The Electroacoustic Music Store

Artists Monty Adkins

Monty Adkins is a composer, performer, and professor of experimental electronic music at the University of Huddersfield (England, UK). He has created installations, concert and audio-visual works, and a number of collaborations with performers, video artists and photographers. His works have been commissioned by Ina-GRM, IRCAM, BBC Radio 3, Huddersfield Contemporary Music Festival (HCMF), SpACE-Net, ZKM, and Sonic Arts Network (SAN), among others. For his œuvre he has been awarded over 15 international prizes including the Stockholm Electronic Arts Award (Sweden), Grand Prize at Musica Nova (Prague, Czech Republic), and five prizes at the Bourges International Electroacoustic Music Competition (France). Having read music at Pembroke College (Cambridge, England, UK) where he studied French mediaeval and Italian Renaissance music, Adkins then studied electronic music with Jonty Harrison at the University of Birmingham where he performed across Europe with the Birmingham ElectroAcoustic Sound Theatre (BEAST), and Simon Waters at the University of East Anglia (Norwich, England, UK). Monty Adkins is also active as a writer and concert curator. He completed his first book in 2011 on the relationship between art and music (Shibusa — Extracting Beauty) and a second on the music of Roberto Gerhard in 2013 (Ashgate).


Monty Adkins

[Mathew Adkins]

Leamington (England, UK), 1972

Residence: Huddersfield (England, UK)

  • Composer
  • Journalist

On the Web

Monty Adkins, photo: Terry Adkins, Huddersfield (England, UK), 2014

Selected Works

Main Releases

empreintes DIGITALes / IMED 16136 / 2016
empreintes DIGITALes / IMED 0898 / 2008
empreintes DIGITALes / IMED 0679 / 2006


Various artists


Audiobulb Records / AB 058 / 2015
  • Not in catalogue
Crónica Electrónica / CRONICA 094 / 2015
  • Not in catalogue
Audiobulb Records / AB 051 / 2014
  • Not in catalogue
Crónica Electrónica / CRONICA 086 / 2014
  • Not in catalogue
Ashgate Publications / ASH 9781409445159 / 2013
  • Not in catalogue
Audiobulb Records / AB 040 / 2012
  • Not in catalogue
  • Not in catalogue
University of Huddersfield Press / UHP 9781862181014 / 2012
  • Not in catalogue
Audiobulb Records / AB 035 / 2011
  • Not in catalogue
Radio France Signature / SIG 11063 / 2009
  • Not in catalogue
Various artists
Fylkingen / FYCD 1014 / 2005
  • Not in catalogue
MPS Music & Video / MPSCD 015 / 2002
  • Not in catalogue
Various artists
Mnémosyne musique média / LDC 278074-75 / 2001
  • Not in catalogue
Various artists
Fondazione Russolo-Pratella / EFERP 00 / 2000
  • Not in catalogue
Various artists
Mnémosyne musique média / LDC 278063-64 /
  • Not in catalogue
Various artists
Mnémosyne musique média / LDC 2781137-38 /
  • Not in catalogue

In the Press

The Dialogues: Monty Adkins

Simon Cummings, 5:4, Tuesday, April 18, 2017

It’s a real pleasure to present a new instalment in my occasional series The Dialogues. This episode is in conversation with composer Monty Adkins, whose music I’ve written about many times on 5:4 and hold in very high regard. Our discussion explores a wide range of topics, including the fundamental aspects of Adkins’ compositional aesthetic, the history and development of his practice, the influence of visual art throughout his output alongside musical influences, considerations of beauty, narrative vs abstract approaches to composition, the relationship between and implications pertaining to ‘authentic’ and artificial sonic environments, types of listening, perceptions of time, notions of the sacred, the imposition (and benefits) of compositional restrictions, the organisation / structuring of non-teleological music, combining electronics with live instruments, and Adkins’ relationship with the listener.


I want to thank Monty for generously giving me so much of his time, and for being prepared to talk so openly (and for so long!) about his life and work. The trajectory his music has taken over the last twenty years is markedly different from many involved in electronic music, and I hope both newcomers and long-standing fans of his work will find our discussion as fascinating and illuminating as I did.

