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portrait of Dr Tullis Rennie

Dr Tullis Rennie

Senior Lecturer in Music

School of Arts and Social Sciences, Department of Music

Contact Information


Visit Tullis Rennie

ALG15B, College Building

Postal Address

City, University of London
Northampton Square
United Kingdom



Dr Tullis Rennie is a composer, improvising trombonist, electronic musician, and field recordist. His work encompasses sound installation, community-engaged participative projects, multi-channel concert works, video, mixed media and live/improvised performances.

Following an honours degree in Music at the University of Manchester - where he was awarded the Peter J Leonard prize for composition, Tullis completed a Masters in Electroacoustic Music Composition also at Manchester. His practice-based PhD research on 'Composition and Identity' was based at the Sonic Arts Research Centre, Queen's University Belfast.

He is co-founder of Walls On Walls with visual artist Laurie Nouchka. Their ongoing collaborative research with communities across London is creating a series of participatory site-specific audiovisual installations. He is a founder member of Insectotròpics, an award winning audio-visual collective based in Barcelona.

His work has been presented at many international festivals and broadcast on BBC Radio 3 ResonanceFM. He has appeared as trombonist with with Anton Hunter’s Article XI, Cath Robert’s Favourite Animals, QUBe and at London venues such as Café Oto, IKLECTIK and Hundred Years Gallery. In 2013-14 he completed two residencies at the UFRJ in Rio de Janeiro.


  1. PhD Composition, Queen's University Belfast, United Kingdom, Jan 2016
  2. MusM Electroacoustic Music Composition, University of Manchester, United Kingdom, 2006
  3. MusB (Hons.) Music, University of Manchester, United Kingdom, 2005


  1. Visiting Lecturer in Music, City, University of London, 2015 – 2016
  2. Teaching Assistant in Music and Sonic Arts, Queen's University Belfast, 2013 – 2015


Research Interests

Ethnography in sound
Music and Identity
Narratives of Field Recording
Sampling cultures
Participative approaches to Sound Art

Much of Tullis's varied compositional output has a common focus in developing a musical language that seeks a threshold between (auto)ethnographic documentation and music/sound art.


He is co-founder of Walls On Walls with visual artist Laurie Nouchka, recently creating a series of participatory site-specific audiovisual installations with communities across the borough of Camden. He is a founder member of Insectotròpics, an award winning audio-visual collective based in Barcelona.


Compositions (12)

  1. Rennie, T. (2020). Where I Am Right Now. (Fixed Media Audio)
  2. Rennie, T. (2020). The Start of Something (with Martin Clarke). ((Eight channel fixed media audio))
  3. Rennie, T. (2018). Muscle Memory, with Matthew Bourne. (Fixed media audio)
  4. Rennie, T. (2017). Sounds from the Sketch Pad. (Performed Installation for specific duo + four-channel fixed media audio)
  5. Rennie, T. (2017). Portsea Sound. (Sound installation)
  6. Rennie, T. (2017). Walls On Walls: Lansbury Estate. (Collaboratively-produced audio-visual artwork)
  7. Rennie, T. (2016). Confronting Cardew, with The Vonnegut Collective. (Specific improvising ensemble, four-channel fixed media audio)
  8. Rennie, T. (2015). Everybody (Wants To Be The DJ). (Performed Sound Installation)
  9. Rennie, T. (2015). Shadows of Casken. (Solo violin, recorded voice and non-specified improvising ensemble)
  10. Rennie, T. (2014). Carioca Sound Stories. (Audio-visual fixed media)
  11. Rennie, T. (2014). Muscle Memory, with Graham South. (Fixed Media Audio)
  12. Rennie, T. (2013). Manifest. (Fixed Media Audio)

Conference papers and proceedings (3)

  1. Rennie, T. (2016). Shadows In The Field Recording. Sonologia: Out of Phase 22-25 November, USP, São Paulo.
  2. Rennie, T. (2015). Sound Art Salon: Manifest. Sound Studies: Art, Experience, Politics 8-10 July, University of Cambridge.
  3. Rennie, T. (2016). Recording, Representation & Responsibility: questions of authorship and agency when field recording for electroacoustic composition. EMS15: The Art of Electroacoustic Music 23 Jun 2015 – 26 Jun 2015, The University of Sheffield.

Journal articles (5)

  1. Rennie, T. (2020). Sociosonic Interventions: Distributed Authorship in Socially Engaged Sound Practices. Leonardo Music Journal, 30, pp. 113–117. doi:10.1162/lmj_a_01102.
  2. Rennie, T. (2019). MUSCLE MEMORY: THE INIMITABLE FEEL OF THE RECORD. Tempo, 73(287), pp. 76–79. doi:10.1017/s0040298218000670.
  3. Anderson, I. and Rennie, T. (2016). Thoughts in the Field: 'Self-reflexive narrative' in field recording. Organised Sound, 21(3), pp. 222–232. doi:10.1017/S1355771816000194.
  4. Rennie, T. (2015). Power Struggles: The Politics of Composing with Sounds of Protest. Leonardo Music Journal, 25, pp. 17–20. doi:10.1162/lmj_a_00927.
  5. Rennie, T. (2014). Socio-Sonic: An ethnographic methodology for electroacoustic composition. Organised Sound, 19(2), pp. 117–124. doi:10.1017/s1355771814000053.

Other Activities

Keynote lecture/speech

  1. Socio-Sonic: An ethnographic methodology for electroacoustic composition. De Montfort University, Leicester (2014).