“乐象”在《荀子·乐论》中初显端倪,而完善于《礼记·乐记》,作为礼乐文化、古音乐学中极其重要的范畴,它的产生、发展、延伸有其内在的理路。在“音”“声”“乐”三者的离合、勾连中,“乐象”保持了多义性与丰富性。在“音声舞”的变化中,“乐象”作为“歌乐舞”的合一,具有原生性、综合性,不能被其他后起、外来的概念所取代。 “Music Elephant ” appeared in “Xunzi Music Theory”, but it was perfect in “Book of Rites Music and Music” as an extremely important category in ritual music culture and ancient musicology. Its emergence, development and extension Have their own inner reason. In the “sound ” “sound ” “music ” three clutch, hook, “music like ” to maintain the ambiguity and richness. In the change of “sound dance”, “” “elephant” is the unity of “singing, dancing and singing”, which is original and comprehensive, and can not be replaced by other concepts of being up and coming.