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樂誌上
Treatise on Music, Part One
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古之王者，理定制禮，功成作樂，所以昭事天地，統和人神，歷代已來，舊章斯在。 洎唐季之亂，鹹、鎬為墟； 梁運雖興，《英》、《莖》掃地。 莊宗起於朔野，經始霸圖，其所存者，不過邊部鄭聲而已，先王雅樂，殆將泯絕。 當同光、天成之際，或有事清廟，或祈祀泰壇，雖簨虡猶施，而宮商孰辨？ 遂使磬襄、鼗武，入河、漢而不歸； 湯、舜韶，混陵谷而俱失。 洎晉高祖奄登大寶，思迪前規，爰詔有司，重興二舞。 旋屬烽火為亂，明法罔修，漢祚幾何，無暇制作。 周顯德五年冬，將立歲仗，有司以崇牙樹羽，宿設於殿庭。 世宗因親臨樂懸，試其聲奏，見鐘磬之類，有設而不擊者，訊於工師，皆不能對。 世宗惻然，乃命翰林學士、判太常寺事竇儼參詳其制，又命樞密使王樸考正其聲。 樸乃用古累黍之法，以審其度，造成律準，其狀如琴而巨，凡設十三弦以定六律、六呂旋相為宮之義。 世宗善之，申命百官議而行之。 今亦備紀於後，以誌五代雅樂沿革之由焉。
The kings of old established ritual once order was settled and composed music once their achievements were complete, thereby making clear their service to Heaven and Earth and harmonizing the realms of human and spirit. From age to age, those ancient regulations have endured. When the late Tang fell into chaos, the ritual centers at Xian and Hao were reduced to ruins; and though the Liang dynasty rose in their place, the ancient pieces Ying and Jing vanished entirely. Zhuangzong rose from the northern marches and set about his bid for dominion, yet all that survived in his court was the vulgar Zheng music of the frontier; the elegant music of former kings was all but lost. During the Tongguang and Tiancheng reigns, rites were still held at the imperial temple or prayers offered at the great altar, but though ritual frames and plumes were set in place, who could tell one pitch from another? Thus masters such as Qixiang and Taowu went off to the Yellow and Han and never came back; and the Shao music of Tang of Shang and Shun of Yu was swallowed up with the hills and valleys, lost without trace. When Jin Gaozu at last took the throne, he sought to follow the precedents of old and ordered the responsible offices to revive the two ritual dances. Soon war-fires blazed again, proper law went untended, and the Later Han mandate lasted only a few years—there was no time to complete the work. In the winter of the fifth year of Xiande under the Zhou, as the year-end guard ceremony was being prepared, the responsible offices erected lofty frames with plumes and set them up overnight in the palace courtyard. Shizong went in person to inspect the suspended instruments and test their sound. He found bells and chimes set out but left unplayed, and when he questioned the craftsmen, none could explain why. Deeply troubled, Shizong ordered the Hanlin academician and acting director of the Court of Imperial Sacrifices, Dou Yan, to review the regulations in detail, and the Privy Council commissioner Wang Pu to correct the pitches. Pu applied the ancient method of stacking millet grains to determine the measures and built a pitch standard shaped like an oversized zither, with thirteen strings arranged to establish the six lü and six lü alternately generating the tonic. Shizong approved the design and directed all officials to deliberate and put it into effect. What follows records these matters in full, tracing how elegant music evolved through the Five Dynasties.
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梁開平初，太祖受禪，始建宗廟，凡四室，每室有登歌、酌獻之舞：肅祖宣元皇帝室曰《大合之舞》。 敬祖光憲皇帝室曰《象功之舞》。 憲祖昭武皇帝室曰《來儀之舞》。
Early in Kaiping of the Liang, when Taizu accepted the abdication, he established the ancestral temple with four chambers. Each chamber had dances for the ascending song and the libation offering: the chamber of Sole Ancestor Emperor Xuan Yuan used the Dance of Great Harmony. The chamber of Revered Ancestor Emperor Guang Xian used the Dance of Symbolizing Merit. The chamber of Ancestor of the Constitution Emperor Zhao Wu used the Dance of Coming Rites.
