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Edward R. Feil, Edward G. Feil, Ken Feil, Naomi Feil
Summary:
Home movie of the Feil family's trip to Greenfield Village in Michigan. Shows the boys petting horses hooked up to a carriage, the exterior of the Ford Mack Avenue plant ("first factory of the Ford Motor Company"), and a man spinning pottery which the boys then have as souvenirs.
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.
