"Music Has in It Neither Grief nor Joy" is one of the essays written by Ji Kang, a famous literary figure in the end of the Wei dynasty. In this paper, I intend to analyze this work and through it to understand Ji Kang's character as a writer. In chapter one, the highly logical attitude of this essay is explained. This essay is written in dialogue style between Host of Dong-ye 東野主人 and Guest from Qin 秦客, while Ji Kang's view is given through remarks of the former. However, the considerable point is the accurate correspondence between the two imaginary debaters and the highly logical--sometimes sophistic--arguments by Host of Dong-ye, namely Ji Kang. This point is considered to reflect an important characteristic of Ji Kang, who was, even more so than general understanding, an eager polemic and a sharp rhetorician. In chapter two, the significance of this essay as a philosophy of music is considered. In ancient China, music was thought to be a carrier of the emotions of performers or composers. Accordingly, it was said that a ruler could judge the condition of people by listening to their music, and could influence them to make a virtuous society by diffusing virtuous music. Ji Kang, however, objects to this traditional view and insists that music has no emotional content. In his theory, music does not transmit emotion but releases emotions already existing in each listener. He emphasizes the essence of music as "harmony 和", not emotion, where this "harmony" has the power of prompting all kinds of emotion. This paper analyzes the concept of "harmony" as being very similar to that of Dao 道, which in itself nothing but can be the source of everything. Taoism 道家思想 did not originally respect music and did not have an effective philosophy of music. However, in this essay, Ji Kang applies Taoist ideas and presents his own theory. In chapter three, two problems found in this essay are treated. One is the problem of "good 善" and "bad 惡". As a whole, Ji Kang emphasizes "harmony" in music, but sometimes he remarks that there is "good" or "bad" in music. This paper considers it to be a fault of this essay, because, if checked against his principle, "good" or "bad" must be judged by listeners and, as with "grief" or "joy", cannot exist in music itself. The other problem is about the eighth paragraph. In this paragraph, Host of Dong-ye says "the essence of music is such that the mind is the central thing 樂之爲體, 以心爲主". These words seem to contradict Ji Kang's idea that separates the essence of music from the human mind. On this problem, however, this paper notices his usage of the word "Yue 樂" and concludes that it is not a contradiction. "Yue" is one of the words to mean music, but when explains his own theory, Ji Kang deliberately avoids using the word "Yue". Therefore, even though he admits the role of the human mind in "Yue", this "Yue" is different from "music 聲" in his theory. In chapter four, Ji Kang's view of "nature 自然" is considered. As stated in the third paragraph, "music has a natural harmony; it is unrelated to human feelings 音聲有自然之和, 而無係於人情". His "harmony" belongs to "nature", and this "nature" tends to be opposed to the human mind and society. It has already been pointed out by scholars that his view of "nature" is unique, compared even with that of his intimate friends. For example, Ruan Ji 阮籍's "nature" seems ultimately to embrace all possible realities, including human society. However, Ji Kang seems to regard "nature" as independent from society, and as possessing its own law. This paper hypothesizes that this view of "nature" may be related to Ji Kang's critical attitude toward social reality, which finally led him to be executed as an offender.