Among other things, the work of Frede Nielsen gradually took the form of an analytical clarification of the integration between subject matter and pedagogy; in other words, how the reciprocal relation between musical subject matter and pedagogy can be unfolded in an inner (that is non-dualist) state of things? This issue is ascribed key importance for the realization of music pedagogy in a professional core as a distinctly separate research-based discipline, characterized by having differentiated itself from musicological or artmusical competence and general pedagogy into an autonomous synthesis. A central foundation for this program Nielsen found in Klafki's Bildung-theoretical concept of "categorial Bildung." However I argue that significant features in Nielsen's music-phenomenological base (including his theory of music as a "multidimensional universe of meaning") partially pulls his thinking and analysis beyond the Bildung-position of Klafki. In that way Nielsen's Bildung-theoretical base (in the pedagogical dimension after Klafki) in connection with his phenomenological orientation (in the musical subject-matter dimension after Husserl) creates a tension in the latter part of his work. In sum, Heidegger's theoretical elaboration of a synthesis between phenomenology and hermeneutics is suggested as a plausible phenomenological position that potentially is capable of resolving this tension.
