In modern studies on qin music, inquiry into the aesthetics of performance has been overly emphasized and the ancient tradition regarding the psychobio-logical implications of qin music has largely been ignored. The present paper explores the implications of the de-sensationalized or non-emotional state of mind, which was, according to Han qin scholars, essential for realizing the biological as well as psycho-acoustical aspects of qin practice. Historically, the central issue of qin performance has been primarily related to three functional hierarchies, namely: hearing (er-ting ..., listening with the ears), sensing (xin-ting ..., listening with the heart/mind) and transforming (qi-ting ..., listening with qi). According to the philosopher Zhuangzi, listening with qi is the highest form of musical practice. Essentially, it is the mystery of "listening with qi" that motivated me to launch a systematic inquiry into the relationship between qi in musical practice and its neuro-psychological as well as biological implications. It should be emphasized that the goal of qin practice, according to Xi Kang (223-263) in his Qin fit, is mainly the preservation of bodily wellbeing and enrichment of mental and spiritual soundness. Ultimately, the examination of psychobiological factors directed the inquiry to an investigation of the abstruse meanings of the 24 qin musical conditions (qin kuang ...), which were originally expounded by the Qing dynasty scholar Xu Qingshan in his Xi shan qin kuang (1673). According to Xu, the qin kuang were divided into 24 types of what I would call sonic phenomenology. There are different opposing interpretations of the true meanings of the 24 qin kuang. But after many years of studying the esoteric meanings of the 24 qin kuang, it finally occurred to me that they are actually cognitive contextualizations of the three categories of hearing, sensing and transforming mentioned above. It is rather clear to me that the term qin kuang reaffirms the Taoist ideology of musical cognition. In essence, qin music is not only a performing art, but even more importantly a means for preserving one's health. In other words, the psychobiological significance of qin practice is the very essence of the qin musical tradition. [ABSTRACT FROM AUTHOR]