世纪之交，传统的审美音乐教育哲学受到以埃利奥特为代表的实践音乐教育哲学的持续挑战。这场挑战引发了国际音乐界的广泛关注，以及我国音乐教育中是否“以审美为核心”的持续争议。 本研究以埃利奥特1995年版和2015 年版的《音乐问题：新音乐教育哲学》专著及相关论文为研究对象，试图动态把握其教育思想的全貌和精神实质，剖析其思想背后的哲学根源，分析其实践音乐教育哲学范式转型中存在的问题，并进一步思考音乐教育实践与审美、技术、道德、理论与行动的关系。 研究发现，埃利奥特的哲学思想提出之后受到广泛认可，但也遭到一些质疑。他后期对实践哲学进行重新思考与建构，与前期相比发生了很大变化，其音乐实践观越来越呈现出愈加融合与包容的趋势。总体而言，其实践音乐教育观念体现为三个层面：第一，音乐不被看作作为客观对象，而是作为人类活动；第二，要在行动中开展教育，音乐教育应通过“做音乐”活动为教学中心；第三，音乐及音乐教育应该追求音乐性、伦理性和社会性等多重价值。 本文认为，实践音乐教育哲学对于音乐本身的实践性质提供了真知灼见，但不同观点之间依然存在着某些断裂。这其中，最为关键的是实践与行动的关系。行动关注行动者借助自己之所为而表达出的意义或意向，而实践更关注行动者如何使自己之所作所为实际发生。这种区分是实践哲学中已开始显现的洞见，但埃利奥特的实践哲学始终在实践与行动两者之间徘徊。说到底，埃利奥特的实践音乐教育哲学还处于不断变化与建构的过程中，其理念自始至终强调行动的明确目的而呈现出“行动取向”，其实践音乐教育哲学的范式转型尚未完成。

At the turn of the century, the traditional aesthetic education philosophy was challenged by the praxial philosophy of music education represented by Elliott.This challenge has aroused widespread concern in the international music education field over whether "aesthetic is the core of music education" in China. In recent years, China's music education research has shown a "praxis" tendency. This research focuses on Elliott's 1995 and 2015 editions of the book “Music Matters: The New Philosophy of Music Education” and related papers. It dynamically grasps the complete idea and sprit of the praxial philosophy of music education earlier and later, analyzes the philosophical roots behind it and the causes for this change as well as the problems existing in the paradigm shift of western praxial philosophy of music education, and further considers the relationship between music education praxis and aesthetic, technology, ethics, and theory. In my opinion, the Elliott’ philosophical thoughts were widely recognized after it were put forward but were also questioned. Elliot later rethought and constructed the praxial philosophy, which has changed greatly compared to the previous period. it is found that Elliott's conception is more and more integrated and inclusive. In general, the concept of praxial music education is embodied in three levels: First, music is not seen as an objective object, but as an activity of human beings. Second, in order to carry out education in action, music teaching should be conducted through “musicing” activities as the center. The praxial characteristics of music action are “thinking-in-action” and “embodied-enacted”. Third, music and music education should pursue multiple values such as musicality, ethics, and sociality. This article believes that the praxial philosophy of music education provides insights into the praxial character of music itself, but there are still some gaps between different perspectives. Among these, the most critical is the relationship between praxis and action. Action focuses on the certain meaning or intention expressed by the actor through his own actions, while praxis focuses more on how the actor makes what he actually does. This distinction is an insight that has begun to appear in praxial philosophy, but Elliott's praxial philosophy has always been between praxis and action. After all, this article believes that Elliott's praxial philosophy of music education is still in the process of constant change and construction. His praxial philosophy shows the "action orientation" from the beginning to the end of the action, and the paradigm shift in it has not yet been completed.