Mozi was a great thinker during the Spring and Autumn and Warring States periods in Chinese history. Mozi put forward the idea of ??"non-happiness" in view of the fact that the aristocracy at that time "not tired of having fun" indulged their selfish desires, "robbed the people of their food and clothing" to enjoy themselves wantonly, and did not put the interests of the people first. Confucianism and Mohism have the same or similar ideological sources. As important organic components of the traditional Chinese cultural and ideological system, they also have very similar spiritual support due to the same and profound historical reasons. This is People-centered social ideals and humanistic spirit. Its deep spiritual structure is people-oriented, and it has finally become the mainstream form of the Chinese national humanistic spirit, and has become the foundation of the Chinese traditional cultural spirit and the spiritual moralization and social humanization of life concepts. The humanistic spirit in Mohist thought is mainly reflected in the spirit of "non-attack", "frugality" and "salvation" with the spirit of "universal love" as the core. This kind of thought, as a kind of spiritual support, penetrates into all fields of Mozi's thought. This is also the intrinsic factor that gave rise to Mozi’s thought of “non-happiness”. Mozi's "Fei Yue" takes "frugal use" as the principle and "universal love and mutual benefit" as the core, and repeatedly demonstrates the harm of music from different angles. Out of his love for the fruits of his class's labor, he opposed the rulers' use of music as a tool for luxury enjoyment. This was a manifestation of people's nature and progress, and was also the brilliance of Mozi's thought. Most academic circles hold a relatively negative attitude towards Mozi's thought of non-joy. This relatively negative attitude generally believes that although Mozi's "non-joy" has the rationality to expose the ruling class's "depriving the people of food and clothing for pleasure", it is also reasonable. Mozi's discussion from the standpoint of small producers is somewhat one-sided and inevitably has its class limitations. Mozi's musical thoughts are unique in the history of Chinese music aesthetics. We cannot affirm or deny his simple conclusion. It is not difficult to look at the problem in two, put it in a specific historical environment, combine the artistic spirit of traditional Chinese culture, and grasp the kinship connection in Mohist music thought and culture based on the main meridians of the humanistic spirit running through it. Get a new understanding of it. It provides important ideological understanding possibilities for sorting out the development of traditional Chinese music aesthetic thought, that is, redefining the important position and historical influence of Mohist musical thought in the Chinese traditional music aesthetic thought system, and also making it necessary in Chinese music aesthetic thought. Important organic components mentioned.