Crises and Crisis Generations: International Conflict and Military Participation in Politics

Why do states facing high levels of international threat sometimes have militaries that are heavily involved in politics and at other times relatively apolitical, professional militaries? I argue that the answer to this puzzle lies in a state's history of 'acute' international crises rather than its 'chronic' threat environment. Major international crises lead to professionalization and de-politicization of militaries in both the short- and long-term. International crises underscore the need for the military to defend the state and highlight military deficiencies in this regard. Accordingly, major international crises lead to military professionalization and withdrawal from politics in order to increase military effectiveness. This effect persists years, and decades, later due to generational shifts in the officer corps. As the "Crisis Generation" of officers become generals, they bring with them a preference for professionalization and de-politicization. They guide the military towards abstention from politics. I test this theory using a new global dataset on military officers in national governing bodies from 1964-2008 and find strong support for the theory. Major international crises lead to two waves of military withdrawal from government, years apart. Further statistical analysis finds that this effect is most strongly felt in the non-security areas of governing, while in some cases, international crises may lead to militaries increasing their involvement in security policy-making. Further, international crises that end poorly for a state — i.e., defeats or stalemates — are found to drive more rapid waves of military withdrawal from government. The statistical analysis is supported by a case illustration of civil-military relations in the People's Republic of China, which demonstrates that the crisis of the Korean War (1950-53) led to two waves of military professionalization and de-politicization, decades apart. The first occurred immediately after the war. The second wave, occurring in the 1980s, involved wholesale military withdrawal from governing bodies, which was made possible by the ascent of the "Crisis Generation" of officers in the military, who had served as junior officers in the Korean War, decades prior.

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.

A SURVEY OF FRENCH KEYBOARD MUSIC FROM 1880 TO 1950

French music flourished from the last quarter of the nineteenth century into the early twentieth century, especially in the genres of opera and orchestral music. Although French keyboard music enjoyed less popularity, being overshadowed by these predominant genres, prominent impressionist figures Claude Debussy (1862-1918) and Maurice Ravel (1875-1937) . . brought its revival to the French music. Scholars consider Debussy to be a frontrunner of Impressionism, and his influence had a major impact on subsequent composers. As a result of his popularity, other significant works by French composers seem to be overlooked by pianists and audiences and are not as often performed. Because keyboard works by Debussy and Ravel are a popular performance choice among pianists, I was eager to examine music by other French composers. Through my resea,rch, I found many great works that warranted further study and deserve a place in the keyboard repertoire. This recording project contains works by lesser-known French composers written between the years of 1880 and 1950, namely Emmanuel Chabrier (1841-1894), Gabriel-Urbain Faure (1845-1924), Charles Koechlin (1867-1950), Albert Roussel (1869-1937), Erik Satie (1866-1925), Francis Poulenc (1899-1963), Darius Milhaud (1892-1974), Robert Casadesus (1899-1972) and Henri Dutilleux (b.1916). Since piano repertoire is abundant, it is sometimes difficult to create a performance program. Therefore, it frequently becomes the default to choosing familiar repertoire rather than using the opportunity to expand the repertoire. As a pianist, I feel responsible to search for hidden musical treasures with which pianists and audiences alike are not so well acquainted. This recording project explores nine lesser-known French compositions written between 1880 and 1950. I expect this to be an opportunity to introduce both pianists and audiences to outstanding but unfamiliar works by French composers. This dissertation was recorded on two compact discs in Dekelboum Concert Hall at Clarice Smith Performing Arts Center of the University of Maryland. The recordings are archived in the University of Maryland Library.