TEACHING AMERICAN CIVIL WAR MUSIC IDSTORY WITH MODERN EDITIONS OF PERIOD MUSIC FOR FULL CONCERT BAND

This dissertation explores a method of teaching the history of Civil War music and musicians through modern full-band editions of original brass band music. In the study of music history the period of the Civil War is rarely discussed, or at best, mentioned only if a student takes a specific course on the history of bands and happens to look deeply into the background of some of the early band pioneers such as Patrick Gilmore, who served in the Union Army as a bandmaster. The history of the musicians, bands, and music performed during the Civil War deserves study to provide a way for students and audiences to learn this history. This project includes lesson plans that can be used with the arrangements of the period music as well as select published music that is also representative of the period. Included with the historical information are four arrangements of original brass band music now scored for full concert band. Each arrangement includes a section scored for brass only with optional brass band parts. Historical information is provided on the Civil War period bands and how each side used them, on the composers of the music, and also on the individual compositions. The historical information can be used to supplement the lesson plans to teach the history, as well as for program notes for audiences. The research involved locating information on both Union and Confederate bands available in books, other dissertations, articles, and interviews with Civil War music historians. The original brass band music is scored for full band. This method will allow teachers and conductors to highlight this period of wind band history and to share it with both students and audiences. Included with this project are photos and video footage taken during a visit with the 1st Brigade Band of Watertown, Wisconsin, an historical organization dedicated to recreating the music and performances of an actual Civil War era band.

CIVIL WAR SETTLEMENTS AND COMBATANTS’ BEHAVIORS: STRATEGY, PERCEPTION, AND REPUTATION

Three projects in my dissertation focus on the termination of internal conflicts based on three critical factors: a combatant’s bargaining strategy, perceptions of relative capabilities, and reputation for toughness. My dissertation aims to provide the relevant theoretical framework to understand war termination beyond the simple two-party bargaining context. The first project focuses on the government’s strategic use of peace agreements. The first project suggests that peace can also be designed strategically to create a better bargain in the near future by changing the current power balance, and thus the timing and nature of peace is not solely a function of overcoming current barriers to successful bargaining. As long as the government has no overwhelming capability to defeat all rebel groups simultaneously, it needs to keep multiple rebel groups as divided as possible. This strategic partial peace helps to deter multiple rebel groups from collaborating in the battlefield and increases the chances of victory against non-signatories. The second project deals with combatants’ perceptions of relative capabilities. While bargaining theories of war suggest that war ends when combatants share a similar perception about their relative capabilities, combatants’ perceptions about relative capabilities are not often homogeneous. While focusing on information problems, this paper examines when a rebel group underestimates the government’s supremacy in relative capabilities and how this heterogeneous perception about the power gap influences negotiated settlements. The third project deals with the tension between different types of reputations in the context of civil wars: 1) a reputation for resolve and 2) a reputation for keeping human rights standards. In the context of civil wars, the use of indiscriminate violence by the government is costly, and as such, it signals the government’s toughness (or resolve) to rebel groups. I argue that the rebels are more likely to accept the government’s offer when the government recently engaged in indiscriminate violence against civilians during the conflict. This effect, however, is conditional on the government’s international human rights reputation; suggesting that rebel groups interpret this violence as a signal particularly when the government does not have a penchant for attacking civilians in general.

Nurturing Change: Lilly Martin Spencer's Images of Children

This dissertation is the first full-length study to concentrate on American genre painter Lilly Martin Spencer's images of children, which constituted nearly one half of her saleable production during the height of her artistic career from 1848 to 1869. At this time, many young parents received advice regarding child rearing through books and other publications, having moved away from their families of origin in search of employment. These literatures, which gained in popularity from the 1830s onward, focused on spiritual, emotional, and disciplinary matters. My study considers four major themes from the period's writing on child nurture that changed over time, including depravity and innocence, parent/child bonding, standards of behavior and moral rectitude, and children's influence on adults. It demonstrates how Spencer's paintings, prints, and drawings featuring children supported and challenged these evolving ideologies, helping to shed light not only on the artist's reception of child-rearing advice, but also on its possible impact on her middle-class audience, to whom she closely catered. In four chapters, I investigate Spencer's images of sleeping children as visual equivalents of contemporary consolation literature during a time of high infant and child mortality rates; her paintings of parent/child interaction as promoting separation from mothers and emotional bonding with fathers; her prints of mischievous children as both considering changing ideals about children's behavior and comforting Anglo-American citizens afraid of what they saw as threatening minority groups; and her pictures with Civil War and Reconstruction subject matter as contending with the popular concept of the moral utility of children. By framing my interpretations of Spencer's output around key issues in the period's dynamic child-nurture literature, I advance new comprehensive readings of many of her most well-known paintings, including Domestic Happiness, Fi, Fo, Fum!, and The Pic Nic or the Fourth of July. I also consider work often overlooked by other art historians, but which received acclaim in Spencer's own time, including the lithographs of children made after her designs, and the allegorical painting Truth Unveiling Falsehood. Significantly, I provide the first in-depth analysis of a newly rediscovered Reconstruction-era painting, The Home of the Red, White, and Blue.

