Morehouse Curtis Institute of Music. College; MFA, Yale Drama School; additional studies at

Harvard University, University of Ghana, and Paul Sills JULIA de PASQUALE (Wo;in)-Graduate, Curtis Institute (improvisation); has taught and/or directed workshops at Yale of Music; student of Veda Reynolds; member of the Philadelphia University, Antioch College, University of California, Berkeley, Orchestra since 1964; former member of the Toronto in the and University of Ghana; has guest directed at several off-off, Symphony Orchestra; participant Marlboro Music off-Broadway and regional theatres, including Atlanta's Alliance Festival under the direction of Rudolf Serkin. theatre, Baltimore's Center Stage (where he was a National ROBERT de PASQUALE (l/io/inj— Graduate, New School Endowment for the Arts Director Fellow), San Francisco's of Music; student of Jascha Brodsky; member of the Montgomery Playhouse and New York's Negro Ensemble Philadelphia Orchestra since 1964; former member of the New Company; founder of Atlanta's Proposition Theatre, York Philharmonic and the US Navy Band; currently a violinist Proposition Drama School and Yale's Black Ensemble with the DePasquale String Quartet. Company; recipient of many awards, including Best Director

47 WILLIAM de PASQUALE (Wo/inJ-Studied with Veda LILBURN DDNLAP (Theori>/Composition)-BM. MM, Reynolds at the Curtis Institute of Music; Associate Philadelphia Conservatory of Music (Philadelphia College of the Concertmaster of the Philadelphia Orchestra since 1964; Performing Arts); student of Allison Drake and Vincent received a Fulbright Scholarship to study in Salzburg, Austria, Persichetti; former president of the Pennsylvania Music former Concertmaster of the New Orleans Philharmonic; Teachers Association. former Concertmaster and violin soloist with the St. Louis Sinfonietta; violinist with the DePasquale String Quartet. ROBERT ELMORE (Organj-BM, University of Pennsylvania; 3 Licentiates of the Royal Academy of Music, JOHN DEVVITT (Coordinator, Humanities Division)—BA, London; Associate Degree, Royal Academy of Music, London; Northwestern University; MA, PhD, University of Connecticut; LHD, Moravian College; LLD, Alderson-Broaddus College; winner of the Wallace Stevens Poetry Award in 1968. former organist/choir director of the Central Moravian Church, Bethlehem, Pennsylvania, and the Holy Trinity Church, Phila- ANNETTE DIMEDIO (Piano)— BA, Swarthmore College; delphia; current organist at the Tenth Presbyterian Church in Temple University; doctoral studies, Bryn College; MM, Mawr Philadelphia. student of Dr. Clement C. Petrillo; first student to win all three Philadelphia Orchestra Student Division Competitions, FRANCES FANELLI (Piano)-BM, Philadelphia Musical performing with the orchestra on each occasion; performed Academy (Philadelphia College of thePerforming Arts); studied with the Columbia Symphony Orchestra; recent winner of the with Mme. Genia Robinor and Leon Fleisher; made her New Ima Hogg National Competition resulting in a solo performance York debut at Town Hall in 1966 as winner of the Leschetizky with the Houston Symphony Orchestra. Association International Competition; named an Outstanding

Young Woman in America and is listed in the International ROBERT DiNARDO (Cuitar)-Has been an active, Who's Who of Musicians. working musician since the late 1950s; has performed with the

Philadelphia Chamber Orchestra, under the direction of Ansil MANFRED FISCHBECK (Modern DanceJ-BA, Freie Bruslaw; inaugurated the classical guitar department at the University of Berlin; former member of Gruppe Motion Berlin, Philadelphia College of the Performing Arts (P.M. A.) in 1969; the chamber dance ensemble which evolved from the Mary was staff guitarist with the Mike Douglas Show and has Wigman School; since 1968, served as co-director of the Group performed with such artists as Tony Bennett, , Motion Dance Theatre Company and School in Philadelphia. Vic Damone, Joel Grey and Shirley McClain. JOANN FREGALLETTE-JANSEN (Modern Dance ALLISON DRAKE (Pianoj- Graduate, Philadelphia Con- Technique)-- BS. Ohio University; MS, Smith College; has servatory of Music; studied with D. Hendrik Ezerman and performed in New York with Gus Solomons, Jr. and Mel Wong; Madam Olga Samaroff Stokowski; former Dean of the since 1976 has been the leading dancer with Dan Wagonner; has Philadelphia of Conservatory Music. taught and choreographed in colleges around the country.

48 KARIN FULLER (Harp)-BM, Philadelphia Musical GEORGE HARPHAM (CeHoJ— Graduate, Curtis Institute Academy (Philadelphia College of the Performing Arts); studied of Music; Assistant Principal Cellist with the Philadelphia with Edna Phillips, Alice Chalifoux at the Salzedo School in Orchestra since 1977; member of the DePasquale String Maine and at the Berkshire Music Center; member of the Quartet and the Philadelphia Chamber Ensemble. Orchestra Society of Philadelphia and the Pottstown Symphony MARION HARVEY fl/oice)- Diploma and Post-graduate Orchestra; performed with the Philadelphia New Music Group. work, Juillard School of Music; MM, University of Pennsylvania; RICHARD GENOVESE fTrombonej-Graduate, Curtis studied with Max Lorenz and Marion Szelely-Freschl; appeared the Wilmington Opera Institute of Music; studied with Glenn Dodson, Charles with the Gotham Opera Company and Wilmington Music Gusikoff and Gordon Pulis; substitute trombonist with the Society; current faculty member at the the Philadelphia Orchestra; current faculty member at Immaculata School; recipient of the Hilda K. Kitzsche Prize awarded by College and Bucks County Community College; performed University of Pennsylvania. with the Philadelphia Opera Company, Marlboro Festival LINDA HAVILAND (Dance His(oryJ-BA, Adelphi Orchestra and the Stuttgart Ballet Orchestra. University; MEd, Temple University; doctoral candidate in Zero Moving SUSAN B. GLAZER (Director, School of Dancej—BA, Aesthetics, Temple University; performs with the American University; MA, Temple University; additional Company; on faculty at Bryn Mawr College. studies at La Sorbonne; former member of faculty, Drexel BM, Phila- University and Harcum Junior College; past president, Phila- JOHN HODIAN fT/ieorv/Composrdonj— MM, delphia of the Performing Arts; studied composition delphia Dance Alliance, member Pennsylvania Council on the College with Joseph Castaldo, Robert Norris and Theodore Antoniou: Arts Advisory Panel; Chairman, Dance Committee, Phila- studied conducting with Max Rudolf and Joseph Primavera: delphia Art Alliance; dance studies with Virginia Freeman, Paul assistant conductor to the Philadelphia Youth Orchestra Sanasardo, Pearl Lang, and Dan Wagonner; has performed in composer in residence for the Tel-ltalia cable television network and choreographed for companies in Philadelphia, Washington affiliated with RAI (Italian National Radio and Television D.C., Germany, France, and Los Angeles. System).

