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. 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.
- 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. (2020). Where I Am Right Now. (Fixed Media Audio)
- Rennie, T. (2020). The Start of Something (with Martin Clarke). ((Eight channel fixed media audio))
- Rennie, T. (2018). Muscle Memory, with Matthew Bourne. (Fixed media audio)
- 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. (2017). Walls On Walls: Lansbury Estate. (Collaboratively-produced audio-visual artwork)
- 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.
- 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.
- Rennie, T. (2019). MUSCLE MEMORY: THE INIMITABLE FEEL OF THE RECORD. Tempo, 73(287), pp. 76–79. doi:10.1017/s0040298218000670.
- 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, pp. 17–20. doi:10.1162/lmj_a_00927.
- Rennie, T. (2014). Socio-Sonic: An ethnographic methodology for electroacoustic composition. Organised Sound, 19(2), pp. 117–124. doi:10.1017/s1355771814000053.