The general aim of the paper is to elucidate how teachers in musikdidaktik formulate their knowledge base, from where they choose their teaching content. This will be done from a life-world-phenomenological perspective. Material collected, or created, through interviews with eleven teachers in musikdidaktik in an ongoing study about educational quality make the base for the paper (Ferm & Johansen 2007; 2008).The original questions regarding choice of content were constructed with classical didaktik as a theoretical starting point and especially the view of the relation between basic subject and teaching subject, where the former is about knowing a subject, and the latter to teach a subject (Klafki, 2000; Nielsen, 2003; Johansen, 2006). In order to let the phenomenon show itself from a new perspective, an analysis based on life-world-phenomenological philosophy was made. In the tradition of life-world-phenomenology human beings’ perceptions are seen as the only permittance to the world. Reality is seen as preliminary, changeable, complex and contextual and knowledge is experienced by human bodily subjects. Meaning is inter-subjectively created and interpretation, understanding, recreation are influenced by context and culture. Teaching and learning activities in this study are seen in the light of life-world-phenomenology. Meyer-Drawe developed during the 80ies her phenomenological didaktik where inter-subjective experience was central. Students’ different experiences of a specific content create an inter-subjective understanding of the content. Contents of teaching thereby always exist in a particular content setting, a particular setting of consciousness and a particular setting of interaction (Kroksmark, 1989). In a didaktik perspective the meeting between the teachers experience base and the students lived experience becomes interesting to focus. In this paper the teachers’ experience base is in the focus. The specific aim of the study is to elucidate, analyse and try to understand how teachers within music teacher training formulate their experience-base in musikdidaktik. The following questions was formulated: • What kind of experience do the teachers include in their experience base? • How do the teachers value different kinds of experience? • How do the teachers relate to and view their experiences in relation to teaching?

Material collected, or created, through interviews with eleven teachers in musikdidaktik in an ongoing study about educational quality make the base for the paper (Ferm & Johansen 2007; 2008). The teachers represent teaching of musikdidaktik at six Nordic institutions of music teacher training. The teaching concerns instrumental, classroom, as well as general musikdidaktik education. As regards methodology the choice was a case design, defining the teaching subject of musikdidaktik as the case, and collecting information from a number of informants, position the study as a “collective case” study (Stake 1994; 237) utilizing an “embedded multiple case design” (Yin 1994; 14). Instruments for collecting information were decided to be semi structured in-depth interviews. The motivation for using interviews was to be able to grasp the experiences and thoughts of the teachers as a way to come close to their perceptions of educational quality. Three created focus areas provided the foundation of the interviews, namely identity, student learning and choice of content. The latter constituted the area for investigation in my paper. In order to let the phenomenon show itself from a new perspective, a question based on life-world-phenomenological philosophy, was put to the material; How do teachers’ formulate their experience base in musikdidaktik?

I will present the result of the study, which can be seen as descriptions of how the teachers formulate their knowledge base in musikdidaktik - A living well of experience. The following themes showed to be significant and describe the phenomenon. • Experience of becoming a teacher • Experience of teaching • Experience of other’s teaching and learning • Experience of music • Experience of researching music (education) Finally I will discuss how teachers’ knowledgebase formulated as wells of experience can be used and developed in a perspective of teaching where learning of musikdidaktik constitutes the starting-point. I will also discuss if there exist a difference between a scientific subject and an educational subject and by what that difference in that case is constituted. I will draw lines to other didaktik subjects and to teacher training at a general level.