English Edition, 314 pages. Symphony No. 1 is an entire symphony of 3 movements, described in text so the music unfolds itself as music for the inner ear,  challenging the dicta above, by claiming that Music begins when words begin. The reader becomes the listener, that will become co-composers by creating music with their inner ear. The symphony is released by Forlaget Vandkunsten Finishing the symphony back in the spring of 2016 and after having 4 different layouts the symphony finally found its  right form in collaboration with the good folks at Vandkunsten. Symphony No. 1 consists of 3 movements; Moderato, Largo & Concerto for piano and microtonal crotales.
The Symphony inhabits multiple states at the same time - being in constant fluctuation between alphabet, word, language and meaning - & between book, score, written text and imaginary music. The symphony can´t be approached from only one of these positions- the symphony inhabits all these states at the same time and is hovering within a superposition. The reader becomes the listener. The listener becomes the composer. The ancient cycle of sounds transforming into words transforming back into sounds is summed up by Marshall McLuhan who stated that “Man was given an eye for an ear”.

Symphony No. 1 seeks to give back an ear for an eye.

Niels Lyhne Løkkegaard (1979) works within an interdisciplinary artistic praxis, spanning from composition and sound art to performance, conceptual and visual art. He considers his work to be a basic research in realities andis interested in how bubble-like systems unfold themselves as human conditions.
The meetings between individual bodies and different bubble-like systems are key drivers in Løkkegaards praxis and he's interested in how to escape these bubbles, and if not escape them, then how they can be warped, wrestled and renegotiated. Løkkegaard is particularly interested in the notion of instrumentalization and what (Western) instruments can mean and what they can control and do. Hence he often works with music instruments not only as sources of sound but also as cultural markers embedded within different systems and hierarchies. This being a driver in Løkkegaards work has led into compositions of music that can be performed by people with or without any previous musical knowledge or training - all revolving around the focus on how to soften positions, and how to create a safe environment for performing music, and dissolve shame or trauma.