When I was 3 years old, I started playing the piano. Seven years later, I discovered the drums. At first, I was simply enamored by the power of noise -- keeping my family up at night, alerting the neighbors, and deafening my dog. However, as my musical journey continued, I discovered and learned to appreciate the intricacies of this incredible percussion instrument -- the intrigue of rhythm and nuance of orchestration, and the pleasure of connecting with other musicians.
In high school, in an effort to play as often as possible, I attended weekend music education programs, in effect going to school seven days a week. I was constantly drumming, and I loved every minute of it. There was something powerful about leading a band, connecting with others without using words, and pursuing my passion with genuine dedication.
I could not help but also notice another transition: from being recognized not just as a musician, but as a female one. With each new male-dominated environment I encountered, I found myself increasingly defined by my gender rather than my musical talents.
Challenges came both big and small: bandmates doubted my leadership abilities; conductors provided feedback such as "You're playing like a girl;" I witnessed all-male ensembles perform concerts that celebrated women empowerment; I stood apart from the rest of the band because I was prohibited, by the conductor, from wearing the same uniform as everyone else because it was not "gender-appropriate." While my passion for music remains steadfast, the fact remains: I constantly face challenges because of my gender.
I recently learned I was not alone. In two studies, conducted in part by Berklee College of Music and Women in Music, 77 percent of the female musicians surveyed "overwhelmingly agreed that they had been treated differently within the music industry," with 56 percent believing their gender had affected their employment.
At Harvard, there are many incredible female musicians -- artists who inspire me and future generations every single day. These talented individuals continue to make strides both inside and outside of campus. Several shared with me how being female has shaped their musical journeys. These women, whose pictures were taken around campus, are only a few of the many incredible women who continue to pave paths for future generations -- one note at a time.
Since the age of 5, Grant has been an avid harpist, a pursuit that has taught her a plethora of lessons, both through music and in other aspects of life. Beyond mastering the arpeggios of Hasselmans' "La Source" and the dynamic changes in Rota's "Sarabanda e Toccata," Grant has learned how to manage her time, rebound from disappointment, and develop a strong work ethic.
As the principal harpist of Harvard-Radcliffe Orchestra, Grant is also one of its leaders. The orchestra is among Grant's favorite groups to perform with, saying she enjoys working with her small section of harpists, playing her instrument, and simply listening to the musicians around her during her musical rests.
When she is not singing or playing the keys, Barron is researching and teaching courses surrounding ethnomusicology -- the study of music within societal and cultural spheres. Specifically, she explores a range of Black popular music, from gospel to hip-hop to protest music. Currently, Barron is teaching an undergraduate course called "Gospel Music from the Church to the Streets" and a graduate course titled "Gods of Hip-Hop and Black Pop."
Barron fell in love with music as a child; she describes a childhood that was "deliciously noisy." Her greatest influences come from the sounds of Black church and her parents.
Brooks is already diving into the Harvard music scene. As a pianist in the Harvard Jazz Orchestra and Combo Initiative, the first-year is expanding her musical vocabulary.
Outside of the classroom, she is exploring the intersection of mental health and music -- a topic she became interested in after performing at elder care facilities. "I really liked how music not only gave me an outlet to express myself but also it was a way for me to help others."
To Gates, who graduated in December, "Music is a way of approaching life, it is a way of experiencing all of life's beauty, pain, and everything in between, and really feeling each ebb and flow, embracing it as a messy, complicated, human thing."
During her time in the dual-degree program at Harvard and Berklee College of Music, Gates undertook numerous music courses, sang with the Harvard Opportunes, composed music for various ensembles, and submitted a thesis on "jazz, gender, and non-male community building in the Boston jazz scene."
Through it all, Gates has found community within the music industry -- spaces that remind her that "We aren't alone."
A senior at Harvard and a member of the Berklee College of Music dual-degree program, Peña's work and talent has brought her to incredible places and stages -- from the Farkas Hall stage to the Top 40 on "American Idol" to Fenway Park.
Peña started singing at the age of 7 when her go-to-song was "Part of Your World" from "The Little Mermaid." Now, she stars in The Hasty Pudding Theatricals' performances as the first Latina woman to do so.
The recent graduate is a professional composer and musician. For Leahy, music is more than an occupation, it's her "lifeline," allowing her to "shapeshift, to not settle into any one box or identity."
Aside from concentrating in music, Leahy founded CompFest (Harvard Student Composers Festival), composed for Hasty Pudding Theatricals, and directed productions around campus.
Listen to "Survivor's Guilt," a piece from her senior thesis, "American Tonic," which explores her experience with chronic illness and the insulin crisis.