The trajectory his music has taken over the last twenty years is markedly different from many involved in electronic music…

The night France tuned in to clank and clatter — and a new music was born

Ivan Hewett, The Telegraph, Thursday, November 20, 2008

Ivan Hewett looks at the origins of musique concrète, revisited in a 60th anniversary tribute to Pierre Schaeffer

Sixty years ago, on the evening of October 5, 1948, the homes of thousands of Frenchmen and women were invaded by ghostly aliens. It happened at 9pm, when these unsuspecting music-lovers switched on to Radio France, the state broadcasting company.

They were hoping for “normal” music, but instead they were assailed with weird noises; hissing steam engines, the clanking of iron wheels and the clatter of pots and pans. Mixed in with these were the sounds of a piano playing stridently modernist music, and even — horror of horrors — an amateur orchestra tuning up.

The effect wasn’t quite the mass panic brought on by Orson Welles’s famous War of the Worlds radio broadcast in the USA. But it wasn’t far off. The letters pages of French newspapers buzzed for days with expressions of outrage, mingled with a few dissenting approvers.

This concert de bruits was a red-letter day in the annals of modern music. It was the moment when musique concrète — made from sounds recorded out in the world, rather than musical notes — came out from the laboratory and into public view. The man behind it was a quiet, intense telecommunications engineer turned composer named Pierre Schaeffer. For months he had been working in the radio station’s studio, shaping the sounds he had recorded into a musical form.

The results were a series of Études de bruits (Sound Studies), which included Étude pathétique [Étude aux casseroles], based on saucepans, and another made of railway noises entitled Étude aux chemins de fer.

It sounds like “mad professor” music, but there was nothing eccentric or dotty about Schaeffer. He had a rare combination of hands-on practicality, visionary genius, and philosophical rigour. He must have had charm and persuasiveness too. In 1942, with Paris under Nazi occupation, he somehow convinced the state broadcasting company that the time was ripe to put money into an acoustical research institute, with himself as director.

By then, aged 32, he had decided that the aural world had been fundamentally changed by the advent of recording. When a violin note, a bird call and the sound of a foghorn are recorded and played back through a loudspeaker, they are hurled together into the same democratic space of the imagination, which Schaeffer dubbed “the acousmatic realm.” Sounds are severed from their causes, and become “sound objects,” which we listen to for their own sound qualities, just as we view abstract paintings without asking what they represent.

This view required a new way of thinking. Traditional music moves from a musical score to performance; Schaeffer’s new “concrete music” moves from sounds to their organisation. But this bright new vision proved difficult to put into practice. Equipment was primitive and until the advent of the tape recorder in the late 1940s, the only way Schaeffer could capture his sounds was by cutting directly on to a steel disc with a lathe. Modifying the sounds was a trial-and-error business of speeding or slowing up the disc, or playing it backwards.

Schaeffer was determined to bring this bewildering new world of sound to order and produced his Treatise of Musical Objects in 1966.

Schaeffer’s experiments were the beginning of a trend which quickly gained support. His name may not be as notorious as Stockhausen’s, but within the new music world he is revered. “Sound Art” is now a genre in its own right, and the influence of Schaeffer can be heard in film scores and pop genres such as electronica.

So when the electronic composer Mathew Adkins set out to make a 60th anniversary tribute to Schaeffer for the Huddersfield Festival of Contemporary Music, he had no trouble in finding willing collaborators. “My idea was to ask composers and sound artists from all round the world to contribute sound objects,” he said, “and to assemble these into a continuous piece.”

The result is a 60-minute piece in eight movements [[60]Project], some of which have very Schaeffer-ish titles like Urban Soundscape and Noise Study. The sounds have a smooth sophistication that contrasts hugely with the bumpy graininess of Schaeffer’s music, but Adkins still admires his pioneering experiments.

“When I heard this music as a student, it completely blew my mind. Schaeffer set me thinking about music in a completely different way, as something that creates an imaginary world. He’s not dogmatic, he doesn’t banish familiar sounds, he absorbs them into a new vision of what could be created in sound.”

The sounds have a smooth sophistication that contrasts hugely with the bumpy graininess of Schaeffer’s music, but Adkins still admires his pioneering experiments.