本論文以魏晉樂論與樂賦作為研討對象，而以音樂審美為探討目標，通過對文本的解析，致力於以下三個主要工作：第1、企圖證明魏晉的音樂審美並非如前人的研究成果，只呈現一種境界型態的表現。此篇論文則希望藉由樂賦材料的援引，能尋找出境界型態之外的音樂鑑賞。第2、魏晉樂論與樂賦兩者必然呈現不同的音樂審美意識，那兩者將如何各自表述？其所承為何？兩者將呈現如何不同的審美情趣？第3、魏晉樂論與樂賦，在各自表述的情況下，又將如何呈顯魏晉音樂審美的時代性？
本論文共分為五章，其內容大要如下：
第一章「緒論」，說明魏晉「樂論」與「樂賦」並列探討的用意，並略述魏晉以前至魏晉時代「音樂」概念之發展，以及概述魏晉音樂變遷背景，以作為對於魏晉「樂論」與「樂賦」的先備理解。之後再述及前人對於魏晉音樂研究之成果，並說明從此些成果中，魏晉樂論與樂賦尚可研究之部分以及此論文研究之旨趣。
第二章題為「魏晉樂論與樂賦之音樂審美體驗」以審美體驗為切入點，從體驗的情感性以及體驗的超越性來理解魏晉樂論與樂賦的音樂審美體驗。本章共分為兩個部分探討：
第一部分題為：「魏晉樂論完成人之復歸的音樂審美體驗」，透過對魏晉樂論音樂審美準則的分析，以進入魏晉樂論所呈顯的音樂審美體驗。阮籍＜樂論＞對於音樂美的認定依人文涉入的深淺，而有價值性的判斷，音樂之美，不在於音樂本身，而在於倫理道德的成就與否，此為儒家的樂教思想。然而在音樂審美的體驗上，卻以自然無欲、心平氣定、論樂須得性為體驗原則，此則援用道家自然觀的思想。嵇康＜聲無哀樂論＞以為音樂美的認定在於音樂本身，於人心、道德無關。而在音樂的審美上，援用莊子主體境界的「天籟」思想，追求心在無待的情況下，循性而動以進入音樂自然之和的音樂審美體驗。阮籍、嵇康在音樂審美的體驗上無論是出於「自然之道」或「心之無待」的音樂審美準則，都是在追求自然人性的復歸，而這樣的復歸有著「同歸老莊」的思想傾向。
第二部分題為：「魏晉樂賦感興式的音樂審美體驗」，主要是透過魏晉樂賦的創作型態：結構模式與譬喻徵引之運用，以了解到魏晉樂賦的音樂審美體驗為感興式的審美體驗，並進一步分析出在魏晉樂賦創作程式的結構象徵以及「譬」、「類」取引的想像上，樂賦創作型態與音樂審美之關係。就樂賦的結構模式而言，共分為五個進程，而這五個進程剛好架構出聆聽音樂時循序鑑賞的進路。而樂賦中所呈顯的鑑賞進路帶著一種神話精神以及遊仙色彩，而神話的精神顯然承自「楚辭」，而遊仙色彩則受了當時遊仙思潮的影響。至於譬喻徵引的修辭，呈顯出歷史積澱以及個體直觀兩種的審美方式，魏晉人透過此兩種審美方式，達到精神與音樂融於一體的意境。
第三章題為：「魏晉樂論與樂賦之音樂審美理想」，音樂與人與社會之美相結合的觀念對中國音樂審美理想的影響深遠，因此本章在探討魏晉樂論與樂賦的音樂審美理想時，必以人格理想與社會理想為切入點，如此才能探究出魏晉樂論與樂賦的音樂審美理想的深刻內涵。本章共分為兩個部分探討：
第一部分題為：「魏晉樂論以『和』為依歸的音樂審美理想」，此部分以「樂」、「禮」、「和」為切入點，以了解魏晉時代禮樂關係的改變，以及這樣的改變所突顯魏晉音樂審美理想的時代性所在。阮籍、嵇康所追求的審美理想不再只是「禮樂」所呈現的「人和」之美，而是追求人、樂、天結合的「天和」之美，因此注重主體境界的實踐。阮籍、嵇康援用莊子氣化的觀念，認為與「道」同一的「氣」，是「道」生萬物時下注於萬物個體的精微之質，是萬事萬物縱向橫向的感通基礎。所以人之氣與樂之氣能透過橫向的感通方式，達到人與樂的結合，因此當人樂相應時，也就可以透過「氣」的縱向感通，而與「道」冥合。道、氣在統攝、調節陰陽的歷程中產生一種「和」的全體觀照，使得音樂與人因同根、同構的「氣」而交感共鳴，而呈顯「和」之全體觀照的審美理想境界。此時每一個個體生命都以「天和」的主體境界處於人世間，於是群體的集合奠基於每個個體的諧和上，那社會自然而然也就呈現人人相和的景況，「人和」的理想也隨之實現。
第二部分題為：「魏晉樂賦音樂審美理想中空間與人格的論述」，此部分對於魏晉樂賦的研究旨趣，由「理想」的追求出發，力求從文化背景的角度探索魏晉人對於理想空間以及人格理想的追求。深入探討之後發現，魏晉人對音樂審美的理想，以一種文學的手法，闢造在現實中不存在的「純境」、建構自我放逐的精神堡壘，重建一個自然而然、悠遊自在的理想國度。並且透過對樂器形、神的鑑賞，聯結到魏晉對人格美的追求，依此而溝通了樂與人之間同情共感的可能，建立起樂與人之間異質同構的審美感應機制。於是樂賦中理想空間與人格理想的建構，說明了魏晉人企圖藉由音樂進入到一個完滿境界的想望。
第四章題為：「從文體特徵與比較觀點研討魏晉樂論與樂賦的音樂審美取向」，由於文體的不同，所呈顯出的審美取向必然有不同之處，而「賦體」、「論體」的創作為同一時代，故受時代思潮的影響又必然有相同的審美取向，故本章欲透過對魏晉樂論與樂賦的文體特徵的探討，以釐清兩者在音樂審美取向的異同。此章共分為三個部分：
