The concept of professionalization applied to migrant musicians raises a number of challenges in sociomusicology, because it combines the impossibility to establish a career profile valid for all in music and the need to take into account several dimensions other than strictly socioprofessional to understand the process of the artist’s integration in his new environment. This study was conducted in Montreal with the Constantinople Ensemble which involves several musicians born outside the country. First, the article aims to trace the individual trajectories of the migrant musicians Didem Basar, Liu Fang, Kiya Tabassian and Ziya Tabassian since their arrival in the city. Then, we will discuss the professionalization through the reconstruction of Constantinople history. This will help to understand how the ensemble has been structured, how it has established itself in Quebec musical life, and how it has acted for its members as a space for the search for a musical identity.