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烈祖文穆皇帝室曰《昭德之舞》。 登歌樂章各一首。 〈（《五代會要》云：太常少卿楊煥撰。）〉 二年春，梁祖將議郊禋，有司撰進樂名、舞名：樂曰《慶和之樂》。
The chamber of Illustrious Ancestor Emperor Wen Mu used the Dance of Manifest Virtue. Each chamber had one hymn for the ascending song. (According to the Five Dynasties Institutional Compendium, these were composed by Vice Director of the Court of Imperial Sacrifices Yang Huan.)〉 In the spring of the second year, as the Liang founder prepared to discuss the suburban sacrifice, the responsible offices submitted proposed names for the music and dances: the music was to be called Music of Celebrating Harmony.
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舞曰《崇德之舞》。 皇帝行奏《慶順》。 奠玉帛登歌奏《慶平》。 迎俎奏《慶肅》。
The dance was to be called the Dance of Honoring Virtue. When the emperor processed, Celebrating Compliance was played. At the offering of jade and silk, the ascending song Celebrating Peace was performed. When the sacrificial stands were brought forward, Celebrating Solemnity was played.
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酌獻奏《慶熙》。 飲福酒奏《慶隆》。 送文舞迎武舞奏《慶融》。 亞獻奏《慶和》。
At the libation offering, Celebrating Radiance was played. At drinking the blessing wine, Celebrating Abundance was played. When the civil dance departed and the military dance entered, Celebrating Fusion was played. At the secondary offering, Celebrating Harmony was played.
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終獻奏《慶休》。 樂章各一首。 太廟迎神，舞名《開平》。 皇帝行、盥手、登歌、飲福酒、徹豆、送神，皆奏樂。
At the final offering, Celebrating Rest was played. Each stage had its own hymn. For welcoming the spirits at the imperial temple, the dance was named Kaiping. Music was performed for the emperor's procession, hand-washing, ascending song, drinking the blessing wine, removal of the vessels, and sending off the spirits.
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樂章各一首。 唐莊宗光聖神閔孝皇帝廟室酌獻，舞《武成之舞》。
Each had its own hymn. For the libation offering at the temple chamber of Tang Zhuangzong, the Guang Sheng, Shen Min, Filial Emperor, the Dance of Martial Accomplishment was performed.
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登歌樂章一首。 〈（《五代會要》云：尚書兵部侍郎崔居儉撰。）〉 明宗聖德和武欽孝皇帝廟室酌獻，舞《雍熙之舞》。 登歌樂章一首。 〈（《五代會要》云：太常卿盧文紀撰。）〉
One hymn for the ascending song. (According to the Five Dynasties Institutional Compendium, it was composed by Vice Minister of War Cui Jujian of the Secretariat.)〉 For the libation offering at the temple chamber of Mingzong, the Sheng De, He Wu, Qin Xiao Emperor, the Dance of Harmonious Splendor was performed. One hymn for the ascending song. (According to the Five Dynasties Institutional Compendium, it was composed by Director of the Court of Imperial Sacrifices Lu Wenji.)〉
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晉高祖聖文章武明德孝皇帝廟室酌獻，舞《咸和之舞》。
For the libation offering at the temple chamber of Jin Gaozu, the Sheng Wen, Zhang Wu, Ming De, Xiao Emperor, the Dance of Universal Harmony was performed.
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登歌樂章一首。 〈（《五代會要》云：太子賓客、判太常寺事趙光輔撰。）〉 漢文祖明元皇帝廟室酌獻，舞《靈長之舞》。 德祖恭僖皇帝廟室酌獻，舞《積善之舞》。
One hymn for the ascending song. (According to the Five Dynasties Institutional Compendium, it was composed by Household Companion to the Heir Apparent and acting director of the Court of Imperial Sacrifices Zhao Guangfu.)〉 For the libation offering at the temple chamber of Han Wen Zu, Emperor Ming Yuan, the Dance of Enduring Spirit was performed. For the libation offering at the temple chamber of De Zu, the Gong Xi Emperor, the Dance of Accumulated Goodness was performed.
