《莊子‧天運篇》「黃帝咸池論樂」段落是《莊子》論述音樂美學與道論的重要文獻，它論述北門成聽聞黃帝於咸池奏樂而聞道的歷程，主要區分成三個環節：「始聞之懼」，「復聞之怠」，「卒聞之而惑」。本文本於鍾泰《莊子發微》注解並比較諸家注釋，進一步將之貫穿於《莊子》文本而進行的哲學詮釋，主要提出：(一) 本段落並非只是北門成聞樂(道)之主體心理反應，它也表述《莊子》對於天道運化歷程的觀點。(二)「始聞之懼」並非如傳統注疏所謂因一開始不懂天樂所導致的恐懼感，而是指人初聞天樂（道）所產生的某種「震撼」與「人天撕裂」之成道自覺。(三)「復聞之怠」非只是再聞其聲，稍懂音樂意旨，所以恐懼之心退息；而是聞道者向著天道「跳躍」與「建基」的歷程與環節。(四)「卒聞之而惑」，並不止於主體與客體的區分消失後的體悟道體境界，而是更具有天道之「運化」本身與聖人「化施」個別萬物的雙重意義。企盼本文能為當代《莊子》詮釋提供一新的詮釋視野。

The section of "Zhuangzi's Tianyun Pian" (天運篇)"Huang Di Xianchi's Theory of Music" (黃帝咸池論樂) is an important document in the discussion of music aesthetics and Taoism in Zhuangzi. It discusses the process of listening to the music of Huang Di at the Xianchi, which is mainly divided into three moments, "The shock of the first listening" (始聞之懼), "The Dai (rise-up,奮豫) of the re-examination" (復聞之怠), "The last heard of the transportations of Dao." (卒聞之惑). This article is based on Zhongtai's annotations of "Zhuangzi Fawei"(莊子發微), and compares the notes of others, then interprets it through the philosophical interpretation of the texts of "Zhuangzi" further. It mainly proposing: (1) This paragraph is not only Beimen Chengwen's (北門成)psychological reactions about Music (Tao), it also expresses the views of Zhuangzi on the process of Tiandao's (天道) transportations.(2) "The shock of the first listening", is not like the traditional annotations of fear caused by the inability to understand music or Tao at the beginning ,instead, it refers to the sensation of some kind of "shock" and "tearing" produced by Tao.(3) "The rise up of the re-examination" is not just to hear the sound again, so the heart of fear retreats; it is the course and moments of the "jumping" and "building foundation" of the Taoist. (4) "The last heard of the operation of Dao." is not limited to the realization of the Taoist realm after the disappearances of the distinction between the subject and the object, but the dual meanings of the "transportations" of Dao itself ,and also the sage's "transformations" of the individual things. We hope that this article can provide a new perspective of the interpretations of the contemporary "Zhuangzi".