"The Treatise on the Sound without Sorrow and Joy" focuses on the point: does sound has emotion like sorrow and joy? Qin-Ke believes that sound has sorrow and joy, and experts can sense it. Dong-Ye-Zhu-Ren, who is acted by Ji-Kang, opposes this assertion and advocates that sound is neutral existence, and there is no emotion in it. The “listening” of Qin-Ke and Dong-Ye-Zhu-Ren means two different experience modes.
This article points out that "expert at listening" does not require the premise of "sound has sorrow and joy". Just like Dong-Ye-Zhu-Ren’s opinion: sound is without sorrow and joy, so that subject has another listening mode. In a simple word, Qin-Ke's opinion implies that there is relevance between sound and emotion. On the other hand, Dong-Ye-Zhu-Ren suggests listener transcend
physical reaction from sound and music. Ji-Kang recommends the listening mode of "mind senses harmony", this is a new phase of Chinese music aesthetics. It gets rid of Pavlov's classical conditioning, and becomes a wisdom mode of "absolute listening".