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      Dr Brian Inglis

      BA (Hons), MA, PhD, PGCert, FHEA
      ROLE: Senior Lecturer in Music
      DEPARTMENT: Performing Arts
      TELEPHONE: +44 (0)20 8411 2273
      EMAIL: B.Inglis@mdx.ac.uk
      1. Biography &
        Qualifications
      2. Learning &
        Teaching Interests
      3. Research Outputs &
        Interests
      4. Funded Research &
        Knowledge Exchange Projects
      5. Engagement &
        Impact

      • Biography &
        Qualifications

        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 andthe 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 Concert Orchestra); musicological interests centre around issues of genre and identity.

        http://www.sargasso.com/?product=brian-inglis-living-stones

        www.impulse-music.co.uk/brianinglis

        http://composersedition.com/composers/brianinglis

         

        Qualifications:

        • PG Certificate in Higher Education teaching - Greenwich University, 2010
        • PhD in Composition - City University, 1999
        • MA in Music (Composition) - City University, 1993
        • BA (Hons) in Music - Durham University, 1991

        Memberships:

        • PRS (since 1997)
        • MCPS (since 2005)

        Languages Spoken

      • Learning &
        Teaching Interests

        • Composition, including multimedia composition (module leader, Music for Theatre & Dance; contributor to Collaborative Composition and Performance)
        • Analytical subjects (module leader, Music Contracts & Copyrights; contributor to Analysing Music & Media)
        • Writing and musicology (contributor to Contemporary Music Studies; module leader for Music Journalism 2017-18)
        • Module leader, Community Arts & Music Education

      • Research Outputs &
        Interests

        • 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: 20th and 21st century art and popular music, especially musical 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 copyright, publishing and collecting societies

        Prizes and Awards

        • 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:

        • 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

        • Concerto for Piano Solo (Homage to Alkan) – written for Gabriel Keen to perform at the Second Stoke Newington Contemporary Music Festival, 3/11/2013
        • Highbury Fields for chorus and orchestra (words by Charles Hart), commissioned by Islington Choral Society for their 40th anniversary concert, Cadogan Hall, 30/6/2013
        • Burmese Picture for recorder ensemble, for performance by Consortium 5 at Christ Church Spitalfields, 15/5/2010, recorded on Nonclassical NONCLASS008 (2011)
        • Tintinnabulation II – piece for piano six hands premièred at Colston Hall, Bristol, 5/4/2012
        • The Break-Up – six word opera for performance by the Warehouse Ensemble at Riverside Studios, Hammersmith (Tête-à-Tête Festival), 11&12/8/2011
        • 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
        • 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.
        • 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 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:

        • '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'

        Publication Feed

        Alkan, the 'orchestral' piano and Concerto for Piano Solo (Homage to Alkan)

        Inglis, Brian (2017) Alkan, the 'orchestral' piano and Concerto for Piano Solo (Homage to Alkan). Alkan Society Bulletin (95). pp. 12-15.

        Living Stones

        Inglis, Brian and Keen, Gabriel and Scobie, Christopher (2017) Living Stones. [Audio]

        A Christmas alleluia: for SATB choir and organ

        Inglis, Brian (2015) A Christmas alleluia: for SATB choir and organ. [Composition]

        The liminal zone of opera: (unaccompanied) operatic monodrama and The Song Of Margery Kempe

        Inglis, Brian (2016) The liminal zone of opera: (unaccompanied) operatic monodrama and The Song Of Margery Kempe. In: Music On Stage: Volume 2. Campos, Luis and Schopf, Fiona Jane , eds. Cambridge Scholars, pp. 171-190. ISBN 9781443896863

        Highbury Fields

        Inglis, Brian (2015) Highbury Fields. [Composition]

        View more publications

      • Funded Research &
        Knowledge Exchange Projects

         

        • 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)

         

      • Engagement &
        Impact

        Trustee, Nonclassical

        Trustee, Hildegard Network UK

        Fellow, Higher Education Academy (since February 2011)

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