「……嵇康之時尚未形成類似於今天這樣系統嚴密的邏輯學，嵇康自然不會先行接受邏輯學的訓練，然後運用對於音樂『自然之理』的分析之中。……」一千六百多年之後的今天，為嵇康〈聲無哀樂論〉重新考量的文論多了起來。有從「元氣論」的觀點出發者，有以「二元論」的方式來論證者，在各種論調中有相當的份量是將〈聲無哀樂論〉劃歸在「形式主義」、「自律論」的範疇中，對此，本文基本上是接受的，但仍覺不足。本文更為支持並強調的是「解釋嵇康的聲無哀樂的理論問題應該站在人生論的立場上，才是切合於中國美學問題的原則」的主張。並以「通觀全文」為重要方式，說明嵇康之原意並非要切斷音樂與情感的聯繫。在他批判儒家美學觀時，所展現出的也並非只是以「自律論」立場攻擊「他律論」這般單純的意義。至少可以肯定，以嚴肅、求真的態度闡述音樂與感情的命題，嵇康之論遺響深遠，於今雖然得到了現代「格式塔」美學的支持，但仍未成就完整之定論，顯然的，這又是一個新的開端。

Recently more and more articles have been discussing the more than 1600 years old essay "Music is without sentiments" by Ji Kang. Some authors analyze this essay from the perspective of "originalqi", some from the perspective of dualism. Most of the articles understand the essay "Music is without sentiments" as advocating some kind of formalism and autonomy. This article basically shares this view, but deems it insufficient. It supports views that see in the essay an expression of a certain attitude towards life. It is necessary to look at the whole essay in order to understand the relation between music and emotions as advocated by Ji Kang. His insistence on the autonomy of music is aimed at the Confucian view that music has to serve a purpose. Ji Kang's in depth analysis of the relation between music and emotions has had far-reaching influence and is nowadays supported by proponents of the Gestalt-esthetics.