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Discusses the process of modulation, or key change, in musical composition. Explains the major and minor tonal patterns which dominate all music of the period under discussion (1700-1900). Illustrates the concept of the "freedom of the keys" with modulating sentences of two, three, and four phrases. Stresses the importance of understanding modulation when dealing with all the major forms of music. (WMSB-TV) Kinescope.
Discusses and illustrates two-phrase or duple sentences in musical composition. Defines the phrases as a rhythmic entity, culminating in some form of cadence, and carrying a certain amount of musical "sense"; while a sentence is completion of the sense achieved by answering an announcing phrase with a responsive phrase. Demonstrates degrees of similarity between announcing and responsive phrases from the identical response, to the apparently quite dissimilar. Concludes with a discussion of methods used to connect phrases by anachusis, melodic overflows, links, and subtle combinations of these. (WMSB-TV) Kinescope.
Professor Jones illustrates sentences of three (triple) and four (quadruple) phrases and their common internal relationships. After which, since it would be a gross misrepresentation to leave the listener with the impression that phrases of four metrical accents are "regular" for all music, phrases of three five, six and seven accents are illustrated, from folk to art music.
Dr. John W. Dodds continues the exploration of the theme of love as treated in literature. Includes readings from Shakespeare's plays and the poems of Matthew Arnold, Tennyson, and Robert and Elizabeth Barrett Browning. (KQED) Kinescope.
Raffles Professor of History C. Northcote Parkinson, University of Pittsburgh professor Joseph J. Zasloff, and member of the organizing committee for the 1958 International Systems Meeting Robert Lee discuss the significance of modern Asia.
The format of this final program is different from that of the preceding three. On the sound track is a pre-recorded conversation with Steichen, and on the screen is a series of Steichen’s own photographs, and those of other photographers, from the “Family of Man” collection. Steichen’s remarks form a commentary explaining and describing some general principles of photography, and the details of completing this particular exhibit.The basic element, says Steichen, is love: love of life and of mankind.
Describes the influence of organized labor on governments and in the direction of foreign policy. Discusses the work of labor organizations and presents a film that shows the coming of the Industrial Revolution to various world areas. (WTTW) Kinescope.
What have been the results of the publication of Parkinson’s Law? Although it has prompted other critics to take new looks at the organizations which speckle out society, says Professor Parkinson, too many corporations, universities, and so on still seem to be operating under this law. Professor Parkinson turns his analysis on the social scientists, on the cocktail party, and on American motorized traffic, to conclude his examination of the basic principles of his Law.
What is the position of the Near Eastern countries today? Dr. Malik introduces the topic by describing why he feels education is so essential to their development. Theoretical values and general policies must be developed before specific problems can be attacked, such as the problems which Islam will have in adjusting to the modern world. It is no longer possible to return to pure Islam, free from the influences of the West, he believes. The Arab nations are anxious to become substantial, self-respecting members of the world community. They look for a leader who will give them direction and guidance without forcing them away from their traditional values. Of the revolutions which have upset the Arab world since the end World War II, Dr. Malik says these are usually due to circumstances which have become intolerable. At the end of the program, Dr. Malik presents a plea for understanding and toleration of the Arab community, as it attempts to establish itself in the modern world.
Does geography make a difference in political thought? Dr. Parkinson discusses his book Evolution of Political Thought, and suggests that geography, and geographical isolation, do make a difference in political thought and practice. He traces the cycle which goes from a primitive paternal structure through a monarchy to an aristocracy, then to a dictatorship, then back to monarchy. Although he sees this as a fairly consistent pattern, Professor Parkinson does not believe that this is, in effect, historical determinism. Men can change his destiny, he says, and the experiments in democracy, although they have not been going long enough to suggest a definite trend, prove man’s freedom of choice. In fitting the Soviet Union into this pattern, Professor Parkinson remarks that it could be called a technological monarchy.
Dr. Mayo explains the purpose of the Mayo Foundation, the teaching branch of the Mayo clinic. Tells of the origins of medical education at the clinic and the informal beginnings of the Foundation in 1909. Discusses the qualifications for becoming a doctor. Concludes with a discussion of the value of women in medicine. Dr. Charles W. Mayo is interviewed by Victor Cohn, Minneapolis Tribune Science Reporter, and Dr. John C. Schwartzwalder, General Manager KTCA TV.
