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Some of the habits and oddities of owls are brought out in this story of Mrs. Screech Owl, who felt her sight was failing and therefore bought a pair of glasses. Dora and Fignewton Frog tell the story by means of the peep-show parade and animated figures on small stage sets.
Rain does not always evaporate immediately after falling. Dora tells a story of some raindrops with the help of Mr. Robinson's illustrations of some raindrops who had a series of adventures on their way to a distant lake where they learned how to do the "dance of the happy spray."
Dora (host) tells a story about a hermit crab named Harry who is looking for a new house with his sea anemone friend. Despite looking at houses with modern amenities such as a washing machine and television, they settle for a large shell where they can continue their mutually beneficial relationship. Fignewton Frog (puppet) performs the story through shadow puppet. Episode also describes how to use the library to find out more information about ocean life.
Traces the history of the black American's participation in the armed forces of the United States, from the Revolutionary War to the war in Vietnam. Reveals little known facts about blacks such as segregation in the military prior to 1947, the first soldier to fall in the Revolutionary War was black, black soldiers were the first to receive the Croix de Guerre in World War I, and over 1,000,000 Negroes served in World War II. Points out that black soldiers have served in the American wars, whether they were accepted socially or not.
Dr. Gould and Dr. Odishaw discuss the idea of the IGY. They trace the idea from the suggestions that was a Third International Polar Year (1882-83, 1932-33) through its expansion into the largest international scientific effort in the history of the world. They present general observations on the geographic and scientific “unknowns” in Antarctica and some of the larger questions to which the IGY hopes to find answers in its exploration of this continent.
Uses film sequences of the second Byrd expedition, 1933-34, and recent film footage to show how technological advances have improved the work of the scientist. Explains how Antarctica scientists face problems and make adjustments unknown elsewhere in the world. Compares the two expeditions in transportation, building construction, living conditions, equipment, and food. Features Dr. Laurence M. Gould.
Tours Spanish Harlem guided by Piri Thomas, painter, ex-con, poet and ex-junkie. Describes Spanish Harlem, where two-thirds of the 900,000 Puerto Ricans in the U. S. live, as a home for "the forgotten people" and a place where children tire of living because they see no hope for escape from ghetto life. Pleads for understanding of this life of filth, narcotics, and crime which no people should have to endure.
Tells and illustrates the Japanese legend of a man who roamed the streets of Kyoto at night and took men's swords. He meets his match, however, and ends up the servant of another man. Demonstrates the brush painting techPiques used in painting Benkei and the man who defeats him.
Explores, through underwater photography, the three regions of a coral reef. Explains the relationship of the many forms of life to each other and their environment. Points out the factors, which affect the structure, growth, and survival of coral. Show numerous types of coral including the rose, fan, chenile, star, lettuce, brain, hat, and others. Concludes with sequences of the many kinds of fish which inhabit the coral reef.
Dance is a universal experience, and Miss Myers introduces the series with paintings, sculptures and film clips showing ethnic dances throughout history and the world. Following this, she presents the three major forms of dance – ethnic, ballet, and modern. To illustrate these, the Ximenez-Vargas Company performs two European ethnic dances. They are followed by Melissa Hayden and Jacques D’Amboise, who execute a 17th century court dance, the predecessor of pure classical ballet which is represented by the pas de deux from The Nutcracker Suite. As the French court and manners of the 17th century affected later ballet, so today’s social developments and conditions affect modern dance. Daniel Negrin performs an illustrative dance satire to introduce the audience to forms of the modern dance.
Anthony Tudor, the choreographer, and Nora Kay and Hugh Laing, dancers who appear on this program, are figures prominently associated with the new developments in modern dance which began in the 1940’s. Mr. Tudor and Miss Myers describe the changes in subject and mood which accompany this new dance form and the reasons for a retention of the traditional steps and positions in the new dances. The highlight of the program is a recreation of the famous ballet “Pillar of Fire,” starring Nora Kaye and Hugh Laing.
