Sarah Hennies is a composer based in Upstate New York whose work is concerned with a variety of musical, sociopolitical and psychological issues including including queer and trans identity, psychoacoustics, and the social and neurological conditions underlying creative thought. She is primarily a composer of acoustic ensemble music, but is also active in improvisation, film and performance art. She presents her work internationally as both a composer and percussionist with notable performances at MoMA PS1 (New York City), Monday Evening Concerts (Los Angeles), Le Guess Who (Utrecht), Festival Cable (Nantes), send + receive (Winnipeg), O’ Art Space (Milan), Cafe Oto (London), ALICE (Copenhagen), and the Edition Festival (Stockholm). As a composer, she has worked with a wide array of performers and ensembles including Bearthoven, Bent Duo, Claire Chase, ensemble 0, Judith Hamann, R. Andrew Lee, Talea Ensemble, Thin Edge New Music Collective, Two-Way Street, Nate Wooley and Yarn/Wire.

Her ground-breaking audio-visual work Contralto (2017) explores transfeminine identity through the elements of “voice feminization” therapy, featuring a cast of transgender women accompanied by a dense and varied musical score for string quartet and three percussionists. The work has been in high demand since its premiere, with numerous performances taking place around North America, Europe and Australia and was one of four finalists for the 2019 Queer|Art Prize.

She is the recipient of a 2019 Foundation for Contemporary Arts Grants to Artists Award, a 2016 fellowship in music/sound from the New York Foundation for the Arts, and has received additional support from New Music USA, the New York State Council on the Arts and the Community Arts Partnership of Tompkins County.

Sarah is currently a visiting assistant professor of music at Bard College.