先秦儒家的樂教思想乃古代聖王藉由雅樂對人心的薰習，使人之感性與理性和諧統一，以達到「移風易俗」的教化目的，作為倫理、道德、政治教化的基礎。其中，「和」作為雅樂的基本特質，以「和」為美始終是儒家樂教的中心理念。然而，從歷史的發展來看，儒家樂教中以「和」為美的意涵，在宋儒周敦頤的樂教觀中發展成「淡和」之說。本文試圖探討周敦頤的樂教觀中「淡和」之說的真知灼見，如何成為儒家樂教思想中「樂以道和，和以成德」的教化理念，並且透過宋儒朱熹及清儒江永、汪烜（汪紱）等對周敦頤「淡和」之說所提出的回應觀點，來省思周敦頤樂教觀中的「淡和」之說，尤其是就汪烜以周敦頤的「淡和」之說作為其編纂《立雪齋琴譜》的要旨，來看周敦頤的「淡和」之說在後世的影響與意義。

Confucius regarded the nurturing of culture through music as a means to edify people’s minds through the ceremonial music produced by ancient saints. The ancient saints employed ceremonial music in a process of moralizing to people, in order to balance people’s emotions with rationality and to transform social traditions with the aim of establishing a foundation based on ethics, morality and politics. Harmony serves as the basic essence of ceremonial music and it is also the key concept in the thoughts of Confucius concerning the nurturing of culture through music. However, from a survey on the evolution of Confucian history, Dun-Yi Zhou proposed “light ＆ harmony” as the significance of the nurturing of culture through music in Song Dynasty. How did he take “light ＆ harmony” as the key Confucian concept on the nurturing of culture through music? The research aims to discuss the profound knowledge and penetrating insights on “light ＆ harmony” in regard to the nurturing of culture through music of the Confucian scholar Dun-Yi Zhou. The author will also refer to subsequent perspectives, including those by Xi Zhu, Yong Jiang and Xuan Wang on the viewpoints of the Confucian scholar Dun-Yi Zhou, especially Xuan Wang’s. How did he follow the idea of Dun-Yi Zhou to compose and compile the Chinese Guqin lyrics and tunes? Finally, following an in-depth examination of this issue, the author will further delineate the influence and meanings of “light ＆ harmony” in relation to the nurturing of culture through music of the Confucian scholar Dun-Yi Zhou in the later period.