Many claim that “music is a universal language,” but I’ve come to see that statement as incorrect. Music, like language, is universally understood, but understanding does not always equate to communication. Just as a monolingual English speaker cannot easily converse with a monolingual Japanese speaker, musicians cannot universally communicate across stylistic and cultural divides.

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    For a long time, I considered myself a “50/50 player,” equally devoted to classical and jazz performance. With time, that idea began to feel redundant. In fact, the term ‘Classical Saxophone’ began to feel contradictory, as the Classical era concluded decades before the saxophone was even invented. Why do we feel obligated to hang onto these restricting labels and constructs? Why do we as musicians feel comfort in limitation? Now I see myself not as a player split between genres, but as a musician committed to engage with all forms of music. I want to challenge myself, to step into unfamiliar settings that push my boundaries and expand my understanding of what the saxophone can do. In my professional career, I hope to reach a point where I can approach any piece of music with fluency and authenticity, regardless of its style or origin.

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    I believe in specialization of adaptability, and I view versatility as an essential factor in my artistic foundation. While many musicians choose to specialize their study into a single area of their instrument, that idea has never quite resonated with me. My values as a musician are a culmination of years of exposure to vastly different musical ideas, ensembles, and repertoire. I want to be dynamic: someone that can play anything placed in front of me and take on any challenge, no matter the context.