嵇康的〈聲無哀樂論〉在中國音樂美學史上具有相當的地位，亦是魏晉思想中重要的論著。不同於針對其異於傳統的觀點來擴大討論其美學意涵，本研究透過對於原典的詳細分析推論，指出其所討論的主題與結論大部分是承繼傳統。而其異於傳統的心聲二物之論，其背後更基礎的概念，是相對於前人而言較為清晰的「心/物」區分。此於思想史上的意義，是將「物」的世界從籠罩於「人」之下的世界中劃分出來，為魏晉思想一個值得留意的面向，而〈聲無哀樂論〉乃是其中的一個呈現。

Ji Kang's（嵇康）"Sheng Wu Ai Le Lun"(聲無哀樂論) is an important article in aesthetics of Chinese music and in the thought of Wei-Jin(魏晉) period. Different from discussing the special arguments of "Sheng Wu Ai Le Lun" to interpret its aesthetic meanings, by means of detailed analyzing the texts it will be pointed out that many themes and conclusions discussed in "Sheng Wu Ai Le Lun" inherit the traditional arguments. And his new argument about the separation of the ”sheng”(聲) from “xin”(心) are based on the more clear separation of the “wu”(物) from “xin”. Its significance in the history of Chinese thought is that the world of “wu” is separated from the world fully enveloped in human meanings.