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Philadelphia

Musical

Academy



NINETY-THIRD SEASON




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Philadelphia Musical Academy

1617 SPRUCE STREET, PHILADELPHIA 3, PA. Telephone: PEnnypacker 5-5053
MEMBER, NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC

ASSOCIATED SCHOOLS

The Philadelphia Conservatory of Music

216 South 20th Street, Philadelphia 3, Pa.

Telephone: PE 5-5053

The Conservatory is organized as an
affiliated division of the Musical Academy

The Philadelphia Dance Academy

271 South Van Pelt Street, Philadelphia 3, Pa.

Telephone: LO 4-1385

The Dance Academy is an independent

institution offering instruction in the dance

and collaborating with the Musical

Academy in undergraduate curricula

Both the Philadelphia Musical Academy and the Philadelphia Conservatory of Music are chartered
as non-profit educational institutions under the laws of the Commonwealth of Pennsylvania.



O



Board of Directors

William Kohler, Chairman

John P. Dolman

A. Hendrik Drake

Allison R. Drake

Maria Ezerman Drake

Willem Ezerman

J. Fay Hall

Charles Ludwig

Henry S. Muskett

Abe Pepinsky

Mrs. Jacob Plon

Mrs. Nicholas Roosevelt

Merle Schaff

Jani Szanto

Joseph Butterweck, Ex-Officio



Administration

A. Hendrik Drake, Director

Abe Pepinsky, Dean and Director of Admissions

Dorothea Persichetti, Dean of Graduate Studies

Allison R. Drake, Dean of the Conservatory

Lilburn Dunlap, Assistant Dean of the Conservatory

Nadia Chilkovsky, Director of the Dance Academy

Leah Farber, Business Manager

Mary K. Tomkins, Registrar

Ethelyn G. Braun, Secretary

Virginia B. Emerson, Librarian

Stanley N. Cohen, M.D., Physician



Officers

Jani Szanto, President Emeritus
Maria Ezerman Drake, President
A. Hendrik Drake, Vice-President
Willem Ezerman, Vice-President
Merle Schaff, Treasurer
A. Hendrik Drake, Assistant Treasurer
Charles Ludwig, Secretary
Leah Farber, Assistant Secretary



Council for Educational Policy

Abe Pepinsky, Chairman
Jani Szanto
Joseph Butterweck
Joseph Castaldo
Nadia Chilkovsky
Donald Chittum
Kent Christensen
Stella Conaway
Allison R. Drake
Florenza Decimo Levengood
Harold Parker
Mildred Pearl Parker
Dorothea Persichetti
Claire Polin
Evelyn Quick
Dorothy Shaw Weir



4 History

4 Goals

5 Academy Facilities

6 The Philadelphia Conservatory of Music

6 The Philadelphia Dance Academy

7 Faculty

9 Faculty Biographies

16 Curricula

22 Course Descriptions

30 Scholarships

30 Work Opportunities

30 National Defense Student Loans

30 Admissions

31 Transfer Students

32 Foreign Students
32 Dance Majors

32 Regulations

33 Grading

33 The Academy Honor Point System

34 Tuition and Fees

35 Student Life in Philadelphia

37 The Academy Calendar 1962-1963

38 The Graduate School
40 Gifts and Bequests



History




The Philadelphia Musical Academy, one of America's
oldest music schools, was established in 1870 in the best
traditions of the European conservatories. Old records give
evidence of important emphasis placed on general educa-
tion in music as well as in the development of applied
music. The foresight involved in these implications led to
the fact that in 1915 the Philadelphia Musical Academy
was granted a charter by the Commonwealth of Pennsyl-
vania to offer degrees in Music. The National Association
of Schools of Music accepted the Academy for Associate
Membership in 1951, and this was extended to full member-
ship in 1961. The Academy's program in Music Education
has been operated under approval of the Pennsylvania
State Council of Education for the last five years. Early in
1962 the Philadelphia Musical Academy came under the
same administration as the Philadelphia Conservatory of
Music, another institution of fine reputation with a long
and distinguished history.