SUSAN D. GOTTLIEB (Ballet) -BS, Wharton School of STEPHEN HUDAK (Percussionj-BM, Philadelphia the University of Pennsylvania; studied at Harkness House for Musical Academy (Philadelphia College of the Performing Arts); Ballet Arts and with the Stuttgart Ballet; performed with the Trenton State College; student of Arthur Press, Michael Ballet Company of the Philadelphia Opera Company and the MM, Bookspan and Fred D. Hinger; former U.S. Army Bandsman; Downtown Ballet Company in NYC. Taught at University City percussionist; on faculty at Lawrenceville School, Arts League. free-lance Lawrenceville, NJ. ALISON GREEN-KELLEY (Acdngj-BFA, MA, New York University; studied with Stella Adler, The National MARK HUXSOLL (Music Education)- BM, BME Philadel- Theatre, The Central School of Speech and Drama and London phia Musical Academy (Philadelphia College of the Performing University; has appeared offoff Broadway, off-Broadway and in Arts); studied with Samuel G. Krauss; current faculty member regional theatre; has taught at New York University, the South of Chestnut Hill College and the Creative Arts Center of Phila- Bronx Community Action Theatre and at Rutgers University.

49 delphia; member of the Chestnut Brass Company, Internation- NANCY BERMAN KANTRA (Jazz Dance Technique)- al Trumpet Guild, New York Brass Conference for Scholar- BA, University of Colorado; MFA, Philadelphia College of the ships and Chamber Music America; named Young Artist to Performing Arts: studied with Pearl Primus, Denise Jefferson; Watch in 1979 by Musical America. scholarship student at the Dance Theatre of Harlem and Joffrey Ballet Schools; currently performs with the Philadelphia Dance FRANCO IGLESIAS fVoiceJ—Studied at La Scala of Milan, Company. Italy. Past Winner of vocal competition at La Scala. While at La Scala he sang with such great artists as Callas, Tebaldi, YOHEVED KAPLINSKY (Pianoj-BS, MS, DMA, The DeStefano, and Del Monoco. Former Artistic Director of El Juilliard School; studied with Irwin Freundlich and Dorothy

Palacio de Bellas Artes, Mexico City, and Israeli National Opera Taubman; prize winner, J. S. Bach International Competition in Company, Tel Aviv. Former Music Director of Teatro Washington, D.C.; former faculty member Glassboro State

Municipal of Caracas and the National Opera of Venezuela. College; performances with orchestras and solo recitals in the

Recipient of Rockefeller Award. Currently Director of West- United States and Israel; radio broadcasts in New York and chester (NY) Festival and studio coach/teacher in New York Chicago. City. Many former students, including Placido Domingo. FREDRICK KAUFMAN (Dean of the College Composi- GLORIA JOHNS (Cello)-BM. MM, New England Con- tion)— BM, MM, Manhattan School of Music; Resident servatory; studied wuh Stephen Geber, Ron Leonard, and Lynn Composer, University of Wisconsin; faculty member, Rubin Harrell; member of the Philadelphia Orchestra and former Academy of Music in Israel; Resident Composer and Depart- Associate Principal Cellist with the Buffalo Philharmonic. ment Chairman, Eastern Montana College; awards from the National Endowment for the Arts, University of London, National Association of Jazz Educators, California Fine Arts FRANK J. KADERABEK fTrumpefJ-Attended the Council, Norwegian Government and Wisconsin Composers Chicago Musical Academy; studied with Edward Masacek, League; recipient of Fulbright Fellowship and the Darius Adolf Herseth, Harry Glantz and Nathan Prager; currently Milhaud Award in Composition from Aspen Music Festival; Principal trumpet of the Philadelphia Orchestra; former compositions performed by Israel Philharmonic, Zubin Mehta member of West Point Band and Dallas Symphony. Member of conducting; Pittsburgh Symphony, William Steinberg, faculty Institute of Curtis of Music and Temple University. conductor; and Jerusalem Symphony and St. Paul Chamber Orchestra; ballets performed by Royal Swedish Ballet, Royal KARABELL (Clarinet/Saxophone)-~BA, HAROLD Winnipeg Ballet and the Batsheva Dance Company; author of Glassboro State College; studied with Stanley Marshall and the books The African Roots of Jazz and Diatonic Harmony. Ralph McLane; current faculty member at Temple University and Bucks County Community College; performed with the JANICE KESTLER ('Musicianship)— BME, MM, Temple Opera Company of Philadelphia and with Bobby Sherwood and University; post-graduate study, Westminster Choir College; Artie Shaw; currently the contractor for the Shubert Theatre. national executive for the Association of Professional Vocal Ensembles; performs regularly with the Philadelphia Singers; recently recorded Lukas Foss's Time Cycle with the composer conducting.

