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This thesis is about musicians in the city of La Paz, Bolivia, and how they pursue professional careers through the performance of a diverse range of musics in a wide range of settings. The subjects of this research are mostly classically trained, highly accomplished performers, and many hold positions in Bolivia’s National Symphony Orchestra or at the National Conservatory. Many if not all of them also perform in a wide variety of other musical contexts, including as members of jazz, cumbia, folkloric, and popular music groups. Additionally, many also perform other jobs to make a living. My primary research question was to ask why classical musicians in La Paz perform such a wide diversity of musical genres and styles compared to their counterparts in, for example, the United States, and why they also situate themselves in multiple roles within the local music industry and other industries. I hypothesize that the answer to this question has different scenarios: first, that their career choices are also primarily driven by necessity, since it is virtually impossible to make one’s livelihood in Bolivia by playing classical music exclusively; second, that their musical plurality is in part a product of the fact that these musicians also enjoy performing in many different styles, settings, and roles; third, that the musicians’ lifestyle is a product of a system that has long been in place and is now ingrained and coherent as a modus operandi of musicians in La Paz; and fourth and finally, that through acting in different musical roles and contexts, musicians in La Paz intentionally embody and perform a type of musical identity that is uniquely syncretic, neither Western nor Andean but rather a product of encounter and dialogue between these and the other nodes of musical personhood of which they are comprised. Keywords: classically trained musician, artistry, identity, work, education