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Goals

The Philadelphia Musical Academy strives to be a music
college of the highest excellence. It is logical then that the
graduates of the Philadelphia Musical Academy should be
performers and teachers of the finest quality. Furthermore,
the performers are to be teachers, and the teachers are to
be performers. That is to say, the performer's art is to be so
well-comprehended by our graduates that they shall be
able to readily instruct others in it. Also, the wide under-
standing of the instructor and his continual searching for



further knowledge are to be reinforced by the skills and
crafts of the artist-musician.

The shaping of such graduates is accomplished by engag-
ing the best instructors available as the faculty. The faculty
functions at the Academy through a well -coordinated
curriculum and appropriate facilities, inspiring the pros-
pective leaders in the culture of music to match their own
enthusiasm and knowledge.

This philosophy obviously implies a thorough integration
of the musical and the general academic subject matter
incorporated in the curricula. In general studies, constant
emphasis on the implications for the field of music is en-
couraged and discussed. Conversely, the student is helped
to understand the values of music in all aspects of living.




The Academy Facilities

The Academy is situated in the center of downtown Phila-
delphia, and it is therefore most conveniently located so
far as public transportation is concerned. The Pennsylvania
Railroad, the Reading Railroad, the Philadelphia Subway
System, and the buses and streetcars of the Philadelphia
Transportation Company are all right at hand for the use
of the Academy students. Restaurants, hotels, and room-
ing houses are also close by in addition to theatres and
concert halls.

The facilities of the Academy are contained in three build-
ings. The main building is at 1617 Spruce Street. It contains
the principal offices of the Academy, the auditorium,
several classrooms, and numerous studios. The principal
annex is found two doors East at 1613 Spruce Street. The
annex houses the Academy library, student and faculty



lounges, and more classrooms. The Conservatory building
is located at 216 South 20th Street, and its rooms are de-
voted to individual instruction and practice.

The Academy auditorium is used for virtually all of the
Academy concerts. All orchestra and chorus rehearsals
also are held in the auditorium. It has a spacious stage, and
it seats one hundred eighty-five persons. Other cultural or-
ganizations in the city also present events in the audi-
torium. Among them are the Philadelphia Record Society
and the Philadelphia Composers Forum.

The Academy library holds extensive collections of scores
and parts in all musical mediums. In one part of the
library there is a listening room in which are installed two
modern phonograph machines with earphones attached.
Nearly a thousand long-playing records are available here
for the use of the students and faculty. In addition, the
reading library is available for individual study.



The Philadelphia Conservatory of Music

The Philadelphia Conservatory of Music was founded in
1877 by Richard C. Schirmer. It is the oldest chartered
music school in Pennsylvania, having been incorporated
in 1884 with the power to grant degrees for proficiency in
music. Its history has been a distinguished one. Some of
the familiar names who helped bring fame to the institution
are D. Hendrik Ezerman, Olga Samaroff-Stokowski,
Vincent Persichetti, Edward Steuermann and William
Kapell. Since 1940 Maria Ezerman Drake has been Director
of the Conservatory.

It was in January, 1962 that the decision was made that the
Philadelphia Conservatory of Music and the Philadelphia
Musical Academy could offer more efficient and progres-
sive service in education by operating under one adminis-
tration with a joint faculty. It was agreed by the Directors
of both institutions that the Conservatory should become
the preparatory school for the Musical Academy.

Thus the present policy of the Conservatory is to
admit children and adults who desire independent study
or study preparatory to that of a college level. For children
and teenagers there is an emphasis on inspiring instruction,
both instrumental and vocal, offered only by highly
qualified teachers. Regularly scheduled recitals are planned
by the faculty, given by the pupils, and opened to their
parents and friends. These concerts are one of the most
essential and successful parts of the Conservatory program.
In Ardmore the Conservatory maintains a subsidiary studio
at which the students also take an active part in the insti-
tution's program of concerts.




The Philadelphia Dance Academy

The Philadelphia Dance Academy has established itself
as one of the leading institutions of dance education in the
country. Its curriculum is designed to meet the highest
professional standards in contemporary dance education
and in dance as a performing art. The school has already
achieved an international reputation for its pioneering in
the field of teaching dance as a recorded art. Students are
trained to be dancers, choreographers, teachers and
notators. The principles of teaching are based on strict
discipline of technical study combined with complete
freedom of the imagination. Special attention is directed
to unusually gifted students, and they are guided in a
highly personal manner so that they may mature as in-
dividual artists with independent styles of dance expression.



