Overview

Music Stones is a fascinating account of the surprising and little-known ways in which stone has been used to create music. The use of stone instruments (lithophones) is thought to date back to prehistoric times, but here the focus is on a more recent interest being shown in the sound of stone. This all began in 1785, when Peter Crosthwaite, from Keswick in England’s Lake District, assembled his set of Music Stones, collected from the foot of Mount Skiddaw. From the 1840s onwards a succession of so-called rock bands from Keswick were inspired to produce bigger and better instruments and perform widely on them, including, in one case, playing at Buckingham Palace for Queen Victoria. The story continues into the twentieth century when, in 1949, the unearthing of an ancient set of tuned stone slabs in Vietnam, led to a revival of interest in lithophones in that country. A connection is also made between the sound of stone and the process of stone-carving, with particular reference to the work of Barbara Hepworth, as well as other sculptors such as Pinuccio Sciola, who was to become known internationally for his sound sculptures. Another focus is on the world of experimental music, in which some musicians and composers, keen to challenge ideas of what might constitute a musical instrument, have explored a range of geological possibilities, from vast rocky landscapes through to tiny pebbles. In the final chapter, a selection of contemporary practitioners write about their own musical involvement with the sound of stone.

Full Product Details

Author:   Mike Adcock ,  Dame Evelyn Glennie
Publisher:   Archaeopress
Imprint:   Archaeopress
Weight:   0.980kg
ISBN:  

9781805830146

ISBN 10:   1805830147
Pages:   286
Publication Date:   18 September 2025
Audience:   General/trade ,  General
Format:   Paperback
Publisher's Status:   Active
Availability:   Manufactured on demand  
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Table of Contents

Foreword by Dame Evelyn Glennie Chapter One: Peter Crosthwaite Chapter Two: The New Contenders – Limestone, lithophones and a rock harmonicon Chapter Three: A stonemason, a boatman and a fiddler – Two cousins, William Irwin and the sound of slate William Bowe Chapter Four: Richardson’s Original Rock Band – London and beyond Chapter Five: Playing by Royal Command – Richardson’s Rock, Bell and Steel Band at Buckingham Palace Chapter Six: The Till Family Rock Band - Following in the footsteps Chapter Seven: The Tills in the USA – The rise of the rockophone Chapter Eight: Honoré Baudre – Antediluvian music and a geological piano Chapter Nine: The Abrahams – Limelight in the Lakes Chapter Ten: A Yorkshire Dalesman and a Menorcan Don – Neddy Dick and Don Antonio Roca y Várez Chapter Eleven: Circuses, music halls and musical pavements – Arthur Nelson, the Pavanellas and the Bozza Troupe Chapter Twelve: The Twentieth Century – A chronological miscellany of musical stone Chapter Thirteen: Vietnam – The rediscovery of lithophones in South East Asia Chapter Fourteen: Experimental Music Stones – Investigations in geological indeterminacy Chapter Fifteen: The gift of sound and vision – Sculptural music and musical sculpture Chapter Sixteen: The new stone age – Statements from contemporary practitioners Bibliography Index 

Reviews

Author Information

Mike Adcock, having obtained a degree in art history, spent ten years as an art college lecturer before deciding to pursue a career in music: playing, composing, teaching and writing on the subject. He has released many recordings, both solo and in collaboration with other musicians, particularly in the field of free improvisation. Mike has had articles and papers published on different aspects of music and music education, including ‘The Ancient Stone Instruments of Vietnam’ (Time & Mind 2017) and currently writes reviews for the online magazine Roots World. He sometimes makes his own instruments, using broken roof slates.

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