Mission

Mission and Vision

We know all too well that the life and work of musicians can be fragmented and even somewhat nomadic. Our vision is to build the platform that defragments that landscape and simplifies collaborative work. Networking for and by musicians. Productivity and communication tools tailored to organizational needs. Simple and intuitive workflows. Our goal is to be the infrastructure that helps music and musicians thrive.

Why this, why now

Live local music is an exceptionally segmented industry. A musician might work in a church on Sunday morning, substitute at a different church across town that evening, rehearse with a chamber group midweek, and accompany a youth orchestra on Saturday. Each organization has different needs and runs on different communication and planning systems that musicians learn and switch between. The solution is adaptive planning that can cross genres and ensemble types, with familiar communication and season planning in a single platform.

What we're building

A single home for people, planning, and institutional memory. Musicians own their profile. Organizations subscribe to the tools they need to run a season. Guest artists and substitutes step in with full context. Everyone gets to focus on the music.

By musicians, for musicians

Cantoris is built by musicians who also happen to be technical. Our team has worked everywhere from sacred music to jazz clubs, musical theatre to rock bands, and folk music to symphony orchestras. The common theme is that musicians are multitaskers who collaborate in endless combinations across genres and organizations. Some of our most frustrating moments have come from collaborative music events marred by chaotic communication, conflicting methods, or incomplete planning. There had to be a better way, so we set out to build one. Cantoris is the culmination of that quest.

Founder

Melody Daniel

CEO, Cantoris Corp

Melody is a choral composer and singer who spent years at Scale AI before leaving to build Cantoris. Her work focuses on the problems that come with the highly segmented nature of live music, especially around ensemble collaboration, intentional planning, and mobility between organizations, ensembles, and genres.

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