In the world of classical music, excellence is often equated with individuality: a unique sound, a signature interpretation, a commanding stage presence. While these are valid artistic goals, they can sometimes give rise to something far less inspiring—egocentrism.

Among musicians, egocentrism doesn’t always look dramatic or overt. It may not appear as arrogance or vanity at first glance. Rather, it often takes subtle forms: difficulty collaborating, defensiveness when given feedback, a refusal to explore ideas outside one’s comfort zone, or a persistent drive for recognition at the expense of community.

As teachers, ensemble players, or colleagues, we’ve all encountered this at some point. And if we’re honest, we may all be vulnerable to it—because music, by nature, is deeply personal. But when ego becomes the lens through which all musical activity is filtered, the artistry begins to suffer. The conversation turns into a monologue. Growth stalls. Walls go up.

How Egocentrism Takes Root

There are many environments in which egocentric behavior can flourish:

Hyper-competitive conservatoires that reward technical brilliance over collaborative sensitivity
Solo performance training that rarely emphasizes chamber music or ensemble roles
Social media visibility that encourages self-promotion without meaningful interaction
Repertoires centered on the individual, not the group

Moreover, when musical identity becomes tightly bound to public recognition, any criticism—no matter how constructive—can feel like a personal attack. This defensiveness isolates musicians from their peers and inhibits creative exchange.

Flutists in Focus: A Particularly Solitary Path

While egocentrism is not unique to any one group of musicians, flutists face a particular set of conditions that may inadvertently encourage it.

The flute is a soloistic instrument by tradition. Even in orchestras, flutists compete fiercely for the top chair. Our pedagogy often revolves around projection, personality, and presence. Most flute competitions, masterclasses, and educational milestones are designed around individual excellence rather than ensemble integration.

Over time, this can foster a mindset of comparison rather than collaboration. It becomes about being the best rather than one of many, and that can lead to emotional isolation or defensiveness when encountering others’ success.

Additionally, in online spaces, where flute platforms and personalities have proliferated in recent years, visibility can become confused with value. The pressure to “build a brand” can overwhelm the deeper mission of artistic growth, community engagement, or humility.

The Cost of Ego in Music

When ego becomes the driver, it damages more than just relationships. It narrows artistic depth.

Egocentric musicians may resist feedback, robbing themselves of insight that could elevate their artistry.
They may avoid unfamiliar repertoire, preferring only what shows them at their best.
They may lack curiosity about other musical roles, genres, or approaches.

Ultimately, the music becomes smaller—not richer.

A Way Forward: Reclaiming the Communal Spirit

This is not a condemnation, but an invitation—to reflect, reset, and reengage with music as a shared language.

Steps toward dismantling egocentric patterns:

Ensemble immersion: Make chamber music a core part of musical training at every level.
Reflective practice: Encourage journaling, listening, and curiosity—not just drilling.
Mentorship over competition: Build peer-led spaces that foster exchange rather than comparison.
Balance visibility with value: Teach students (and ourselves) that public image matters far less than personal growth and connection.

Conclusion

We are all susceptible to ego—but we are also capable of transcending it. In music, true greatness isn’t found in domination, but in dialogue. In listening as well as leading. In blending as well as soaring.

As flutists, let us be known not just for our brilliance, but for our generosity. For the warmth of our sound—and the openness of our minds.

Yulia Berry

www.yuliavberry.com

Yulia Berry, DMA, is an award-winning flutist and renowned flute pedagogue with over 30 years of international teaching and performing experience. She leads a thriving Yulia Berry’s Flute Studio and is the founder of the New England Flute Institute, where her students consistently achieve top honors and festival placements.

Dr. Berry is the founder and editorial director of Flute Almanac, a global digital platform for flutists that features a multilingual magazine, international event listings, news, reviews, and educational content. Since its launch in 2024, Flute Almanac has quickly become an essential resource for the worldwide flute community. It is widely recognized as a leading flute magazine, receiving recognition from Google as the #1 global flute magazine.

She also founded The Babel Flute and Web Flute Academy, and in 2024, spearheaded the Global Flute Excellence Awards – a groundbreaking international initiative supported by Sir James and Lady Jeanne Galway. The awards recognized outstanding flutists, composers, educators, and flute makers, and brought together 52 judges from 19 countries.

Honored in Marquis Who’s Who 2024 for her exceptional achievements in music, Yulia Berry continues to shape the global flute community through innovation, education, and inspired leadership.