Brian Inglis studied at Durham University and – for his MA and PhD – City University, London. Before coming to Middlesex he taught at Trinity College of Music, and also in the music publishing and authors' copyright sectors. He was admitted to the Higher Education Academy in 2011 and appointed lecturer at Middlesex University in December 2012. His interests encompass composition, musicology and criticism. Brian's music has been heard at the Sonorities Festival (Belfast), Huddersfield Festival, Spitalfields Festival, Guildford International Festival, Greenbelt, Bestival, Secret Garden Party and I Kärlekens Namn (Sweden); also London's South Bank Centre, Riverside Studios, Wigmore Hall, Cadogan Hall, King's Place and St John's Smith Square. Broadcast performances include Radios 1 & 3; BBC2; Radio Wales; Resonance FM; Bayern 2 (Germany) and Latvian TV. Performance activities have included singing, conducting and keyboard performance across a range of genres; from 2003 to 2007 he was a member of the electro-indie band Hicks Milligan-Prophecy, who supported The Fall and Alabama 3. His music has been released on Atomicduster Records (The Good, the Bad and the Iceberg, 2006), Nonclassical (Tangled Pipes, 2011) and Sargasso (Living Stones, 2017). Writing projects include articles and criticism for Tempo and M magazine, and notes, profiles and marketing copy for the BBC (Proms and BBC ensembles). Musicological interests centre around issues of genre and identity, and include publications for Routledge, Peter Lang and Cambridge Scholars.
Brian offers PhD supervision in the following areas:
Piano Trio, commissioned by Peter Fribbins for the Aquinas Trio at the London Chamber Music Society. King's Place, 28/1/2018
Living Stones, piano music album released on Sargasso SCD28081 (2017)
Alleluia for the Virgin, commissioned by Bedford School for their carol services on 4 & 6/12/2015
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'
Inglis, Brian and Barnes, Rachel (2005) Microtonal procedures in 'Sailing to Byzantium'. In: UK Microfest 1, 14-15 October 2005, Riverhouse Arts Centre, Walton-on-Thames, Surrey, UK.
Inglis, Brian (2015) Towards an analytical framework for graphic scores, and a proposed typology. In: Putting the Graphic in Music – Notation, Analaysis & Performance, 30 November 2015, Senate House Library, University of London.
Inglis, Brian (2018) Four pieces for toy piano. [Composition]
Inglis, Brian and Smith, Barry (2019) Kaikhosru Sorabji's letters to Philip Heseltine (Peter Warlock). Routledge, London and New York. (Accepted/In press)
Inglis, Brian (2019) Music, mysticism and ecstasy. In: Music, Spirituality and Christian Theology. Boyce-Tillman, June , ed. Music and Spirituality . Peter Lang, Oxford, Bern, Berlin, Bruxelles, Frankfurt am Mein, New York, Wien. (Accepted/In press)
Trustee, Board member and Artistic Committee member, Nonclassical (2015 – present). In autumn 2018 I was part of the review panel for Nonclassical's 2019-20 Composers-in-Association.
Founder member of Sound and Music (formerly spnm), 2007
Trustee, Hildegard Network UK, 1998-2018
Fellow, Higher Education Academy (since February 2011)
BBC Radio 4 interview (Sunday programme), November 2016.
Latvian TV interview, August 2004
Resonance FM interview, January 2003