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Pyle spends the academic year as the Franco professor of humanities and an assistant music professor. During the summer months he pours his energy into a classical music program he founded, called ChamberWorks Summer Music Institute, and its offspring, the ChamberWorks Youth Orchestra.
Since 2010 ChamberWorks has introduced children of color and children from underrepresented Dallas-area communities to classical music. That’s how he met Strouse ’28, now a first-year Davidson student and ChamberWorks alum.
Not your average summer camp, ChamberWorks is modeled on a conservatory education. Students ranging in age from 10 to18 practice and improve on their instruments, and dive into music theory, music history and electives. They work on practical skills, too, from hitting difficult notes to overcoming stage fright. Each session ends with a concert designed and performed by the students.
“Students come in not knowing what they’re going to play, and it’s always a little scary. We wonder whether we are going to be able to put on a concert,” Pyle says. “And within two weeks, they are putting on a concert. They always exceed my expectations.”
Every other summer, Pyle and ChamberWorks students travel to cultural hubs like Boston, New York and London, where they attend performances, meet with musicians and educators, and play in iconic concert halls.
As a student, Pyle received multiple scholarships and awards. He earned his bachelor’s degree from the Royal Academy of Music in London. Other degrees include a master’s in music from The Juilliard School, a master’s in comparative literature from Dartmouth College, graduate studies at Columbia University, and a doctoral degree in historical musicology from New York University. He has played at top concert venues around the world.
His connections help students—both at ChamberWorks and Davidson—achieve their musical and higher education goals. On one summer trip to London, the Academy loaned ChamberWorks students some of their most valuable instruments to play in a concert at St. James’s Church.
“It meant a lot to me that my alma mater supported us like that,” he says. “I’ve been really lucky to have so many people donate their time, money and instruments to this.”
The ChamberWorks musical education covers genres from classical to jazz to opera.
“A lot of people think you can’t teach 10-to-18-year-olds about opera, but they love it,” Pyle says. “They’re very curious and want to make the music, which goes against stereotypes. When they see it, they love the drama and spectacle of it—it’s something they wouldn’t get to watch on TV.”
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