In interacting in the musical world we experience and learn to handle form, depth, timbre, pitch, linearity, harmonies, rhythm, and movement, in specific genres and contexts. The aspects of music, are not exclusively musical, or artistic, but connected to living in the world in general. The combination of the aspects, how they are sounding, and how they are possible to experience, constitute an aesthetic object, or music. We experience music through our senses on a structural, emotional, tensional, existential, bodily and acoustic level at the same time. Depending on our directedness, in turn influenced by a variety of powers, some dimensions show themselves in the foreground, and others in the background. In musical experience, through perception, expression, or both, we are always intertwined with other human beings. Musical experience can be seen as every-day, non-obligatory, artistic and personal ways of being in the world. Hence, musical experience seems to be a complicated multi-dimensional phenomenon, existing in a changing social world, in which people create meaning. It’s a big challenge for music education research to shed light on, and offer understanding for all dimensions of musical experience. If music educational research avoids the existential, bodily, emotional or aesthetic aspects of musical experience it will diminish possibilities for future imaginations of how music education can be organised. We need to approach the holistic view of musical experience from different angles, and this paper is my contribution: An attempt to shed light on multi-dimensional musical experience from a life-world-phenomenological perspective and imply its music educational consequences.