戴璉璋先生（1932～2022）是當代新儒家的傳承人之一，其在周易哲學、魏晉玄學、儒學及中國古代語法方面的研究皆有所成。然而，在其論著中可見3篇關於儒家樂教與玄學中的音樂思想的論著，包括：〈孔門樂教及其影響〉（2006年）、〈從《樂記》探討儒家樂論〉（2004年）、〈玄學中的音樂思想〉（1997年），可以反映出戴氏的學思歷程與研究的另一個面向。本文即擬針對戴氏的這3篇關於儒家樂教與玄學中的音樂思想的論著從兩方面來加以述評：其一，戴氏的論述角度與重點為何？在其學術背景下，其思維模式如何建立？戴氏的這三篇論著所欲呈現的省思意義為何？其二，戴氏與其他學者處理同樣課題的觀點有何不同？通過學界中對於戴氏之說持有不同意見者的觀點的省思，來看如何持平地評估戴氏之說的得與失。最後，本文亦擬結合戴氏的另一篇論著：〈湯顯祖與羅汝芳〉（2006年）來看其如何由「美善相樂」的意趣，來綰結湯顯祖「人情之大竇」與羅汝芳「成人成物」之道，而見戴氏如何從對儒家樂教思想的認知，通過文哲互濟的體會開顯生命美學的意義，而展現出其在詮釋儒家生命的學問時別開生面的一頁。

Professor Tai Lian-chang (1932-2022) was one of the inheritors of contemporary Neo-Confucianism. He published on the philosophy of Book of Change, metaphysics in the Wei-Jin dynasty, Confucianism, and ancient Chinese grammar. However, three pieces of his wider academic treatises focus on the role of music in Confucian self-cultivation and music-related thoughts on metaphysics in the Wei-Jin dynasty, which reflect recurrent themes of Tai's thinking and research. These include "The Music Cultural Cultivation of Confucianism and its Influence" (2006), "Discussion on Confucian Music Theory from 'Yue Ji' in the Book of Rites" (2004) and "The Metaphysics Concepts of Music in Hsuan-Hsueh (metaphysics in the Wei-Jin dynasty)" (1997). This article comments on the above three treatises from two aspects: First, how do Tai's research perspectives and emphases correspond to his academic background, and how does he establish the mode of his thinking? What is the thoughtful meaning that Tai presents? Second, through reflections on certain viewpoints in academic circles that hold different perceptions from Tai's statements, we can observe different points of view between Tai and other scholars on the topic in question and learn how to evaluate the strengths and shortcomings of Tai's treaties in a balanced manner. Finally, this article also enquires into another treatise by Tai: "Tang Xian-zu and Luo Ru-fang" (2006), to discern how Tai couples "the beautiful and good each in turn [give rise to] joy" with that in Tang Xian-zu's conceptualization: "the feelings of men require" and Luo Ru-fang's idea: 'accomplishing the self-completion of oneself and completing other men and things', which reflects Tai's understanding of Confucian life aesthetics. We find that Tai not only interpreted existing transcriptions, but also opened a new page in the philosophy of Confucian life.