Recreates the excitement of the gold rush by showing the prospector's trails, their campsites and the gold rush cities. Illustrates with prints of the settlers, miners, and dance hall girls. Visits an old gold mining town and saloons. Interviews an old prospector about gold mining days.
The desert plains of central Idaho bore silent witness to many events in history – the coming of the Oregon Trail, the wars between the whites and the Indians, the events of the Old West, Today they are witnessing a change that is far more important – the coming of atomic power. On the lava plains of central Idaho is the National Reactor Testing Station, famous for “firsts” in nuclear energy. Here electricity was first generated from atomic energy and atomic power first was used to light a town. Principles of nuclear submarine propulsion were worked out in “a ship on the desert” in Idaho. “Challenge” visits the National Reactor Testing Station to look at a power plant of the future, a reactor that makes more nuclear fuel than it consumes. The principle is not perpetual motion. This reactor takes the part of uranium that is not fissionable fuel (more than 99 per cent of the total) and converts it into plutonium, a man made element that is a good nuclear fuel. Because the reactor “breeds” plutonium it is called a “breeder” reactor – Experimental Breeder Reactor-II. How this breeding is accomplished, and how fuel for EBR-II is fabricated by remote control, is explained in this program.
Precision and perfection are the watchwords of today’s Space and Atomic Age. Nothing can be overlooked everything must be checked and rechecked before the “go” signal can be given. A crack in a missile’s fuel line, invisible to the human eye, can be disastrous. A defect in an atomic reactor, while not disastrous, can mean costly and time-consuming repairs. This program examines “non-destructive testing”, a new-comer, yet one of the most important engineering techniques. Non-destructive testing is simply a method of examining an object for defects without destroying it in the process. It is unlike other testing methods such as automobile test, for example, in which the vehicle is pushed to its maximum performance before it ends up on the junk pile. The television cameras are at the Metallurgy Division of the United States Atomic Energy Commission’s Argonne National Laboratory, where scientists are using such non-destructive testing techniques as X-rays, gamma rays, and neutron radiography. At Argonne, neutronradiography is an invaluable aid to pinpoint what happens to uranium or plutonium fuel that sustains a chain reaction in an atomic reactor. The knowledge gained through this technique is important in designing the atomic power plants of today and tomorrow. Also shown are the ultrasonic testing methods used to detect imperfections by “bouncing” sound waves through objects that are being tested. One of these methods converts sound waves into electronic signals to show television pictures of hidden defects. The value of these non-destructive testing methods becomes increasingly more important as the tolerances become smaller and smaller for the new atomic reactors, space vehicles, and aircraft engines that are being constructed.
Presents Mr. Nkosi interviewing poet and educator David Rubardiri of Nyasaland and Kenyan poet Joseph Kariuki. Discusses Rubardiri's personal struggle as a creative writer in an emerging nation and the general state of contemporary African literature. Describes native oral tradition involved in African writing, discusses possible future forms, and examines how African literature is taught in the schools.
Examines the French-Anglo Canadian controversy and French-Canadian dissatisfaction with the Anglo-Canadian controlled country, and describes the economic, educational, social, and traditional factors that have ignited the conflict.
Mrs. Eleanor Roosevelt hosts this program and discusses solutions to the Congo crisis with several guests including Adlai Stevenson, US Ambassador to the United Nation and G. Mennen Williams, Assistant Secretary of State for Affrican Affairs.
In this program Professor Woodworth explains the concepts of tonality (the musical key) and modulation (a shift in key) and their place in composing music. The relations between keys, and the use a composer makes of these relations is an element which must be understood if the symphony is to be fully appreciated. The program ends with a comparison of Haydn and Mozart, showing how their musical styles developed, and giving examples of the work of each.
