Dr Tullis Rennie
- Dr Tullis Rennie
- +44 (0)20 7040 8809
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, 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. Recent compositions include an ongoing series of commissions for the Vonnegut Collective for i=u festival at Richmix, London and NMNW Festival at the RNCM, Manchester.
His work has been presented at many international festivals and broadcast on ResonanceFM. He has appeared as trombonist with with Anton Hunter’s Article XI, Foirmfada, Cath Robert’s Favourite Animals, QUBe and at London venues such as Café Oto, i’Klectik and Hundred Years Gallery. In 2013-14 he completed two residencies at the UFRJ in Rio de Janeiro.
- PhD Composition, Queen's University Belfast, United Kingdom, Jan 2016
- MusM Electroacoustic Music Composition, University of Manchester, United Kingdom, 2006
- MusB (Hons.) Music, University of Manchester, United Kingdom, 2005
- Visiting Lecturer in Music, City, University of London, 2015 – 2016
- Teaching Assistant in Music and Sonic Arts, Queen's University Belfast, 2013 – 2015
Ethnography in sound
Music and Identity
Narratives of Field Recording
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.
- Rennie, T. (2017). Sounds from the Sketch Pad. (Performed Installation for specific duo + four-channel fixed media audio)
- Rennie, T. (2017). Portsea Sound. (Sound installation)
- Rennie, T. (2016). Confronting Cardew, with The Vonnegut Collective. (Specific improvising ensemble, four-channel fixed media audio)
- Rennie, T. (2015). Everybody (Wants To Be The DJ). (Performed Sound Installation)
- Rennie, T. (2015). Shadows of Casken. (Solo violin, recorded voice and non-specified improvising ensemble)
- Rennie, T. (2014). Carioca Sound Stories. (Audio-visual fixed media)
- Rennie, T. (2014). Muscle Memory, with Graham South. (Fixed Media Audio)
- Rennie, T. (2013). Manifest. (Fixed Media Audio)
- Rennie, T. (2016). Shadows In The Field Recording. Sonologia: Out of Phase 22-25 November, USP, São Paulo.
- Rennie, T. (2015). Sound Art Salon: Manifest. Sound Studies: Art, Experience, Politics 8-10 July, University of Cambridge.
- 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.
- 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.
- Rennie, T. (2015). Power Struggles: The Politics of Composing with Sounds of Protest. Leonardo Music Journal, 25(25), pp. 17–20. doi:10.1162/LMJ_a_00927.
- Rennie, T. (2014). Socio-Sonic: An ethnographic methodology for electroacoustic composition. Organised Sound, 19(02), pp. 117–124. doi:10.1017/S1355771814000053.