Yulia Musayelyan

Assistant Chair
Affiliated Departments

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Yulia Musayelyan is a flutist and composer born in Moscow, Russia. A versatile multigenre performer, she leads a quartet and the Macayú Trio, and plays regularly with the Fernando Huergo Quintet, Marta Gomez, Manhattan Camerata, and others. Her chamber works have been performed in New York City and featured in the 2006 short film Natalie Bonn. She has recorded over 25 albums as sideman and released her album, Caminos, in 2009. She has toured the U.S., the U.K., Europe, and Central and South America with various musical projects.

Career Highlights
  • Soloist with Tactus Ensemble (Pierre Boulez, guest conductor)
  • Leader of the Yulia Musayelyan Quartet and the Tango Meets Jazz Project, and coleader of the Macayú Trio
  • Performances at the Cordoba International Jazz Festival, Buenos Aires Jazz Festival, Cosquín Folk Festival, Montreux Jazz Festival, and Festival Iberoamericano de Teatro, among others
  • Performances with the Fernando Huergo Quintet, Marta Gomez, Mozik, Manhattan Camerata, and the Brooklyn Orchestra, among others
  • Recorded more than 25 albums as flutist, including Latin Grammy winner Marta Gomez's Este Instante
  • Released the Yulia Musayelyan Quartet debut album, Caminos, in 2009
  • M.A., New York University, music performance
  • B.M., Manhattan School of Music, flute performance
In Their Own Words

"I want my students to feel better equipped to achieve their various musical goals and the steps in between, whether it's transcribing a jazz solo, making a chart for a song, or simply something that helps them make a more informed performance or compositional choice. The goal of every teacher should be to inspire their students to investigate further, to ignite that spark of curiosity for the inner workings of music and the tools to keep exploring."

"I am an active performer in many different styles of music ranging from classical to jazz, funk, Armenian folk, salsa, Latin jazz, Brazilian, Argentinean folk, tango, etc. In every playing situation, I have relied on my extensive ear training to adapt quickly, incorporate the new elements of each style, and react appropriately. I feel that every well-rounded musician needs to have the tools to listen and process the audio information that is all around us, to be better equipped for working in the music industry."