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The paper presentation will communicate an investigation of the philosophical thinking in Heidegger’s book The Origin of the Work of Art and what consequences that thinking generates for music educational practice. As Heidegger tries to capture truth within the concept of Art he passes through his thinking of the essences of Art as well as his constant thinking about Being. To be able to understand, draw parallels and exemplify Heidegger’s thinking, we choose to relate the investigation of those issues to the Swedish national syllabuses for the subject Music. For educators within an artistic domain, the reasoning is highly interesting to investigate further. The paper will focus and discuss Art, the way Heidegger describes it, as it can exist within music and further music education. Heidegger’s examples of art in painting, architecture, poetry, and musical composition is extended with examples within music educational practise. How can we relate to Music as Art with the same distinctions as Heidegger presents to us, by looking upon Art as a Thing as well as a Tool but also as an as an opener to the World (Welt) and in that sense, Art as the Making of History.The paper will present a way of understanding The Origin of the Work of Art and its connections to music educational practice. This will lead us to the question of how educators can or should be aware of the origin of the artist, the origin of the work of art and most crucial the origin of art itself when teaching. Heidegger’s thinking also provides an interesting line of reasoning about the relations between artist, listener and the work of art. A crucial battery of questions, that evokes from Heidegger’s thinking, is how school and educators can position themselves as being an unquestionable part of the origin of the Artist as well as the origin of the Work of Art within Music Education.
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