中國傳統音樂思想以儒家為主，含有著極深的道德教化思想，是以教化以及導人為善為目的之音樂哲學。既以善為條件，因而音樂之美乃附屬於其上，以至在音樂上只推崇使人性情平和之“雅樂”，而排斥可挑起人情緒的靡靡之音的“鄭聲”。因此中國音樂發展長久以來受制於道德標準，侷限了音樂藝術本身之發展。嵇康在其〈聲無哀樂論〉中突破傳統儒家觀點，以道家之方式重新理解音樂，認為音樂有其自然之和諧，無力負擔任何以傳遞信息之功能，更何況是道德價值等之教化與承傳。這種為音樂藝術而藝術之音樂認知，為千年後的西方漢斯利克學者提出與嵇康相同觀點，認為音樂美在於音樂本身，而非外在所引發的情感，這種對音樂的認知，被後人稱為是音樂的自律美學。本文除了探索嵇康思想底歷史背景外，也展示〈聲無哀樂論〉中的道家思想：以道觀之的音樂間的平等性。 Confucian is the main part in the traditional thought of music of China. A deep moral education can be found in this thought, it is a philosophy whoes purpose makes us to become good. When goodness is seen as a condition for music, so its beauty belongs to goodness, and music is conditioned within the Elegant-Music (雅樂) which makes our nature mild, and the Zheng-Music (鄭音) which stimulates our nature plays no role in the thought of music in China. According to such thought the standard for music is moral not the music itself, and development of muisc in China is therefore severely limited. Ji Kang (嵇康) in his 〈On Music without Feelings〉 (〈聲無哀樂論〉) has another viewpoint against such thought of China, namely understands music by means of Daoism, thinks that music is based on his harmony of its nature and can’t transfer any information and therefore has no ability for education. Hanslick holds the same viewpoint which sees indepently music itself not for any purposes, thinks that beauty in music is music itself, not because of outsider feelings. Such thought is called autonomy of music. In my paper I try to study the historical background for the thought of 嵇康, and show what daoist content in 〈On Music without Feelings〉is: equality between musics from the daoist viewpoint.