Three young foreign students--one from Sweden, one from Venezuela, one from Belgium--talk to Louis Armstrong about what he has done as a musical ambassador. Mr. Armstrong tells them about experiences he had in their home countries when he performed there--about how how he met a Belgian diplomat who came to this country on a matter of state, but arrived early to spend some time with Satchmo, about a young Swedish girl who sang with his band and subsequently became a star, about a threatened bombing of an auditorium where he was scheduled to play in Venezuela which never took place, because when he arrived the people were more interested in music than in munitions. But more than anecdotes, he tells how he found people all over the world who were united, in spite of their differences, by their interest in music.
Mr. Armstrong is joined by Robert McCully, writer and public relations expert, Adam Lynch, news and classical music broadcaster, and Benny Benack, a musician who has concentrated on Dixieland jazz and a trumpeter who looks up to Louis Armstrong as his great hero. In this program Mr. Armstrong describes a New Orleans musical funeral and the impulses that give rise to it, the music it creates, and the way it is carried out. Speaking about emotion and music, he remarks that a good musical performance has as its base a great sympathy and feeling for the music. He talks about his love for any good music--jazz, classical or popular--and about the future of jazz and of young people who like music.
An interview with musician Louis Armstrong about his career, starting with his boyhood in New Orleans through becoming an internationally known figure. With Robert McCully and Adam Lynch.
A reminiscence about Lorenz Hart is naturally followed by Rodgers’ personal and professional transition in Oscar Hammerstein II. One big difference: Oscar was interested in what to say, Larry in how to say it. The first thing Rodgers and Hammerstein ever did, “Oklahoma!,” turned out to be one of the greatest American musical theatre hits. But there was nothing about “Oklahoma!,” to suggest success. The original play was a flop … the producers announced it was their last show, they were so sure it would die … Hammerstein had had eleven years of failures … the director couldn’t get a job before they hired him … the choreographer had only one other show to her credit. Rodgers and Hammerstein declared they wouldn’t touch “My Fair Lady,” as they didn’t have the courage to tamper with GB Shaw. When they decided to do “Carousel,” based on Molnar’s “Liliom,” they dared to change the ending. At an early run-through, they learned the author was in the theatre and were thoroughly intimidated by his presence. But they were relived at his enthusiastic response and particularly at his approval of the ending. In this program there is a moment of great poignancy as Oscar Hammerstein is shown reciting “Surrey with the Fringe on top,” a song which always makes Rodgers cry because of its sentimental simplicity. More Rodgers philosophy: “Somehow or other, we find what we need – in marriage, work, friends and music.
Richard Rodgers talks about his collaborators, Lorenz Hart and Oscar Hammerstein, and the difference in the relationship he had with these two men as compared to that of Gilbert and Sullivan “who loathed each other.” Hart was “way out,” says Mr. Rodgers, whereas Hammerstein was more down to earth. In the Rodgers and Hammerstein team, Rodgers acquired the reputation of the businessman – the man who transacted the deal, took care of the finances, and knew how to count. Rodgers pooh-poohs this with “I don’t know the salary of one person who works for me. I have a business office and people who take care of that end. I don’t want to be known as a good business man. I like the reputation of writing good music, if I do.” When Hammerstein realized that his days were numbered, he told Rodgers to get a young person to work with. “A young person will give you energy, new ideas, direction; you will give somebody young experience,” he said. When 20th Century Fox wanted to remake “State Fair,” they asked Rodgers and Hammerstein for three songs to add to the old score. When it became obvious that Oscar could never do it, Rodgers decided to undertake both music and lyrics, for the first time in his life. The songs were accepted, and he says, “I never had more fun working my life. I’m on a new road whether it’s with another collaborator or alone.”
Richard Rodgers was brought up in a passionately musical family. His mother was brilliant pianist; his father, a doctor, sang. They would sing and play the comic operas of the day. He was weaned on “The Merry Widow” and “Chocolate Soldier.” “These are the happy memories of childhood.” When he was sixteen years old, he met 23-year-old Lorenz Hart, who proceeded to explain his theory of lyric writing. Rodgers was proud that the age of sixteen he understood Hart. Rodgers played a couple of tunes for him and that was the beginning of a 24-year partnership. Nothing has ever been more gratifying than his first success to its fullest ... loved every minute of it. Everything that’s come along since, I’ve loved. I roll success around in my mouth like a piece of candy.” He hates failure –but thinks it’s the result of being alive –and readily admits to several: “Chee Chee,” “Pipe Dream,” and “Higher and Higher.” “I love it when it’s good and I hate it when it’s bad,” he says. Another Rodgerism: “In writing for people, there are two facets –one is emotional, the other is intellectual.”
