本論文旨在探討清代琴曲〈漁樵問管〉的音樂美學觀，以楊宗稷的《琴學叢書》之譜例為素材。全文首先簡要敘述楊宗稷的生卒年、學琴因緣與經歷、琴學傷品等;其次則從《琴學叢書》中尋釋出楊宗稷的琴樂美學觀，且以五線譜對照古琴譜分析〈漁樵問答〉一曲，並參酌楊宗稷之子楊葆元演奏，大陸中國藝術研究院許健先生記譜、、王迪女士之錄音，就全曲的曲調調式、主題動機、音樂素材、標題與內容的配合度……等加以析論;最後，據前述所論具體地提出〈漁樵問答〉的音樂風格與特色。

The purpose of this paper is to discuss the musical aesthetics of Chin-Dynasty Ku-Chin music “Yu-Chow-Wen-Da”, it’s extracted from the musical materials of Young-Choung-Ge’s work “Chin-hsieh-chon-sue”. First of all, it briefly describes the B&D of Mr. Young, how did he begin learning Ku-Chin, experience in Ku-Chin playing, and his Ku-Chin music works. Secondary, we were looking for the musical aesthetics from his works “Chin-hsieh-chon-sue”, and analyzed the melody of music “Yu-Chow-wen-da” by comparing the normal staff to the score of Ku-Chin. Also at the same time, we deliberated the Ku-Chin performance of Young-Bao-Yuan, who is the son of Mr. Young; Trying to get some ideas from the Ku-Chin music made by Mr. Hsu-Gen, who is from Chinese Art Research College in mainland China, and recorded by Miss Wang-Dee. After that, we explained the tune tone, theme motives, musical materials, and the harmony with topic and content. Finally, according to previous discussion, we can specify the musical style and characteristic of “Yu-Chow-wen-da”