Born in Sri Lanka and based in Boston, I work as a composer, music director, and educator.
My practice is rooted in the conviction that the arts can bring people together across cultures, borders, and traditions.
"There is nothing quite like the moment a piece comes alive in the room, with other musicians and the audience present, experiencing it together. Music-making is one of the great joys of being human. Even when the subject matter is hard, that joy remains. It is not separate from the work. It is what sustains it."
— Shannon JacobAbout
"I believe music and education have the capacity to build something that is increasingly rare: a genuine, embodied understanding of one another across difference. Not tolerance. Acceptance."
I was born and raised in Sri Lanka, and moved to the United States to study at Berklee College of Music in Boston. That move marked the beginning of a life and career built across two worlds, both of which are fully present in who I am and in everything I make. I am a composer, music director, and educator, and my work sits at the intersection of artistic practice, education, and social responsibility. I have always believed that music has a meaningful role to play in how communities understand themselves and each other, and that belief shapes every decision I make, whether I am writing a piece, standing in front of an ensemble, or sitting with a student.
My classical music foundation was established at Bishop's College, Colombo, under Mrs. Barbara Cooray, and my contemporary training by Ruwani Seimon and Vinodh Senadheera. I hold a Bachelor of Music in Contemporary Writing and Production from Berklee College of Music, completed in 2015, and am currently completing a Master's in Global Cultures at King's College London, due for completion in 2027.
My compositions and arrangements span classical, jazz, gospel, and contemporary idioms, and have been performed by the Symphony Orchestra of Sri Lanka, the Gustav Mahler Society Orchestra, the Boston College Symphony Orchestra, the Southeast Asian Choir Games, and the University Chorale at Boston College, whose collaboration with me resulted in a world premiere and a European tour of my music.
As a composer who understands the intersection of tradition and technology, I was commissioned to create the music for Sri Lanka's national landmark, the Lotus Tower, an immersive sonic experience integrated throughout the building for visitors.
I am deeply committed to music and social justice, approaching every project, particularly those engaging cultural material outside my own background, with research, intentionality, and accountability to the communities whose traditions I am working within. This commitment runs through my composition, my conducting, and my teaching in equal measure.
Foundations
Before Boston, before Berklee, there was Colombo. The years I spent working in Sri Lanka shaped everything that came after — my understanding of community, my relationship to music as a form of service, and my belief that the arts have a responsibility to the world they exist in.
Educator · Curriculum Designer · Program Leader
My work as an educator spans undergraduate teaching, faculty development, and public programming — all grounded in the conviction that education builds awareness, empathy, and genuine community across difference.
I design learning experiences for students, faculty, and public audiences that connect musical practice to cultural history, identity, and civic life. Whether I am building a college course, leading an institution-wide professional learning initiative, or facilitating a public workshop, I aim to create spaces where people can listen closely, think critically, and engage with care.
"Beyond the classroom, I see teaching as part of a larger ecosystem — one where lectures, performances, and public-facing programmes turn scholarship into an invitation to participate in shaping cultural dialogue."
— Shannon Jacob, Teaching PhilosophyTeaching Philosophy
I believe arts education should illuminate shared histories, challenge assumptions, and foster integrity in creative and performance practice. My own journey — spending twenty-five years in Sri Lanka before becoming a U.S. citizen in 2022 — gives me a lived understanding of what it means to navigate multiple identities, to code-switch, to hold more than one world at once. These experiences are not background to my teaching. They are central to it.
I approach music not simply as repertoire but as a cultural archive: a record of histories, identities, and social movements.
This applies across every tradition I work with. Whether I am teaching spirituals, blues, gospel, Sri Lankan folk music, or any other roots or cultural form, my students explore not only musical structures and performance practices but also the people, historical conditions, cultural contexts, and political forces that shaped those forms. The music and its context are inseparable.
My active practice as a composer, arranger, and music director directly informs how I teach. Returning regularly to my own creative work keeps my teaching honest. It reminds me of what it feels like to wrestle with a piece, collaborate under pressure, and make decisions in real time. I bring that practitioner's perspective into the classroom and encourage students to understand performance itself as a form of inquiry: one that reveals how context and historical awareness shape the way music is heard and understood.
Central to my teaching is creating classrooms that are brave, respectful, and intellectually rigorous. Spaces where students feel genuinely safe to question, share perspectives, take risks, and make mistakes. I view the classroom as a microcosm of the society we are working toward: one where dialogue is essential and differences are recognised as sources of knowledge, not division.
