本文透過魏晉玄學「儒道互補」的基源問題，探討當時椏富有時代精神的代表人物

阮籍，從詩文、史傳資料的判斷，與其思想本質上切入，針對〈樂論〉一文進行一番深入的探究，以歸結出阮籍的音樂思想O依此，從他的許多觀念析論之，是繼承中國傳統儒家的理論，如論音樂的「和」與「樂J'雅樂與淫聲之辨，禮、樂、刑、教四者，是為政的條件等觀念，都可以從儒家的音樂思想中，找到相似的言論根據O然而，阮籍音樂思想的特出處，在於論其音樂的本質，是來自於自然之道，以天地之體，萬物之性的道家形上思想，作為音樂的根本來源，自然是萬物本然的性情，則以此為基礎，進而融合儒道思想，以論音樂審美觀最高理想一一「和」的境界O因此，由〈樂論〉一文中，可以看到阮籍論樂的產生和目的，在於調和陰陽、娛悅鬼神、變化氏俗、教化人氏與神人相通O這種思想，因而展現音樂對自然界、社會和人類精神的作用，亦表現魏晉玄學的思想性格O總之，阮籍作〈樂論〉一篇，不但繼承儒道家思想音樂觀，也展現「儒道互補」的特色O

This article focuses on the main basics of complementary of Confucianism and Taoism by Wei Chin's mysticism. From the representative of Roan Chi， who was the most important scholar in his days， analyzes the main ideas of his own thoughts and essence of theory in order to conclude his thoughts of music. And many of his theories are derived from traditions of Confucianism， as well as “harmony"and “music，\"which were from concepts of courtesy， music， penalty， and civilization. They are quite similar to Confucian theory. In particular， Roan Chi's musical theory concentrates on essence of nature. Based on this kind of artistic theory， he combines thoughts of Confucianism with Taoism to achieve the highest ideal of musical art-the world of “harmony."Owning to his
article， “Theoryof Musicals，\" we may observe the pu中oses of Roan Chi's musical production in order to consist of harmonizing Ying-Yang， respecting gods and ghosts， changing customs， educating people， and interrelation between gods and humans. In conclusion，“Theory of Musicals" represents specific features of Complementary of Confucianism and Taoism and inherits Confucian and Taoist thoughts of music.