中国古代漫长的音乐发展过程中,曾经有过许多具有道家思想的音乐理论,它反映了道教乃至道教音乐对古代中国音乐的影响。我们知道,奠定儒家音乐理论基础的是先秦时期荀子的《乐论》,而道教音乐理论的滥觞则当推嵇康的《声无哀乐论》和阮籍的《乐论》篇。通过荀子《乐论》中的儒家音乐理论和阮籍《乐论》中的道家音乐理论的对照,可以看出后者在音乐理论上具有明显的特点。 荀子《乐论》针对墨子“非乐”的主张,提出音乐的产生和人们对于音乐的需要,是“人情所必不免”的观点,认为人的内在“性术之变”,即 During the long course of ancient Chinese music development, there had been many music theories with Taoist thought, which reflected the influence of Taoism and even Taoist music on ancient Chinese music. We know that the foundation of the theory of Confucian music is Xunzi’s “music theory” in the pre-Qin period, while the Taoist music theory is based on the theory of “music without sorrow and happiness” and Ruan Ji’s “music theory”. Through the comparison of Confucian music theory in Xunzi’s “Music Theory” and Taoist music theory in “Music Theory” of Ruan Ji, we can see that the latter has obvious characteristics in music theory. Xunzi’s “Theory of Music” is based on the idea of ​​“non-music” of Mozi and proposes that the emergence of music and the need of people for music are the notion of “human beings are inevitable”. He believes that the inherent “change of sexuality”