本文嘗試分析莊學對於音樂的相關思索，特別是全面地分析莊學所賦予音樂的意義盛載。本文認為，除了對音樂的價值、功用，以及流弊等內涵進行討論外，作為莊學樂論的核心內涵，乃是以樂舞、謳歌、萬籟齊鳴等音樂形式及音樂意象來呈現生命之本真與天地之本體，此點似為學界在闡發莊學的樂論時所尚未全面關注者。在架構上，按照學界一般認為《莊子》內篇為莊子所作，外雜篇屬莊子後學作品之觀點，本文將分兩部分論述﹕首先考察《莊子》內篇中莊子的音樂思維﹔其次再就《莊子》外、雜篇分析莊子後學對於莊子音樂思維的闡發。這樣的處理方式，或許較能呈現出莊學音樂思維的整體內涵與發展脈絡。

This paper tries to analyze the thought on music of the School of Chung Tzu, and focuses especially on the analysis of meanings with which the School of Chung Tzu imbues music. In addition to the discussion about values, functions, and abuses of music, this paper points out that the crucial part of musical theory of the School lies mainly on the disclosure of the truth of life and ontology of the universe, which are accomplished through musical forms and images, such as dance, chorus, and heavenly natural sound. It seems often to be ignored in scholarly discussion about musical theory of the School. In accordance with the framework of Chung Tzu, my paper would also be divided into two parts. Chung Tzu's thought on music, represented authentically in "Inner Chapters" in Chung Tzu, would first be argued. Then, we can have a look at interpretations and inspirations of the followers of Chung Tzu according to "Outer Chapters" and "Other Chapters" in Chung Tzu. Through this arrangement, this paper tries to represent the content and the development of Chung Tzu's musical theory better.