This may be a happy dream that suggests that on some level you feel joy, happiness, and a sense of victory. If you are not in a good mood, and don't feel very joyful, this dream may be compensatory in nature. It may be trying to balance negativity and stress that you feel in daily life. Superstition-based dream interpretation says that dreaming of dancing predicts happy times ahead. Depending on the content of this dream, it may have some sexual connotations.

To dream that you are in a jungle, signifies aspects of yourself and your personality that may be inhibited. You may be experiencing some chaos and unpredictable circumstances in your waking life. Consider the phrase "it's a jungle out there!"

If you are lost or trapped in a jungle, then it indicates that your negative feelings are hindering your progress. You need to come to terms with aspects of your unconscious.

Dreaming that you are in a jungle means aspects of yourself and your personality that may have been inhibited

The jungle could represent your confusing and overwhelming thoughts regarding daily life. If you dream you are in an impenetrable jungle, your unconscious may be revealing to you the anxiety you have about a particular situation, a current difficulty, or the future. If you find yourself freely exploring the jungle, it is a positive dream image that might be encouraging you to go on a new adventure and discover unexplored areas of your own psyche.

The symbolism of music is of the greatest complexity and we cannot
here do more than sketch out some general ideas. It pervades all the component
elements of created sound: instruments, rhythm, tone or timbre, the notes of the
natural scale, serial patterns, expressive devices, melodies, harmonies and forms.
The symbolism of music may be approached from two basic standpoints: either
by regarding it as part of the ordered pattern of the cosmos as understood by the ancient, megalithic and astrobiological cultures, or else by accepting it as a phenomenon of ‘correspondence’ linked with the business of expression and communication. Another of the fundamental aspects of music-symbolism is its connexion
with metre and with number, arising out of the Pythagorean theory (27). The
cosmic significance of musical instruments—their allegiance to one particular
Element—was first studied by Curt Sachs in Geist und Werden der
Musikinstrumente (Berlin, 1929). In this symbolism, the characteristic shape of
an instrument must be distinguished from the timbre, and there are some common
‘contradictions’ between these two aspects which might possibly be of significance as an expression of the mediating rôle of the musical instrument and of
music as a whole (for an instrument is a form of relationship or communication,
substantially dynamic, as in the case of the voice or the spoken word). For
example, the flute is phallic and masculine in shape and feminine in its shrill pitch
and light, silvery (and therefore lunar) tone, while the drum is feminine by virtue
of its receptacle-like shape, yet masculine in its deep tones (50). The connexion
of music-symbolism with self-expression (and even with graphic art) is well in
evidence in primitive music-making, which often amounted to almost literal imitations of the rhythms and movements, the features and even the shapes of
animals. Schneider describes how, hearing some Senegalese singing the ‘Song of
the Stork’, he began to ‘see as he was listening’, for the rhythm corresponded
exactly to the movements of the bird. When he asked the singers about this, their
reply confirmed his observation. Given the laws of analogy, we can also find
cases of the expressive transferred to the symbolic: that is, a melodic progression
as a whole expresses certain coherent emotions, and this progression corresponds
to certain coherent, symbolic forms. On the other hand, alternating deep and highpitched tones express a ‘leap’, anguish and the need for Inversion; Schneider
concludes that this is an expression of the idea of conquering the space between
the valley and the mountain (corresponding to the earth and the sky). He observes that in Europe the mystic designation of ‘high music’ (that is, high-pitched)
and ‘low music’ (low-pitched) persisted right up to the Renaissance. The question of relating musical notes to colours or to planets is far from being as certain
as other symbolic correspondences of music. Nevertheless, we cannot pass on
without giving some idea of the profound, serial relationship which exists in
phenomena: for instance, corresponding to the pentatonic scale we usually find
patterns grouped in fives; the diatonic and modal scale, since it has seven notes,
is related to most of the astrobiological systems, and is unquestionably the most
important of all the series; the present-day tendency towards the twelve-note
series could be compared to the signs of the Zodiac. But, so far, we have not found sufficient evidence for this particular facet of musicsymbolism. All the
same, here are the correspondences as set down by Fabre d’Olivet, the French
occultist: Mi—the Sun, fa—Mercury, sol—Venus, la—the Moon, ti—Saturn,
do—Jupiter, re—Mars (26). A more valid series of relationships, at least in the
expressive aspect, is that which links the Greek modes with the planets and with
particular aspects of the ethos, as follows: the mi-mode (the Dorian)—Mars
(who is severe or pathetic); the re-mode (the Phrygian)—Jupiter (ecstatic): the
do-mode (the Lydian)—Saturn (pained and sad); the ti-mode (the Hypodorian)—
the Sun (enthusiastic); the la-mode (the Hypophrygian)—Mercury (active); the
sol-mode (the Hypolydian)—Venus (erotic); the fa-mode (the Mixolydian)—the
Moon (melancholy) (50). Schneider’s profound investigations into the symbolism of music seem to us well-founded. The tetrachord formed by the notes do, re,
mi, fa, he considers, for instance, to be a mediator between heaven and earth, the
four notes corresponding respectively to the lion (signifying valour and strength),
the ox (sacrifice and duty), man (faith and incarnation) and the eagle (elevation
and prayer). Conversely, the tetrachord formed by sol, la, ti, do, could represent
a kind of divine duplicate of the previous tetrachord. Fa, do, sol, re are regarded as
masculine elements corresponding to the Elements of fire and air and to the
instruments of stone and metal, whereas la, mi, ti, are feminine, and pertain to the
Elements of water and earth. The interval fa-ti, known to musicologists as a
tritone (or augmented fourth), expresses with its dissonance the ‘painful’ clash
between the Elements of fire and water—a clash occurring in death itself (50). We
have been able to suggest here only a few outlines of the music-symbolism
developed by Schneider in his work The Musical Origin of Animal-Symbols, the
scope of which is so wide that, as he has privately intimated to us, he believes all
symbolic meanings are at root musical or at least to do with sounds. This becomes
easier to understand when we recall that singing, as the harmonization of successive, melodic elements, is an image of the natural connexion between all things,
and, at the same time, the communication, the spreading and the exaltation of the
inner relationship linking all things together. Hence Plato’s remark that the character of a nation’s music cannot be altered without changing the customs and
institutions of the State (26).

To hear harmonious and soothing music in your dream, signifies prosperity and pleasure. You are expressing your emotions in a positive way. Music serves to heal the soul.

To hear discordant or out of tune music in your dream, signifies unhappiness, lack of harmony, and troubles in your relationship or domestic life.

To dream of hearing harmonious music, omens pleasure and prosperity.

Discordant music foretells troubles with unruly children, and unhappiness in the household.

To see people you know in your dream, signifies qualities and feelings of them that you desire for yourself. If these people are from your past, then the dream refers to your shadow and other unacknowledged aspects of yourself. It may represent a waking situation that is bringing out similar feelings from your past relationships.

To see people you don't know in your dream, denotes hidden aspects of yourself that you need to confront or acknowledge.

Seeing people you know in your dream means qualities and feelings of those people that you desire for yourself. Seeing people you don't know in your dream indicates hidden aspects of yourself that you need to confront. Seeing people from your past in your dream, refers to your shadow and other unacknowledged aspects of yourself. It can represent a waking situation that is bringing out similar feelings as your past relationships.

To dream that you are in a gymnasium, indicates that you need to apply what you learned and incorporate it into your daily life. Alternatively, the gym may be telling you that you need to get more exercise.

Dreaming that you are in a gymnasium indicates that you need to apply what you learned and incorporate what you already know into your daily life.