大多數｢樂府｣研究者對於｢樂府｣的基本假定為：｢樂府｣的性質需以漢代之｢樂府｣為準。在這樣的一個基本假定下，近體詩、宋詞、元曲都會被摒除在｢樂府｣之外。但我們在曲學文獻資料中，卻經常可見以｢樂府｣一詞來指稱戲曲或散曲，甚至於曲家的別集或選集都有以｢樂府｣為題，可知｢樂府｣一詞在古典曲學中是相當重要的概念。故本論文即欲探究｢樂府｣一詞在古典曲學中的概念義涵。由是，本論文並不持著｢樂府｣的性質需以｢漢樂府｣為準的觀點作為基本假定，而是試圖回到古典戲曲文獻史料本身進行分析，試圖將曲學文獻中出現的｢樂府｣概念進行系統性的釐清，並探究其深層所隱含的意義。為了達成以上研究目的，本論文先分析曲論中出現｢樂府｣一詞的構詞方式與內涵；其次，從中探討曲論家將視為｢小道｣之曲體進行文體地位提升的現象，即曲論家通過辨明音樂性、語言藝術性繫連｢曲體｣與｢漢樂府｣，建立出兩者間的源流關係，也就是｢體源論｣，其目的即是為了確立曲之正統文學地位；最後，從｢樂府｣一詞所出現的｢泛化｣與｢典範化｣現象，探討｢樂府｣一詞在文學史建構上的功能性。

This study aims to explore the connotations of (Classic Poems) in the classical theory of drama. It will not be based on the perspective emphasized in Han Yuefu as a basic assumption; the analysis will rather be conducted from the viewpoint of the classical theory of drama so that the concepts and implied meanings can be clarified systematically and profoundly. The word-formation method and connotation of Yuefu is first analyzed; secondly, the elevated stylistic level in Singing is researched, particularly＂minimal skill＂ (Xiaodao). By differentiating the nature of the music and language in art history, Singing and Han Yuefu were combined in order to establish the relation between the original format and its later development, which is the so-called theoretical origin. It affirms its sructural position in literature and finally, the researcher generalizes the functions based on the phenomena of generalization and perfectionism repeatedly appearing in Yuefu.