6



Faculty

Applied Music



PIANO

Edward Steuermann

Joseph Arcaro

Winifred Atkinson

Doris Bawden

Mignon Bozorth

Meira Brosh

Jon Carlin

Allison R. Drake

A. Hendrik Drake

Lilburn Dunlap

Charles Gangemi

Paul Ganser

Margaret Garwood

Natalie Hinderas

Ariane Josef

Florenza Decimo Levengood

David Lodge

Edith Ulmer Mileham

Dorothea Persichetti

Clement C. Petrillo

Evelyn Christman Quick

George J. Reeves

Genia Robinor

Antin Rudnytsky

Carol Schoen



Herbert E. Siegel
Helene Diedrichs Swann
Sylvia Szanto
Margaret Taylor

VIOLIN

Jani Szanto
*David Arben

William Bless
*Frank Costanzo

Wanda Costanzo

Nicholas De Collibus

Marian Head
*Jerome Wiggler

VIOLA

*Maurice Kaplow
*Leonard Mogill

VIOLONCELLO

*Elsa Hilger
*Santo Caserta
Deborah Reeder

DOUBLEBASS

*Edward Arian
Max Strassenberger

FLUTE

* Murray W. Panitz
A. Hendrik Drake



Claire Polin
Toby Rotman
Carla Shepley

OBOE
AND ENGLISH HORN

*Wayne Raper
Lewis Raho

CLARINET

AND SAXOPHONE

*Anthony M. Gigliotti
Richard Csomay
Guido Mecoli
George D. Rowe

BASSOON

*Bernard Garfield
*Ferdinand Del Negro

FRENCH HORN

*Ward Fearn
*Clarence Mayer

TRUMPET

*Gilbert Johnson
Anthony N. Marchione

TROMBONE

*Henry C. Smith
Charles Gusikoff



TUBA
*Abe Torchinsky

PERCUSSION
*Charles E. Owen

HARP

* Marilyn Costello
Mary Ann Castaldo

ORGAN

Robert Elmore
Robert Browne
Henry M. Cook
J. Earl Ness
Newell Robinson
Frederick Roye
Herbert E. Siegel

VOICE

Adele Newfield
Stella Ferrari Conaway
Wayne E. Conaway
Carolyn Diller Dengler
Lester Englander
Marion Bradley Harvey
Harold Parker
Maria Sokil

CLASSICAL GUITAR
Vincent Bredice



*Artist member of the Philadelphia Orchestra



ACCORDION
Jacob Neupauer

CHORUS

Robert Suderburg

COLLEGIUM MUSIC UM
*Maurice Kaplow

CHORAL CONDUCTING

Elaine Brown
Carleton E. Lake

ORCHESTRA
Mehli Mehta

ENSEMBLE AND CHAMBER
MUSIC

Jani Szanto

Stella Ferrari Conaway
Allison R. Drake
Marian Head

Florenza Decimo Levengood
Anthony Marchione
*Wayne Raper

OPERA WORKSHOP
Doris Doree

♦Artist member of the Philadelphia Orchestra



Dance

Nadia Chilkovsky
Rose Brandel
James Jamieson
Alice Lattimore
Nicholas Nahumck
Jeri Packman
Phyllis Dersh Rudzitis
Irwin S. Smith
Walter Sorrell
Helen Truehart



Composition and Theory

Vincent Persichetti, Advisor

Joseph Castaldo

Donald Chittum

Lilburn Dunlap

Florenza Decimo Levengood

Dorothea Persichetti

Claire Polin

Evelyn Christman Quick

William Richi

Herbert E. Siegel

Robert Suderburg



Education

Abe Pepinsky
Winifred Atkinson



Bruce C. Beach

Donald Chittum

Richard Csomay

Nicholas De Collibus

Allison R. Drake

Natalie Hinderas

Florenza Decimo Levengood

Anthony Marchione

Harold Parker

Jani Szanto

Dorothy Shaw Weir



Musicology and History

Dorothea Persichetti

Donald Chittum

Henry C. Cook

Mildred Pearl Parker

Abe Pepinsky

Claire Polin

Evelyn Christman Quick



General Studies

Abe Pepinsky
Joseph Butterweck
Nadia Chilkovsky
Kent Christensen
Harold Parker
Claire Polin




