本文意在突顯「樂」於儒家成德概念中所扮演的特殊角色，故由「樂」／「語」的關係重新進行反省，揭櫫儒家所謂之「樂」正是以一種「類語言」的形式，甚至有時是以「元語言」或「對象語言」之姿，成為闡釋儒家德性論的根據；同時翻轉以樂論主導音樂的研究路向，釐析儒家樂教內容中，樂論／音樂／道德間之「元語言」及「對象語言」的區別，重新掘發音樂在儒家思想中所扮演的「類語言」角色，進一步展示儒家之樂教雖有別於傳統詩教的「比興」語文系統，然內
在亦隱涵有一特殊的「興」的情境作用；而後經由「即樂起興」的途徑與趨向，實際展示儒家之樂教理論與理想人格間的相互「映照關係」，用以展示個體生命之圓融人格具現之際，所得以形成群體生命和諧秩序的存有境界。

This study aims to highlight the specific role that “music” played in the
perspective of morality as delineated in Confucianism. By reviewing the
relationship of “music” and “language”, the form of “music” defined in
Confucianism is revealed by Pseudo Language, Metalanguage or Object
Language so that the fundamental theory of morality can be explicated.
At the same time, the researching direction in regard to music, based on
music theory, is then transformed. The distinction of Metalanguage and
Object Language among music theory/music/morality as clarified in
Confucianism is therefore analyzed in order to re-explore the role which
Pseudo Language played in music education in the concepts of
Confucianism. Furthermore, music education is different from the
language system of inspiration in traditional poetry education, yet its
intension has a unique function in terms of situation. By examining the
approach and trend of “Music Inspiration” a reflective relationship
between music education theory and ideal personality can be accurately
presented. As a result, the existing realm of harmonious discipline can be
formed by groups while presenting the congenial character of individuals.