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翼祖昭獻皇帝廟室酌獻，舞《顯仁之舞》。 顯祖章聖皇帝廟室酌獻，舞《章慶之舞》。 登歌樂章各一首。 〈（《五代會要》云：太常卿張昭撰。）〉 高祖睿文聖武昭肅孝皇帝廟室酌獻，舞《觀德之舞》。
For the libation offering at the temple chamber of Yi Zu, the Zhao Xian Emperor, the Dance of Manifest Benevolence was performed. For the libation offering at the temple chamber of Xian Zu, the Zhang Sheng Emperor, the Dance of Manifest Celebration was performed. Each chamber had one hymn for the ascending song. (According to the Five Dynasties Institutional Compendium, they were composed by Director of the Court of Imperial Sacrifices Zhang Zhao.)〉 For the libation offering at the temple chamber of Gaozu, the Rui Wen, Sheng Wu, Zhao Su, Xiao Emperor, the Dance of Observing Virtue was performed.
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登歌樂章一首。 周信祖睿和皇帝廟室酌獻，舞《肅雍之舞》。 僖祖明憲皇帝廟室酌獻，舞《章德之舞》。 義祖翼順皇帝廟室酌獻，舞《善慶之舞》。
One hymn for the ascending song. For the libation offering at the temple chamber of Zhou Xin Zu, the Rui He Emperor, the Dance of Solemn Harmony was performed. For the libation offering at the temple chamber of Xi Zu, the Ming Xian Emperor, the Dance of Manifest Virtue was performed. For the libation offering at the temple chamber of Yi Zu, the Yi Shun Emperor, the Dance of Good Celebration was performed.
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慶祖章肅皇帝廟室酌獻，舞《觀成之舞》。 登歌樂章各一首。 太祖聖神恭肅文武孝皇帝廟室酌獻，舞《明德之舞》。 世宗睿武孝文皇帝廟室酌獻，舞《定功之舞》。
For the libation offering at the temple chamber of Qing Zu, the Zhang Su Emperor, the Dance of Observing Accomplishment was performed. Each chamber had one hymn for the ascending song. For the libation offering at the temple chamber of Taizu, the Sheng Shen, Gong Su, Wen Wu, Xiao Emperor, the Dance of Bright Virtue was performed. For the libation offering at the temple chamber of Shizong, the Rui Wu, Xiao Wen Emperor, the Dance of Fixing Merit was performed.
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登歌樂章各一首。 〈（《五代會要》云：太祖廟室樂章，太常卿田敏撰。 世宗廟室樂章，翰林學士、判太常寺事竇儼撰。）〉 樂章詞多不錄。
Each chamber had one hymn for the ascending song. (According to the Five Dynasties Institutional Compendium, the hymns for Taizu's temple chamber were composed by Director of the Court of Imperial Sacrifices Tian Min. Those for Shizong's temple chamber were composed by Hanlin academician and acting director of the Court of Imperial Sacrifices Dou Yan.)〉 Most of the hymn texts are not recorded here.
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右樂章
The hymns listed above are as follows.
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晉天福四年十二月，禮官奏：「來歲正旦，王公上壽，皇帝舉酒，請奏《元同之樂》； 再舉酒，奏《文同之樂》。」 從之。
In the twelfth month of the fourth year of Tianfu under Jin, the ritual officials memorialized: "For next year's New Year's Day, when the princes and dukes offer birthday felicitations and the emperor raises his cup, Music of Primal Unity should be played; when he raises his cup a second time, Music of Cultural Unity should be played. The proposal was approved.