第一部分題為「魏晉樂論之文體特徵所呈顯之音樂審美型態」，魏晉樂論之文體特徵呈現在清談、玄學、玄論的連成一系。於是當魏晉樂論以玄論的體式展現，魏晉樂論的本身必然含有玄學的思想，並在玄學與美學有所連結的情況下，將玄學接軌到音樂審美，而展現有別於樂賦以賦作體式所表達的審美取向，以及不同於以往的美學觀，其一、平和淡雅的自然之美、其二、超越有限而達無限的無聲之美。在這兩種美的基礎上，我們可以發現，魏晉樂論將音樂之美定論在一種平淡、玄遠的空靈之美。
第二部分題為「魏晉樂賦之文體特徵所呈顯之音樂審美型態」，魏晉樂賦以一個「賦」體的文體特徵，其所呈顯的音樂審美型態，必與其文體的語言風格有著共通的審美意念，而此共通的審美意念可以歸納出兩個取向：一為以「悲」為美下的「樂（快樂）」之美；另一為以「麗」為美下的「清」之美。這兩個審美取向乃是一種矛盾的結合，這種矛盾的結合，在魏晉人的眼中卻再自然不過，而顯其時代特徵。
第三部分題為「從比較觀點評析魏晉樂論與樂賦所呈顯的音樂美學觀」，此節歸納出，樂論與樂賦的相異觀點在於樂與悲的歧異，以及雅與麗的歧異；而樂論與樂賦的共同觀點上則以「自然」為美、以「和」為美。
第五章為結論，總結本論文的論述。魏晉的音樂審美並非歷來學者所討論的狀況，只呈現一種境界型態的表現，從魏晉樂賦來看，魏晉人的音樂審美有著情感豐沛、富於想像、審美多元的一面。而魏晉「樂論」與「樂賦」確實呈現不同的審美情趣，一從理性出發；一從感性出發，並且由於審美對象的不同，一為「雅樂」；一為「俗樂」，而更加深兩者在審美情趣上的區別。再則由於兩者各自承載的思想不同，「樂論」承自「莊子」；「樂賦」承自「楚辭」，也影響到兩者在音樂審美上的差別。而最重要的是，在魏晉時期是一個「雅樂」式微，「俗樂」蓬勃發展的時代，所以雖然有「樂論」者對於「雅樂」的衰落力挽狂瀾，但終究抵擋不住「俗樂」的風行，因此才有「樂賦」的大量寫作，而更勝於「樂論」者，顯然魏晉時期的音樂審美，不但不僅是一種境界型態審美，恐怕是情感式的審美為主流。

The Wei-Jin Music Theory and Music-Fu were chosen as the objects of the study. The thesis aims to discuss music aesthetic and engages in three major tasks as follows: First, attempt at proving music aesthetic in Wei-Jin is different from the former study results indicating the music aesthetic demonstrated only one realm and pattern. The article hopes to find music appreciation beyond the realm with the citation of Music-Fu materials. Second, the Wei-Jin Music Theory and Music-Fu necessarily demonstrate distinct music aesthetic consciousness. How do these two be expressed? What concepts do they inherit? What different aesthetics do both present? Third, under the circumstance of different expression of the Wei-Jin Music Theory and Music-Fu, how to express the epochal character of the Wei-Jin music aesthetic?
The thesis is divided into five chapters as follows:
