“大、中、小芦笙的配置蕴涵着阴阳学说。大芦笙属阳、地筒属阴;次大芦笙属阳、中芦笙属阴;次中芦笙属阳、小芦笙属阴。整堂芦笙的配音中大、次大芦笙为天音;地筒、小芦笙为地音;中、次中芦笙为人音。即大、次大芦笙为高、远位音;中、次中芦笙为次高、次远位音;小芦笙、地筒为低、近位音;高、远、次高、次远、低、近位音合成一体。”在芦笙配置的表层和谐背后,是侗族人深层的生命追求和文化内涵—— Large, medium and small Lusheng configuration implies the theory of yin and yang. Large Lusheng is a positive, ground tube is a negative; Sub Lusheng is a positive, in the Lusheng is negative; sub-Lusheng is a positive, small Lusheng is Yin. Whole Lusheng The soundtrack in the big and second largest Lusheng day tone; to tube, small Lusheng for the sound; in the second Lusheng vocals, that is, the second Lusheng high, far sound; in the second Lusheng secondary , The next far sound; small Lusheng, ground tube is low, near sound; high, far, second highest, second, far, low, near sound synthesis. "Lusheng configuration behind the harmony of the surface, The pursuit of life and cultural connotation -