Faculty Biographies



ABEPEPINSKY— B.A. 1931; M.A. 1932, University of Minne-
sota; Ph.D. 1939, State University of Iowa. After four years of
intensive study abroad, Dr. Pepinsky returned to America to
serve as principal violist of the St. Paul Symphony and Director
of the University of Minnesota Symphony Orchestra. He became
Professor of Music and Music Education at the University of
Minnesota from 1913 to 1941. In 1941, he came to the Bartol
Research Foundation of the Franklin Institute as Research
Fellow. He became Professor of Psychology and Head of the
Department of Psychology of Haverford College in 1942 until
1954. He was Chief Psychologist at Norristown State Hospital
1954-55, and then accepted the position of Dean and Director of
Admissions at the Philadelphia Musical Academy.
DAVID ARBEN— Graduate of the Curtis Institute of Music
where he studied with Efrem Zimbalist. Performed as soloist with
leading orchestras in Europe, Mexico and U.S. Formerly on
violin faculty at the Cleveland Institute of Music.
DORIS BAWDEN— Diploma in Piano and Alumnae Gold
Medal at Philadelphia Musical Academy, 1929. Studied with
Joseph Clark and Ralph Berkovitz. Widely recognized as ac-
companist and coach for instrumentalists and vocalists.
WILLIAM BLESS— Mus. B. 1935; Soloist Diploma in 1936;
Mus. M. 1948, Philadelphia Conservatory of Music. Violin study
under Boris Koutzen. Chamber music; Faculty of Beaver Col-
lege. Violin faculty since 1933.

ROSE BRANDEL— Ph.D. New York University, Graduate
Fellowship specializing in African Music under Dr. Curt Sachs.
Has taught World Folk Music at Columbia College, Brooklyn
College, Graduate Music Division of Hunter College. Author
of numerous articles for scholarly journals. Recent book pub-
lished in the Hague "The Music of Central Africa." Music and
Dance editor for forthcoming twenty volume Grolier Encyclo-
pedia. Lecturer in Dance History at Philadelphia Dance Academy.



VINCENT BREDICE— Mus. B. 1951; Mus. M. 1953, Hartt
College of Music (University of Hartford); composition with
Dr. Isadore Freed and Arnold Franchetti; teacher of all theo-
retical subjects and chairman of the guitar department at Hartt
College of Music. Taught in the Bridgeport public schools and
Taft School for Boys, Connecticut. Classic guitar solo TV per-
formances; Plectrum Jazz Guitar solo work; comprehensive
methods for the guitar, 1953; many compositions for guitar.

ELAINE BROWN— Mus. D.; graduate of the Bush Conserva-
tory of Music in Chicago, Westminster Choir College; graduate
work at New York University, The University of Pennsylvania,
and Temple University; assistant conductor of the Westminster
Choir for five years, touring this and fifteen European countries;
served on the faculties of Westminster Choir College, Temple
University, Juilliard School of Music, and Union Theological
Seminary; awarded the "Prix d'Excellence" by the French
Government. Director of "'Singing City"; her choirs have per-
formed with the Philadelphia Orchestra and many others. Post-
graduate class at the Philadelphia Conservatory of Music.

JOSEPH S. BUTTERWECK— B.S. 1922; M.A. 1924, Univer-
sity of Pennsylvania; Ph.D. 1926, Columbia University. During
his many years as professor at Temple University, Dr. Butterweck
was in charge of several important Teacher Education programs
sponsored by the Ford Foundation. He has contributed heavily
to the progression of outstanding literature on education by
authoring books and professional magazine articles. He is
presently serving as consultant to the Pennsylvania State Council
of Education.

JOSEPH CASTALDO— Mus.B. 1956; Mus.M. 1959— Phila-
delphia Conservatory of Music under Vincent Persichetti ; re-
ceived early training under Dante Fiorello, Vittorio Giannini
and at the Santa Cecilia Academy in Rome. His works are
widely performed in America, Europe and South America. He is
Chairman of the Music Committee of the Philadelphia Com-
posers Forum and is an authority on contemporary music.



