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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 Klafkis Bildung-theoretical concept of categorial Bildung. However I argue that significant features in Nielsens 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 Nielsens Bildung-theoretical base (in the pedagogical dimension after Klafki) in connection with his
phenomenological orientation (in the musical subject-matter dimension after
Philosophy of Music Education Review, 22 no. 2 (Fall 2014)
INTRODUCTION
We will begin with a brief overview of the overall theoretical horizon in which
Frede V. Nielsens work was carried out.
Bildung. Each generation encounters the demand in their time to recreate
the handed down tradition with a view to the future. This gives rise to the principal question of the Bildung (German word for the totality of educational and
human formation) of the rising generation. The eternal question remains: What
content in teaching and education must be selected as exemplary values and
knowledge in this pedagogical process of recreation? If this question is evaded,
teachers and pedagogues can end up as technicians, who deposit their professional identity in methodological techniques. It thus remains of primary importance that a Bildung-theoretical ballast be developed; that is, a basic view of society, art, and of human nature as part of pedagogical philosophy. All this leads
deeper than just applying a pedagogical method. Thus Didaktik (German word
for the science of teaching understood as the theory of Bildung content and its
selection) is concerned with a whole reflection on the Bildung of the person in
the world as such. Bildung thus functions as the theoretical foundation for the
thinking of Didaktik. With that the analysis of Didaktik is ultimately committed
to the Bildung-analysis of the human being with special reference to educational
content. The central task of schooling is thus to teach that subject matter content
which can buttress human Bildung.
Bildung-theoretical Didaktik especially emphasizes (together with learning-goals) didactical reflection of (a) criteria for selection of teaching content
together with (b) the purpose of the subject. It is around the reflection of purpose
and selection of content that teacher decisions concerning the taught subject
can bring about a process of Bildung. (Other didactical categories are also part
of the reflection but they are considered secondary.) Thus a given position on
Bildung will have consequences for the goal, purpose, and content of teaching.
In that way Bildung theory has direct subject matter didactical implications.1 The
considerations of the Didaktik/Bildung relation are throughout connected to an
interest in foundational problems in the humanities and fundamental research
NOTES
1
Frede V. Nielsen, How Can Music Contribute to Bildung? in Nordisk musikkpedagogisk forskning. rbok, L. Vkev, S.G. Nielsen, et. al., (eds), vol.13 (Oslo: Norges
Musikkhgskole, 2012), 18
2
Nielsen, What is the Significance of Research for Music Education in Practice,
Philosophy of Music Education Research 17, no. 1 (2009): 2628.
3
Nielsen, Music (and Arts) Education from the Point of View of Didaktik and Bildung, in L. Bresler, (ed.) International Handbook of Research in Arts Education (Dordrecht: Springer, 2007): 272.
4
Nielsen, How Can Music Contribute to Bildung?, 27
5
Nielsen, Music (and Arts) Education from the Point of View of Didaktik and Bildung, 278.
6
Ibid., 267.
7
Nielsen, Fagdidaktikkens aktualitet og kunstens ndvendighed. DPU-Resigning
Lecture presented June 8th, 2012, 14. The manuscript is available at: http://edu.au.dk/
fileadmin/edu/Temaer/musik/FredeVNielsenAfsked.pdf. The streamed lecture is available at: http://vimeo.com/44644835
8
Nielsen, Musik og bevidsthed: et fnomenologisk perspektive,Psyke and Logos, no.
28 (2007): 66.
9
Cf. Martin Heidegger (1935/36) Die Ursprung des Kunstwerkes; Maurice Merleau-Ponty (1948) Der Zweifel Cezannes; Nikolai Hartmann (1953) sthetik; Roman
Ingarden (1962) Untersuchungen zur Ontologie der Kunst: Musikwerk, Bild, Architektur,
Film; Mikel Dufrenne (1973) The Phenomenology of Aesthetic Experience. See Nielsen,
How Can Music Contribute to Bildung?, 18.
10
Nielsen, How Can Music Contribute to Bildung? 19.
11
Frederik Pio, Introduction to Heidegger for the Pedagogical Subjects (IUP: University
of Aarhus, 2013), 164ff.
12
Nielsen, Musik og bevidsthed: et fnomenologisk perspektive, 81.
13
See for instance ibid., 64, 69, 74, 77, 81; Nielsen, How Can Music Contribute