《乐记》与《声无哀乐论》是中国古代最重要的音乐美学著作。由于它们对音乐本质的不同理解对音乐与情感的关系形成了截然不同的观点。《乐记》强调音乐的情感表达对人身心的调节作用,重在说明音乐教育的社会作用;《声无哀乐论》明确提出“声无哀乐”的观点却又没有否认音乐对人心巨大的感染作用,强调在音乐教育中关注主体的审美感受和审美心态。 “Music in mind” and “sound no sorrow and sorrow” is the most important musical aesthetics in ancient China. Because of their different understanding of the nature of music on the relationship between music and emotion formed a completely different perspective. “Music Note” emphasizes the emotional expression of music on the body and mind to regulate the role, focusing on the social role of music education; “no sorrow and sorrow” clearly put forward the “sound without sorrow and sorrow” point of view but did not deny that the music on the huge heart The role of infection, emphasizing the main aesthetic education and aesthetic attitude in music education.