NADIA CHILKOVSKY— B.S. Temple University; studied
Ballet, Dalcroze Eurythmics, piano. Modern dance studies with
Irma Duncan, Hanya Holm (scholarship auditions winner New
York Wigman School), Martha Graham, Composition with
Louis Horst. Master Notator, Fellow of International Council
for Kinetography Laban. ; author of numerous books and ar-
ticles on dance and labanotation. Choreographed works for
Opera, TV, concert including five ballets presented with the
Philadelphia Orchestra. Faculty member Tyler School of Fine
Arts 1944-46, Swarthmore College 1959-61, The Curtis Institute
of Music since 1946, Philadelphia Musical Academy since 1947.
Founded Philadelphia Dance Academy Undergraduate Division
1957.

DONALD CHITTUM— Mus.B.; Mus.M. 1957, Philadelphia
Conservatory of Music where he is at present a candidate for the
degree of Mus.D.; studied composition and conducting with
Vincent Persichetti; conducting with Boris Koutzen and Jani
Szanto; has conducted many chamber and symphony concerts
in the Philadelphia area as well as in Texas, Louisiana, and
Arkansas; conductor of the Ventnor Summer Youth Symphony;
instructor of brass and wind ensembles. Since 1957 a member of
the theory department; lectures for many professional and
educational organizations.

KENT C. CHRISTENSEN— B.A. 1957, Columbia University
summa cum laude, Phi Beta Kappa, distinction in English;
M.A. University of Connecticut — 1960. Instructor in English
two years at University of Connecticut and Instructor in English
two years at University of Pennsylvania.

HENRY M. COOK— Mus.B. 1950, Oberlin Conservatory; 1959
and summer of 1960— studied at Union Theological Seminary
School of Sacred Music: Workshop with Dr. Elaine Brown
1961. Taught at Duke University 1953-57; organist and choir-
master presently at St. Paul's Church since 1957; American
Guild of Organists, Associates' and the Choirmasters'.
FRANK COSTANZO— Mus.B. 1941 University of Pennsyl-
vania; Studied violin with Achille Cocozza, Albert MeifT and



10



Sasche Jacobinoff. Summer visiting professor at Colorado
College 1947-48. Conductor of the orchestra at Mater Miseri-
cordia Academy and Immaculata College. C. Hartman Kuhn
Award in 1959 for founding the Amerita String Orchestra. Mem-
ber of the first violin section of the Philadelphia Orchestra since
1941.

MARILYN COSTELLO— Graduate, Curtis Institute of Music.
Pupil of Carlos Salzedo. First Harpist with the Philadelphia
Orchestra.

NICHOLAS DE COLLIBUS— Studied at the Philadelphia
Musical Academy under Leopold Auer and Otto Meyer, at
Curtis Institute under Albert Meiff, at the University of Penn-
sylvania under Harl McDonald and Emil Fogelmann. Con-
certized extensively and taught in public schools. Member of the
American Society of Composers, Authors and Publishers.

STELLA FERRARI CONAWAY— Mus.B., Mus.M., Philadel-
phia Conservatory of Music; studied and coached with Enzo
Serafini, Sergius Kagen and Fritz Lehmann. A concert-artist
teacher; has performed on radio and television; appeared in
leading opera roles in Pennsylvania, New Jersey and Massachu-
setts.

WAYNE CONAWAY— Mus.B., Philadelphia Conservatory of
Music, studying with Marion Bradley Harvey, Lester Englander,
and Stella Conaway; soloist, First Methodist Church in German-
town; well known for his leading roles with the Wilmington
Opera Society and Philadelphia Co-Opera Company, as an
oratorio and concert artist.

CAROLYN DILLER DENGLER— Mus.B. and Teacher's
Diploma, Philadelphia Conservatory of Music, 1936; studied
with W. Warren Shaw in New York; voice coaching at the
Juilliard School with Conrad Van Boss. Voice teacher and coach.

