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Since childhood, children have been drawn to the aesthetics of music. In the current exploratory study, we investigate the relationship between age, gender, and music education in terms of the perception of music preferences and musical emotions, which are two fundamental aspects of the aesthetic experience of music, using the children of teachers. I utilized the sectional design. We have established an experimental method for addressing particular children's musical interests and tendencies to do this. Melodic emotions and style are highly regarded. The melody consisted of three brief piano pieces: a significant piece, a minor piece, and a freetone piece. This article describes the "Reasoning of Music Education" or "Philosophy of Music Education" field (MEP). Method of music instruction is a relatively young field, and many music educators are unaware of its existence, as well as its inclination and value. In North America and most other nations, specialized MEP courses are not currently common in undergraduate and graduate curricula. The most surprising aspect of music is the variety of human advancements and individuals that create, utilize, evaluate, teach, learn, and invent "music" items, cycles, encounters, etc. Similarly, billions of people have invested a great deal of time, effort, thought, emotion, money, and in some cases, their lives creating specific sounds and related activities. I also acknowledge that it has been completed. Although music is an important and visible component of human civilisation, certain types of "music" sounds are created and listened to fulfill basic survival demands. Infrequent (if not entirely bizarre) compared to the enormous effort we exert. As many have noted, music does not appear biologically essential, yet it permeates all cultures.