50 STEVEN R. KRAVITZ (Anatomy/Kinesio/ogyJ— BA, CARLTON JONES LAKE (Music £duca/ion)-BM, MM, Temple University, DPM, Pennsylvania College of Podiatric Temple University, DM, Philadelphia Conservatory of Music Arts); former supervisor Medicine; in private practice in Philadelphia; medical staff (Philadelphia College of the Performing member of Roxborough Memorial Hospital; podiatry and of vocal music for the School District of Philadelphia; former surgical staff member of Roiling Hill Hospital, James C. Guiffre coordinator and evaluator for the Juilliard Repertory Project; Medical Center and Pennsylvania College of Podiatric founder and director ol the Academy Boys Choir; Director ol Medicine; sports medicine consultant with Riverside Nautilus the PCPA Performing Arts School, Center and the Roxborough YMCA. JOSEPH LANZA (l/io/in)-Graduate, Juilliard School of of Joseph Fuchs, Hans Letz, and Frank JAY PAUL KRUSH (Tuba)-BM in Composition; Eastman Music; student Philadelphia Orchestra since 1958; School of Music; MM, Northwestern University; studied with Costanzo; member of the Arnold Jacobs; played with the Ars Nova Brass Quintet; former member of the Juilliard Symphony Orchestra and the Principal Tuba of the Eastman Wind Ensemble and the US, Navy Orchestra. Yale/ Norfolk Brass Quintet; winner of composition awards LAW (Librarian^— BA (music), Taylor University; from the National Society of Arts and Letters, the National PHOEBE (musicology). University of Southern California, Los Association of College Wind and Percussion Instructors and the MA Angeles, (library science), Rosary College Graduate Bicentennial Anthem Prize; member of the Chestnut Brass MALS Company. School of Library and Information Science; teaching assistant, Oregon State University School of Music Library; catalog JAN KRZYWICKI (Coordinator. Musicianship Division)— librarian, Montgomery County Library (Texas); public services BM, University ol Kansas; MM, Philadelphia Musical Academy librarian, Houston Public Library; medical librarian, Elkart (Philadelphia College of the Performing Arts); studied at the General Hospital, (Indiana). Juilliard School of Music with Vincent Persichetti, Elliot Carter, Jane Carlson, Joseph Castaldo, Theodore Antoniou, Nadia YINAM LEEF (Theory Composition)— BM, Artist Diploma. Boulanger and Darius Milhaud; works have been performed by Rubin Academy of Music, Jerusalem; MA, University of the Philadelphia Orchestra, the Pennsylvania Ballet and the Pennsylvania; PhD candidate. University of Pennsylvania; Portland Symphony Orchestra. studied composition with Mark Kopytman in Israel, George Crumb, Richard Wernick, George Rochberg and Luciano Bene Indiana University; PAUL KRZYWICKI rTuba)-BM, MM, at the Berkshire Music Center in Tanglewood; recipient of with Joseph graduate assistant to William Bell; studied prizes and awards in composition, including CBS Foundation Novotny, Lloyd Geisler, Abe Torchinsky, and Leo Romano; Fellowship and Margaret Lee Crofts Fellowship; current faculty Orchestra since 1971; member of member of the Philadelphia member ol the music department at Swarthmore College. the Philadelphia Brass Soloists; former member of the U.S. Military Academy Band; current faculty member at the Curtis JOHN LEONARD (Classical Gui(ar)-BM, MM, Philadel- Institute of Music; performed with the Portland Symphony, the phia Musical Academy (Philadelphia College of the Performing Buffalo Philharmonic, the Youngstown Symphony, the Boston Arts); student of Robert DiNardo; student of plectrum guitar Ballet and Opera Companies, and the Aspen Festival with Joseph Sgro and Dennis Sandole. Orchestra,

51 FLORENZA D. LEVENGOOD fPianoj- Early studies W. ALVIN McDUFFY (Jazz Dance Technique)-BA. with her father, Antonio Decimo, clarinetist; studied piano with University of Michigan; studied with Alvin Alley, Martha Leo Ornstein at the Philadelphia Musical Academy Graham, Nat Home; danced with the Alvin Alley American (Philadelphia College of the Performing Arts); studied chamber Dance Theater, George Faison Universal Dance Experience; music and interpretation with Carlo Peroni of St. Cecilia performed in the national touring companies of The Wiz. Your

Academy in Rome. Arms Too Short (o Box u;i(/i God, Pur/je. Raisin and others; has

taught and choreographed at the Flex Point Ballet Center in GLORIA V. LIHOTZ (Voice)-BM, MM, Philadelphia Holland, Joseph Russillo Ballet Studio, Paris, Brussels, Musical Academy (Philadelphia College of the Performing Arts); Germany, Martinique and Michigan. studied with Carolyn Dengler and Licia Albanese; studied dramatics with Tito Capobianco and Rhoda Levine; current LARRY MCKENNA (Saxophonej—Studied saxophone faculty member of the Merchantville Conservatory of Music; with Tony Benedetta and arranging with Frank Hunter and performed with the Philadelphia Opera Company, the Regal Dennis Sandole; performed with Frank Sinatra, Tony Bennett, Opera Company and the Philadelphia Musical Theatre. Michel LeGrand, and Sarah Vaughan.