A continuation of the discussion of sonority, in which a full orchestra—strings, wind instruments and tympani—displays the musical effects which can be produced by various instruments. The Cambridge Festival Orchestra performs portions of Haydn's First and 80th Symphonies, and Mozart's 33rd and 34th Symphonies, demonstrating not onlytechniques of performance but also how the instruments themselves contribute to the composer's musical structure.
A return to classical traditions may be considered the hallmark of Brahms' music, declares Professor Woodworth. Brahms himself is reputed to have said that music is a drama in which the only players are musical themes. To implement this, he reintroduced the use of counterpoint, strict construction and an intellectual orchestration based on something more than desire for sonority. These changes, says Professor Woodworth, are apparent in works such as his Third Symphony, which is used as a musical example for this program. Not only is this a new effort in musical composition, it is also an interesting use of a nationalistic spirit in music.
Moving deeply into the German romanticism of the 19th Century, the symphony grew as composers experimented with new methods of orchestration, and an increased expression of feeling and mood. Professor Woodworth illustrates this change as he plays recordings of Schubert's Symphony Number 7, and Mendelssohn's Symphony Number 35. The need to express intense subjectivity in music lead to structural changes in the composition of Mendelssohn's symphonies. This need is one of the key characteristics of German romantic music.
Examines trade unionism in Australia, England, and the United States and pursues in its comparative study what trade unionism has come to mean to Australins.
As the 19th Century progressed and the spirit of nationalism increased, this new emotion began to affect music as much as other activities. Here Professor Woodworth shows the effect of this spirit on the music of four composers: Dvorak, Mahler, Tchaikovsky and Sibelius. While they adhered to the standard forms of musical construction, they drew their thematic materials from sources such as folk songs and religious music to give their compositions a specifically national flavor.
The group will examine in depth the implications of coexistence between the Communist and the non-Communist worlds. What are the possibilities for lifting the Iron Curtain, increased trade? How irreconcilable are long term Soviet objectives with free world objectives?
Focuses on the United Nations' three Secretary Generals: Norwegian Trygve Lie, Sweden's Dag Hammarskjold and U Thant of Burma. Interspersed with film excerpts, photos, and commentary, the show also includes an interview with General U Thant and Andrew Cordiers, Dean of Columbia University's school of international affairs.
To begin a series on the symphony, states Professor Woodworth, one must start at the beginning, with the first movement of the piece. In the classical symphony, the first movement introduces all the musical elements which will be present throughout the four movements of the work. Using the first movement of Mozart's 34th Symphony as an example, Professor Woodworth explains the musical concepts of exposition, recapitulation and coda. He ends by remarking, "A symphony is a structure of sounds in motion in time. It conveys no specific ideas other than musical ideas."
A third kind of American musical composition is the subject of this program. Contrasted with the strongly emotional and nationalistic music of Harris, or the attempts at a resolution of the national-universal conflict in the music of Copland, is the music of Walter Piston, which, the composer explains, is "not intended to convey other than musical ideas." Professor Woodworth uses Piston's comment as a key to understanding his music, and shows by the use of visual aids and recordings how Piston has contrived to write a classical symphony in modern idiom. The use of orchestration, tonality and rhythm supports his efforts to write vital and dramatic music devoid of representational elements, says Professor Woodworth, and he demonstrates these points by examples drawn from Piston's Third Symphony.
In this program the new developments in American music are introduced through a study of Roy Harris' Symphony Number 3. Professor Woodworth interprets this music in terms of a growing American nationalism which express such American problems as the will to succeed, the desire for spiritual assurance, and the materialistic conflict in musical terms. Harris’ rejection of the techniques of Stravinsky, and his return to Baroque musical forms influences all of his music, and particularly this Symphony. Professor Woodworth plays recorded portions of this work to demonstrate some of the unique characteristics of this form of American music.
As the 20th Century opened, symphonic composers faced, among other things, a conflict between nationalism and internationalism. Still nationalist in orientation, says Professor Woodworth, are composers such as Vaughan Williams, while partaking of the new spirit of internationalism is the work of the composer Honegger. But despite this new spirit, the basic construction of the modern symphony remains the same as it was originally conceived in the middle of the 18th Century.
