摘要
阮籍〈樂論〉的主要特色，在於建構一音樂的形上體系，其將自然之道視為音樂的本體，並以音樂的和諧、秩序做為理想，將此延伸到具體的社會之中，試圖建構出一上下有等、尊卑有序的人倫世界。因此，其一方面肯定儒家樂教的作用，認為禮的功能在制定規範，而樂則在感化人心，透過禮樂的教化作用，使風俗齊一，但另一方面卻又在儒家的樂論之中，融入了道家平淡的精神，提出「正樂聲希」、「五聲無味」的說法，將儒家所謂「樂者，樂也。」（《禮記•樂記》）轉向了「至樂無欲」的虛靜境界，認為唯有心澄氣定、無欲無執之主體，才能體會平和自若之樂聲，因此在音樂的理想上，阮籍崇尚雅樂，而在主體的心靈層面，則須透過「返自然」的修養工夫，才能重新體察此一自然之道。
並列摘要
Ruan Ji's music theory intended to build up the metaphysical system which viewed Tao as the essence of music. He took harmony and order as the idea to construct the high and low order in the world of human relations. Hence, he approved the ”yue education” thought of Confucian school because of its function to transform social traditions. On the other hand, Ruan Ji also blended the Taoist prosaic spirit into the ”yue education” thought of Confucianism, and changed the aesthetic perception of ”music equal to the happiness” to the Taoist ”Xujing” realm. He indicated that only the subject who regulates all the desires can realize the prosaic music. Therefore, Ruan Ji praised ”the court music”, but he indicated that only the subject has the practicism of returning to nature can reflect on Tao.