古琴音樂美學中蘊藏著豐富的空間意涵（如「遠」、「空」、「幽」、「高」），本研究主張其與古琴音樂的「多層次單音織度」(multidimensional monophony)息息相關。故採用音樂分析、聽覺、與音響心理學的理論與方法，同時兼顧傳統中國古琴音樂美學與西方音樂學研究，探究古琴音樂「多層次」與「單音思維」現象下的音樂結構(musical structure)與聽覺(auditory perception)，以及所帶來的聽覺空間感(anditory spatial perception)。本文為此進行中的研究之核心，開啟一系列琴樂聲響結構與知覺的理論及實證研究，目的在透過當代生態心理學考量下的聽覺理論，與傳統古琴美學及彈奏指法，以傳統琴家的演奏實例為分析對象，歸納出多層次單音織度的結構要素，與相關的琴樂知覺現象。

This study proposes to take both facts of qin music, "the monophonic thinking" as well as "the multidimensional structure and perception", into consideration as "multidimensional monophony", so that the entire qin music process could be systematically and empiriclly studied. The aim of this study is to find out the possible structural factors of the multidimensional monophony and investigate the relevant perceptual phenomenon including the audible spatial perception brought to the listeners. It provides a new approach to qin music understanding, across disciplines of Western musicology and Chinese qin music studies, involving the empirical approach based music analysis on selected qin performance practices, with both considerations on modem perceptual theories and the traditional aspects of qin music.