本文就當代研究〈聲無哀樂論〉的三種論點........

This paper reconsiders three contemporary approaches to Wusheng-aiyü e-luen：（1）distinguishing between xeng（vocalization）, yin（sound）, y üe（music）;（2）all-inclusive receptive aesthetics;（3）on zaojing（ unsettled quietude）and qingxü（emotion）. Firstly, by tracing the development from yü through yin to xeng, this study will lay bare Taoist way of ‘grasping’ and deconstruct the humanistic evolution from xeng through yin to yüe. This article suggests that shengwen（ listening to a text）outweighs mingli （comprehending）, which involves xüangli and cautions against continuing such studies that center around distinguishing between xeng, yin, and yüe. Secondly, this paper reflects on receptive aesthetics, which accepts all possible interpretations. Such an approach can be accused of over-interpretation; besides, it seems to stop on the level of wenyüe（hearing about the music）, not reaching the level of tingyüe（listening to music）. Thirdly, this study re-examines the concepts of zaojing（unsettled quietude） and qingxü（emotion）, which are rooted in contemporary affective aesthetics. Such a trend of study mystifies Jikang’s concept of zaojing leading to Dao through qi and thus blurs its profound meaning. This paper will evaluate these approaches and attempt to clarify the nature and significance of shengwen（listening to a text）.