本文主要從「聲」、「音」、「樂」的三分架構來探究嵇康〈聲無哀樂論〉關於「移風易俗」命題。在「聲」與「音」的樂理層次上，嵇康以理性的邏輯方式，來檢覈音聲與哀樂之實，正音聲之名，說明音聲實無涉於哀樂，聲情理當分殊。再者，就「樂」的玄理層次而言，經過生命實踐工夫上的去無遣著，人得以進入一充滿意蘊的美學世界，不僅音樂得以回歸其自身，人亦能回歸其自身。順此，嵇康乃證成「移風易俗莫善於樂」的命題，並建立起一個有別於名教禮法且充滿道家式關懷的倫理向度，超越以名教禮法為價值依歸的規範體系，讓生命從禮教體系的層層架構下超脫出來，一任生命本真之自然。

The study is mainly from the third framework to explore Ji-Kang's essay "Seng-Wu-Ai-Le-Lun" about change customs and habits. On the level of music theory, Ji-Kang used logical way to check of the relationship between sound and emotion. He, then, declared nothing to do with the sound and emotion. On the level of life in terms of practice, by removing persistent effort, people have access to a world full of aesthetic implication. Thus Ji-Kang success proved "change customs and habits of good at music", and established a Taoist ethical concern.