20世纪下半叶,美国的音乐教育哲学出现了两种范式:审美范式与实践范式。以雷默为代表的审美范式诞生于50年代,实践范式的出现相对较晚,酝酿于80年代,出现于90年代,代表人物是埃利奥特。实践范式与审美范式坚持不同的立场,从不同的角度对音乐的本质与价值进行解读,并在此基础上对音乐教育提出了不同的目标和任务。 In the second half of the 20th century, two paradigms emerged in American philosophy of musical education: the aesthetic paradigm and the practical paradigm. The aesthetic paradigm represented by Raymond was born in the 1950s. The emergence of the paradigm of practice was relatively late. It was brewed in the 1980s and appeared in the 1990s. The representative was Elliot. Practice paradigm and aesthetic paradigm hold different positions, interpret the essence and value of music from different perspectives, and on this basis put forward different goals and tasks for music education.