本文旨在探討「調意」在古琴曲中的意涵。除了前言與結論外，先提出前人（包括高羅佩、許健、李鳳雲等）的研究成果回顧，並逐一檢視有關「調意」諸說的得失。其次，再針對北京中華書局出版的《琴曲集成》中33 本古琴譜保留有「調意」者來檢視其概況。再者，則參酌（元）陳敏子之說，從古琴製曲理論來發掘「調意」在古琴譜中所扮演的角色意義，兼以《浙音釋字琴譜》中的〈蕤賓意〉、〈漁歌調〉與〈漁歌〉作為印證。最後，本文之研究將提出「調意」在古琴曲中所具有的多重意義與功能。

The research aims to discuss the implications of tiao-i in Guqin music. Following an introduction, the author begins with reviewing previous research,examining and evaluating their individual opinions as a literature review and a discussion for this study. With reference to the 33 Guqin handbooks collected in Qin Qu Ji Cheng (‘Grand Anthology of Guqin Music’) which were published by the Zhonghua Book Company in Beijing, the author will reexamine the use of tiao-i. Furthermore, the author will refer to the statements made by Chen, Min-zi during the Yuan dynasty. Then the author will explore the role of tiao-i in the Chinese Guqin handbooks from the composition theory of Guqin, and take the significance of the Ruibin Tune,Yu-Ko Tune and Yu-Ko which were collected in Zhe Yin Shi Zi Qin Pu as evidence. Finally, the author will present the multiple meanings and functions of tiao-i. Most specifically, how tiao-i indicates the style of Guqin music will also be investigated.