印度美學理論稱為「味論」（theory of rasa），是討論關於詩學、戲劇、音樂、舞蹈等表演藝術的意識活動或美感經驗（aesthetic experience）。「味」（rasa）最早由婆羅多（Bharata）在《戲劇論》（Nāţyaśāstra, ca.2ndB.C.-2nd A.D.）中提出。他認為味是戲劇的基礎及目的，源自於對戲劇情感（bhāva）的品味。情感則是戲劇的主要表現，是從戲劇基本元素—演員表演（abhinayas）及音樂來呈現。音樂在戲劇表演中被視為強調情感及味的最佳工具，婆羅多因此提出根據味及情感為基礎的音樂理論，作為戲劇音樂創作、音樂表演者的依據。他所提出的味與加第（jāti）、節奏的關係，以及音樂演奏者如何正確強調味及情感的看法，奠定印度音樂美學思想基礎。《戲劇論》的唯一註釋—新護（Abhinavagupta, ca.950-1015 A.D.）的《戲劇論注》（Abhinavabhāratī）更仔細的從聽眾、創作者的角度來解釋味與情臨的種類、運作。他同時加強婆羅多的觀點，提出音樂和演奏者品質對於美學經驗取得的重要性。新護闡述的觀點是印度音樂美學的主流。本文主要討論兩個主題—婆羅多和新護的印度味論，以及音樂和演奏者對於味論取得的重要性。印度研究美學與音樂理論的角度和西方音樂美學不同：印度美學先分析聽眾的味或美感經驗，再研究如何根據味來設計音樂；西方美學則著重於研究聽眾欣賞音樂作品所產生的感受。本文提供西方音樂美學學者、音樂學研究者、音樂演奏者不同的思考角度。

Indian aesthetics, or rasa, is the study of consciousness relating to the appreciation of poetry, drama, music, and dance. The term rasa (taste, object of the tongue) was first applied by the drama theorist Bharata in Nāţyaśāstra (ca. 2nd B.C.-2nd A.D.) to indicate the aesthetic experience caused by the bhāvas (emotions) which are expressed in dramatic performance.Music is considered the means to enhance rasa and bhāva of drama. Bharata was the earliest to record Indian musical theory earliest and its application related to rasa and bhāva in Nāţyaśāstra. Abhinavagupta (ca.950-1015 A.D.) has clarified Bharata's theory of rasa and bhāva from various philosophical methods in detail as well as the theory of rasa related to the music in his Abhinavabhāratī, the only commentary of Nāţyaśāstra.Moreover, Bharata and Abhinavagupta consider the qualified musician as an important means to good musical performance and the manifestation of the rasa and bhãva which are inherent in music. Therefore, two main subjects will be discussed in this essay-the concept of rasa and how the music and musician enhance the rasa or aesthetic experience in accordance with Bharata and Abhinavagupta's vision.Comparing with western musical aesthetics which is the study of the activity of listener's consciousness while listening to the musical pieces, lndian aesthetics and music present the musical composer and listener's aesthetic experience first, and then, how music and musician are the perfect and most potential means to fulfill this experience. This essay aims to bring different dimensions in the realms of the musical aesthetics, musicology and musical performance.