The debate between the two schools of contemporary western music education philosophy-the philosophy of music aesthetic education and the philosophy of music practical education is the most representative and influential in the field of music education. However, in music education, whether it is guided by aesthetic philosophy or practical education philosophy, there are different opinions in academic circles. The aesthetic philosophy of music education, mainly represented by Remo, advocates that music education is a kind of human emotional education by cultivating the response to the internal expressive force of sound; It emphasizes the acquisition of students' emotional experience, the enrichment and improvement of musical aesthetic sensibility and musical creativity in music teaching. However, Eliot's practical philosophy of music education refutes the viewpoint of music aesthetic education, arguing that music is a diversified human practice, and aesthetic education only pays attention to listening and appreciation while ignoring students' practical learning of music skills, and only pays attention to music itself while ignoring the cultural context of music. The evaluation criteria are single and one-sided. However, are music aesthetic education and music practice education incompatible? What idea should music education be guided by? Music itself is an auditory art, so it is natural to emphasize the emotional experience of music learning; Music is also a performing art, so it is not unreasonable to say that music learning should focus on skill expression and creative practice. From this perspective, music aesthetic education and music practice education are not contradictory, but should complement each other and learn from each other. Even though we should not exclude a certain viewpoint unilaterally and narrowly, or stick to a certain viewpoint without reservation, just as we can use different ones.