The final program of the series presents Mr. Armstrong, Benny Benack, a musician who has concentrated on Dixieland jazz, and Professor Frederick Dorian, a classical musicologist from the Carnegie Institute of Technology. Dr. Dorian was Mr. Benack's professor at Carnegie Tech, and has joined his former pupil to learn about jazz and what a great jazz musician thinks of classical music. Dr. Dorian, who is not very well acquainted with jazz, asks Mr. Armstrong what the elements are of good jazz, and it is this definition which occupies the major part of the program.
The first part of the program is devoted to Steichen’s memorable and world-famous exhibit, “The Family of Man.” Steichen explains his preoccupation with the forms and development of human life; the exhibit, and many of the photographs shown during the course of the program, emphasize the preoccupation. Steichen and Rene d’Harnoncourt also discuss his association with the fashion magazine Vanity Fair, his ideas on journalistic photography, and his work in Hollywood and in advertising, his photographic experiments, his experiences during World War I, his exhibitions and the ideas governing them, his work now in progress, and his plans for future exhibitions.
The first program deals largely with Steichen’s life and his development as a photographer. He comments on the first camera he use (a Kodak), the years before he came to New York City, his “romantic” period in the 1890’s, his work with photography for advertising, his stay in France when he was for a while very active as a painter, his reactions to modern art, and his feelings about the influence of painting on his photography. Steichen’s photographs are used throughout the program to complement his description of life and work, and he often gives detailed analysis of these photographs.
The third program consists of a detailed analysis of photographs. Steichen and a young photographer move from picture to picture while Steichen explains the mechanical and technical problems they presented and the ideas or interests that prompted his focusing on one or another subject. They also examine pictures taken by such noted photographers as Lewis Hines and Edward Weston. Of particular interest are Steichen’s comments on symbolist photography and his reasons for abandoning experiments he began in this area. At the program’s end, Steichen speaks generally about the future of photography, and of the things we have to learn about and from our fellow man.
Mr. Ormandy discusses working out musical interpretation and technical aspects, the evolution of conducting and its relationship to the development of the modern symphony orchestra, domination of the orchestra by the conductor, modern music, twelve-tone music, and the role of the music critic.
Mr. Ormandy discusses a serious musician’s views of rock and roll music, how to interest young people in good music, opera in English, how high orchestral performance standards are maintained, and whether electronic instruments are the basis of a new music.
Mr. Ormandy discusses, with his guests, the relationship of the musician to the audience, the influence of the conductor in determining the orchestral personality, and problems of choral conducting. He concludes with an explanation of the relationship of the soloist and the conductor.
What is Parkinson’s Law? “Work expands to fill the time available for its completion.” This law, and its ramifications, were first set out in the London Economist in 1956, after Professor Parkinson had developed them during his work in the Royal Air Force and a tour of duty in the South Pacific. He explains their application to civil service work, to the operations of administrative agencies, to the establishment of a university, and to the competition between industries.
Documents the complaints of welfare recipients and their attempts to change the system by organizing a local union. Relates the union's goal as one of forcing a change by means of pressure and describes the federal government's emphasis on training programs. Shows organized demonstrations in Cleveland and in Washington, D. C.
Illustrates aircraft control in the crowded air lanes between New York and London. Explains the development of mathematical formulas to evaluate the present risk of collision between aircraft and the anticipated risk if the distance between air lanes is narrowed. Shows a ship collecting data on the position of all aircraft flying the Atlantic and two mathematicians explaining the probability of collision and its calculation.
Indiana University, Bloomington. Audio-Visual Center
Summary:
Investigates some of the ways in which man is influenced and changed by society. Demonstrates the effect of group pressure to conform and shows the consequences of publicly stating ideas contrary to one's private beliefs.
