May 16, 2024

Dr. Michael Kahle, Violincia

Hello Everyone,

If you have not already, I encourage you to listen to the most recent episode of the Theorist Composer Collaboration Podcast featuring Dr. Michael Kahle and his piece, We are the stories we’ve been told. You can use the following links to both listen to the episode and for avenues to contact Dr. Kahle with any comments, questions, or inquiries:

Dr. Kahle Episode: https://www.tccollaboration.com/we-are-the-stories-weve-been-told-dr-michael-kahle/

Dr. Kahle contact page: https://www.tccollaboration.com/guests/dr-michael-kahle/

The conversation and interview with Dr. Kahle was a great time, and I am very thankful for him being on the show. As discussed in the episode, it is still remarkable the level of collaboration between the performers and composer for this piece. Unless the original performers come together to display this piece once again, it is reasonable to say that the produced recordings, and the individual performances at each person’s recitals, are snapshots in time of a special musical moment. This is compounded by, of course, the fact that the folk inspirations of the piece are specific to the performers and were informed by the input of such performers. I also really appreciated Dr. Kahle’s insight into the world of theory and composition. It is interesting to compare/contrast the views of individuals who see themselves as part music theorist alongside as a composer. There seems to be, in my experience, a difference in approach between such people and others who do not adopt the labeling of part music theorist. A difference specifically in the considerations when viewing the academic music field, a difference that I am not bold enough to define, but I am rather just pointing-out its existence. Not so say that there is even a stark difference, but perhaps just a different shade of color. Certainly Dr. Kahle has walked the music theory walk, as his dissertation work sounds like a theory dissertation looped-in with compositional D.M.A work. Thank you again to Dr. Michael Kahle for coming onto the Theorist Composer Collaboration with his piece We are the stories we’ve been told.

The next guest on the podcast is something a bit different for the TCC, and I am very excited to introduce them. Next week’s episode will be featuring Violincia, an alternative post-rock group, and their debut album Nihilara. During the episode I will be speaking with Lucy from the group, the creative lead, where we discuss their collaborations, inspirations, the album as a conceptual entity, and many of the granular ideas throughout Nihilara. This album is fully available on music streaming platforms, and I would implore you to go ahead and listen to it at some point leading up to Monday. I don’t want to give too much else away about the episode, and you definitely will not want to miss it. Make sure to follow our social media accounts and the podcast streaming platform of your choice for notifications of when the episode goes live, which will be this coming Monday, May 20^th.

Violincia Streaming Platforms: https://linktr.ee/violincia?utm_source=linktree_profile_share&ltsid=512c26ee-bac9-45a5-b07d-d2b8bfc2ee94

I am also happy to announce that, in the week following the next episode, we will finally have our first guest host on the TCC! The music theorist Brittney Pflanz will be interviewing the composer Cameron Gywnn about his piece Hibernaculum. You can read more about this on next weeks blog post, where Brittney will also be writing a personal introduction for you all to get to know her in the lead-up to the episode release.

Thank you for visiting the website and reading the blog post. Make sure to follow all of the relevant social media accounts and podcast hosting website, and you won’t want to miss the next episode featuring Violincia!

- Aaron

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Aaron D'Zurilla

TCC Founder/Music Theorist

Hello, my name is Aaron D'Zurilla and I am the primary host and founder of the Theorist Composer Collaboration. I created the Theorist Composer Collaboration out of a love of the connection between the artist and their art. Music theory, in my view, is a lens and avenue in which to understand people and their experiences. Often, as music theorists, and individuals attempting to find success in a historically hierarchical field, we find ourselves turning-away from modern music and artists when choosing what to study. As many academics could attest, the decision to study or analyze a work goes beyond that simple decision. It is a choice to highlight, spotlight, platform, and even promote the continuation of a commodity or idea, even if it is in a critical light. While there is plenty of space for such scholarship, and new inventive work in the field of music theory is developed everyday across the world in numerous topics, there is a stark lack of attention to the new music of today.

My personal rationale can be surmised in that we should not wait for music to be 40,50,80+ years old to begin pondering the creation of the art of today. Why wait to engage with literal generations of new composers, creating worlds of novel sounds and experiences everyday across the world? Generally, when looking at where composers and their compositions find support, it is within the composition community, across academia, festivals and through online platforms specific to the field. The hope of the TCC is to expand the support for modern, living compositions outside of these ar… Read More

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