“PROSPERING BECAUSE THAT’S ITS HISTORY”: BLACK RESILIENCE AND HONORS DEVELOPMENT IN HIGHER EDUCATION: MORGAN STATE UNIVERSITY AND THE STATE OF MARYLAND, 1867-1988

This study explores the origins and development of honors education at a Historically Black College and University (HBCU), Morgan State University, within the context of the Maryland higher education system. During the last decades, public and private institutions have invested in honors experiences for their high-ability students. These programs have become recruitment magnets while also raising institutional academic profiles, justifying additional campus resources. The history of higher education reveals simultaneous narratives such as the tension of post-desegregated Black colleges facing uncertain futures; and the progress of the rise and popularity of collegiate honors programs. Both accounts contribute to tracing seemingly parallel histories in higher education that speaks to the development of honors education at HBCUs. While the extant literature on honors development at Historically White Institutions (HWIs) of higher education has gradually emerged, our understanding of activity at HBCUs is spotty at best. One connection of these two phenomena is the development of honors programs at HBCUs. Using Morgan State University, I examine the role and purpose of honors education at a public HBCU through archival materials and oral histories. Major unexpected findings that constructed this historical narrative beyond its original scope were the impact of the 1935/6 Murray v Pearson, the first higher education desegregation case. Other emerging themes were Morgan’s decades-long efforts to resist state control of its governance, Maryland’s misuse of Morrill Act funds, and the border state’s resistance to desegregation. Also, the broader histories of Black education, racism, and Black citizenship from Dred Scott and Plessy, the 1863 Emancipation Proclamation to Brown, inform this study. As themes are threaded together, Critical Race Theory provides the framework for understanding the emerging themes. In the immediate wake of the post-desegregation era, HBCUs had to address future challenges such as purpose and mission. Competing with HWIs for high-achieving Black students was one of the unanticipated consequences of the Brown decision. Often marginalized from higher education research literature, this study will broaden the research repository of honors education by documenting HBCU contributions despite a challenging landscape.

THE LESSER-KNOWN PIANO CHAMBER MUSIC OF CAMILLE SAINT-SAENS: A RECORDING PROJECT

Throughout his long and industrious lifetime, Camille Saint-Saens (1835-1921) devoted himself unconditionally to music both as a composer and a performer. Saint-Saens was a self-described traditionalist and musical purist, yet his works are distinctly expressive and imaginative, and they reflect the composer's own unique musical language which incorporates recognizably modem traits such as chromaticism and frequent modulation. As a performer, Saint-Saens preferred to premiere his own works and often included his chamber music in his concert programs. Regarded primarily as a symphonic composer in the present day, however, his extensive and varied collection of chamber music works is sadly neglected. Six varied small-ensemble works with piano from his chamber music repertoire have been selected for study and recording for this project: Piano Trio No. 1 in F Major, Op. 18 (1864); Sonata for Cello and Piano No. 1 inC Minor, Op. 32 (1872); two pieces for two pianos, Le Rouet d'Omphale (The Spinning Wheel ofOmphale), Op. 31 (1871) and Phaeton, Op. 39 (1874); piano duet Konig Harald Haifagar (King Harald Haarfager), Op. 59 (1880); and a wind quartet, Caprice sur des airs Danois et Russes (Caprice on Danish and Russian Airs) for Flute, Oboe, Clarinet and Piano, Op. 79 (1887). Analyses of the forms and harmonic structures of these compositions will be included in this dissertation paper as well as studies from the viewpoint of Saint-Saens' compositional style, ensemble characteristics, and writing for the piano. The recordings for this project were made in four sessions in LeFrak Concert Hall at Queens College, the City University of New York. On September 24, 2003, Op. 31, Op. 39 and Op. 59 were recorded with Professor Morey Ritt, piano. On March 2, 2004, Op. 18 was recorded with Elena Rojas, violin, and Clare Liu, cello, and on March 15, 2004, Op. 32 was recorded, also with Ms. Liu. The Caprice, Op. 79 was recorded on June 27, 2008 with Laura Conwesser, flute; Randall Wolfgang, oboe; and Steve Hartman, clarinet. The recordings may be found on file in the library at the University of Maryland, College Park.