Today we’d like to introduce you to Julia Carey.
Hi Julia, we’d love for you to start by introducing yourself.
I was definitely the stereotypical overachiever as a kid, so when it came time to sign up for band or orchestra, joining felt like an obvious choice. While my family wasn’t filled with musicians, music was always playing in my house, and there was always a strong love for music. I actually started in orchestra and, wanting to be a little different, chose viola, which is basically a slightly larger, deeper violin.
Around that same time, I was also taking dance lessons, and growing up near New York City, I went to see The Nutcracker with the New York City Ballet. I was there for the dancing, of course, and the orchestra was incredible…I couldn’t stop noticing the flute. It had this shimmery, playful sound that really stood out to me. After that, I begged my grandma–someone who’s been my role model since I can remember–for the soundtrack CD , and pretty quickly I decided the flute was what I really wanted to play.
I ended up joining band at school and immediately loved it–plus, more of my friends were in band than orchestra, which didn’t hurt. I got really involved throughout high school, and eventually decided I wanted to pursue music seriously. I wasn’t the highest achieving musician, but I cared a lot and was really motivated. It also wasn’t the easiest choice, since I was also very academically inclined, and a lot of people around me felt I was “throwing my brain away.” But ultimately, I knew music was what would make me happy in the long term.
I initially planned to become a band director, and started out studying music education, but along the way I realized that performing was really where I felt most at home. That shift led me to apply to master’s programs, which is what brought me to Miami. Choosing UM was a no-brainer. As a Cuban-American, I not only wanted to hone my flute skills, but I wanted to connect more with my culture.
I’ve been here for a few years now. After finishing my master’s at the University of Miami, I took a year to freelance and build up a teaching studio, thanks in large part to the support of my mentors and peers. As much as I enjoyed that work, I realized I wanted something more long-term…especially beyond teaching Hot Cross Buns ten times a week. So I applied to doctoral programs, with the goal of teaching at the university level. Now I’m back at UM, working toward my DMA in Flute Performance on a full teaching assistantship, while still maintaining a lighter freelance and teaching schedule.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
It definitely hasn’t been a smooth road, but I’m not sure it’s supposed to be. I wasn’t the most naturally gifted flutist when I started, but I was incredibly determined. More than anything, I just didn’t fully understand how demanding a career in classical music really is.
One experience that really shaped me happened when I was applying to undergraduate programs. I didn’t come from a musical family, so I felt like I was figuring everything out on my own. I knew the big-name New York schools–Juilliard, Manhattan School of Music, NYU–but I also had a sense that I wasn’t quite at that level yet. So, like many teenagers, I relied on the brochures that showed up in the mail and came across a conservatory in the Midwest that sounded like a great fit.
I reached out to the flute professor for a trial lesson, and before I knew it, my dad and I were driving out to visit. What I didn’t realize at the time was that this school was just as competitive and demanding as the conservatories I already knew about. Long story short, I was told pretty directly that music might not be the right path for me, that I was significantly behind and should consider a different career.
At the time, it was devastating. I knew I had gaps in my training, but I didn’t realize how far behind I was in that larger context. But looking back, that moment was also a turning point. It forced me to get really focused, to take ownership of my growth, and to put in the kind of work I hadn’t fully understood before.
Years later, I’m still here. I’ve completed a master’s degree, and now I’m pursuing a doctoral degree in flute performance. That experience didn’t push me out of music; it pushed me deeper into it.
It also taught me something I carry with me now as both a performer and a teacher: you need thick skin in this field. Not everyone is going to believe in you, and not every piece of feedback will be easy to hear. But as long as you’re committed to growing, that’s what really matters. And honestly, that’s become a core part of my teaching philosophy–if I can navigate that path, there’s space for others to do it too.
Thanks – so what else should our readers know about your work and what you’re currently focused on?
I’m a flutist who has, maybe unintentionally, resisted narrowing myself into just one speciality. Part of what I love about the flute is its incredibly rich history. The instrument has been around for centuries, and the repertoire reflects that evolution. I’m just as drawn to Baroque music (think Bach), as I am to contemporary music, especially when it means collaborating with and supporting living composers.
I also gravitate strongly toward chamber music. While a lot of flutists are drawn to orchestral playing, I’ve realized that I really value the intimacy of smaller ensembles, but maybe that’s the introvert in me! There’s something about that setting, the communication, the collaboration, that feels more natural to me, both musically and personally.
Interestingly, another side of my work that sets me apart is my interest in arts administration. I’m very Type A, and I genuinely enjoy the organizational side of music: planning events, coordinating projects, sending emails, etc. It’s not always the most glamorous part of the field, but it’s essential, and I like being someone who can help make things actually happen.
At the center of everything I do, tough, is teaching. I love the process of working with students–it feels like solving a puzzle, figuring out how each individual learns and what they need to grow. And honestly, it’s a two-way street. I often feel like I learn just as much from my students as they do from me, which is part of what makes teaching so meaningful to me.
Right now, that all comes together in my doctoral work, where I’m exploring the intersection of my identity as both a flutist and a Cuban woman. My research looks at how Cuban identity is expressed through flute repertoire. It’s been really meaningful to connect my personal background with my academic and artistic work in a way that feels both authentic and necessary.
If there’s one thing that sets me apart, I think it’s that balance: I’m equally invested in performing, teaching, researching, and building community within music. I’m trying to fit into just one lane. I’m interested in how all of those roles inform each other.
What does success mean to you?
That’s a tough question, because success can look so different depending on who you ask. For some, it’s tied to money or resume lines, but I don’t really see it that way. For me, it comes down to fulfillment. Am I doing work that feels meaningful? Am I growing? And am I creating something that connects with or impacts other people in a positive way? If the answer is yes, then I consider that success.
Contact Info:
- Website: https://www.juliavcarey.com
- Instagram: @julia.flute
- Youtube: https://www.youtube.com/@JuliaCareyFlute
