身与心的问题一直以来便是人们所探寻的基本性问题，从笛卡尔的“扬心抑身”到后现代主义的“心身兼顾”，随着身体哲学的转向，被传统认识论所遗弃的“身体”重新进入研究的视野之中，后现代主义中，身体不再是学生被禁锢的“客体”，心灵以及意识也从笛卡尔“我思故我在”的神坛走向文化的场域，学生是作为身心一元、主客统一的存在。身体哲学为音乐教育哲学研究提供了新的理论视角，因此在身体哲学的视野下对审美音乐教育哲学以及实践音乐教育哲学从音乐概念观、音乐聆听观以及音乐课程设置观进行比较研究，让人们对音乐教育哲学之于音乐教育的价值有更清晰的认识，以期音乐教育哲学能更好地引领音乐教育往前发展。

The question of body and mind has always been the basic question explored by people. From Descartes's "raising the mind and restraining the body" to postmodern "balance between mind and body", with the turn to body philosophy, the "body" abandoned by traditional epistemology has reentered the research field. In postmodernism, the body is no longer the restrained "object" of students; the mind and consciousness also move from Descartes's altar of "I think, so I am" to the field of culture. Students exist as a unity of body and mind, a unity of subject and object. Body philosophy provides a new theoretical perspective for the study of music education philosophy. Therefore, from the perspective of body philosophy, this paper makes a comparative study of aesthetic music education philosophy and practical music education philosophy from the perspectives of music concept, music listening and music curriculum, to enable a clearer understanding of the value of music education philosophy to music education. It is hoped that the philosophy of music education can better lead the development of music education.