春秋战国时期,我国出现了百家争鸣的繁荣局面,其中以儒、道两家思想为代表,对后世的音乐美学及音乐表演观念产生了深远影响。“道”是《老子》音乐思想中主要推崇的观念,其中“音声相和”、“五音令人耳聋”及“大音希声”等观点为后来的音乐表演提供了参考。本文从《老子》的主要音乐观出发,将其与现在的音乐表演观念结合,在“视阈融合”的基础上探析存在于音乐演绎过程中的心理、情感、技术等方面问题。 During the Spring and Autumn Period and the Warring States Period, there were hundreds of prosperous situations in our country. Among them, Confucianism and Taoism represented the future generations of music aesthetics and musical performance concept had a profound impact. “Dao ” is the main concept advocated in Laozi’s musical thought. For the later musical performances, such as “Phonetic and”, “Deafening” and “Dagong” Provided a reference. Based on the concept of musical performance in Lao Tzu, this article explores the psychological, emotional and technical issues existing in the process of musical interpretation on the basis of “fusion of vision and perspective”.