The first chapter “Introduction” explains the reasons to discuss the Wei-Jin “Music Theory” and “Music-Fu” at the same time, briefly describes the development of the “music” concept before and in Wei-Jin, and summarizes the background of the transformation of the Wei-Jin music to understand the Wei-Jin “Music Theory” and “Music-Fu” first. The article then describes the results of former studies on Wei-Jin music and, based on the results, illustrates which part of the Wei-Jin Music Theory and Music-Fu can be researched further as well as the purpose of the study.
The second chapter is “the Music Aesthetic Experience to the Wei-Jin Music Theory and Music-Fu” starting from aesthetic experience through emotional and surpassing perspective to comprehend the music aesthetic experience to the Wei-Jin Music Theory and Music-Fu. This chapter is separated into two sections:
The first section is “the Music Aesthetic Experience of the Wei-Jin Music Theory Helping the Return of Human” through analysis on the music aesthetic standard of the Wei-Jin Music Theory to involve in the music aesthetic experience presented in the Wei-Jin Music Theory. Ruan Ji's “Music Theory” integrated the Confucian musical pedagogy and the natural concept of Taoist to begin the music aesthetic experience; Ji-Kang’s “Sound without Sadness and Happiness” quoted Zhuang Zi’s thought “The Pipe of Heaven” to complete music aesthetic appreciation. Ruan Ji and Ji-Kang pursued the return of the natural humanity regarding the experience of music aesthetic.
The second section is “the Ganxing-Style Music Aesthetic Experience of the Wei-Jin Music-Fu”. Through the composition pattern of Wei-Jin Music-Fu – structural pattern and the use of metaphor and citation, we realize the music aesthetic experience of the Wei-Jin Music-Fu is Ganxing. Concerning its structural pattern, Music-Fu, from the view of appreciation, represents the spirit of mythology and colors of celestials; the former succeeded to “Chu-Ci” and the latter was influenced by the stream of thought on celestials. The rhetoric of metaphor and citation displays two aesthetics including historical accumulation and individual intuitive. The people in the Wei-Jin Dynasty through these two aesthetics reached the conception of integrating spirit and music.