Symbiotic Cities: Buenos Aires, Montevideo, and Mass Culture, 1910-1960

This dissertation examines how Buenos Aires emerged as a creative capital of mass culture and cultural industries in South America during a period when Argentine theater and cinema expanded rapidly, winning over a regional marketplace swelled by transatlantic immigration, urbanization and industrialization. I argue that mass culture across the River Plate developed from a singular dynamic of exchange and competition between Buenos Aires and neighboring Montevideo. The study focuses on the Argentine, Uruguayan, and international performers, playwrights, producers, cultural impresarios, critics, and consumers who collectively built regional cultural industries. The cultural industries in this region blossomed in the interwar period as the advent of new technologies like sound film created profitable opportunities for mass cultural production and new careers for countless theater professionals. Buenos Aires also became a global cultural capital in the wider Hispanic Atlantic world, as its commercial culture served a region composed largely of immigrants and their descendants. From the 1920s through the 1940s, Montevideo maintained a subordinate but symbiotic relationship with Buenos Aires. The two cities shared interlinked cultural marketplaces that attracted performers and directors from the Atlantic world to work in theatre and film productions, especially in times of political upheaval such as the Spanish Civil War and the Perón era in Argentina. As a result of this transnational process, Argentine mass culture became widely consumed throughout South America, competing successfully with Hollywood, European, and other Latin American cinemas and helping transform Buenos Aires into a cosmopolitan metropolis. By examining the relationship between regional and national frames of cultural production, my dissertation contributes to the fields of Latin American studies and urban history while seeking to de-center the United States and Europe from the central framing of transnational history.

Forensic Injustice: Human Rights, Archival Science and Racialized Feminicide in Guatemala

The call to access and preserve the state records that document crimes committed by the state during Guatemala’s civil war has become an archival imperative entangled with neoliberal human rights discourses of “truth, justice, and memory.” 200,000 people were killed and disappeared in Guatemala’s civil war including acts of genocide in which 85% of massacres involved sexual violence committed against Mayan women. This dissertation argues that in an attempt to tell the official story of the civil war, American Human Rights organizations and academic institutions have constructed a normative identity whose humanity is attached to a scientific and evidentiary value as well as an archival status representing the materiality and institutionality of the record. Consequently, Human Rights discourses grounded in Western knowledges, in particular archival science and law, which prioritize the appearance of truth erase the material and epistemological experience of indigenous women during wartimes. As a result, the subjectivity that has surfaced on the record as most legible has mostly pertained to non-indigenous, middle class, urban, leftist men who were victims of enforced disappearance not genocide. This dissertation investigates this conflicting narrative that remembers a non-indigenous revolutionary masculine hero and grants him justice in human rights courtrooms simply because of a document attesting to his death. A main research question addressed in this project is why the promise of "truth and justice" under the name of human rights becomes a contentious site for gendered indigenous bodies? I conduct a discursive and rhetorical analysis of documentary film, declassified Guatemalan police and military records such as Operation Sofia, a military log known for “documenting the genocide” during rural counterinsurgencies executed by the military. I interrogate the ways in which racialized feminicides or the hyper-sexualized racial violence that has historically dehumanized indigenous women falls outside of discourses of vision constructed by Western positivist knowledges to reinscribe the ideal human right subject. I argue for alternative epistemological frames that recognize genocide as sexualized and gendered structures that have simultaneously produced racialized feminicides in order to disrupt the colonial structures of capitalism, patriarchy and heterosexuality. Ironically, these structures of power remain untouched by the dominant human rights discourse and its academic, NGO, and state collaborators that seek "truth and justice" in post-conflict Guatemala.