Introduction Music education is basically a field of study which is mainly associated with teaching and learning music (Elliott, David, 45). Children from elementary schools often learn how to play musical instruments like keyboards, sing in small choirs as well as learning about the musical sound elements in addition to the history of music. In primary and secondary schools learners usually have an opportunity to perform in a certain musical ensemble like the school bands and school choir and orchestra. Music education has had contributions from traditional and modern philosophers (Regelski, Thomas 28) This field is guided by three philosophies but this paper will concentrate more on two; praxial music education and aesthetics music education and how the teachers ought to teach using either of the philosophical approaches to enhance music education. In the recent past, there have been growing debates and discussions that the so-called paraxial music education has vehemently opposed the aesthetic philosophy as a guiding concept. To the die-hard of the praxial philosophy, aesthetic object, experience as well attitude are concepts that a lot of music teachers find them confusing (Elliott, David, 45). As a matter of fact, some racialists have advised music teachers to desert the purport of aesthetics. This is mainly because it represents a narrow scope of music rather than capturing the multidisciplinary musical practices. The aesthetic philosophy of music education refers to a directly contemplative intellectual experience. A renowned scholar; David Elliot has been more categorical arguing that a truly musical experience ought not to be aesthetic in value and nature but rather a matter of action. John Dewey was more inclined to the concept of aesthetic philosophy. According to him, this concept is much of social construction as a personal experience, part of everyday life but not transcendental. In addition to this, aesthetics is more integral to artistic actions and not an art object. The aesthetic concept is a matter of quality of interaction in context but not a universal property of an object and most importantly, it is embodied in nature and not abstract. The heated discussion between these two concepts-practical and aesthetics- concerning music seem to have developed in the practical question. That is whether music education ought to be based on listening as advocated by the aesthetic or on performance.as advocated by praxial philosophy (Elliott, David, 45). Preparing, developing, and planning a music curriculum may begin by deliberating on the kind of art music-making and performance the learners will pursue during the short and long-term periods. There are five forms of music-making the teachers can teach; composing, performing, improvising as well as arranging and conducting. The music teaching curriculum should focus more on music-making especially through musical performing and improvising. However, conducting, composing in addition to arranging ought to be thought with reasonable frequency and more importantly, in relation to musical practices and the works the learners wish to pursue through musical performing. Music education as an aesth