ALLISON R. DRAKE— Studied with D. Hendrik Ezerman and
Madame Olga Samaroff-Stokowski ; received Teacher's Diploma
in 1927 and piano Soloist Diploma in 1930 at the Philadelphia



Conservatory of Music; studied organ with Ralph Kinder and
voice with Horatio Connell; attended Universities of Temple and
Pennsylvania. Member and former President of the National
Association for American Composers and Conductors, Inc.,
Philadelphia Chapter; member of the Musical Fund Society and
Philadelphia Art Alliance. Renowned recitalist, chamber music
performer, and a piano pedagogue whose students have become
outstanding professionals and recipients of awards. Performs
concerts frequently with Elsa Hilger, cellist, throughout the
Eastern Seaboard. In partnership with his wife, Maria Ezerman
Drake, formed the Drake Two-Piano Team which performed in
Carnegie Hall, New York City.

DORIS DOREE — Private courses in operatic, vocal and
dramatic techniques; Opera Workshop; appeared as dramatic
soprano with the Metropolitan Opera, The New York City
Center Opera and in other groups in this country, Canada,
Covent Garden, Paris Opera, Scandinavia and other countries.

VIRGINIA B. EMERSON— B. A. 1949, University of Michigan;
M.S. 1961, Drexel Institute of Technology. Mrs. Emerson brings
to her position, Academy Librarian, a fine background. Some of
the institutions she has served previously include the National
Committee for a Free Europe, the University of Michigan Law
Library, and the Drexel Institute School of Library Science. She
has also done graduate work at the University of California.

MARGARET GARWOOD— Studied in Philadelphia with
Allison R. Drake, Mme. Simon Barrere, and at the Philadelphia
Musical Academy with Dr. Charles DeBodo and Genia Robinor.
She has concertized extensively as soloist and accompanist.

MARION BRADLEY HARVEY— Mus.B., University of Penn-
sylvania; graduate and post-graduate of Juilliard School of
Music, studied at International Summer Academy of the Moz-
arteum, Salzburg, and with Marion Szekely-Freschl and Martial
Singher; acting and operatic repertoire with Enzo Serafini-
Lupo; lieder recitals; ensemble performances with the Philomel
trio.



11



MARIAN HEAD — Graduate of Cincinnati Conservatory of
Music and Curtis Institute of Music, studying with Edwin Bach-
mann and Lea Luboshutz. Was first violinist of Stringart Quartet,
and faculty member of Curtis Institute for three years. Con-
certized with Baroque Trio, Edith Weiss-Mann harpsichord,
Alfred Mann, recorder. Concertmistress and solo violinist with the
Philadelphia Little Symphony and for three seasons, concert-
mistress of the Philadelphia Grand Opera Company.

ELSA HILGER— Graduate of the Imperial Conservatory of
Vienna with first honors; Cello soloist at age of eight with Vienna
Philharmonic Orchestra; Concert tours through Europe and
the United States; Became a member of the Philadelphia Or-
chestra under Leopold Stokowski in 1936; Chamber Music
Artist and Cello soloist with the Philadelphia Orchestra recently,
1962, under Eugene Ormandy. First desk, cello section Philadel-
phia Orchestra and cello faculty since 1937.

NATALIE L. HINDER AS— B. A., Oberlin Conservatory, 1946.
Television and Radio artist. Graduate study with Olga Samaroff-
Stokowski, Edward Steuermann at Philadelphia Conservatory,
and Juilliard. Winner of numerous scholarships, fellowships,
contests. Orchestral and solo performances, lecturing on piano
pedagogy, teaching, radio and TV with appearances in the
United States, Canada, Scandinavia, Europe, Mid and Far
East, Southeast Asia.

JAMES JAMIESON— Professional debut with Littlefield Opera
Ballet of Chicago Civic Opera. Champion Scottish dancer in
United States, Canada, Australia and England. Was soloist and
ballet master of Agnes De Mille Dance Theatre. Appeared in
Broadway productions "Oklahoma" and "Brigadoon" which he
restaged in Australia, London and, assisting Miss De Mille, in
Canada (Royal Winnipeg Ballet) and New York. Joined faculty
of Philadelphia Dance Academy as Ballet Master in 1960.

MAURICE KAPLOW— Mus.B. 1952, Cleveland Institute of
Music; graduate study at the Eastman School of Music; member
of the Louisville Symphony, violist in the Louisville Quartet and




former member of the Stringart Quartet; violist in the Philadel-
phia Orchestra and conductor of the Collegium Musicum at the


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