本文試圖將《莊子》「三籟」思想結構層次與〈聲無哀樂論〉之「聲情關係」結構相互對應，進而得知〈聲無哀樂論〉旨在引用「三籟」典故以揭示聆樂者得以透過聆樂活動而展現某種「體道之情」，亦即是一種同樣出自於「人心」，但其卻得以受到「和聲」引導轉化的自然和諧之「情」，因而此「情」將有別於僅是基於「哀心有主」主導下所引發的「成心之情」。在此對應關係中，正顯現出〈聲無哀樂論〉對於《莊子》「三籟」思想的繼承與轉化。具體而言，此種「體道之情」即是一種聆樂者在受到「和聲」引導之「躁靜和應」下而仍然能夠引發出的「哀樂情應」，且此種聆樂的情感反應亦即是一種得以昇華轉化進而趨向平和的哀樂情應。如此一來，〈聲無哀樂論〉的「聲情關係」中即蘊含了某種工夫向度，亦即是指聆樂者得以透過聆樂活動進而修練轉化自我的內心情性，以促使自身的內在心境趨近平和的體道境界。

This paper seeks to identify the correspondence between the structure of “Three Notes” in Zhuangzi and that of “Sound-Feeling Relation” in “Sheng Wu Ai Le Lun.” This paper finds that by making reference to “Three Notes” in Zhuangzi, Ji Kang with his “Sheng Wu Ai Le Lun” attempts to address that certain “embodied Dao feeling” can emerge through listening to music. However, such feeling is different from another common feeling, the “will-steered feeling” out of a listener’s grief or sorrow. Due to the fact that the “embodied Dao feeling” is a naturally harmonious one led by and transformed from harmonious sound, “Sheng Wu Ai Le Lun” can be evidently regarded as inheriting from and transforming the idea of “Three Notes” in Zhuangzi. In other words, such “embodied Dao feeling” is the peaceful response of sorrow or joy aroused in a listener’s restless or tranquil state of mind led by harmonious sound; the listener’s response reveals an active transforming process between objective sound and subjective feeling. Thus, the “Sound-Feeling Relation” in “Sheng Wu Ai Le Lun” implies a practice aspect to listeners. That is, through listening to music, a listener can engage in the practice of transforming personal feeling in order to help one’s inner mind going into the peaceful state of the embodied Dao.