Xavier Muzik is a composer based in New York and Los Angeles. His music was performed by figures such as Anthony Parnther, Sara Andon, Claire Brazeau, and Mark Menzies; ensembles such as The Formalist Quartet and The New Millennium Brass Ensemble; and was featured in the prestigious "HEAR NOW" music festival in Los Angeles. Moreover, he's an adamant advocate for the adequate opportunity for the inclusivity of historically marginalized communities into the world of classical and contemporary concert music. He earned his BFA in Music Composition at the Herb Alpert School of Music at The California Institute of the Arts and is currently pursuing his MM in Music Composition at The Mannes School of Music at The New School.

Xavier's existence has been defined by cultural nomad-ism. Though imbued with a perpetually self-renewed sense of optimism for a better world through his wide-eyed, undying patriotism, the dogmatism of an inherently exclusionary, uneven, and shrewd system of capitalistic racism, has divided Xavier, culturally, from a prominent school of identity. This experience has resulted in a good amount of existential anxiety, for which his music serves as an outlet. Structured like an auditory story, Xavier's music plays the protagonist caught in a struggle between nihilism and the desire to be. This interrogatory allegory is rehashed many times, wearing different masks from the bitter-sweet to the unabashedly disquiet of a dissonant conceit. Beset with paradox, his music is the looking glass through which he sees his life and himself. 


As a composer and an artist, Xavier believes in the power classical and contemporary art music has to affect fantastical and extraordinary therapeutic shifts on one's psyche and society more broadly. As a member of a historically marginalized community, Xavier also believes that this power shouldn't be reserved for the wealthy and the white but all people regardless of income and despite the color of their skin. He also understands that this power means so much more to an audience when they feel represented by the performers and when the performers see themselves in the audience. Xavier has worked toward equitable representation in government, progressive change, and voting rights and carries these aspirations of democratization over to the world of music.

Xavier's music is deeply connected to his own self through his understanding that his art is more a reflection of his interpretation of the individual perception of his conception of what his life is and ought to be as well as his place in society than any sort of direct and objective translation. His music is but the language in which he chooses to express the narrative of his existence. This transmuting experience and the self-expression inherent is one in which he seeks to include everyone whose voices might otherwise be silenced.