To respond to the current advocacy of a transcultural inquiry into music education philosophy rooted deeply in Western civilization, the primary purpose of this essay is to provide a broader alternative to examine the phenomena of music teaching and learning to bridge the philosophical gap between the West and the East. This essay also attempts to expand the discussion of Eastern philosophies by including Balinese taksu, an aesthetic and ecstatic experience rarely discussed in music education literature. I juxtapose the intellectual and spiritual methods of attaining enlightenment through Zhuangzi's wuwei [image omitted], non-action or effortlessly losing self, and Balinese taksu and associate them with Turner's liminality theory, Csíkszentmihályi's flow state, and other Western scholars' discussions on spirituality and music to illustrate the ultimate spiritual enlightenment that an exemplary person or a virtuoso can achieve. The intersecting parallels between wuwei and taksu enable me to suggest a multi-stage development of musicianship as a way of learning that allows students to identify their inner selves, to evaluate the difficulty levels of obstacles challenging their mastery and overcome them, to roam in between practice routines, and eventually to enjoy the ecstatic experience of flow, losing self in performance.