John Luther Adams (born January 23, 1953) is an American composer whose music is inspired by nature, especially the landscapes of Alaska, where he lived from 1978 to 2014.^[1] His orchestral work Become Ocean was awarded the 2014 Pulitzer Prize for Music.^[2]

Born in Meridian, Mississippi, Adams began playing music as a teenager as a drummer in rock bands. He attended the California Institute of the Arts as an undergraduate in the early 1970s, studying with James Tenney and Leonard Stein, and graduated in 1973.^[3] After graduating, Adams began work in environmental protection, and through this work Adams first travelled to Alaska in 1975. Adams moved to Alaska in 1978 and lived there until 2014. He now splits his time between New York and the Sonoran desert in Mexico,^[4] though his time in Alaska continues to be a prominent influence in his music.^[1] From 1982 to 1989, he performed as timpanist and principal percussionist with the Fairbanks Symphony Orchestra and the Arctic Chamber Orchestra.^[3]

Adams's composition work spans many genres and media. He has composed for television, film, children's theater, voice, acoustic instruments, orchestra, and electronics. Early in his career, Adams was influenced by the music and writings of Frank Zappa, whose enthusiasm for Edgard Varèse intrigued Adams. Through his careful listening to Varèse, Adams developed an interest in and was influenced by the music of John Cage and Karlheinz Stockhausen, among others.^[5] From 1998 to 2002, Adams served as associate professor of composition at Oberlin Conservatory of Music.

Adams has described his music as, "... profoundly influenced by the natural world and a strong sense of place. Through sustained listening to the subtle resonances of the northern soundscape, I hope to explore the territory of sonic geography—that region between place and culture...between environment and imagination".^[6]

His love of nature, concern for the environment and interest in the resonance of specific places led him to pursue the concept of sonic geography. Early examples of this idea include two works written during Adams's sojourn in rural Georgia: Songbirdsongs (1974–80), a collection of indeterminate miniature pieces for piccolos and percussion based on free translations of bird songs, and Night Peace (1977), a vocal work capturing the nocturnal soundscape of the Okefenokee Swamp through slow-changing and sparse sonic textures.^[7]

His work, Sila: The Breath of the World, represents the "air element", following the representation of water in Become Ocean and the "earth element" in Inuksuit, an outdoor percussion piece.^[8] His music, he says, is "our awareness of the world in which we live and the world's awareness of us".^[9]

His more recent works include, Across the Distance, for a large number of horns, was premiered on the 5th of July, 2015 at the Cambo estate in Fife, Scotland as part of the East Neuk Festival. His recording of Ilimaq ("spirit journeys"), a solo work for percussion, played by art-music percussionist, composer, and Wilco drummer Glenn Kotche, was released in October 2015.^[10] A combination of contemporary classical music, Alaskan field recordings, and found sounds from the natural world, it evokes the travels of a shaman riding the sound of a drum to and from the spirit world.^[11]

In 2014 Adams won the Pulitzer Prize for Music for his orchestral piece Become Ocean, which Alex Ross of The New Yorker called "the loveliest apocalypse in musical history".^[12] It was premiered in 2013 by Ludovic Morlot and the Seattle Symphony and performed by the same conductor and orchestra at the 2014 Spring For Music music festival at Carnegie Hall. Adams had never been to Carnegie Hall before hearing his work played there to a sold-out house.^[13] The surround-sound recording of Become Ocean on Cantaloupe Music debuted at No. 1 on the Billboard Traditional Classical Chart, stayed there for two straight weeks, and went on to win the Grammy Award for Best Contemporary Classical Composition.^[14] All his works are published by Taiga Press (BMI) and available from Theodore Front Musical Literature n.d..

In October 2015, Adams received the William Schuman Award from Columbia University. The events surrounding the award included a series of concerts of his music at the Miller Theater, including Clouds of Forgetting, Clouds of Unknowing, For Lou Harrison, and In the White Silence.^[15]

• On February 8, 2015, Adams was awarded a GRAMMY in the category Best Contemporary Classical Composition for his Become Ocean.
• In November 2014, Adams was named the Musical America 2015 Composer of the Year.^[16]
• Adams was the recipient of the 2010 Nemmers Prize in Music Composition. He was cited by the selection committee for melding the physical and musical worlds into a unique artistic vision that transcends stylistic boundaries.^[17]
• The Callithumpian Consort's recording of Adams' Four Thousand Holes was noted as one of The New Yorker's Best Classical Recordings of 2011.^[18]
• In 2012, he received the 17th Annual Heinz Award with a special focus on the environment.^[19]
• In 2006, Adams was named one of the first United States Artists Fellows. He has received awards and fellowships from the National Endowment for the Arts, the Rockefeller Foundation, the Rasmuson Foundation, and the Foundation for Contemporary Arts.^[1]
• Adams received a 1993 Foundation for Contemporary Arts Grants to Artists Award.^[20]

• Crossing Open Ground (2023)
• Prophecies of Fire (2024) for percussion quartet, premiered by Sandbox Percussion, July 10, 2024 at Kaul Audiorium, Reed College.

• Silences So Deep: Music, Solitude, Alaska (Farrar, Straus and Giroux 2020)
• The Place Where You Go To Listen – In Search of an Ecology of Music (Wesleyan University Press, 2009)
• "The Immeasurable Space of Tones", Musicworks 91 (Spring, 2005)
• "Sonic Geography Alaska", Musicworks 93 (Fall, 2005)
• "Winter Music: Composing the North", (Wesleyan University Press, 2004)
• "Global Warming and Art", Orion (September–October, 2003)
• "Global Warming and Art", Musicworks 86 (Summer, 2003)
• "Winter Music. A Composer's Journal", In The Best Spiritual Writing 2002, edited by Philip Zaleski (Harper Collins, 2002), pp. 1–21.
• "Winter Music. A Composer's Journal", Musicworks 82 (February, 2002)
• "The Place Where You Go to Listen", In The Book of Music and Nature, edited by David Rothenberg and Marta Ulvaeus (Wesleyan University Press, 2000), pp. 181–182.
• "Winter Music. A Composer's Journal", In Reflections on American Music, edited by James R. Heintze and Michael Saffle (Hillsdale, NY: Pendragon Press, 2000), pp. 31–48.
• "Strange and Sacred Noise", Yearbook of Soundscape Studies (Vol. 1: "Northern Soundscapes", ed. R. Murray Schafer and Helmi Järviluoma, 1998), pp. 143–146.
• "The Place Where You Go to Listen", Terra Nova, 2/3, 1997, pp. 15–16.
• "From the Ground Up", The Utne Reader, March/April, 1995, p. 86.
• "Resonance of Place, Confessions of an Out-of-Town Composer", The North American Review, January/February, 1994, pp. 8–18.

• Official website
• John Luther Adams's Recordings on Cantaloupe Music
• Cold Blue Music: John Luther Adams
• Video: John Luther Adams's 'Inuksuit'
• NonPop Show 006 – "The Place" interview
• Sila on YouTube, complete performance, Lincoln Center
• Interview with John Luther Adams, January 27, 1989

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