Dr Brian Inglis

• Composition: instrumental music; choral music; opera and music-theatre; art song; multimedia, experimental and popular music, Notation of music and sound, Collaborative work, especially with sound sculpture. 
• Musicology: 20^th and 21^st century art and popular music, especially genre and identity.
• Journalism: programme-note and profile writing (including for the BBC Proms); preview and marketing copy writing (including for the BBC Concert Orchestra); reviewing; concert and festival management (Stoke Newington Contemporary Music Festival).

Brian offers PhD supervision in the following areas:

• Music Composition (instrumental, vocal and multimedia: especially vocal, choral and operatic).  
• Twentieth and twenty-first century musicology and analysis, especially in the areas of British and East European music, non-canonical and marginalised ('outsider') repertoires.
• Music and spirituality
• Music copyright, publishing and collecting societies

Prizes and Awards

• 2019: Middlesex University Research Fund award for research, talk and conference paper presentation in South Africa.

• 2019: Middlesex University Research Fund awards to present conference papers/performances in Southampton (UK), Como (Italy) and Krakow (Poland)

• 2018: Middlesex University Research Fund award for research costs/teaching remission to complete  
  • The Letters of Kaikhosru Sorabji to Philip Heseltine (Peter Warlock) for publication by Routledge in 2019
• 2016: Middlesex University Research Fund subvention for piano music album Living Stones (released by Sargasso, 2017)
• 2009: RVW grant for staging of one-woman opera The Song of Margery Kempe at Tête-à-Tête Opera Festival (Riverside Studios Hammersmith), August 2009
• 2003; 2005; 2007: Bliss Trust/PRS Foundation bursaries to pursue professional development projects in Composition (performances/recording)
• 2004: Funded by PRS to attend Dundaga International Composition Workshop (Latvia)
• 2002: Bursary to study Film Music Composition at Dartington International Summer School with Miguel Mera
• 2001: RVW bursary to attend Dartington International Summer School, studying with Stephen Montague
• 1999: Bursary to attend Aberystwyth International Summer School, studying with John Metcalf
• 1994 - 1997: British Academy Major scholarship to pursue PhD studies in composition
• 1993: Worshipful Company of Cordwainers' Prize for outstanding MA coursework
• 1993: Countess of Münster Musical Trust grant towards pursuing postgraduate studies in Composition

Recent commissions, performance/recording projects & music publications:

• Air for solo recorder (with optional drone), published - with accompanying article - in The Recorder Magazine, Summer 2020

• Four Pieces for toy piano, commissioned by Kate Ryder. Premiered 20/3/2018, St George's Church (Borough New Music). Published Composers Edition 2018. Part-released by Nonclassical, July 2020

• Piano Trio, commissioned by Peter Fribbins for the Aquinas Trio at the London Chamber Music Society. King's Place, 28/1/2018. Published Composers Edition 2018

• Living Stones, piano music album released on Sargasso SCD28081 (2017)

• A Christmas Alleluia, commissioned by Bedford School for their carol services on 4 & 6/12/2015. Published Composers Edition 2015.

• Concerto for Piano Solo (Homage to Alkan) – written for Gabriel Keen to perform at the Second Stoke Newington Contemporary Music Festival, 3/11/2013. Published Composers Edition 2015.
• Highbury Fields for chorus and orchestra (words by Charles Hart), commissioned by Islington Choral Society for their 40^th anniversary concert, Cadogan Hall, 30/6/2013. Published Composers Edition 2015.
• Burmese Picture for recorder ensemble, for performance by Consortium 5 at Christ Church Spitalfields, 15/5/2010. Published Composers Edition 2016. Recorded on Nonclassical NONCLASS008 (2011)
• Tintinnalogia II – piece for piano six hands premièred at Colston Hall, Bristol, 5/4/2012. Published Composers Edition 2016.
• The Break-Up – six word opera for performance by the Warehouse Ensemble at Riverside Studios, Hammersmith (Tête-à-Tête Festival), 11&12/8/2011. Published Composers Edition 2020.
• The Song of Margery Kempe: Opera for solo mezzo-soprano a cappella, concert première (supported by PRS Foundation) by Loré Lixenberg, Riverside Studios, Hammersmith 8/8/2008; stage première (supported by RVW Trust), Tête-à-Tête: The Opera Festival, 1&2/8/2009. Published Composers Edition 2016.
• Symphony (No 2) commissioned for Futurism Updated concert performed by Sarah Leonard (soprano) & Sculpted Sound ensemble, Central School of Speech and Drama, 21/4/2009
• Without Loss Setting of Rowan Williams' Bach for the Cello commissioned by the Lambeth singers (funded by RVW Trust) premièred at Lambeth Palace, 1/7/2008. Published Composers Edition 2015.
• Invocation for voice and sound sculptures, commissioned by Derek Shiel and premièred by Sculpted Sound at Gallery Oldham, 28/6/2003; performed again at Guildford Cathedral (Guildford International Music Festival), 9/3/2007 and Redchurch Street Gallery, London, 28-29/6/2007
• Sailing to Byzantium performed (excerpts as part of illustrated lecture) at Microfest 1, Riverside, Walton-on-Thames, 15/10/2005. Published Composers Edition 2016.

