魏晉時期在中國思想史上，是以清談玄風掛帥的年代，其中最為膾炙人口的翹楚，便是由當代的竹林七賢，其中尤以嵇康作為代表人物，除了著名的「越名教而任自然」、「非湯武而薄周孔」之主張外，更將其思想與音樂揉合成理，以其高超的藝術悟解寫成〈聲無哀樂論〉，有別於魏晉以前的音樂美學觀。魏晉以前之音樂美學觀，正是嵇康欲辯駁之論，因自古以來認為音樂能夠傳達哀樂，甚至是思想、風俗等等，〈聲無哀樂論〉的出現，便是與過去的音樂美學立場進行一場聲情之間的激烈辯駁。  在〈聲無哀樂論〉中，「東野主人」與「秦客」二人的交互答難，對「聲有無哀樂」之核心論點，進行諸多方面之論辯。今日學者有持全文結構為八回合之答難，亦有分為七答七難一引論者；然筆者以為〈聲無哀樂論〉之答難實僅有六回合，前一回合為引論，末一回合則為嵇康總結前述所作的結論，不應將其視為答難，此為本文欲嘗試辨析的重點，亦有文本證據可以支持。 其次，筆者將從「聲有無哀樂的外緣辯證」、「聲無哀樂的本質論證」等方面著手，分析雙方在正反論述中的「立己」與「破他」，藉由「古代史例與天道自然」、「情隨曲變與歡慼俱見」等外緣因素中的辯論，說明主客在申述其核心論點時所舉之例，並檢視其對「聲無哀樂」之論的邏輯性。最後，筆者以聲無哀樂的本質面向著眼，圍繞東野主人所言「聲有躁靜與聲無哀樂」、「因聲無哀樂而移風易俗」等論點，討論聲音與情感之間的主從關係，以及躁靜與哀樂二者的清楚區別，透過分析、推論、歸納，進一步剖析嵇康在二人答難之中，最終所欲凸顯的核心理論。

The Wei-Jin is the period for Qingtan(清談) and Xuanxue(玄學，philosophy) during history of Chinese thought. The most famous academic dignitaries is the Seven Sages of the Bamboo Grove(竹林七賢), among whom Xi Kang is especially the representative figure. Besides his famous ideas of "yue ming gjiao er ren ziran(越名教而任自然，Overstepping the Confucian ethical standards and following nature)" and "fei tang wu er bo zhou kong(非湯武而薄周孔，Be not Tang Wu but despise the Zhou Kong)", he even merged thought and music into theory, and wrote "Shengwu Aile Lun" with his excellent art realization for differing from other music aesthetics before the Wei-Jin period. In "Shengwu Aile Lun", the questions-answer debates between Master Dong Ye and Qin Ke started the discussion for the main argument for "sound has no grief and pleasure” in many aspects. Nowadays, some scholars consider that this article is composed of 8 questions-answer debates, while others think 7 question-answer debates with 1 introduction.ii However, the author thought that only 6 questions-answer debates in "Shengwu Aile Lun". The first round of debates is the introduction, and the last one is the conclusion Xi Kang summed up. Therefore, they should not be considered as question-answer debates. This is the key point that the paper tried to differentiate and analyze, and also being supported with textual evidences. Secondly, the author will place emphasis on "the extrinsic study of whether sound has grief or pleasure" and "the intrinsic study of sound has no grief and pleasure", analyzing their "li ji(develop our point of view in the argument)" and "po ta(dispel the opponent's point of view in the argument)" in positive and negative arguments. With the debates of "ancient history case and naturalistic ideology" and "emotion changes along with the tune and the same song can arouse different feelings like grief or pleasure" in extrinsic factors, this paper clarified the examples which host and guest gave when they stated their main arguments, and examined its logic to the view point of "sound has no grief and pleasure". At last, the author will focus on discussing the essence of "sound has no grief or pleasure", with the arguments of "sound has zaojing(unsettled quietude) and sound has no aile(grief and pleasure)" and "yi-feng yi-su because sound has no grief and pleasure" from Master Dong Ye, discussing the leader-member exchange relationship of sound and emotion, and the clear difference between zaojing(unsettled quietude) and aile(grief and pleasure).With analysis, deduction and induction, this paper further analyzes the core theory that Xi Kang finally tried to object in the questions-answers between them.