本文就當代研究〈聲無哀樂論〉的三種論點：（一）「聲、音、樂的辨名分判」、（二）「各師其解的接受美學」、（三）「躁靜情緒說」，一一提出來予以檢討：（一）透過「樂→音→聲」之探源返本以展現道家自然的理解向度，來解構〈樂記〉「聲→音→樂」人文演進的發展型態，指出〈聲〉文實有超越「名理」的「玄理」性格，以免在當今著重辨名分判的學術要求下持續以「聲」、「音」、「樂」的釐清作為理解〈聲〉文立場的進路。（二）反省當代以「各師其解」附會為流行之接受美學的現象，認為這種意見不僅有過度詮釋之嫌，其僅及「聞樂」的層次也易遮蔽了〈聲〉文「聽樂」的審美理境。（三）以「躁靜」為「情緒」，乃立足於當代之情感美學的視域而來，然而這種說法卻使嵇康藉「躁靜」以「氣」通「道」而玄化於至和之理境的深義無法彰顯。本文不僅溯及諸家立說之淵源，以分判其詮釋得失，也試圖藉此商榷重新釐清〈聲〉文的旨趣與定位。

This paper reconsiders three contemporary approaches to Wusheng-aiyü e-luen: (1) distinguishing between xeng (vocalization), yin (sound), yue (music); (2) all-inclusive receptive aesthetics; (3) on zaojing (unsettled quietude) and qingxü (emotion). Firstly, by tracing the development from y u through yin to xeng, this study will lay bare Taoist way of 'grasping' and deconstruct the humanistic evolution from xeng through yin to yue. This article suggests that shengwen (listening to a text) outweighs mingli (comprehending), which involves xuangli and cautions against continuing such studies that center around distinguishing between xeng, yin, and yüe. Secondly, this paper reflects on receptive aesthetics, which accepts all possible interpretations. Such an approach can be accused of over-interpretation; besides, it seems to stop on the level of wenyüe (hearing about the music), not reaching the level of tingyüe (listening to music). Thirdly, this study re-examines the concepts of zaojing (unsettled quietude) and qingx Li (emotion), which are rooted in contemporary affective aesthetics. Such a trend of study mystifies Jikang's concept of zaojing leading to Dao through qi and thus blurs its profound meaning. This paper will evaluate these approaches and attempt to clarify the nature and significance of shengwen (listening to a text).