Indiana University, Bloomington. Audio-Visual Center
Summary:
Records the history of the late Dr. Martin Luther King's "Poor Peoples March." Shows him conferring with aides, traveling to solicit support, and developing the operational details of the March. Ends documentary earlier than planned because of slaying of Dr. King.
[motion picture] Focuses on William Geer, lecturer in modern civilization and history, University of North Carolina, and Lloyd Reynolds, calligrapher and art historian, Reed College. Illustrates each man's individual style of teaching through samples of lectures, methods of counseling students, philosophies, and interviews with present and former students. Illustrates how these two men successfully challenge students to think about things they have not contemplated before and to enjoy doing it.
Tonality, the relationship of tones and chords to the keynotes, is further explored in this program. The mood or musical character as it has been affected by major and minor tonalities in western music from 1600 to 1900 come under study. Beethoven’s expressive use of major-minor interchanges receives emphasis here.
The exciting topic of “stretching time” is explained by Professor Jones in this program. Devices used for continuity without change of character in the music include postponement or avoidance of cadences and extension and overlapping of phrases. To the commentator this is truly the most “exciting” area of music appreciation.
Explains, discusses, and illustrates musical phrasing. Draws illustrations from the Baroque period, particularly from the music of Bach, to point out the "drive" and "onward urge" of musical phases.
Introduces Duro Ladipo, the founder, director, playwright, composer, and principal male actor of the Duro Ladipo Traveling Theatre Company of Oshogbo, Nigeria. Explains how Ladipo became interested in drama and music. Shows members of the company touring Nigerian villages.
Presents an introduction to Anne Sexton and a view of her poetry. Describes how she began writing poetry and includes her reading "Her Kind," "Self in 1958," "Ringing the Bells," "The Addict," "Young," "Those Times," "Little Girl, My String Bean, My Lovely Woman," and "Live."
Records the poetry and personality of Gwendolyn Brooks and the Chicago environment which provided the sources for most of her materials. Features Miss Brooks reading several of her poems, each accompanied by scenes of the people or locale described. Examines her method of working, the things she finds most pleasant in life, and the thrill of winning the 1950 Pulitzer Prize for poetry.
Delegates from India, Korea, Norway and the United Kingdom thrash out the controversial question of U.N. membership for Red China in a lively discussion during this program. "Actually it is not a question of whether we like a country or its government. The fact is that it—the country—should be recognized," Norway says and the Korean delegate comes back with, "Nations that don’t love peace should not be admitted to the U.N." The conversation swings into a second heated discussion on the effectiveness of competition between the United States and Russia to aid underdeveloped countries.
Tells the story of the Republican Party's birth at Ripon, Wisconsin. Explains the factors which gave rise to the Republican Party and doomed Whig Party. Discusses the Missouri Compromise, Fugitive Slave Law and the Kansas-Nebraska Act as they relate to the new party.
Dr. Glenn Seaborg and his associates describe the discovery of the four "missing elements," technetium, astatine, francium, and promethium. Emphasizes the role of the cyclotron on the creation of synthetic elements. Dr. Ernest O. Lawrence explains the operation and development of high voltage accelerators from the first eight-inch cyclotron to the mammoth bevatron. Dr. Emilio Segre, a participant in the discovery of the first synthetic element, describes its discovery and demonstrates the technique used by him to identify astatine. (KQED) Film.
Presents the scientists who participated in the discovery of elements 99, 100, and 101. Demonstrates the techniques, equipment, and chemistry associated with the original isolation of these elements. Presents a detailed example of the methods and equipment used in handling radioactive materials.
The Finder shows us how basic printing is in our lives by bringing before the camera a variety of things which are printed—stamps, billboards, toys, milk bottles, tin cans and plastic curtains. He goes on to investigate letterpress, the oldest printing method invented by Gutenberg 500 years ago. It is still one of the widely used printing methods.
Describes the work of the newspaper reporter. Joins the Police Reporter on his regular beat, and covers a feature story at the zoo. Through an interview with the Managing Editor, indicates that a newspaper does more for its readers than reporting news. (KETC) Kinescope.
Tells the story of Old Shawneetown, Illinois and the first bank in this new territory. Explains how Old Shawneetown became a ghost town. Discusses the pioneer bank and how it was indispensable to the pioneer farmer, merchant, shipper and manufacturer.
