PhD in Music Composition, Royal Birmingham Conservatoire
Thesis title: Grandchildren of Experimental Music – Performing the compositional act by creating intriguing situations in which musical sound may occur
Funded by the Arts and Humanities Research Council Midlands3Cities Doctoral Training Partnership
MMus Master Artistic Research, Royal Conservatoire / Royal Academy of Art, The Hague
BMus(Hons) Music Composition, Birmingham Conservatoire
Foundation Diploma in Art and Design, Chesterfield College
Voting Member of PRS for Music (Performing Right Society)
Peer reviewer for JAR (Journal for Artistic Research) and Riffs – Experimental writing on popular music.
- One-to-one composition tutor (BMus and MMus)
- Tutor on MMus Experimental Performance
Andy also teaches on the following modules:
- Performance Traditions 2: Music After 1900 in History and Practice (BMus2)
- Contextual Studies Specialism: Concert Situations & Liveness (BMus3)
- Experimental Performance in Context(s) (MMus)
Andy is currently a research assistant for the Documenting Music with Non-Sonic Elements AHRC Research Network. He undertakes practice-based research in his duos with Kathryn Williams and Seán Clancy.
Andy's methods for reading active participants as musical notation have been adopted by Hand Of, an arts education charity that seeks to enrich the education of disadvantaged children, for their Northumberland Space Programme (2018–ongoing).
Third supervisor for Ed McKeon: Making art public – The curatorial as musical praxis
2020 ‘Performing the compositional act with bouncy castles, soap and shh’, in Research Catalogue (online)
[https://www.researchcatalogue.net/view/1058718/1058719]
2020 ‘Up Down Left Right’, in Research Catalogue (online)
[https://www.researchcatalogue.net/view/966068/966070]
2020 Tape Piece (limited-edition cassette), Birmingham Record Company (with Maya Verlaak)
[https://nmc-recordings.myshopify.com/products/tape-piece]
2020 ‘Drawings for ‘Levitas, Gravitas and High Intensity Interval Training for Sharon d’Aire’’, in Tempo, volume 74, issue 293, Cambridge
2020 ‘Private Hire – Kathryn Williams' and Andy Ingamells' latest performance vehicle’, in The Sampler, online (with Kathryn Williams)
[https://thesampler.org/news-opinion/private-hire-kathryn-williams-andy-ingamells/]
2020 ‘Every time we touch – Apartment House at the Petting Zoo’, in The Sampler, online
[https://thesampler.org/news-opinion/composer/apartment-house-petting-zoo/]
2019 ‘Performing the compositional act with bouncy castles, soap and shh’ in Proceedings of the International Conference for Technologies in Notation and Representation, Monash University, Melbourne, pp. 74-79
[https://www.tenor-conference.org/proceedings/2019/07Ingamells.pdf]
2018 ‘Make each face a living note’ in Y-E-S, online
[https://y-e-s.org]
2018 ‘@textscoreaday#180’ and ‘Sound of a marathon’ in CRU3, Berlin
2018 ‘Interview’ in FREEING (Our Bodies), Issue 2, pp. 65-66
2017 ‘Locational Aesthetics: Squashing’ in Riffs – Experimental writing on popular music, volume 1, issue 1, pp. 34-35
[https://riffsjournal.org/issues/volume-1-issue-1-feb-2017/locational-aesthetics-squashing-andy-ingamells-birmingham-conservatoire-phd/]
2017 Up Down Left Right (limited-edition artist book), Situations, Bristol
[https://www.situations.org.uk/content/uploads/2020/04/updownleftright_Digi_1.pdf]
2016 ‘Stop inhaling Oxygen and exhaling Carbon Dioxide because ‘we did that in the 60s’’ in MusikTexte Zeitschrift für Neue Musik, issue 149, pp. 22-23
[https://musiktexte.de/WebRoot/Store22/Shops/dc91cfee-4fdc-41fe-82da-0c2b88528c1e/MediaGallery/Ingamells.pdf]
Andy is the Label Manager of Birmingham Record Company (BRC), a Conservatoire-based label that presents eclectic and exciting new releases by artists who challenge, innovate and transform ideas of music today. He coordinated the partnership between BRC and leading contemporary music record label NMC Recordings Ltd. More information available from https://birminghamrecordcompany.wordpress.com
He is currently employed as a freelance producer by Eastside Projects gallery and Birmingham Big Art Project to individually record 1092 members of the public singing for Turner Prize-winning artist Susan Philipsz’s major new public artwork Station Clock. In 2014-15 he was employed by Philipsz to play and record war-damaged historic brass instruments for her large-scale artwork displayed in Tate Britain’s Duveen Galleries and Hamburger Bahnhof, Berlin.
Selected reviews of Andy’s composition and performance work:
- “Absurd and curiously life-enhancing … a comic tour de force” – The Wire, issue November 2020.
- “Literally breathtaking […the] unusual composition method left the audience stunned, giving each sound its own life and soul, a gripping physicality and energy, while setting a nice contrast to digitally produced music” – Nonclassical. Battle of the Bands 2018: Reviewed, online.
- “Achieved something meaningful for both ears and eyes […] The falsetto squeals of the sellotape launched fragmentary melodies into the air. This piece was witty and fun” – Philip Clark. Frieze, online (2018).
- “A deadpan parody of a composer film portrait/hagiography […] Superbly entertaining” – Leo Chadburn. Tempo, volume 70, issue 276 (2016).
- “Sharp, inventive, but not terribly hygienic” – Michael White. Classical Music, issue April 2016.
- “Outstanding […] demonstrating a skilful balance of compositional elements and performance qualities, with well-planned theatrical effects” – Viola Yip. Tempo, volume 69, issue 271 (2015).
- “Sharp and embedded in the tumult of the everyday world” – Eduard van Beinum Foundation, online (2015).
Andy has presented radio broadcasts on Resonance Extra as part of the x.y FM programme and given interviews for various outlets including SWR2 (JetztMusik) and the BBC.
