Samantha (Sam) Kopec. Photo: Joshua Prezant/University of Miami.
Samantha Kopec (universally known as Sam), a music industry major at the Frost School of Music, is a dazzlingly multi-faceted high achiever. She was named the school’s Overall Outstanding Senior and the Outstanding Senior for her program, while also minoring in Business Law and Communications, and continuing to play her beloved clarinet in the Frost Symphony Orchestra and the Frost Wind Ensemble. Kopec, who will attend Brooklyn Law School on scholarship in the fall, got a giant jump start on her career with multiple internships, notably at GRAMMY U, the student outreach arm of The Recording Academy, which produces the Grammy Awards.
Kopec also has a rare understanding of how the different parts of her academic career combine to support her passions and move her towards her goals. “Sam Kopec inspires everyone who comes into her orbit,” said Professor Serona Elton, director of the Music Industry Program and chair of the department. “Her enthusiasm, intellect, and commitment to hard work are contagious and make working with her a pleasure. She strives for and achieves excellence in everything she does, whether it is musical performances, music industry coursework, or music industry work experience. She has a genuine passion for music and the importance of advocating for artists, as well as a talent for leadership. Seeing Sam embark on her professional journey in the music industry gives me great hope for its future.“
What is your family music background?
I grew up in Florida, and started playing piano when I was five. Music was always a constant in our home. I’m the oldest of three children, and all of us are musicians, so someone was always practicing piano, bassoon, trumpet, drums, or guitar. It made for a lively (and sometimes loud) environment that really shaped my love for music. Both of my parents work in medicine, and I’m incredibly grateful for their wholehearted support of my path in the music industry.
Why did you choose the clarinet as your instrument?
I often say, “The clarinet chose me.” I began on my dad’s old plastic clarinet, barely able to squeak out a note. But with persistence and practice, I grew to love the instrument and develop a sound I was proud of. I immersed myself in every opportunity—woodwind quintet, youth orchestra, marching band, and summer festivals—to gain as much experience as possible.
How and why did you become interested in studying, and working in, the music industry?
I’ve always been fascinated by how business skills can be used to support and shape the music industry. My first real glimpse into that world came when I connected with the Buffet Crampon team—makers of the clarinets I’ve always played—at a conference in middle school. During the pandemic, I reached out to pitch myself as an intern, which led to an opportunity to work on a prototype for their new digital accessory, the ClariMate. I was eventually flown to Paris to tour the factory and create promotional content, which was a full-circle moment.
What drew you to the Frost School’s Music Industry program?
It’s so rare to find this specialized program taught by professors with real-world experience—not just a general dual-degree. Another thing that sets the Frost School apart is the ability to stay active in performance ensembles while studying the business side of music. You can keep growing as a musician while shaping a curriculum that fits your unique interests and goals. Finding that kind of opportunity in my home state of Florida, on a beautiful campus with a strong sense of community, made it all the more compelling.
Why did you minor in Communications and Business Law?
As a Foote Fellow, I was fortunate enough to start working on my minors in Communications and Business Law during my freshman year. I’ve always enjoyed website design and even freelanced for local businesses and nonprofits, so studying communications allowed me to build on those skills in a more structured way. Also, my music industry copyright class sparked a deeper interest in business law, negotiation, and intellectual property. I wanted to be well-rounded and gain a solid foundation in these areas alongside my specialized training at the Frost School.
What have been some of your most important experiences in the Music Industry program?
While I sought out my own internships and industry experiences, I was always supported by the connections and resources available at Frost. Professors Elton and [John D.] Redmond played a huge role in shaping my experience—especially through classes like Music Publishing, Copyright Law, and Record Label Agreements. Professor Elton also connected me to an internship opportunity at the Mechanical Licensing Collective in Nashville last summer. Being a part of Cat 5 Music with Professor Redmond allowed me to collaborate with peers and support fellow student artists—experiential learning like this is key to putting our knowledge into practice. Through GRAMMY U, I’ve worked closely with our Managing Director, Jessie Allen, a UM alum and Frost School Centennial Medalist.
How has the program helped you to prepare for a music industry career?
The Frost School’s Music Industry program gave me both the foundational knowledge and industry connections to confidently pursue a career in music. It helped me understand the wide range of roles that exist beyond performance—from publishing and business affairs to marketing and A&R. Through student-run enterprises like Cat 5 Music, I got hands-on experience managing projects like our Studio Sessions, working directly with artist marketing campaigns, and booking showcases on campus and paid gigs in the community. It truly simulated the fast-paced, collaborative nature of the industry.
What are some of your most memorable experiences from your time at the Frost School?
Over the past two and a half years, I’ve interned with the Recording Academy, attended three GRAMMY Awards, the Latin GRAMMYs, and planned numerous conferences in LA, NYC, and Nashville. One of the most surreal experiences I’ve had outside of the Frost School was presenting GRAMMY Awards at this year’s Premiere Ceremony to artists like Jacob Collier, Tori Kelly, Amy Allen, Dan Nigro, and Kacey Musgraves. As the National Projects Representative for GRAMMY U, I coordinate the SoundChecks program, working with the teams behind Twenty-One Pilots, Gracie Abrams, and Lucy Dacus to connect them with our members. I also helped plan educational conferences that dive into relevant industry topics, from music marketing panels to in-depth sessions on crafting albums with artists like Charli XCX, Troye Sivan, Offset, Ben Platt, Laufey, and Coco Jones.
Why did you keep playing clarinet? It doesn’t seem like something that would help you with a legal or music industry career.
Music has taught me valuable life skills like discipline and teamwork. The 10 years of practice I’ve invested in the clarinet have shaped who I am and introduced me to an incredible community of people. While it may not seem directly related to my career, my musicology and theory classes have made me more adept at understanding and analyzing copyright cases, and these experiences will help me empathize with musicians I may work with as clients in the future.
How do you do so much? And why do you drive yourself so intensely?
Balancing everything definitely takes discipline, but I’ve learned to manage my time by staying organized, setting clear priorities, and leaning into the things I’m genuinely passionate about. I stay motivated because I care deeply about the communities I’m a part of—whether supporting fellow students, advocating for musicians, or contributing to projects I believe in. I see every opportunity as a chance to grow, connect, and make an impact.
Your bio says that you are “passionate about driving innovation in the music industry and advocating for artists’ rights.” Why is this important to you, and what do you hope to achieve?
Historically, the music industry has had to adapt to new technologies and formats, from vinyl to CDs to streaming. Now, with the rise of AI and other emerging technologies, it’s crucial to balance these innovations with the protection of artists’ rights. I’m passionate about music publishing and business affairs because they’re areas where artists often lack control or awareness, and they must be informed to reach fair agreements. At the Frost School, I’ve had the opportunity to explore both the artistic and business aspects of the industry, which shaped my goal of driving change and transparency.
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