"The understanding of music consists in the responding to music in its own terms." This quotation from music critic Thomas Serret is the keynote not only to this program but also to the whole series. At this point, Professor Woodworth gives a careful and complete analysis of the first movement of Beethoven's Second Symphony. The separate parts of the movement --introduction, exposition, development, recapitulation and coda --are present in almost all first movements of almost all symphonies. Though the idioms or specific ideas may vary, this musical plan has survived for some two hundred years thanks to its symmetry, unity, variety and beauty, explains Professor Woodworth.
Talks about a new anti-discrimation bill going before Parliament. This episode is seen through the eyes, experiences and observations of Sha Jahan, 23 of Pakistan and Rudy Kizerman, a young British subject from Barbados. Discusses hostility towards many Indian, Pakistani and African immigrants and social aspects of race in the country.
Professor Woodworth demonstrates the importance to the composer of the various kinds of sounds made by different musical instruments. He uses the wind instruments as examples, drawing on members of the Cambridge Festival Orchestra who perform passages from works including Haydn's Military Symphony, three pieces by Beethoven including a passage from his Sixth Symphony, and Mozart's Symphony Number 41. The arrangement of instruments, the uses to which they can be put, and the varied effects of solo and group performance are elements in a study of sonority which is the subject of this program.
Professor Woodworth begins the program by declaring that Beethoven's "Eroica” and "Pastoral" Symphonies are examples of Whitman's line, "It is not the sounds alone that move, but their exquisite meaning." The French Revolution, liberation from tyranny, equality, fraternity, heroism—these, says Professor Woodworth, were present in Beethoven's mind when he wrote the Third Symphony and named it "Eroica." Yet it—like the Sixth or "Pastoral" Symphony which took its theme from a holiday in the country—follows strict musical and compositional forms and can be understood even without an acquaintance with the pictorial or poetic background which influenced them.
Professor Woodworth uses this program to introduce some general principles of musical composition, illustrating his remarks by examples from Haydn's Symphony Number 102. He explains how musical ideas are developed, how they are used and recognized in composition, and how they can be transformed and manipulated within the structure of the movement. Diagrams, and rear-screen projections of the score are used in this program.
In this last program Professor Woodworth summarizes the points he has made in the course of the series. Then, as a climax to the study of the symphonic form, Professor Woodworth conducts the Cambridge Festival Orchestra in a performance of the final movement of Mozart's Symphony Number 38, and then in a complete performance of Prokofiev's Classical Symphony, showing the transition from the 18th Century to modern music.
This program is a summation of the first development of the symphony as conceived by Haydn, Mozart and the early Beethoven. The examples used to show this development include the Minuet and Trio of Mozart's 39th Symphony, and the finales of Haydn's Symphony Number 102, Mozart's Symphony Number 41, and Beethoven's Symphony Number 1. Musical ideas and their development are explored in terms of a consistent classical pattern.
The Cambridge Festival Orchestra joins Professor Woodworth in a consideration of the romantic expansion of the orchestra. The brass choir in Beethoven's hands developed tremendously, and this was picked up and carried on by Mendelssohn, Brahms, Mahler and Tchaikovsky. Woodwinds and percussion instruments were also increasingly used to obtain special effects. Examples of this development are played, and at the end Professor Woodworth and the orchestra perform portions of two contrasting 20th Century Symphonies—Sibelius' Symphony Number 5 and Piston's Symphony Number 3—both of which used instrumentation to convey special moods.
Huston Smith interviews Dr. Bertram Beck and Dr. Margaret Mead at the American Museum of Natural History, on the subject of our country’s alarming rise in violence and deviant behavior. Are other countries witnessing comparable increases in crime? What are the causes of the rise in America, and what can be done about the situation? Special attention is given to the new problem of suburban delinquency.
