Entrepreneurship and Equity in Music Career Advancement

It is important to me that as a female musician-entrepreneur and person of colour, I demonstrate that gender, race, and location do not have to be barriers in achieving a thriving career in music. Large music institutions such as music schools, orchestras, ensembles, and concert organizations have often served as the traditional gatekeepers for those who wish to forge careers in music.

By starting an online business (from a bedroom desk in a small city during the pandemic), leveraging an online learning model, and providing value to a global audience of musicians, I demonstrate that entrepreneurship and innovation can open doors and create opportunities, regardless of background, (dis)ability, education, location, or resources. In our current and ever-evolving music industry, a career in music no longer needs to be narrowly defined by or centered around teaching in a music institution or performing in an ensemble.

I actively explore and advocate for innovative thinking in creating and defining music careers, encouraging music students, graduates, and professionals alike to consider innovative and outside-of-the box career paths. I prove by example that it is possible to innovate one’s way into a sustainable career in music through a path that lies outside of traditional music industry paradigms. Knowing that this can be a glaring pain point for large music institutions intent on preparing the next generation of professional musicians, I prove that I am a valuable resource and access point for those who want to explore more diverse entry points into creating a sustainable music career.  

Addressing Equity and Inclusivity in the Representation of Musical Works

Through my activities as a performer and teacher, I have helped to realize and disseminate the new creations of female and BIPOC composers. I have premiered numerous solo, chamber, and orchestral works by composers that have included Katarina Čurčin (Serbian-Canadian), Elizabeth Raum (Canadian), Kevin Lau (Chinese-Canadian), Alexina Louie, (Chinese-Canadian), Alice Ping Yee Ho (Chinese-Canadian), and Viktorija Čop (Croatian).

I have also been a key artist interpreting the works of Ana Sokolovic (Serbian-Canadian), Alma Deutscher (United Kingdom), Cassandra Miller (Canada), Keiko Devaux (Canada), Tyshawn Sorey (United States), and Carolyn Chen (United States).  

For future performances, I plan to include solo violin works by women and BIPOC composers in my recital programs. A few selections specifically on my list are Coleridge-Taylor Perkinson Louisiana Blues Strut and Blue/s Forms for solo violin, Lera Auerbach Sonata No. 3 for violin and piano, and Jessie Montgomery Rhapsody No. 2 for solo violin.  

I also look forward to encouraging my students to learn repertoire from composers of colour: 24 Caprices for Violin by Dr. Immanuel Abraham, Samuel Coleridge-Taylor Romance Op. 39 and Violin Concerto, Op. 80.  

I also actively support and encourage my students’ research and performance of works by women and BIPOC composers. Having coached my students (recent graduates and professional musicians) before their recitals, I have been proud to be a part of the preparation and showcasing of works by women composers: Isabella Leonarda, Clara Schumann, Florence B. Price, Amy Beach, Lera Auerbach, Jessie Montgomery, Grażyna Bacewicz, Hilary Purrington, Irene Britton Smith, Amanda Maier, and Libby Larsen.