在東亞世界的音樂思想史上，儒家一直享有正統地位。在後世被反復轉述的儒家樂論之主要看法是「聖人作樂」、「雅鄭對立」、「移風易俗」、「樂為至上」等，而當代音樂思想討論中莊子思想相對受到冷落。但是，莊子音樂論卻是對後世音樂討論起到了深刻作用的，不但在儒家樂論的批判性著作中能找到其影響，而且在國家主導的雅樂重構試圖中也可以發現其明顯印跡。東亞世界官方文書中所體現的莊子音樂論的印跡主要可分為如下兩種：（一）在儒家為正統的基礎上，以莊子的論點補充儒家樂論（二）深刻接受莊子的批判，嘗試改造儒家樂論。

Zhuangzian musical thought has been rarely discussed in history of musical thought, while Confucian musical discourse such as Sage originated music, Musical evaluation or hierarchy, and Musical edification, has been enjoying legitimacy. However, Zhuangzian musical thought has played a profound role in later periods, not only for some critical thinkers’ works but also for state attempts to reconstruct court music in East Asia. In this paper, by taking instances respectively from Song dynasty in China and Joseon dynasty in Korea, I will examine how Zhuangzian criticism influenced and transformed Confucian musical discourse. On the one hand, Zhuangzian idea allowed later scholars to supplement and thereby enhance Confucian musical theory. On the other hand, the idea inspired them to explore new musical ideas away from orthodox Confucian basis.