LOREN UND (Flute)—BM, Temple (Jniuersity; graduate ROY MCPHERSON (Music Education)-BME, MA, Central studies at the University of Hawaii; student of Murray Panitz; Michigan University; Instructional and supervisory positions in of the Philadelphia Orchestra member since 1974; studied with Michigan, California and Alaska; coordinator of several major the principal flutists of the Honolulu Symphony, Seattle music festivals in California and Alaska including Sitka Fine Arts Symphony, and the Symphony of Tokyo; former NHK member Camp and La Sierra Creative Arts Camp; recipient of an of the Lyric Opera Orchestra and the Honolulu Symphony. American Studies Fellowship; frequent adjudicator for regional music festival competitions including the Alaska State Council ANTHONY MARCHIONE (TrumpeU-Graduate, Curtis on the Arts Composition Competition; past president Tulare- Institute of Music; has performed as Principal Trumpet with the Kings County Music Educators Association and board member CBS Symphony Orchestra, Philadelphia Lyric and Grand of the Alaska State MENC. Opera, and Philadelphia Little Symphony; performed with the Metropolitan Opera and the Stuttgart Chamber Symphony; GUIDO MECOLI (C/annefj-Graduate, Curtis Institute of current Principal Trumpet with the Valley Forge Music Theatre; Music; studied with Ralph MacLean, Jules Serpentine, Ignatius teacher and conductor with the Philadelphia Archdiocesan Gennusa, and Anthony Gigliotti; former Principal Clarinetist school system. with the Philadelphia Lyric and Grand Opera Companies; former member of the Reading Symphony and Trenton RACHEL MAUSNER (Ana/omy Kinesio/ogy)-BA, Symphony Orchestra; guest soloist with the Curtis String Swarthmore College; MA. University of Pennsylvania; MFA, Quartet; member of the Pennsylvania Ballet Orchestra. Temple University; recipient of a National Science Foundation

Research Fellowship in biology; instructor in anatomy and DOUGLAS S. MEDLIN (Coordinator, Music Education)— kinesiology for the American College Dance Festival; BM, University of Georgia; MM, East Carolina University; EdD, independent choreographer; private practice in therapeutic University of Illinois; former Director of Music Education at massage. West Virginia Wesleyan College, music instructor at Macon Junior College, and public school teaching in Connecticut and Virginia.

52 PATRICK MERCURI (Cuitar)-BM. BME, Philadelphia MARGARITA CSONKA MONTANARO (Harp)- Musical Academy (Philadelphia College of the Performing Arts); Graduate, Curtis Institute of Music; graduate studies at Vienna student of Robert DiNardo on classical guitar; performer of Music Conservatory; member of the Philadelphia Orchestra fretted instrument parts for the Philadelphia Orchestra, the since 1963; studied with Carlos Salzedo and Marilyn Costello; Opera Company of Philadelphia, the Pennsylvania Opera participant in the Marlboro Festival. Theatre and the Forrest Theatre; current faculty member at Cabrini College and Eastern College. MICHAEL NATALE (TrumpetJ-BME, Philadelphia Musical Academy (Philadelphia College of the Performing Arts); ROBERT MIKRUT (Jazz Theatre Dance)-BA. studied with Gilbert Johnson; staff trumpeter, Mike Douglas Mercyhurst College, MFA, Philadelphia College of the Perform- Show; substitute trumpet for the Tonight Show Band; has ing Arts; has performed with Errol Manoff's "Fantasy Factory" worked extensively with Peter Matz, Nick Perito and Bob at Great Adventure (New Jersey); performed with the Phila- Florence; composed original music for NFL films, 1976. delphia Opera Company, including a telecast of La Boheme

with Luciano Pavarotti; also has danced with the Philadelphia JOE NERO (PercussionJ— Graduate, Curtis Institute of Civic Ballet, Chautauqua Opera Company, the Charlotte Music; toured nationally with Burt Bacharach, Anthony Newley Regional Ballet and the Erie Ballet; choreography credits and Bette Midler; toured internationally with Bobby Rydell; include work with the Philadelphia Century Four world played New York theatre, jazz and night clubs and was house premiere of William Penn and numerous musical theatre works drummer at the Waldorf Astoria; has performed with the in Philadelphia and surrounding areas. Pennsylvania Ballet, Grand Opera Company and on the Mike Douglas Show; drummer, percussionist at the Forrest Theatre; S. (School Accompan,st)-BA. KATHLEEN MILLY free-lances in commercial and jazz music; on faculty at music Princeton University; piano student of Kilian and George Heddy and high schools in the Philadelphia area; teaches privately. Mulfinger (Syracuse, NY), and Jacob Lateiner (Juilliard School

of Music); former opera coach at Boston University accompan- ANDREW PAP (Ba//efj— Studied at Licoul Pedagogic ist and teacher in Boston area, and organist at Massachusetts Universitar and Scoala de Coreografie in Romania; current Institute of Technology. faculty member of the Pennsylvania Ballet School; former member of the Romanian State Opera and Ballet; taught at NAOMI MINDLIN (Modern Dance Techniquej-BS. Scoala de Coreografie, the Italian Dancers Union, the Saratoga Brandeis University; has performed with the Boston Ballet Ballet Center, and the International Dance Center in Rome. Company, New England Dance Theatre, the Bridgport Ballet

and the Jose Limon Dance Company; currently teaches in New HAROLD PARKER (Voice)~BM. University of Pennsyl- York, vania; MM, Philadelphia Musical Academy (Philadelphia College of the Performing Arts) and Temple University; studied LEONARD MOGILL (Viola)-BM, Philadelphia Musical voice with Martial Singher and coached with Alfred Knopf in Academy; Graduate, Curtis Institute of Music, Honorary Munich; appeared with the Zagreb Philharmonic Orchestra, Doctorate, Philadelphia College of the Performing Arts; student Marlboro Music Festival, NBC Color Recital, Co-Opera of Louis Bailly; member of the Philadelphia Orchestra since Company, Lyric Opera Company, Chamber Opera Players, 1935, retired; former member of the Musical Fund Society Pennsylvania Composers' Forum and Pennsylvania Quartet; current faculty member at Temple University and the Contemporary Players. New School of Music.

