About

Shane Scott Cook (b. 1994) is a composer, performer, and songwriter whose work explores themes of community, connection, nature, and the queer experience. His music, shaped by an eclectic background as a classical percussionist, jazz singer, folk enthusiast, and musical theater aficionado, has been commissioned and performed by some of today’s most vibrant and leading ensembles, including Del Sol Quartet, Akropolis Reed Quintet, Salastina, Stare at the Sun, Young New Yorkers’ Chorus, Choral Arts Initiative, and Hindustani vocalist Saili Oak.

He served as Teaching Artist-in-Residence at the Gabriela Lena Frank Creative Academy of Music (2023–25), where he taught piano, guitar, percussion, and music theory to public school students in rural Northern California. Recent appointments include Composer-in-Residence for Del Sol Quartet’s 2025 ChamberFest, Composer Fellow for the 2025 Akropolis Chamber Music Festival, and 2024 Sounds Promising Young Composer Fellow with Salastina.

In 2025, Shane’s premieres included bloom for Quintet Attacca and mezzo-soprano Quinn Middleman (commissioned by EarTaxi Festival),  call it what it is for OLEA Ensemble (ACMI 2025), song cycle Namesake for tenor and piano (Boston Singers’ Resource and Catalyst New Music), speak, winner of The Capital Hearings’ Young Composers’ Competition, and Neon Landscape, a string trio funded by the Moody Center at Rice University. His choral works received honors from Stare at the Sun, Young New Yorkers’ Chorus, Choral Arts Initiative, and the EcoVoice Project in 2025 alone. Other highlights include the 2025 Dragon Prize in Choral Music, first prize at Fourth Coast Ensemble’s 2024 Chicago SongSlam, and the premiere of The Distance Between for soprano Lindsay Kesselman and UT Austin’s New Music Ensemble.

Beyond classical music, Shane has contributed orchestrations for Halsey’s 2023 orchestra tour, string arrangements for Orchid Quartet, and a jukebox musical with playwright Selena Deer. He holds composition degrees from the University of Texas at Austin (MM) and Biola University (BM) and began doctoral studies at Rice University’s Shepherd School of Music in 2025.

Full length and abbreviated bios available here.

Headshots available here, here, and here.

Artist Statement:

Before I knew what it meant, I was trying to express myself as an artist. My grandmother was once an avid oil painter, and as a child I looked in amazement at the landscapes and trees that hung on the walls of her home. Her example laid the groundwork for me to see the possibility of becoming an artist, though it took time to find my medium of choice. I scribbled with smudged pencil, built towering popsicle stick sculptures, and slathered chunky layers of acrylic paint and glitter onto canvases that often spilled over the table I was working on. But when I found music as an artistic medium, something entirely new captured my imagination. A pair of drumsticks in my hands felt like wielding magic wands. Hours at my electric keyboard, testing hundreds of synthesizer patches and creating my earliest compositions, flew by in the blink of an eye. Making music felt thrilling, endlessly fascinating, and perhaps most importantly, like a true outward expression of my inner world.

As I’ve grown into my identity as a composer, my work has become more than simply sonic exploration. I aim to address subjects that matter deeply to me: human connection, loss, grief, joy, and the queer experience. I find inspiration in people and our relationships with one another, as well as with the natural world. The aesthetics of my music are shaped by the breadth of my background as a classical percussionist, jazz drummer and vocalist, choral singer, and amateur folk guitarist. My music also draws on the sounds of my childhood, referencing strains of power ballads, classic rock, traditional Irish folk music, and musical theater. These influences center my work around the juxtaposition of contrasting ideas, such as lushness and leanness, lyricism and rhythm, and the familiar versus the unfamiliar. I reject the notion of hierarchy among musical genres, instead recognizing that each has its own history, purpose, and strength. Whether I’m uniting divergent styles, such as combining a string quartet with pop vocals, or borrowing elements from another genre, like using a vocoder in an art song, I strive to honor each style’s unique contribution to the musical landscape.

In an increasingly polarized world, the role of the artist as interpreter, altruist, and activist feels more important than ever in shaping our shared humanity. Self-expression matters to me on a personal level, but as a concerned global citizen, I am committed to sharing my empathy and insight through music in the hope of fostering greater understanding and connection between us.

If you have any questions about my work or my process, please reach out! I would love to connect.