The aim of the article is to isolate fundamental aspects of musical intersubjectivity as seen from a phenomenological perspective. This perspective is described as the bodily turn as distinguished from the linguistic turn, both prevailent philosophical movements in the 20th century. A story about a three-year-old girl participating in a music lesson serves as an example for a description in the tradition of phenomenological psychology, and this is extended into a transcendental phenomenological analysis leading to a discussion of musical intersubjectivity. Short explanations of the ?lived body?, forms of intentionality and phenomenological techniques serve as a theoretical framwork for the discussion of intersubjectivity in general and musical intersubjectivity in particular. As an example of a phenomenological investigation emphasizing the first person perspective, participant strategies in music teaching (Holgersen, 2002a) are revisited as expressions of musical intersubjectivity. In conclusion current interests in phenomenology are briefly addressed.