53 (Trumpet)~-BM, Oberlin College; CALVIN PRICE MM, New Princeton Chamber Orchestra, the Pennsylvania Ballet England Conservatory; private study with Frank Kaderabek, Company Orchestra, Penn Contemporary Players, the Phila- Armando Ghitalla; substitute and extra, Phila, Orch. including delphia Composers' Forum and the Concerto Soloists. 1982 European Tour and 1983 Mid-Western Tour; assistant principal, Chautauqua Symphony & Opera; finalist. Concert RONALD REUBEN fClarmefj-Graduate, Temple Artists Guild Recital Competition, N.Y.C., 1982 and 1983; free- University and Curtis Institute of Music; studied with Joseph lance performer in Phila. area, having performed as principal with Gigliotti and Anthony Gigliotti; former member of the Stan Penna. Ballet, Phila. Opera, Mozart Societyand Delaware Brass. Kenton Band and Chicago Little Symphony; former member of Chamber Symphony of Philadelphia; member of faculty at JOSEPH PRIMAVERA (Conductor, Syniphony Orchestra/ Temple University and the New School of Music; Bass Clarinet Music Education)— Graduate, Combs College of Music; with Philadelphia Orchestra since 1967. conductor of the Delaware Valley Philharmonic Orchestra and the Youth Orchestra of Greater Philadelphia; former member WENDY RICHMAN (Nutrition)-BS. Penn State of the Philadelphia Orchestra; former conductor of the Old University; MA, Beaver College; Nutrition Specialist at York Road Symphony; appeared as Guest Conductor with the American Health Fitness Center, Philadelphia. London Philharmonic; performed as Music Director and Conductor of the feature film CYCAD and seven CBS specials; BRUNO RIGACCI (Conc/ucforj-Has conducted at most of recipient of the C. Hartman Kuhn Award from the Philadelphia the great operatic theatres of Europe, including Maggio Orchestra. Musicale Florentino and La Scala, as well as with the New York City Opera where he opened the '82 '83 season; has conducted

CHARLES W. RAISON (Executive Director/Acting 81 operas, including all of Puccini's and Donizetti's; also a Director, School of Theatre)— BA, Michigan State University; composer, his works include five operas, several symphonies

MFA, Tulane University; Associate Professor and Chairman of and pieces for chamber music; his opera Ecuba won first prize the Theatre Department, Lycoming College, Williamsport, PA at the Opera Theatre in Rome and another, Pro/essor King, was

( 1961 69); Executive Director, American Academy of Dramatic selected and produced at the Festival delle Novita in Bergamo in

Arts, NYC (1969-1976); Director of Planning and Develop- 1957; has been permanent conductor at the Kungliga Theatre in ment, Studio Arena Theatre, Buffalo, NY (1976-79); Executive Stockholm; former conductor and instructor of opera Director, Playhouse Square Foundation, Cleveland, OH (1979- performance and conducting of the Accademia Chigiana in 1982); consultant for National Endowment for the Arts and Siena, as well as permanent conductor of the annual Festival various theatre projects nationwide. Settimane Musicali Senesi and Artistic Director of the Opera

Barga Festival in Italy. DEBORAH REEDER fCe//oj-BM, MM, Philadelphia

Musical Academy (Philadelphia College of the Performing Arts); LAVAUGHN ROBINSON (Tap Dancej-Performed at the studied with Lome Munroe and Luigi Silva; former member of Apollo Theatre in NYC and Frank Palumbo's clubs in Phila- the Philadelphia Orchestra; current Principal Cellist with the delphia; performed with the Dancing Jets and the South Opera Company of Philadelphia and the Mozart Society of Sydney League in Australia; performed with the Wayne Newton Philadelphia; former Principal Cellist of the Philly Pops; show for several years. performed with the Cheltenham Trio, Viola de Cambist with the American Society of Ancient Instruments and with the

54 GABRIELA ROEPKE (Opera Theatre Hisforyj-Studicd CARL B. SCHIVIIDT (Coordinator. Graduate

in Santiago, Paris and the University of North Carolina; Division Theory and Composition)~BA, Stanford University; recipient of two Fulbright Scholarships and the Roland Holt MA, PhD, Harvard University; scholar on seventeenth century Playwright Award and a Guggenheim Fellowship; author and Italian and French opera; recipient of research awards from the

