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.
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
'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'
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 (2018) Classical music, copyright and collecting societies. In: The Classical Music Industry. Dromey, Christopher and Haferkorn, Julia , eds. Routledge Research in Creative and Cultural Industries Management . Routledge, New York & Abingdon, pp. 7-31. ISBN 9781138203693
Inglis, Brian (2017) Alkan, the 'orchestral' piano and Concerto for Piano Solo (Homage to Alkan). Alkan Society Bulletin (95). pp. 12-15.
Inglis, Brian and Keen, Gabriel and Scobie, Christopher (2017) Living Stones. [Audio]
Inglis, Brian (2015) A Christmas alleluia: for SATB choir and organ. [Composition]
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
Trustee, Hildegard Network UK
Fellow, Higher Education Academy (since February 2011)