阮籍創作琴曲〈酒狂〉一事，初見於明代朱權編纂的《神奇秘譜》，之後有四本琴譜也收錄了〈酒狂〉，諸譜題解的主旨都放在阮籍藉酒佯狂避禍的無奈心境中。在近現代的音樂學界與琴界，也普遍接受這樣的說法，不但視〈酒狂〉乃阮籍之親作，更認為該曲為中國古代之珍品，有考古上之價值。然而，我們找不到從阮籍到朱權之間的文獻曾記載有關〈酒狂〉的情事，即使是專門記錄琴曲的目錄與為琴家立傳的琴史，也不見有〈酒狂〉之名與阮籍創作琴曲之事；如果，再透過史傳與阮籍的詩文來理解其心理情素，更可發現〈酒狂〉之曲情與阮籍之生命精神不甚相應。以此可證〈酒狂〉之晚出與偽託，與三國末年的阮籍並無關係。另外，稍晚於《神奇秘譜》的《西麓堂琴統》中並沒有〈酒狂〉，而是收錄了其前半部的結構幾乎同於全曲〈酒狂〉的〈流觴〉。〈流觴〉的跋文將曲情與東晉王羲之的蘭亭故事聯繫起來，並隻字不提阮籍與〈酒狂〉。根據筆者彈奏體會，〈流觴〉的情調要近於蘭亭修禊的瀟爽放達而遠離阮籍佯狂的壓抑焦慮，故推測應先有〈流觴〉之琴曲，後遭人截取前半部並附會阮籍之事而成〈酒狂〉，被朱權收入《神奇秘譜》；可是《西麓堂琴統》不從俗說，堅持〈流觴〉的正確題旨，只收錄〈流觴〉而無〈酒狂〉。後人但見《琴統》晚出於《神奇秘譜》，再有阮籍作〈酒狂〉的觀念橫胸，遂謂〈流觴〉乃自〈酒狂〉增益而成，實是不知〈酒狂〉係後人偽託所致。

Ever since Shenqimipu, a book written by Zhu Quan in Ming Dynasty, said that the qin piece “Jiukuan” (The Unbridled Drunkard) was composed by Ruan Ji, musicology and qin circles have commonly accepted this statement and consider this piece a valuable antiquity. However, no texts written between Ruan Ji’s time and Zhu Quan’s time referring to “Jiukuan” were found, and it seems that the style of this qin piece does not correspond to Ruan Ji’s personality. Therefore, I argue that “Jiukuan” was not
composed by Ruan Ji, but someone in a time after the Three Kingdoms period.Xinlutan Qintong, a book published after Shenqimipu, did not include “Jiukuan,”but contained “Liushan” (Wine-Bowls on the Flowing Water), a piece that had a structure in its first half almost identical to that of the whole piece of “Jiukuan.” The postscript followed the piece “Liushan” in the book connected this piece to Wang Xizhi’s Langting (Orchid Pavilion) story in Jin Dynasty, rather than Ruan Ji and“Jiukuan.” When I play the piece “Liushan,” I feel that this piece reminds me of the
unrestrained mood in Langting story, far from Ruan Ji’s anxiety. My hypothesis is that the piece “Liushan” existed prior to “Jiukuan.” The first half of the former has been re-arranged and entitled “Jiukuan,” referring to Ruan Ji’s story.