producer of over 15 original plays in Latin America, the United American Philosophical Society and the American Council of States and Spain; former visiting lecturer at the New School for Learned Societies to underwrite studies on Lully. Social Research and at the Society for Ethical Culture in New DAVID SCHNEIDER fOboeJ-BM, Philadelphia Musical York City; lectures for New York City Opera Guild; has had Academy (Philadelphia College of the Performing Arts); student numerous articles published in the San Diego Opera Magazine, of Alfred Genovese; Principal Oboe with the Philly Pops the New York City Opera Spotlight and Opera News. Orchestra, Trenton Symphony and the Lancaster Symphony SEYMOUR ROSENFELD (TrumpeO— Graduate, Curtis Orchestra; First Oboist with the Philadelphia Opera Orchestra, Institute of Music; studied with Saul Caston; member of the the Concerto Soloists and the Mozart Society; member of the Quintet. Philadelphia Orchestra since 1946; member of the Philadelphia Fairmount Woodwind Brass Ensemble; current faculty member at Temple University; HENRY G. SCOTT (Double BassJ— Graduate, University former member of the Ballets Russes de Monte Carlo and the of Rochester, Eastman School of Music; student of Ferdinand St. Louis Symphony, Maresh, Oscar G. Zimmerman, and Roger M. Scott; member of Orchestra since 1974; former member of the ANDREW RUDIN (Theory Composidonj— BM, University the Philadelphia Rochester Philharmonic, the Chamber Symphony of of Texas; MA, University of Pennsylvania; studied composition Philadelphia, the Baltimore Symphony, and the New York Phil- with Kent Kennan, Paul Pisk, George Rochberg and Karlheinz harmonic. Stockhausen; electronic music compositions heard in Fellini film SATYRICON: composed for the Pennsylvania Ballet, PETER SEGAL (Classical GuiforJ-Studied with Jose Murray Louis and the Alwin Nikolais Dance Theatre; musical Tomas, Antonio Vivaldi, Alirio Diaz, and Oscar Ghiglia; contributions to Tennessee William's play Outcry. appeared with Janet Ketchum as flute.'guitar duo; second prize winner on the International Competition for Guitarists in fBa/tefJ-Former principal BARBARA SANDONATO Alessandria, Italy in 1971. dancer and associate founder of Pennsylvania Ballet Company; Ballet Canada; former principal dancer with the National of JOHN SHAMLIAN (Bassoonj— Graduate, Curtis Institute at the Pittsburgh Ballet Theatre and the Pennsylvania taught of Music; Graduate, Royal College of Music, London; member Governor's School for the Arts; featured guest artist with the of the Philadelphia Orchestra since 1951; former member of the with Rudolf Boston Ballet Company, the Wisconsin Ballet Indianapolis Symphony Orchestra, the London Symphony Nureyev, and with the New York City Opera Company. Orchestra, and the Royal Philharmonic Orchestra, and the London Wind Trio; performed at the Prades Festival, France, PEARL B. SCHAEFFER (Dance PedagogyJ-BS, Drexel with the BBC Symphony, the BBC Chamber Players, Sinfonia University; MFA, Philadelphia College of the Performing Arts; of London Film Music, Covent Garden Opera, Sadlers Wells choreographs for the Academy Boys Choir and Performing Ballet, and the Philharmonic Orchestra of London. Arts School; member of the Group Motion Dance Company; performed with the Philadelphia Opera Company and the Duncan Centennary Ensemble.

55 CAROL LUPPESCU SKLAROFF (BaHefj- Studied with MICHAEL STAIRS fMusicianship/OrganJ— BM, West- Margaret Craske and Anthony Tudor at the Metropolitan minster Choir College; Artist Diploma, Curtis Institute of Opera Ballet School; former member of the Metropolitan Opera Music; studied organ with Alexander McCurdy; studied piano Ballet touring group and the Ballet Rambert where she danced with Mathilde McKinney and Vladimir Sokoloff; studied roles in Coppe/ia and Giselle; principal dancer with the Pennsyl- composition with Warren Martin and Matthre Colucci; vania Ballet Company where she danced leading roles in Lilac Associate Organist of the John Wanamaker Court Organ; Garden. Sleeping Beauty, Mignon Pas de Deux. Le Corsair Pas Chairman of Musicianship Studies at the New York School of de Deux, Donnezetti Variations and Concerto Barocco: has Liturgical Music; organist/choirmaster at the Church of St. taught ballet classes at the Pennsylvania Ballet School and the Asaph, Bala Cynwyd. Ballet Studio. SUSAN STARR CPianoJ— Graduate, Curtis Institute of JOSEPH SMITH fC/arinetj— BM, Curtis Institute of Music; Music; studied with Eleanor Sokoloff and Rudolf Serkin; MM, Temple University and West Chester State College; appeared as soloist with the Philadelphia Orchestra more than studied with Anthony Gigliotti and Anthony Liberie; member of 30 times since her debut with the Orchestra at the age of six; a the Pennsylvania Ballet Orchestra, the Philharmonic winner of the Second International Tchaikovsky Competition in Orchestra, and Young Audiences, Inc. Moscow; appeared in recital at the White House at the request of President Carter. FAYE B. SNOW (Jazz Dance)-BS. West Chester State College; MA, George Washington University; studied Horton JOHN TACCONELLI (MimeJ-Has studied at the New Technique with Marion Cuyjet and Joan Kerr Dancers; also York Pantomime Theatre with Menni Yakin; additional studies studied with James Truitte at Alvin Alley American Dance with Zwi Kanar, Henry Shreibman and Christopher Duncan; Center; choreographed for Juba and Joan Kerr Dancers; has performed in many Philadelphia-area theatrical danced with Arthur Hall African American Dance Ensemble productions, including To Be Young, Gifted and Black and and the Coppertone Review; worked with Duke Ellington and Death of a Salesman, and has done work in radio and film. Count Basie. MARSHALL TAYLOR fSoxophonej-BME, Wheaton EVAN SOLOT (Coordinator, Jazz Studies)— BM, MM, College; MM, Northwestern University; additional studies at Paris Conservatory the University of Paris under a Philadelphia Musical Academy (Philadelphia College of the and Fulbright studied with Theodore Varges, Russell H. Performing Arts); performed with and, or composed for Burt Grant; Bacharach, Count Basie, Tony Bennett, The Carpenters, Mike Platz, Fred Hemke, Marcel Mule, and Henry Schumann; former current faculty Douglas, Sergio Franchi, Lena Home, Woody Herman, Henry member of the U.S. Military Academy Band; Mancini, Barry Manilow, Bette Midler, LouRawls, Diana Ross, member of Temple Univesity. John Travolta, and Dionne Warwick; former chairman of the PAT THOMAS (Modern Dance Tecfiniquej— Trained with National Association of Jazz Educators Composition Contest, Martha Graham; taught and performed with Alvin Alley; honored by Down Beat magazine for his efforts in making performed with Yuriko Dance Company and the Swedish PCPA one of the best jazz education resources in the United Modern Dance Company; toured the Far East performing and States; currently a voting member of the National Academy of teaching in Japan, Hong Kong and Maylasia; taught in Spain and Recording Arts and Sciences. in Israel where she performed with the Batsheva Dance Company.

