Performance: Refining The Third Ear - Night 2

A series of concerts exploring the third ear and other psychoacoustic phantasmagoria.

About this Event


Refining The Third Ear - Night 2
September 18, 2025
7:00-9:00pm

Doors at 6:30pm

Tickets:

$10 Student - use code STUDENT at checkout

(Valid Student ID will be requested at the door)

$10 IMSS Members Presale - use code IMSSMEMBER at checkout

(Valid IMSS Membership card will be requested at door)

$15 GA Presale

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$15 Student & IMSS Members (With valid ID & Membership Card) at Door

$20 GA at Door

Organized by Itsï Ramirez and Bret Schneider

A series of concerts exploring the third ear and other psychoacoustic phantasmagoria.

Over four concerts artists premier third ear music — music which emphasizes the listening faculty as an active instrument. The late composer Maryanne Amacher appropriated the term third ear to describe a music that expands the latent perceptual capabilities of the ear, composing music that transforms the ear itself into a sound-producing, neurophonic instrument. Such music is a projection of new aesthetic forms, a virtuality that anticipates the augmentation of both the creative and listening process. If Amacher's ambitious work was to make the third ear, we ask what it would mean to refine the third ear, to compose music for and with it. We aim to explore how we apperceive musical material, and the ways in which new harmonic experiences can cultivate new emotions and stimulate the imagination.

Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare
- Keats

Further reading:

Groundwork for a Study of Maryanne Amacher

La Monte Young's Orphic Revolution

Interview with Michael Harrison

September 18th Program:

Lula Asplund — Essence of Clover

Itsï Ramirez — Language of Comets

Bret Schneider — Nude Music

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Lula Asplund is an experimental composer and Chicago-based sound artist. Her work invokes voice as object and atmosphere—dislocated, refracted, tactile. Using spectral play, vocal manipulation, and fragmented sound poetry, she enters the nonlinear logic of dream and memory. Asplund has a BFA from Mills College and has performed at Center for New Music and Audio Technologies, The Lab SF, CalArts, Elastic Arts, Bohemian National Cemetery, and Experimental Sound Studio. 

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Itsï Ramirez is a Chicago based musician. Stepping out of the naturalized preoccupation with sound as sound, she takes on the project of recovering a new music that has been forgotten.

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Bret Schneider is a composer, essayist, and poet. For the first quarter of the 21st century, Schneider has attempted to synthesize the outer limits of third ear music with modern beauty. Via novel formal experiments, his music cultivates dreamspace and reverie. Recent works include live-composing to a just-intoned player piano. Schneider is also a co-founder of Caesura Magazine.

@bret_fall

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