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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• Foreword by Dame Evelyn GlennieChapter One: Peter CrosthwaiteChapter Two: The New Contenders – Limestone, lithophones and a rock harmoniconChapter Three: A stonemason, a boatman and a fiddler – Two cousins, William Irwin and the sound of slate William BoweChapter Four: Richardson’s Original Rock Band – London and beyondChapter Five: Playing by Royal Command – Richardson’s Rock, Bell and Steel Band at Buckingham PalaceChapter Six: The Till Family Rock Band - Following in the footstepsChapter Seven: The Tills in the USA – The rise of the rockophoneChapter Eight: Honoré Baudre – Antediluvian music and a geological pianoChapter Nine: The Abrahams – Limelight in the LakesChapter Ten: A Yorkshire Dalesman and a Menorcan Don – Neddy Dick and Don Antonio Roca y VárezChapter Eleven: Circuses, music halls and musical pavements – Arthur Nelson, the Pavanellas and the Bozza TroupeChapter Twelve: The Twentieth Century – A chronological miscellany of musical stoneChapter Thirteen: Vietnam – The rediscovery of lithophones in South East AsiaChapter Fourteen: Experimental Music Stones – Investigations in geological indeterminacyChapter Fifteen: The gift of sound and vision – Sculptural music and musical sculptureChapter Sixteen: The new stone age – Statements from contemporary practitionersBibliographyIndex

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.

Select Guide Rating

• Foreword by Dame Evelyn GlennieChapter One: Peter CrosthwaiteChapter Two: The New Contenders – Limestone, lithophones and a rock harmoniconChapter Three: A stonemason, a boatman and a fiddler – Two cousins, William Irwin and the sound of slate William BoweChapter Four: Richardson’s Original Rock Band – London and beyondChapter Five: Playing by Royal Command – Richardson’s Rock, Bell and Steel Band at Buckingham PalaceChapter Six: The Till Family Rock Band - Following in the footstepsChapter Seven: The Tills in the USA – The rise of the rockophoneChapter Eight: Honoré Baudre – Antediluvian music and a geological pianoChapter Nine: The Abrahams – Limelight in the LakesChapter Ten: A Yorkshire Dalesman and a Menorcan Don – Neddy Dick and Don Antonio Roca y VárezChapter Eleven: Circuses, music halls and musical pavements – Arthur Nelson, the Pavanellas and the Bozza TroupeChapter Twelve: The Twentieth Century – A chronological miscellany of musical stoneChapter Thirteen: Vietnam – The rediscovery of lithophones in South East AsiaChapter Fourteen: Experimental Music Stones – Investigations in geological indeterminacyChapter Fifteen: The gift of sound and vision – Sculptural music and musical sculptureChapter Sixteen: The new stone age – Statements from contemporary practitionersBibliographyIndex

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.

Select Guide Rating

• Foreword by Dame Evelyn GlennieChapter One: Peter CrosthwaiteChapter Two: The New Contenders – Limestone, lithophones and a rock harmoniconChapter Three: A stonemason, a boatman and a fiddler – Two cousins, William Irwin and the sound of slate William BoweChapter Four: Richardson’s Original Rock Band – London and beyondChapter Five: Playing by Royal Command – Richardson’s Rock, Bell and Steel Band at Buckingham PalaceChapter Six: The Till Family Rock Band - Following in the footstepsChapter Seven: The Tills in the USA – The rise of the rockophoneChapter Eight: Honoré Baudre – Antediluvian music and a geological pianoChapter Nine: The Abrahams – Limelight in the LakesChapter Ten: A Yorkshire Dalesman and a Menorcan Don – Neddy Dick and Don Antonio Roca y VárezChapter Eleven: Circuses, music halls and musical pavements – Arthur Nelson, the Pavanellas and the Bozza TroupeChapter Twelve: The Twentieth Century – A chronological miscellany of musical stoneChapter Thirteen: Vietnam – The rediscovery of lithophones in South East AsiaChapter Fourteen: Experimental Music Stones – Investigations in geological indeterminacyChapter Fifteen: The gift of sound and vision – Sculptural music and musical sculptureChapter Sixteen: The new stone age – Statements from contemporary practitionersBibliographyIndex