56 CRAIG THOMAS (Double Bass)- BA, Rutgers University; Theatre of New York; coaching vocal students of Mrs. Antonia BM, Philadelphia Musical Academy (Philadelphia College of the Lavanne at Mannes College and Mrs. Margaret Hoswell van

Performing Arts); studied with Robert Cerulli and Roger Scott; Der March in Manhattan. special studies at the International School for the Double Bass, University of Cincinnati; performed throughout the Delaware CHARLES VERNON (TromboneJ-Graduate, Brevard Valley area with chamber, orchestral and jazz groups, including College and Georgia State University; studied with Arnold the Pennsylvania Opera Theatre, Eucharistic Congress Jacobs and Edward Kleinhammer; former member of the Balti- Orchestra, Pottstown Symphony and the Philadelphia Singers; more Symphony and the San Francisco Symphony; current toured with Buddy Rich and Mel Lewis jazz orchestras; active in member of the Philadelphia Orchestra. theatre and show playing in Philadelphia and Atlantic City. MIHALY VIRIZLAY (Ce/toj-Artisfs Diploma, Franz Liszt ADELINE TOMASONE (Flute)-BM, Curtis Institute of Academy; studied with Zoltan Kodaly; currently, principal Music; studied with Kenton Terry, and Murray Panitz; performs cellist of the Baltimore Symphony; appeared with the with the Philly Pops Orchestra; appeared as soloist with the Chicago Symphony under Fritz Keiner and with Sergiu Comis- Philadelphia Orchestra, the Lansdowne Symphony and the siona, Brian Priestman, William Steinberg, , and Yehudi Menuhin; taught master classes at the Garden State Philharmonic ; current faculty member of the New School of Music. Shawnigan Lake School of the Arts performing with John Ogden, Gary Karr, Janos Starker, and Ruggiero Ricci. MARION TONNER fBaHefj-Studied at the Royal Academy of Dance in London; taught at the Philadelphia Civic Center; co- KAREN VORKAPICH (Tap Dancej-Studied at Indiana director of the Penn City Dancers. University and Thomas Hampton's On Stage Studio; performed with the Sue Charles Dancers; member of Vardar, a JOANNE TULLI (Jazz Dancej—BA, SUNY at Brockport; Yugoslavian folk dance ensemble; studied tap with Thomas MFA, Philadelphia College of the Performing Arts; studied with Hampton. Formerly on faculty of Temple University; performs Rhea London and Harold Pierson; performed with the Ballet des with the Mill Creek Cloggers and the Philadelphia Tap Dancers. Jeunes in Philadelphia and the Philadelphia Dance Company. ALAN WAGNER (l/oice)-BM, Northwestern University; LEON UNGER (l/oice^- Graduate, Gdansk Conservatory MFA, Carnegie Mellon University; studied with Todd Duncan of Music; past-president of Jeunesses Musicales de Pologne; and with Richard Torigi and Nicola Moscona at Academy of former music director of Operetta Studio in Gdynia, Poland and Vocal Arts; winner of regional Metropolitan Opera auditions; assistant director of the Opera Theatre of the Warsaw 1971 first prize winner of national Emma Feldman Competition; Academy of Music; coached in opera theatres of Warsaw, Lodz, performs leading roles with Philadelphia Opera, Pittsburgh Gdansk, Gdynia and Szczecin; has performed chamber music Opera, Opera Delaware, Pennsylvania Opera Theatre; soloist throughout Poland; currently coaching at the Chamber Opera with Philadelphia Orchestra; current faculty member at West Chester University. VIVIAN WAGNER (Voice)— BM, Curtis Institute of Music; BENJAMIN WHITTEN fP/anoj- Graduate, Peabody Con- studied with Rulon Robison, Richard Bonelli, and Euphemia servatory of Music; studied with Austin Conradi, Leon Fleisher, Giannini Gregory; coached and Leo Resonek and Vladimir and Emerson Meyers; appeared with orchestras throughout the Sokoloff; recipient of the Whitney Award for Excellence United States, Canada, Panama, South America, and Europe; presented by the Boston Conservatory of Music; featured recipient of the Tiffany Scholarship, the Paul Thomas Award, designated as a Danforth soloist with the Concerto Soloists, the Philadelphia Singers, and the Mason and Hamlin Award; Associate; current faculty of the Young Audiences, Inc. Foundation member Wilmington Music School and West Chester State College; KAY WALKER (Coordinator, Opera Diuision)-BM, former president of the Pennsylvania Music Teachers Teacher of the in and Westminster Choir College; MM, University of Michigan; Association; named PMTA Year 1970 Artist's Diploma, Philadelphia College of the Performing Arts; 1979. opera director and choreographer for companies in the ALEXEI YUDENICH fBa//e/j-Graduate, Sarajevo Opera Princeton and Philadelphia areas. Ballet School, Yugoslavia; former member of the Sarajevo Opera Ballet Company; former principal dancer with the Penn- DANIEL WEBSTER CMusic Cnticismj-BA, Dartmouth sylvania Ballet Company; taught at the Pennsylvania Ballet College; MS, Boston University; studied French Horn with School and the Princeton Ballet Society; choreographed for Morris Secon and at the Mozarteum in Salzburg; music critic for Misericordia College and the Wilkes-Barre Ballet Theatre; The Philadelphia Inquirer. performed with the Boston Ballet Company, California Ballet Ballet Theatre. Chairman, Dance DAVID WETHERILL (French Hornj— Graduate, Curtis Company and Jacksonville Department of the Pennsylvania Governor's School for the Institute of Music; Associate Principal Horn with the Arts. Philadelphia Orchestra since 1978; performed as soloist at La

Scala in Milan and with the Ensemble Inter-Contemporaire of Paris. WILLIAM P. ZACCAGNI fSaxophonej-Studied at Temple University and with Vince Trombetta and Harold Karabell; toured with Burt Bacharach and Anthony Newley; recorded with the Salsoul Orchestra and MFSB.