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五年，始議重興二舞，詔曰：「正冬二節，朝會舊儀，廢於離亂之時，興自和平之代。 將期備物，全系用心； 須議擇人，同為定制。 其正冬朝會禮節、樂章、二舞行列等事宜，差太常卿崔棁、御史中丞竇貞固、刑部侍郎呂琦、禮部侍郎張允與太常寺官一一詳定。 禮從新意，道在舊章，庶知治世之和，漸見移風之善。」 其年秋，棁等具述制度上奏云：
In the fifth year, deliberations began on reviving the two dances. An edict declared: "The two mid-winter festivals and the court assembly rites of old were abandoned in times of turmoil and are to be restored in an age of peace. We expect every implement to be prepared in full, and that depends entirely on devoted effort; we must deliberate and choose the right men to establish these regulations together. Concerning the mid-winter court assembly ritual procedures, hymns, formations of the two dances, and related matters, Director of the Court of Imperial Sacrifices Cui Zhi, Vice Censor-in-Chief Dou Zhengu, Vice Minister of Justice Lü Qi, Vice Minister of Rites Zhang Yun, and officials of the Court of Imperial Sacrifices are commissioned to determine each point in detail. Ritual may take on new forms, but the Way lies in the old regulations; we hope thereby to manifest the harmony of a well-governed age and gradually to see customs transformed for the better." That autumn, Zhi and his colleagues submitted a full account of the regulations, stating:
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案《禮》云：「天子以德為車，以樂為禦。」 「大樂與天地同和，大禮與天地同節。」 又曰：「安上治民，莫善於禮； 移風易俗，莫善於樂。」 故樂書議舞云：夫樂在耳曰聲，在目曰容。 聲應乎耳，可以聽知； 容藏於心，難以貌睹。 故聖人假幹戚羽旄以表其容，發揚蹈厲以見其意，聲容和合，則大樂備矣。 又案《義鏡》，問鼓吹十二案合於何所？ 答云：《周禮》鼓人掌六鼓四金，漢朝乃有黃門鼓吹。 崔豹《古今註》云：因張騫使西域，得《摩訶兜勒》一曲，李延年增之，分為二十八曲。 梁置鼓吹清商令二人。 唐又有堈鼓、金鉦、大鼓、長鳴、歌簫、笳、笛，合為鼓吹十二案，大享會則設於懸外。 此乃是設二舞及鼓吹十二案之由也。
According to the Rites: "The Son of Heaven takes virtue as his chariot and music as his driver." "Great music harmonizes with Heaven and Earth; great ritual shares the seasons with Heaven and Earth." It also says: "In securing superiors and governing the people, nothing is better than ritual; in transforming customs and changing habits, nothing is better than music." Therefore the Treatise on Music, in its discussion of dance, states: What the ear receives is called sound; what the eye beholds is called form. Sound answers to the ear and can be known by hearing; form is stored in the heart and cannot easily be seen in outward appearance. Therefore the sages borrowed shields, axes, feathers, and banners to manifest form, and through vigorous stamping displayed intent; when sound and form were united, great music was complete. We further examined the Mirror of Rites and asked: To what institution do the twelve sets of wind-and-percussion correspond? The answer states: In the Rites of Zhou the drum master supervised six drums and four metal instruments; under the Han there was the Yellow Gate wind-and-percussion ensemble. Cui Bao's Notes Ancient and Modern states: When Zhang Qian was sent to the Western Regions, he brought back a piece called Mahadoule; Li Yannian expanded it and divided it into twenty-eight pieces. The Liang established two directors of wind-and-percussion and pure shang music. The Tang added mounted drums, golden chimes, great drums, long horns, singing pipes, reed pipes, and flutes, combined into twelve sets of wind-and-percussion; at great feasts they were placed outside the suspended bells and chimes. This is the origin of establishing the two dances and the twelve sets of wind-and-percussion.
