My journey with music began early. I started piano at age three and transitioned to cello at age eight. Music has always been my outlet—how I express what words cannot. The cello’s voice, often said to be closest to the human voice, is resonant, unguarded, and deeply emotional. That expressive power drew me in, and over time, my connection to the instrument became a full commitment to a career in music. I was never the child who had to be reminded to practice; I practiced because I truly found joy and passion in playing. What began as childhood lessons evolved into a discipline rooted in listening, empathy, and communication. Today, I’m a dual-degree student at Bard College and the Bard Conservatory of Music, enrolled in a five-year program in music performance and anthropology. I study cello with Raman Ramakrishnan, formerly of the Daedalus Quartet and the Horszowski Trio, and previously studied with renowned pedagogue Peter Wiley. Their mentorship has helped me shape my voice as a performer and reminded me that, as musicians, we are also actors, translating the music for our audience just as actors embody their roles on stage. Henry Wadsworth Longfellow wrote, “Music is the universal language of mankind.” I interpret this to mean that music speaks directly to our core as human beings. It bypasses linguistic and cultural boundaries, allowing us to understand one another through sound alone. Classical music, in particular, tells stories not through words, but through feeling. On a youth orchestra tour through Spain and Portugal in 2019, I played for audiences who didn’t share my language, but we understood one another in the silence after each piece. That resonance—unspoken, yet unmistakable—is the essence of Longfellow’s idea. Music makes connection possible, even across difference. As a student of both music and anthropology, I’m especially interested in the intersection between music and culture—how music reflects identity, memory, and belonging. I see my future not only on stage, but also in classrooms, community centers, and collaborative spaces where music is used as a tool for education, empathy, and healing. I want to help dismantle the notion that classical music is only for a privileged few. Whether through performance outreach, youth mentorship, or community workshops, I hope to make this art form more inclusive and accessible, especially for underrepresented audiences. As a musician, I’m not only a performer—I’m a listener, collaborator, and learner. Music has taught me how to be present, how to embrace differences, and how to meet uncertainty with curiosity. These are the same values I bring to my anthropology studies and the ones I intend to carry into my professional life. I want to use my experience not just to perform, but to invite others in—to create spaces where people can see themselves reflected in sound. The Audrey Sherrill & Michael D’Ambrisi Music Scholarship would help me continue cultivating this path without financial barriers. It would support both my technical development and my broader vision of music as a force for connection and dialogue. Music has shaped how I understand the world—and through it, I hope to help build a world that listens more deeply.