本文希望由古禮儀中音樂所具有的教化意義著眼，思考戰國時期音樂教化中如何將聖王以音樂致物之說，轉化為待物和應物說；將古禮儀中聖王透過音樂以致知，轉化為「物至知知」，以及應物時的「慎所以感之」的修養和教化方法，以彰顯戰國時期樂論中的待物、應物說所具有的修養及美學上的積極意義。本文首先由《國語》、《左傳》以及《周禮》與音樂教化相關的文獻來說明古禮儀以音樂致物的背景。說明其中所具有的天地人和諧的主張，以及其時的樂德之教育，是在天人和諧、氣化共感的背景下理解。其次，由〈樂記〉以及出土文獻〈性自命出〉中的「待物」、「應感起物而動」，說明古禮儀「致物」說的轉化，以及其中反映的心、身、物關係。第三，由〈樂記〉的反躬和反情，說明待物、應物脈絡下的修身論。第四，說明「物至知知」的待物及應物的修養，所具有的為學和修身之意義。最後簡要說明音樂教化論述中的「待物」、「應物」說對抒情美學傳統的影響。

This article, based on the enlightening music in ancient ritual, hopes to think about how the ideal of the sage king's “attracting things” in music was transformed into the theory of “waiting for things” and “responding to things” during the Warring States Period. This article will explain the sage kings in ancient rituals who acquired knowledge through music, and then transformed it into “things come and make perceptions come,” as well as the cultivation and education methods of “being cautious about the feelings of things” when dealing with things. This article hopes to demonstrate the cultivation and positive aesthetic significance of the transformation of the theory of waiting and responding for things. This article firstly uses music education-related documents in Guoyu, Zuozhuan and Zhouli to illustrate the background of music that induced hundreds of things in ancient ritual, and explains the proposition of harmony among heaven, earth and people. Secondly, the relationship among “things,” the way of heaven, and earth is explained based on the “waiting for things” and “moving by feelings” in Yueji and “Xing zi ming chu” in the unearthed documents. Thirdly, the article will illustrate the theory of self-cultivation in the context of waiting and responding to things. Fourthly, the article explains the meaning of learning and self-cultivation of the responding things. Finally, the article briefly explains the influence of the theory of “waiting for things” and “responding to things” in music education on the tradition of lyrical aesthetics.