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今議一從令式，排列教習。 文舞郎六十四人，分為八佾，每佾八人。 左手執籥。 《禮》云：「葦籥，伊耆氏之樂也。」 《周禮》有「籥師教國子」，《爾雅》曰：籥如笛，三孔而短，大者七孔，謂之簅。 歷代已來，文舞所用，凡用籥六十有四。 右手執翟，《周禮》所謂羽舞也。 《書》云：「舞幹羽於兩階。」 翟，山雉也，以雉羽公析連攢而為之。 二人執纛前引，數於舞人之外。 舞人冠進賢冠，服黃紗袍，白紗中單，皂領褾，白練衤蓋襠，白布大口袴，革帶，烏皮履，白布襪。 武舞郎六十四人，分為八佾。 左手執幹。 幹，楯也，今之旁牌，所以翳身也，其色赤，中畫獸形，故謂之朱幹。 《周禮》所謂兵舞，取其武象，用楯六十有四。 右手執戚。 戚，斧也，上飾以玉，故謂之玉戚。 二人執旌前引，旌似旗而小，絳色，畫升龍。 二人執鼗鼓，二人執鐸。 《周禮》有四金之奏，其三曰金鐸，以通鼓，形如大鈴，仰而振之。 金錞二，每錞二人舉之，一人奏之。 《周禮》四金之奏，一曰金錞，以和鼓，銅鑄為之，其色黑，其形圓，若椎，上大下小，高三尺六寸有六分，圍二尺四寸，上有伏虎之狀，旁有耳，獸形銜镮。 二人執鐃以次之。 《周禮》四金之奏，二曰金鐃，以止鼓，如鈴無舌，搖柄以鳴之。 二人掌相在左，《禮》云：「治亂以相。」 制如小鼓，用皮為表，實之以糠，撫之以節樂。 二人掌雅在右，《禮》云：「訊疾以雅。」 以木為之，狀如漆筒而弇口，大二尺圍，長五尺六寸，以羖皮鞔之，旁有二紐，髹畫，賓醉而出，以器築地，明行不失節。 武舞人服弁，平巾幘，金支緋絲大袖，緋絲布裲襠，甲金飾，白練𧞔襠，錦騰蛇起梁帶，豹文大口布袴，烏皮靴。 工人二十，數於舞人之外。 武弁朱翙，革帶，烏皮履，白練礻蓋襠，白布襪。 殿庭仍加鼓吹十二案。 《義鏡》云：常設氈案，以氈為床也。 今請制大床十二，慶容九人，振作歌樂，其床為熊羆貙豹騰倚之狀以承之，象百獸率舞之意。 分置於建鼓之外，各三案，每案羽葆鼓一，大鼓一，金錞一，歌二人，簫二人，笳二人。 十二案，樂工百有八人，舞郎一百三十有二人，取年十五已上，弱冠已下，容止端正者。 其歌曲名號、樂章詞句，中書條奏，差官修撰。
We now propose to follow the current regulations in full and arrange instruction in formation. There are sixty-four civil dancers, divided into eight rows of eight men each. Each holds a yue flute in his left hand. The Rites states: "The reed yue was the music of the Yixi clan." The Rites of Zhou records that "the yue master teaches the sons of the state"; the Erya says: the yue resembles a flute, with three holes and short in form; the larger kind has seven holes and is called chan. From age to age, the civil dance has used sixty-four yue flutes in all. In the right hand they hold the di plume—what the Rites of Zhou calls the feather dance. The Documents states: "They danced with shields and plumes on the two flights of steps." The di is a mountain pheasant; it is fashioned by evenly splitting and bundling pheasant feathers together. Two men hold battle standards and lead in front, stationed outside the dancers. The dancers wear the forward-virtue cap, yellow gauze robes, white gauze undergarments, black collars with ties, white silk overskirt panels, white cloth wide-legged trousers, leather belts, black leather shoes, and white cloth socks. There are sixty-four military dancers, divided into eight rows of eight. Each holds a shield in his left hand. The gan is a shield—what are now called side-boards—used to screen the body. They are red, with beast forms painted at the center, and are therefore called vermilion shields. This is what the Rites of Zhou calls the military dance, taking its martial imagery; sixty-four shields are employed. Each holds a battle-axe in his right hand. The qi is an axe, adorned with jade at the top, and is therefore called the jade qi. Two men hold pennants and lead in front. Pennants resemble flags but are smaller, crimson in color, and painted with ascending dragons. Two men hold hand drums, and two men hold clapper bells. The Rites of Zhou describes the playing of the four metals; the third is the metal duo, used to signal the drum. Shaped like a large bell, it is shaken face upward. There are two metal chuns; for each chun two men lift it and one man strikes it. In the Rites of Zhou's four metals, the first is the metal chun, used to harmonize with the drum. Cast in bronze, it is black and round like a mallet, large at the top and small at the bottom, three chi six cun and six fen high and two chi four cun around, with a crouching tiger on top, ears at the sides, and