One of my earliest memories is sitting in my grandfather’s lap, watching his fingers float over the keys of a cheap electric piano with a magically-improvisatory approach. His rich, warm melodies provided one of my first, but definitely not my last, “truly musical” moments. I use the term “truly musical” as an extension past the normal action of hearing or playing an instrument. This is a more out-of-body experience, where surroundings fade to nothing and no object stands in between the individual and the music at hand. Ever since the first of these otherworldly encounters, I’ve been not only chasing the feeling, but chasing opportunities to bring that feeling to others. As a young student, time and time again I witnessed myself and peers search for, and succeed in finding, “truly musical” occurrences. From watching one of my best friends play his first chord progression on the guitar to having my first “big kid” performance opportunity, shadowing the keyboard player for Waitress on Broadway, I witnessed first hand the potential for deep impact that music could bring to an individual or community. For me to continually feel these moments of pure wonder and elation, I need to maximize my ability to spread music to the people around me. Naturally, a career in music education can help facilitate this goal. At the University of Delaware, I’ve consistently committed myself to bringing meaningful, constructive musical opportunities to students in the Newark area. So far, my music education advocacy has primarily taken form through two programs—“Project MUSIC!” and the UD Community Music School. In both of these, I’ve taken on the leadership positions of lead teacher and curriculum designer. I’ve had the opportunity to introduce a new, culturally-oriented Digital Music course, aimed primarily at elementary and middle school students. Lessons have included understanding the role of black musicians like James Brown and J Dilla in the development of early digital music, re-scoring the soundtrack for Disney’s Zootopia, which highlights cultural diversity in an urban setting, and emulating the improvisatory techniques of African American jazz greats like Miles Davis and John Coltrane. Not only am I focused on creating innovative musical experiences for my students, but I am doing so in a way that cultivates empathy, tolerance, and multiculturalism within my classroom. This semester, I was also fortunate enough to lead a Jazz Improvisation masterclass across six Maryland high schools. In each class, I led discussions on the direct relationship between African American struggle and jazz music, highlighted how solo improvisation can be used to better understand advocacy, and helped students perform jazz in a stylistically-accurate manner. As a white musician primarily studying jazz, I am fully aware of my point of privilege. My platform should serve to amplify the voices of my black peers and students, and I think this class was a step in that direction. Students not only received instruction that can help them have “truly musical” experiences with their playing, but do so in a way that benefits a greater society. As a musician and educator, there is still a myriad of skills for me to continue developing. I plan on pursuing a Masters in jazz pedagogy and, eventually, a Ph.D. that allows me to further research cultural advocacy and music education. Until then, I look forward to creating opportunities for myself and my students to feel the passion and creativity that I felt watching my grandpa play the piano fifteen years ago.