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

Edited By: Dovie R. Prather

58 CALENDAR

1984 SPRING SEMESTER January 23, 1984-May 11, 1984

1984-85 ACADEMIC YEAR FALL SEMESTER September 4, 1984-December 14, 1984 SPRING SEMESTER January 21, 1985-May 10, 1985

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

59

.. .

PCPA STUDENT BODY*

United States:

Minnesota ^ Alabama ^ Missouri Alaska ^ Montana / California New Jersey rz^ Colorado ^ York ^^ Connecticut New Ohio Delaware ^ ^ Oklahoma Florida " \ Oregon 1 Georgia 3 2 Pennsylvania Illinois ^"J Puerto Rico Indiana 2 1 Rhode Island , Kansas ^ South Carolina . Kentucky ^ Vermont Louisiana Massachusetts ^^ Virginia Washington, D.C. Maryland Foreign Countries:

Japan . Africa 1

Korea . Belgium 2 Maylasia Canada ; Mexico China Philippines England 1 Singapore France 1 Greece Spain Venezuela Hungary *Based on 1983 Fail Semester Enrollment

61 TO. Pittsburgh Harrisburg PCPA CENTER CITY PHILADELPHIA Scranton

\ ^KlUSElJM OF ART

1 1 K 1 1 a. g RODIN MUSEUM CALLQWHILL 1

I FREE LI 3RAR> Q 1 s ', ^^ HOF PHIL '\DELF HIA VINE L- CD V^.^ H 1 II" ^^ FRANKLIN SQUAReM --- %^ LOC AN J QUAF ba RACE A ;ADE^/lY OF FINE ARTS CHINATOWN T- 1 ARCH 1 1 N ^PENN C EN- RAL SUBU RBA \l STATIOh TOURIST CENTER r KEN ^lEDY BOU LEVA RD CITY HAL READING TERMINAL I 1 1 1 1 J_ ^ i ^f )^ MARKET [ 1 1 CHESTNUT s INDEPENDENCE1 1 1 HALLB1 1 S" a ll WALNUTT 1 1 1 1 1

1 ACA DEMY 1 WA SHIN 3T0h SQL ARE 3 f :m ENh OUS E SQL ARE LOCUST N i 1 OF ^ USIC 1 ' ' / p 1 ' 1 n Buddi 1 AR ALL ANCE ^ \- / / SPRUC E Stre 1 1 1 1 \ X>* A n n ex SOCIETY HILL 1 \ v ^ ^x: 1 ill Py^l>«TELPHIA CQ^GE OF ART % PINE^^ s^ LOMBARD it\

27 1 ~\ 6 2 5 2 4 2 3 2 2 1 s 7 1 6 1 5 2 1 3 3 7 5 4 3 ^ i/ Vo , kk. 5 l\ PCPA PCPA PCPA PCPA Dorm. Shubert Building Annex Dance Studios 301 S. 15th 250 S. Broad St. 313 S. Broad St. 309 S. Broad St.

62 TIPS TO THE APPLICANT

1. Submit your Application for Admission as early as possible.

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

5. If you are applying for financial aid, please do not hesitate to contact the Director of Financial Aid, who can advise you and answer your questions on financial aid programs. 6. To be considered for a talent scholarship grant, you must submit your Application and complete your audition on or before April 4, 1984. Applicants who audition after that date will be

considered for scholarships, if funds are available.

7. If you wish to participate in a Regional Audition,

you must first submit the Application for Admission.

8. Remember, if you or your parents have any

questions, please contact the Admissions Office; it exists to make your application and admission procedure as simple as possible. A telephone call or letter sometimes can alleviate a great deal of concern.

63 APPLICATION FOR COLLEGE OF THE UNDERGRADUATE ADMISSION PEI^OI^ro^G Ai^rs

PERSONAL DATA (Please Print or Type)

Name _Social Sec. No.

Street Address_ „Telephone _

City _County_ .State __Zip_

Citizenship _ _Sex_ _Birth Date_ _Marital Status_ EDUCATION

List All High Schools and Colleges Attended City Dates

DEGREE OR DIPLOMA PROGRAM FOR WHICH YOU ARE APPLYING STATUS (Complete MUSIC, DANCE or THEATRE Section below) Full-time a SCHOOL OF MUSIC Bachelor of Music Double Degree Part-time n ci Two-Year Certificate in Music

Major Date You Plan to Enter January September, 19 . SCHOOL OF DANCE Bachelor of Fine Arts Bachelor of Fine Arts m Dance Ed. CI Two-Year Certificate in Dance

Major Date You Plan to Enter o January o September, 19 . SCHOOL OF Bachelor of Fine Arts THEATRE (ACTING)

Major Date You Plan to Enter January September, 19 .

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

LENGTH OF STUDY in major area_

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

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

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

a teacher preference, please indicate

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

Address ^Title

City, State, Zip Employer

Phone Bus. Phone

Yes No to Admissions Office. n a 1 have requested copies of my high school/college transcripts to be forwarded the

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

a D I have enclosed my Dance Resume (Dance Majors ONLY)

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

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

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

(it is correct to the best of my 1 certify that the information on this application and attached documents any) true and knowledge. A student found guilty of NONDISCLOSURE or MISREPRESENTATION in the completion of this application may be subject to the appropriate disciplinary action, resulting m possible dismissal from the College.

Signature ~— Date_

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

65