Community is at the heart of everything I do. Music education has the unique ability to cultivate empathy by inviting students to encounter the lived experiences of others through sound, story, and cultural expression. My goal is not only to teach music but to inspire students to use it as a tool for connection, reflection, justice, and joy.
"My aim is not simply to transmit knowledge but to create learning environments where students actively engage with ideas, challenge inherited narratives, and explore how music participates in broader cultural conversations."
— Shannon Jacob, Teaching PhilosophyInfluences & Practice
Genre has never been a boundary for me — it has been an invitation. Gospel, orchestral, jazz, theater, traditional Sri Lankan music, contemporary pop, digital sound — I come to all of it with the same care and the same conviction that music, done purposefully, can bring both joy and deep awareness. What draws me to a genre is the music itself and the people who created it. When something moves me, I want to understand it fully. When I am working within a tradition that is not from my own background, I take the time to trace its history through research and learning, so that I can present it in the most respectful and honest way possible.
Where it came from, what it carried, what it cost.
Across the concert hall, the classroom, and the recording studio, the care we bring to the music is never invisible. When we approach it with respect and integrity, the traditions behind it, the communities that created it, the original work we put into the world, that care arrives in the final product as something true and vulnerable, and people recognise it. Every project begins with the same questions: what do I want people to feel in this moment? And what do I want them to think about long after?
Featured Work
Belonging is a feeling that is multifaceted, wrought with emotion, and neither universal nor linear. The privileges and disadvantages that come with our shared histories, and the state of the world, add to its complexity. Sociocultural norms and political tension surrounding physical appearance and identity, religion and faith, race and ethnicity, class, education, and wealth all contribute to how much we feel like we belong.
While writing this piece, I found myself thinking about living between two worlds, and what made me feel like I truly belonged in each one of them. While understanding that I am immensely blessed to live this life, I also realised that for me, belonging was not necessarily associated with a place or objects, but the people and experiences that shaped me at that point in time.
I poured the following into this piece: my family and their unwavering support in my dream to study music. My husband brewing coffee and watering the plants. Prayers whispered during an evening walk. Seeing the coast of Sri Lanka after a long flight and hugging my family at the airport. An early morning bike ride through Boston. The aroma of spices being tempered for a curry. The loss of a beloved pet. Hanging out with my best friends. The first sip of Sri Lankan tea. Love, joy, adventure, uncertainty, and sadness — all encapsulated within an overwhelming feeling of hope and possibility.
The more I reflected, themes became clearer and notes were written. Faces came into focus very often, and I realised that a large part of what contributes to the feeling of belonging is community. An embrace by people who may not have been your own, but have come to be those you celebrate, grieve, and live with.
Maybe belonging transcends physicality. Maybe we long for it so much because it is somehow spiritually linked to our sense of purpose in the world. It is the freedom to be and the space to grow — a privilege that many do not have and yearn for deeply today.
Motherlands is an ode to all the caregivers who have raised, comforted, and encouraged me against all odds. A word that is usually singular, placed in the plural to indicate that life is split between two worlds, at all times. Belonging implies that home can also be multiple communities across distance and time.
I hope it invites you to think about your own journey of belonging, and what we can be when we are at our best, together.
Music & Society
"Music and education should be places where wholeness is not a privilege. Where all of what we are belongs."
For many people, choosing between who they are and where they are is not a philosophical question. It is a daily reality. Not everyone arrives with the privilege of wholeness intact. Many of us have had to leave parts of ourselves behind in order to survive, to belong, to be heard. That cost is real, and it is unequally distributed.
Music and education have both the capacity and the responsibility to be spaces that refuse that demand. Spaces where we can show up as the whole of what we are: our histories, our contradictions, our full identities. Not a carefully selected portion of it. The complexity of who we are — the many places, traditions, and experiences we carry — is not something to be simplified before we enter. It is something to be brought in fully, because it is precisely that complexity that makes the work more meaningful and purposeful, and more honest in its service to the world.
The fact that we are shaped by more than one world, more than one story, more than one way of knowing: that is a strength, not a complication. This is the conviction at the centre of my practice — in composition, in the classroom, and in every collaborative space I build.
Catalogue
This is the body of work I have built across two continents, many genres, and more than two decades of practice. Each piece, arrangement, and production represents a question I was trying to answer, a community I was trying to serve, or a story I felt needed to be told. I hope you find something here that resonates.
Upcoming
Connect
I welcome commissions, performance and conducting enquiries, educational collaborations, speaking engagements, and press requests. I work with ensembles, institutions, and organisations across the United States and internationally, and I am always interested in projects that sit at the intersection of music, community, and social purpose. Please get in touch.