嵇康的「聲無哀樂論」一直是中國音樂美學，也是道家美學的一篇重要文獻，但歷來的詮釋者，似乎均未能將此文之樂理和道家之玄理作緊密之扣合，致使此文的詮釋始終存在著不小的漏洞。 本文之作，即旨在嘗試以中國音樂美學中「聲、音、樂」三分的結構，來指出嵇康此文思路的滑轉；其中最重要者，尤在「和」這一概念上所出現的歧義。筆者在指出此一歧義之餘，並嘗試以「境界之和」這一概念，作為此文之義理歸宿，以為稽康思想之詮釋更進一解。

　　　　　The essay “聲無哀樂論” by Zhi-kan (稽康) has long been established as a milestone in Chinese acoustic aesthetics and Taoist aesthetics. But so proposed in this essay and the Taoist wisdom, hence missing the proper appreciation of this important essay. I try to formulate here a synthesis of the trilateral property of Chinese acoustic aesthetics, namely “sound, voice-quality, music” “harmony”. In other words, while resorting to this bifurcation and making “the harmony of higher order” (境界之和 the center point of this essay, I also believe a better understanding of its is under way.