《樂記》與《聲無哀樂論》均涉及音樂與情感的內容，二者在音樂起源與情感、音樂感人方式以及音樂情感與政治關係等方面多有不同。在音樂起源與情感關係上，《樂記》提出音樂起源於「物觸心感」，主張音樂「有情論」；《聲無哀樂論》認為音樂起源於自然之和，主張音樂「無情說」；在感人方式上，《樂記》提出音樂系「以類相動」；《聲無哀樂論》則提出音樂系「以和動人」；在情感與政治關係方面，《樂記》肯定了音樂與情感的一致性，提出審樂以知政；《聲無哀樂論》卻以「心聲二元論」為理論基礎，對儒家「審樂知政觀」進行了批判。

YueJi and Music Without Emotions both involve with music and emotional content, but there are also many differences between them in many aspects for example: music origin and emotion, the way of music touching people’s hearts and the relation with music emotion and politics. In terms of the relationship between music origin and emotions, YueJi points out that the music originates in touching the heart feeling, so it advocates music has feelings. Music Without Emotions thinks the music originates in the harmony of nature, so it advocates music has no feelings. In the way of moving people's hearts, YueJi thinks that music is consistent with emotion, But Music Without Emotions thinks that music moves people's hearts with harmonious melody. In the relation between music emotion and politics, YueJi confirms the consistency of music and emotion, and it advocates examining music to know politics; But Music Without Emotions bases on the theory of voice and heart dualism, It criticizes the concept YueJi discussed above.