Electronic Press Kit

ABOUT

Photo Credit: Tyler Kline

Susanna Hancock (b. 1992) composes music shaped by the tension between the organic and the algorithmic, exploring color, process, and acoustic phenomena. Often inspired by the natural world, her work traces inner and outer landscapes through influences such as minimalism, spectralism, math rock, and electronica to create sound worlds with both atmosphere and architecture.

Her music has drawn attention for the clarity and intensity of its musical language, shaped by stark contrasts and gradual transformation, with a special sensitivity to rhythm and timbre. Described as “arresting” (Cleveland Classical) and “unlocking a kind of religious ecstasy” (National Sawdust Log), her work is frequently programmed throughout the United States and has been presented on four continents.

Susanna’s work has been performed by musicians including the United States Army Band (“Pershing’s Own”), wildUp, Metropolis Ensemble, Matchstick Percussion, ~Nois Saxophone Quartet, Unheard-of Ensemble, cellist Nick Photinos, and members of the Los Angeles Philharmonic, Los Angeles Chamber Orchestra, and St. Louis Symphony. She has received recognition from organizations including ASCAP, the Foundation for Contemporary Arts, The Johnstone Fund, and United States Artists, and her work has been featured at international festivals and events including the LA Phil’s Noon to Midnight Festival, Ear Taxi Festival, and the Bang on a Can Marathon.

Susanna holds a Master of Music in Theory & Composition degree from New York University and Bachelor of Music in Acoustic & Electronic Composition and Bassoon Performance degrees from the University of South Florida. Her primary teachers include Julia Wolfe, Michael Gordon, and Baljinder Sekhon.

She currently lives in Cincinnati with her husband, composer and new-music broadcaster Tyler Kline, and their cat Tofu. Outside of music, she is a practicing ceramicist, avid plant person, and perpetually curious about new foods and places.

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BIOGRAPHY

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Last updated 12/14/25.

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Susanna Hancock composes music shaped by the tension between the organic and the algorithmic, exploring color, process, and acoustic phenomena. Often inspired by the natural world, her work traces inner and outer landscapes through influences such as minimalism, spectralism, math rock, and electronica to create sound worlds with both atmosphere and architecture.
Her music has drawn attention for the clarity and intensity of its musical language, shaped by stark contrasts and gradual transformation, with a special sensitivity to rhythm and timbre. Described as “arresting” (Cleveland Classical) and “unlocking a kind of religious ecstasy” (National Sawdust Log), her work is frequently programmed throughout the United States and has been presented on four continents.
Susanna’s work has been performed by musicians including the United States Army Band (“Pershing’s Own”), wildUp, Metropolis Ensemble, Matchstick Percussion, ~Nois Saxophone Quartet, Unheard-of Ensemble, cellist Nick Photinos, and members of the Los Angeles Philharmonic, Los Angeles Chamber Orchestra, and St. Louis Symphony. She has received recognition from organizations including ASCAP, the Foundation for Contemporary Arts, The Johnstone Fund, and United States Artists, and her work has been featured at international festivals and events including the LA Phil’s Noon to Midnight Festival, Ear Taxi Festival, and the Bang on a Can Marathon.
Susanna holds a Master of Music in Theory & Composition degree from New York University and Bachelor of Music in Acoustic & Electronic Composition and Bassoon Performance degrees from the University of South Florida. Her primary teachers include Julia Wolfe, Michael Gordon, and Baljinder Sekhon.
She currently lives in Cincinnati with her husband, composer and new-music broadcaster Tyler Kline, and their cat Tofu. Outside of music, she is a practicing ceramicist, avid plant person, and perpetually curious about new foods and places.

susannahancockmusic.com
(286 words)
Susanna Hancock composes music shaped by the tension between the organic and the algorithmic, exploring color, process, and acoustic phenomena. Her work traces inner and outer landscapes through influences such as minimalism, spectralism, math rock, and electronica to create sound worlds with both atmosphere and architecture.
Her music has been noted for its intensity, precision, and expressive use of rhythm and timbre, described as “arresting” (Cleveland Classical) and “unlocking a kind of religious ecstasy” (National Sawdust Log). Susanna’s work is frequently programmed throughout the United States and has been presented on four continents by ensembles including United States Army Band (“Pershing’s Own”), wildUp, Metropolis Ensemble, Matchstick Percussion, and Unheard-of Ensemble, with recognition from ASCAP, the Foundation for Contemporary Arts, and United States Artists.
Hancock lives in Cincinnati with her husband, composer Tyler Kline, and their cat Tofu. Outside music, she is a practicing ceramicist, avid plant person, and perpetually curious about new foods and places.
susannahancockmusic.com
Susanna Hancock composes music at the intersection of the organic and the algorithmic, exploring color, process, and acoustic phenomena. Drawing on minimalism, spectralism, math rock, and electronica, she creates sound worlds that balance intuitive atmosphere with architectural clarity. Described as “arresting” and capable of “unlocking a kind of religious ecstasy,” her work is frequently programmed throughout the United States and has been presented on four continents.
susannahancockmusic.com

MUSIC samples

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PRESS

“A cannon’s volley from four saxophones was the loud and shocking opening to Hiatus, the concluding work on the program. Composed by Susanna Hancock, another She Scores alumna, the title reflects the natural stopping and starting of the creative process, quiet and static textures intercutting with kinetic and loud passages. Activity is interrupted repeatedly by the music’s many gaps, gradually getting quieter, and then slower and narrower in range. It may have been the most arresting work all evening from a purely sonic standpoint.”

— Kevin McLaughlin for Cleveland Classical

“ The highlight of the evening was the one true duet, Susanna Hancock’s Blossom and Furl for two electric guitars... Its static, nonfunctional harmonies nevertheless unlocked a kind of religious ecstasy”

— brin solomon for National Sawdust Log

“Particularly enjoyable in this piece are the rapid polar shifts between clamor and suspense–or perhaps hiatus?–and a four-layer polyrhythm, expertly cut by ~Nois, that created a mirage effect”

— Aaron Wolff for i care if you listen

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