Post-World War II public schools in Harlem, New York were segregated, under-resourced and educationally inequitable. Addressing disparities in education was of paramount importance for the socioeconomic mobility and future of the neighborhood. In an effort to understand how race, religion, community, and education intersected in this context, this dissertation answers the following research question: How did St. Philip’s, the first Black Episcopal church in the city and one of the most historic churches in Harlem, participate in education during the post-World War II period? Responding to and preventing inequities in the neighborhood, including the substandard state of the public schools, St. Philip’s served as an educational space and organizational base for the community. St. Philip’s participation accounts for the way a Black church emerged as a space for education when the public schools were foundering. The church’s ethos of education - community engagement - reframes traditional frameworks of teaching and learning beyond schoolhouse doors. During the postwar period, St. Philip’s expanded its in-house programming for Black children, youth and adults, constructing a new community youth center, where classes, tutoring, after-school activities, college counseling, career guidance, day-care, recreation and clubs were community staples. Understanding the importance of inclusivity, continuity and consistency, programming was accessible to the entire neighborhood, regardless of membership with year-round services such as summer camp and career counseling. As an organizational base, the church hosted education talks and committee meetings, facilitating a forum for the community to engage in critical conversations about the state of education. It was a safe space for transparency and troubleshooting. Concerns about education expanded beyond conversations in the church, however. St. Philip’s corresponded directly with city governance, petitioning school-makers with recommendations and demands. This dissertation broadens the traditional civil rights narrative of Black religious activism, which has the tendency to dichotomize who participated and how they participated. This polarization includes regions: North-South, religions: Christian-Muslim, figureheads: Martin Luther King, Jr.-Malcolm X, and strategies: peaceful-militant. Historians Charles Payne and Nikhil Pal Singh push back on this oversimplified interpretation as “King-centric.”* St. Philip’s educational activism foils this paradigm as a Black Episcopal institution in a northern city. St. Philip’s brings nuance to categorizations of Black churches as either being focused on the far-reaching goal of social transformation or compliant with conservative social philosophies based on respectability politics. Its participation was both radical (such as establishing educational programming at the Community youth center that was open to members and non-members alike, regardless of class, age, political or religious beliefs) and conservative (such as sitting out of the 1964 citywide school boycott, while the majority of the Black community participated). In this way, St. Philip’s educational activism in Harlem calls into question criticisms of the Black Episcopal Church that position it as elitist and accommodationist to white values and white power, hence, apathetic to the challenges facing the Black population in cities during the post-World War II period. *Nikhil Pal Singh, Black Is a Country: Race and the Unfinished Struggle for Democracy (Cambridge: Harvard University Press, 2004), 6; and Charles Payne, I’ve Got the Light of Freedom: The Organizing Tradition and the Mississippi Freedom Struggle (Berkeley: University of California Press, 1995), 419.

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Governor John B. Connally Jr., who served as chief executive of the State of Texas from 1963.to 1969, made extensive use of the mass communication media to further both his programs and his own political fortune. It is the purpose of this study to examine the history of Connally's use of the media, to evaluate the degree of success he achieved in the use of the media, and to present evidence of how he was able to achieve success in the use of the media. The study was done in three phases. In the first phase, microfilm files of two newspapers, the Dallas News and the Houston Chronicle, were studied in detail for the years 1962 through 1968. Clipping files of the Associated Press in Austin and the Dallas Times Herald also were studied for the years in question. Also, the New York Times Index was examined for references to Connally during these years. Such references were then checked on microfilm files of the Times. In the second phase, key members of Connally's staff for those years and key members of the capitol press corps in Austin were interviewed. As a third step, a questionnaire was mailed to 25 selected Texas editors soliciting their views on Connally's press relations.

This thesis shows that because the Poor People’s Campaign was created by and operated within the formal structure of the Southern Christian Leadership Conference (SCLC) - a nonprofit organization - it was unable to achieve success by almost any measure. SCLC’s organizational structure made it extremely difficult to create a national campaign from the ground up, and its leadership strategy guaranteed that it would be virtually impossible to sustain that kind of national campaign.

Indiana University-Purdue University Indianapolis (IUPUI) / This thesis shows that because the Poor People’s Campaign was created by and operated within the formal structure of the Southern Christian Leadership Conference (SCLC) - a nonprofit organization - it was unable to achieve success by almost any measure. SCLC’s organizational structure made it extremely difficult to create a national campaign from the ground up, and its leadership strategy guaranteed that it would be virtually impossible to sustain that kind of national campaign.

The modern trombone player can experience a variety of styles on any given day. There is a need for the ability to switch between a plethora of styles ranging from avant-garde pieces to many forms of popular music to masterworks of the symphonic repertoire. It is the responsibility of the musician (performer or educator) to be familiar with all music due to global access via the internet. There is a responsibility to properly perform and respect music as more composers are beginning to blend different styles, genres, idioms, and cultures within the same composition. Daniel Schnyder is a prominent continuation of this style of musical collage that began with composers such as George Rochberg, Luciano Berio, Bernd Alois Zimmermann, and Charles Ives. The goal of this project is to analyze the stylistic saturation of Daniel Schnyder's Worlds Beyond Suite, focusing on performance and stylistic analysis to aid in an informed performance. This project will highlight the flexibility required by modern trombonists to perform with a deeper understanding of music in multiple styles, as the blending, juxtaposing, and superimposition of style is the universal future of music.

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The Little Shepherd of Kingdom Come takes as its backdrop the American Civil War, as the author, John Fox, Jr., champions Kentucky's social development during the Progressive Era. Although often criticized for capitalizing on his propagation of regional stereotypes, I argue that the structure of The Little Shepherd of Kingdom Come is much more problematic than that. Recognizing the Bildungsroman as a vehicle for cultural and social critique in late-nineteenth and early-twentieth century writing, this project offers an in-depth literary analysis of John Fox, Jr.'s novel, The Little Shepherd of Kingdom Come, in which I contend the story itself is, in fact, an impassioned account of human progress that juxtaposes civilized Bluegrass society and the degraded culture of the southern mountaineer. Indicative of the Progressive Era scientific attitude toward social and cultural evolution, Fox creates a narrative that advances his theory of southern evolution in which southern mountaineers are directed away from their own culturally inferior notions of development and towards a sense of duty to adapt to the civility of Bluegrass culture. This study focuses briefly on defining the Bildungsroman as a genre, from its eighteenth-century German origins to its influence on the American literary tradition. Beginning with Goethe's Wilhelm Meisters Lehrjahre, the Bildungsroman, in its most traditional form, narrates the development of the protagonist's mind and character from childhood to adulthood. Focus will be placed on how the Bildungsroman engages with literature's ability to facilitate the relationship between an individual and social development, as well as how easily the Bildungsroman lends itself to being appropriated and reconfigured. This study will then demonstrate how The Little Shepherd of Kingdom Come, Fox's local-color narrative, in its focus on the growth of the protagonist, Chad, as an allegory of the development of an Appalachian identity during the Progressive Era, might usefully be understood as an Appalachian Bildungsroman. While Chad, ultimately acquires the polished savoir faire of a skilled Bluegrass gentleman, the tensions between the southern mountaineers and the Bluegrass bourgeois makes his socialization into any one culture impossible, a situation illustrative of the disparity between Appalachia and the rest of America during the Progressive Era. By adapting the Bildungsroman to represent this historical situation, Fox's novel demonstrates the kind of conflict that furthered Appalachian difference as point of contention for the problematic ideals of social and cultural evolution, thus, indicating the need for reconciling Appalachia's marginal position.

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