Published book chapters/Journal articles:

• 'The Liminal Zone of Opera: (Unaccompanied) Operatic Monodrama and The Song of Margery Kempe', Music on Stage Volume 2, Camridge Scholars 2016.
• 'Fruits of the Indian Summer: Two late chamber works by Kaikhosru Sorabji' (Tempo, October 2010);
• 'Vive la Différence: Contemporary classical performance practice' (M magazine, 2004);
• 'A Lonely Quest: The Career of Kaikhosru Sorabji' (British MusicNews, March 1996);
• 'Subtexts and Agenda in Sorabji's Opus Clavicembalisticum' (British Music, 1995)

Conference papers presented:

• IASPM UK & Ireland online conference 'London Calling', University of West London, May-July 2020: 'Different love, same Feeling: characterising (sexual) difference in early 21st-century Anglo-American pop-rock'
• RMA Conference 2019, University of Manchester/Royal Northern College of Music, September 2019: 'Sorabji and Heseltine - Odd couple or brothers-in-arms?'
• SASRIM Congress 2019, Stellenbosch University, South Africa, September 2019: 'Sorabji and Heseltine - Odd couple or brothers-in-arms?'
• IAML Congress 2019, Jagiellonian University, Krakow, Poland, July 2019: 'Kaikhosru Sorabji's Letters to Philip Heseltine'
• Music as Play: The Toy Piano Takes the Stage, Istituto Giosue Carducci, Como, Italy, July 2019: 'Four Pieces for Toy Piano as a form of practice-as-research' 
• Legacies of Resistance, Responding to Opression: Changing Dynamics in LGBTQ+ Music Activism and Scholarship (3rd Aunnual Symposium of the UK & Ireland LGBTQ+ Music Study Grou), Southampton University, April 2019: 'Queer Sorabji and Curious Heseltine'
• The Classical Music Industry, Middlesex University, October 2018: 'Classical Music, Copyright and Collecting Societies'
• Music and Spirituality Study Day, Winchester University, November 2017: 'Dumped modernism? Compositional techniques and affect in Tavener's To a Child Dancing In The Wind'
• Music, Queer, Intersections: 1st Symposium of the LGBTQ+ Music Study Group, Edge Hill University, May 2017: 'Different love, same Feeling: negotiating sexual difference in early 21st-century pop-rock'

• Embodied Monologues, Maynooth University Ireland, March 2017: ‘The liminal zone of opera: unaccompanied operatic monodrama and The Song of Margery Kempe'

• Music and Spirituality – Symposium launching the Tavener Centre for Music and Spirituality, Winchester University, November 2016: ‘Music, Mysticism and Ecstasy'

• Moving Performances: exploring the politics and spaces of voice and unruly emotions, Oxford University, June 2016: 'The Song of Margery Kempe' (short paper with audiovisual illustrations)

• Ideopreneurial Entrephonics: A Festival of Sound Art and Electronic Instruments, Dublin (Trinity College at Freemasons' Hall), April 2016: 'The first modular synth? Reinterpreting Russolo's Intonarumori in the 21st century'

• Putting the Graphic in Music - Notation, Analysis and Performance, Senate House Library University of London, November 2015: 'Graphic scores: towards a typology and analytical framework’
• International Conference on Music Since 1900, Glasgow University, September 2015: 'Odd couple or brothers-in-arms? Sorabji's letters to Heseltine'
• Keele Music Analysis Conference, Keele University, July 2015: 'Different love, same Feeling: negotiating sexual difference in early 21st-century pop-rock'
• Breaking the Sound Barrier, Middlesex University, June 2015: 'The liminal zone of opera: The Song of Margery Kempe and the genre of (a cappella) operatic monodrama'
• Music on Stage, Rose Bruford College, October 2014:'The liminal zone of opera: The Song of Margery Kempe and the genre of (a cappella) operatic monodrama'
• Setting Agendas: Text Setting and the English Libretto, Department of English, University of Southampton at Alton, September 2009: 'Hildegard the opera: a composer's perspective' 
• Microfest 1, Walton-on-Thames, October 2005: 'Microtonal procedures in Sailing to Byzantium'

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