Discusses the special problems faced by the child with cerebral palsy and explains how physical disability, psychological problems, mental subnormality, and the great number of clinical types adds to the complexity of this affliction. Uses filmed sequences to show the problems faced by many parents whose children are afflicted, and stresses the importance of cooperative teamwork by psychologists, physicians, therapists, social workers, teachers, and parents. Features Dr. William Cruickshank of Syracuse University.
Immediately after the overthrow of the Czar in 1917 the Kerensky government was formed, the short-lived and only democratic national government Russia has ever known. Dr. Sworakowski provides a detailed and carefully analyzed description of the reasons why Kerensky’s government fell so quickly. He also reads a letter from an eye-witness of the overthrow. Again, dramatic episodes alternate with commentary and narration over photographs and documents, as a picture of Lenin’s strategy and attack in the November Revolution is built up.
In this program, Stoessinger points out the continuity of imperialism from Czarist Russia to Russia today, Russia’s attitude toward nationalism being that it should be ruthlessly crushed. The Soviet’s techniques of empire building are several including playing nationalistic groups against each other and exploiting anti-fascist resistance to its own gain. In the past, nationalism has caused many blocks to Communism and they have constantly had to change their techniques. A former Albanian freedom fighter is interviewed.
This program concentrates chiefly on racial prejudice as exhibited in South African and the United States. The panelists consider topics which include: How does race prejudice begin? Can it be justified? Are apartheid and other forms of racial segregation defensible? What role does education play in removing the causes of prejudice? What are the prospects for the end of prejudice, and how do individuals from different parts of the world view the current situations? Participants: Nii Tettah Quao, Ghana; Constantinos Fliakos, Greece; Marita Wessels, Union of South Africa; Cora Brooks, United States.
Delegates from Australia, the Union of South Africa, and the Gold Coast discuss the problems of education both in the United States and abroad. Each of the delegates to the forum was the guest of a school during his twelve-week stay, and during that time, each had a good opportunity to gain first-hand knowledge of the American school system. One of the students attended a private school here, while the other two attended public schools. Like the blind men who "see" the elephant with their hands, and then attempt to describe it, each of the three has a somewhat different impression of school life here. However, each of the schools which they have attended seems rather typical of one trend or another in American education. In discussing education in this country, they deal with, among other problems, the question of objective as opposed to essay-type examinations, private and public schools, and the differences between the standards in wealthy and less prosperous communities. Both of the delegates from Africa seemed to feel that, while American students are fairly well-versed on the history and problems of Europe, they seem to know comparatively little about other sections of the world. The exchanges between the delegates from the Union of South Africa and the Gold Coast concerning segregation are interesting. Since two of the participants are from the English Commonwealth, it was inevitable that there should be examination of the educational problems growing out of colonial rule.
During this hour-long program, NET continues its examination of the civil rights issue by presenting two separately produced half-hour segments which probe the attitudes of white southerners whose views on segregation are at opposite ends of a spectrum. Part I "The Southern Conservative," offers interviews with a cross-section of pro-segregationists, while Part II, "The Southern Liberal," features interviews with a number of southerners who favor integration.
Discusses and illustrates some principles that can be applied in the breaking of habits with specific application to smoking and alcoholism. Points out that to break a habit, one must know what needs the habit satisfies, must have a strong urge to break it, and must practice the new ways of satisfying the needs formerly satisfied by the habit. (KOMU-TV) Kinescope.
This is a fairy tale about a mischievous badger who plays tricks upon a friendly rabbit. We learn how he was taught a lesson and never again played pranks. Mr. Mikami illustrates this tale with brush painting of a rabbit and badger.
Explains that the Jewish view of education is based on the Jewish view of man. Man may be limited and small, but he can grow toward God because something in him corresponds to God. Answers objections and comments on a Friday night scene in a Jewish home. Featured personality is Eugene B. Borowitz, national director for the Union of American Hebrew Congregations.
