歌舞樂形式的音樂，在音樂史不同時段中均曾出現。歌舞樂三者都具備的唐代《大曲》，被認為需擁有高度的協調性，內容表現也被認為能有更多的內涵與張力，是音樂高度發展下的產物。但在中國古代音樂史的遠古篇中，同樣也提及歌舞樂一體形式，而對於此時期的歌舞樂一體現象，卻被認為是一種三者不可分的形式，是音樂發展的雛形。如果歌舞樂一體形式，是一種三者相互協調的產物，理應為一個高度發展的成果。但如果其做為音樂的雛形，它可能會以一個怎樣的樣貌相互依存？本文對於雲南哀勞山深處，很晚才受現代化影響的一個小村落：垤施，現今仍存在，被村民認為擁有長時間傳統的彝族尼蘇人歌舞樂一體的「則比」進行分析，認為村民所擁有的，應是從音樂起源開始，至高度發展之前，歌舞樂一體音樂組合形式的其中一種樣貌。

Music with singing-dancing-instrumental playing form has appeared in the different historical periods of Chinese music. The Daqu in the Tang dynasty, which was the singing-dancing-instrumental playing form, is considered to have high cooperation and coordination. Its expression is believed to be more connotation and tension. It is the product of highly developed form. However, the singingdancing- instrumental playing form is also mentioned in the ancient times of the Chinese music history, which is considered to be unseparated and is the origin of the music. If the singing-dancing-instrumental playing form is a product, which should be coordinated, it should be the result of a highly developed musical form. Whereas the origin of the music raises the question: should singing, dancing and instrumental playing be depended from one another? Through analysis of the singing-dancing-instrumental playing form in Dishi, a small village in the remote Ailao Mountain, which was not modernized until recently, the relationship between its original and high development among these three elements can maybe be explained.