一般認為嵇康〈聲無哀樂論〉其理論觀點有別於以《樂記》為代表的傳統樂論。然而，作為一套論證的架構體系而言，〈聲無哀樂論〉與傳統樂論在論述上究竟如何辯詰交鋒？藉由這個問題的梳理，可進一步探討：〈聲無哀樂論〉是否在反對傳統樂論的理論觀點之際，也否定了音樂能移風易俗？換言之，〈聲無哀樂論〉是否只是推翻傳統樂論的觀點，只「破」而無「立」？尤其在移風易俗的問題上，嵇康是否真如某些學者所言，完全否定了音樂移風易俗的可能？

It's generally thought that Xi Kang's Shengwu Aile Lun (on the Absence of Sentiments in Music) is opposed to the traditional music theory, Yue ji. This essay will firstly focus on how Xi Kang disputes the traditional music theory in the Shengwu Aile Lun. Through the analysis, we can further discuss and clarify whether Shengwu Aile Lun negates the ability of "yi-feng yi-su 移風易俗" in music? If not, how does Xi Kang construct the dis-course?