The third chapter is “the Music Aesthetic Ideals of the Wei-Jin Music Theory and Music-Fu” which begins from personality ideals and social ideals to investigate the deep connotation of the ideal music aesthetic for the Wei-Jin Music Theory and Music-Fu. There are two sections in this chapter:
The first section is “the Desired End for the Music Aesthetic Ideal of the Wei-Jin Music Theory Is ‘Harmony’”. “Music”, “rite” and “harmony” are the focus of this section to find out the change of the relationship between rite and music in the Wei-Jin Dynasty as well as the epochal character of the Wei-Jin music aesthetic ideal highlighted by such change. The aesthetic ideal that Ruan Ji and Ji-Kang sought is not the beauty of “human harmony” presented by “rite and music” anymore, but the beauty of “harmony of heaven” with the combination of human, music and heaven which aims to the practice of realm of the subject resulting from the concept of Zhuang Zi's Qi-hua (Qi transformation).
The second section is “The Discussion of Space and Personality Regarding the Music Aesthetic Ideals of the Wei-Jin Music-Fu”. The ideal of the Wei-Jin “Music-Fu” for music aesthetic, by the philological technique, created a not real “pure field”, built a spiritual fortress of self-exile, and reestablished a natural nature and free utopia. In addition, the appreciation of form and spirit of instruments was associated with the Wei-Jin’s pursuit of personality beauty leading to the empathic possibility of music and human and building the aesthetic telepathy of isomorphism between music and human. Thus, the construction of ideal space and personality ideals in Music-Fu illustrated the desire of the Wei-Jin people to enter a utopia via music.
The fourth chapter is “Discussion on the Music Aesthetic Tendency of the Wei-Jin Music Theory and Music-Fu from the Literary Style Characteristics and Comparative Perspective” divided into three sections:
The first section is “the Music Aesthetic Pattern Demonstrated by the Literary Style Characteristics of the Wei-Jin Music Theory”. The Literary Style Characteristics of the Wei-Jin Music Theory include impractical discussion, metaphysics and metaphysical discourse. When the Wei-Jin Music Theory was represented in the form of metaphysical discourse, the Theory necessarily contained the metaphysical concept and combined metaphysics with music aesthetic, under the condition that metaphysics has connection with aesthetic, to demonstrate different aesthetic tendency from the Music-Fu and past aesthetic viewpoints – first, the moderate, elegant and natural beauty; second, the infinite and noiseless beauty that breaks the limit.
The second section is “the Music Aesthetic Pattern Demonstrated by the Literary Style Characteristics of the Wei-Jin Music-Fu”. The Wei-Jin Music-Fu features “Fu” style displaying two music aesthetic tendencies: one is the beauty of “Le (happiness)” under the beauty of “sadness”; the other is the beauty of “pure” under the beauty of “grace”. These two aesthetic tendencies are a contradictory combination, really natural in the eyes of the Wei-Jin people, demonstrating the epochal character.
The third section is “Analysis of the Music Aesthetic displayed in the Wei-Jin Music Theory and Music-Fu from the Comparative Perspective”. This section concludes the difference between the Music Theory and the Music-Fu is happiness and sadness, and grace and prettiness. “Nature” and “harmony” are the beauty both Music Theory and Music-Fu agree.
The fifth chapter is a conclusion summarizing the discussion in this thesis. The music aesthetic in Wei-Jin is different from what scholars have discussed that only demonstrates one realm and pattern. In terms of the Wei-Jin Music-Fu, the music aesthetic of the then people is of abundant emotion, great imagination and diversified. The Wei-Jin “Music Theory” and “Music-Fu” indeed show different aesthetics; one begins from sense, the other from sensibility. Due to different aesthetic objects, one is “ceremonial music” and the other is “secular music” which reinforces the aesthetic difference. Moreover, both inherit different concepts – “Music Theory” from “Zhuang Zi” and “Music-Fu” from “Chu-Ci” – lead to the difference in music aesthetic.