嵇康的〈聲無哀樂論〉一文創闢了音樂美學的自身範疇，突出了其樂論在中國哲學史上的地位。本文一方面就音樂的組構及體性探討其對人聽覺生理、心理對應的刺激反映，深入人內在美感心靈之底蘊，詮解至和之樂妙契人至和之心的審美欣趣，和形上根源。另方面則分由(1)嵇康的生命情性及其歷史際遇之衝突矛盾所激盪出「性烈而才雋」及義不負心的個性張力及另人可歌可泣的精神美。(2)嵇康多才多藝的才華不但豐富了其生命內涵，創發了美感生命的情調，也孕育出值得我們研究的生命美學。(3)魏晉美學崇尚自然美，嵇康內在情性的自然全幅張開地投入外在氣韻生動的大自然，交融成渾全的一體之境，體現了美感意境之極致，這三個層面來詮解嵇康所可能的生命美學。

Ji Kang’s “On the Grieflessness and Joylessness of Music” created a new field of musical aesthetic and highlighted the role of his musical theory in the history of Chinese philosophy. Following the composition and properties of music, this article is intended to investigate stimuli of music upon the physical and the spiritual beings as well as explore the depth of the aesthetic mind. Besides, it is also our goal to interpret the aesthetic pleasure resulting form the fusion between the most harmonic music and the harmonic mind, while tracing the metaphysical sources of music. On the other hand, the conflicts between Ji Kang’s life and his worldly experience brought out his intractable character and ingenious talent. He was devoted to what he believe, and such a commitment was part of his powerful spirit. His versatility not only enriched his life, set the tone for such a life of beauty, but also accomplished his aesthetics of life, which is really worth of our exploration. In Wei and Jin Dynasties, people worshiped the beauty of nature. Ji Kang’s spirit was in complete harmony with the lively nature and personified the ultimate sense of beauty. These points may probably explain Ji Kang’s aesthetics of life.