In my durational music I am working extensively with psychoacoustic phenomena commonly known as ‘combination tones’ or ‘difference tones’. Maryanne Amacher initially termed these phenomena ‘ear tones’ and later began referring to them by the psychoacoustical terminology of ‘otoacoustic emissions’. She thought that when to two pure tones are presented simultaneously to the ear, the ears will act as instruments that issue sounds by themselves. Amacher tried to  systematically explore the musical use of these phenomena using electroacoustic sound technologies. 

Amacher subsequently describes her theory of the third ear: 

“When played at the right sound level, which is quite high and exciting, the tones in this music will cause your ears to act as neurophonic instruments that emit sounds that will seem to be issuing directly from your head … (my audiences) discover they are producing a tonal dimension of the music which interacts melodically, rhythmically, and spatially with the tones in the room. Tones ‘dance’ in the immediate space of their body, around them like a sonic wrap, cascade inside ears, and out to space in front of their eyes … Do not be alarmed! Your ears are not behaving strange or being damaged! … these virtual tones are a natural and very real physical aspect of auditory perception, similar to the fusing of two images resulting in a third three dimensional image in binocular perception … I want to release this music which is produced by the listener.” (Maryanne Amacher: Liner notes for: Sound Characters: Making the Third Ear, Tzadik, 1999) 

Solo for Maryanne Amacher is an artistic response to her theory of the third ear. It was composed, programmed and played on Buchla Easel V (Arturia) and GRM Comb Filter, and is realised in the ears and mind of the listener.  

I strongly recommend to listen with headphones at the highest volume at which you feel safe. 

Premiere on YouTube on April 25, 2026:

Part of UNDER SZUBCULT EXPERIMENTAL ART MEETING.

Event link.