〈聲無哀樂論〉是一場知識論上的辯論，含藏著嵇康對王弼「得意忘象、得象忘言」的批評。辯論的焦點在於人是否可以不透過約定俗成的符號，直接掌握演奏者的情感與意圖。辯論中的東野主人否認這種可能性，並指出音樂即是音樂，而非承載演奏者情感甚或是社會教化的工具。反方的秦客則認為演奏者所發出的音響與他的情感有內在的聯繫，但唯有善聽者能從其中辨識其意義。現今的結構符號理論與東野主人之說若合符節。對試圖突破現有理論而言，秦客提出的理論則深具啟發。本文探究秦客理論中善聽者辨識聲音意義的機制，並與人類學的身體理論進行對話，以探求新的研究契機。

The “Sheng wu aile lun” 聲無哀樂論 presents an epistemological debate on the problem of whether a person can grasp the music producer’s emotions and intentions without the help of symbols. Dongye Zhuren 東野主人, who represents the author Ji Kang’s 嵇康 perspective, denies this possibility. His opponent, Qin Ke 秦客, by contrast, proposes a theory that explains why certain music listeners could connect to the inner state of the music producer through music. While Dongye Zhuren’s point is similar to Saussurean structuralism, it is Qin Ke’s position that has the potential to offer a breakthrough. This article examines Qin Ke’s reasoning and compares it to several theories of the body that also try to make a similar type of breakthrough.

善聽；身體技藝；姿態；拓印；感應；符號

hearing；corporeal techniques；gesture；mapping；empathy；sign