beast-shaped ring handles. Two men hold nao bells and follow next. In the Rites of Zhou's four metals, the second is the metal nao, used to stop the drum. Like a bell without a clapper, it is sounded by shaking the handle. Two men hold the xiang on the left. The Rites states: "To govern chaos and order with the xiang." It is made like a small drum, with hide as the outer layer, filled with chaff, and patted to mark the rhythm of the music. Two men hold the ya on the right. The Rites states: "To report speed with the ya." It is made of wood, shaped like a lacquered tube with a closed mouth, two chi around and five chi six cun long, covered with ram hide, with two loops at the sides and lacquer decoration. When the guest, drunk, goes out, the instrument is used to beat the ground, making clear that the procession does not lose its measure. Military dancers wear caps, plain kerchiefs, gold-mounted crimson silk large sleeves, crimson silk doublet panels, gold-trimmed armor ornaments, white silk overskirt panels, brocade belts with rising snake patterns, leopard-pattern wide-legged cloth trousers, and black leather boots. Twenty artisans are stationed outside the dancers. They wear martial caps with vermilion pheasant tails, leather belts, black leather shoes, white silk overskirt panels, and white cloth socks. In the palace courtyard, twelve sets of wind-and-percussion are additionally installed. The Mirror of Rites states that felt platforms are regularly set up, with felt serving as the base. We now request that twelve large platforms be made, each accommodating nine performers, to rouse singing and music. The platforms should be shaped as bears, brown bears, leopards, and wildcats rearing and leaning to support them, symbolizing the hundred beasts leading the dance. They are placed separately outside the mounted drums, three sets to each side. Each set has one feathered-canopy drum, one great drum, one metal chun, two singers, two pipe players, and two reed-pipe players. For the twelve sets there are one hundred eight musicians and one hundred thirty-two dancers, selected from those fifteen years of age or above and not yet come of age, with upright bearing and deportment. As for the song titles, music names, and lyrics, the Secretariat will itemize and submit them, and officials will be dispatched to compose them.
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從之。 〈（《歐陽史·崔棁傳》：高祖詔太常復文武二舞，詳定正冬朝會禮及樂章。 自唐末之亂，禮樂制度亡失已久，棁與御史中丞竇貞固、刑部侍郎呂琦、禮部侍郎張允等草定之。 其年冬至，高祖會朝崇元殿，廷設宮懸，二舞在北，登歌在上。 文舞郎八佾六十有四人，冠進賢。 黃紗袍，白中單，白練礻蓋襠，白布大口袴，革帶履，左執枿，右秉翟，執纛引者二人。 武舞郎八佾六十有四人，服平巾幘，緋絲布大袖繡襠，甲金飾，白練礻蓋襠，錦騰蛇起梁帶，豹文大口袴，烏靴，左執幹，右執戚，執旌引者二人。 加鼓吹十二案，負以熊豹，以象百獸率舞。 案設羽葆鼓一，大鼓一，金錞一，歌簫、笳各二人。 王公上壽，天子舉爵，奏《元同》； 二舉，登歌奏《文同》； 舉食，文舞《昭德》，武舞《成功》之曲。 禮畢，高祖大悅，賜棁金帛，群臣左右睹者皆贊嘆之。 然禮樂廢久，而制作簡繆，又繼以龜茲部《霓裳法曲》，參亂雅音。 其樂工舞郎，多教坊伶人、百工商賈、州縣避役之人，又無老師良工教習。 明年正旦，復奏於庭，而登歌發聲，悲離煩慝，如《薤露》、《虞殯》之音，舞者行列進退，皆不應節，聞者皆悲憤。 開運二年，太常少卿陶穀奏廢二舞。）〉
The request was approved. (Old History of the Five Dynasties, Biography of Cui Zuan: Gaozu ordered the Court of Imperial Sacrifices to restore the civil and military dances and to fix in detail the rites of the winter court assembly and the music sections. Since the chaos at the end of Tang, ritual and music institutions had long been lost. Zuan, together with Vice Censor-in-Chief Dou Zhengu, Vice Minister of Justice Lü Qi, Vice Minister of Rites Zhang Yun, and others, drafted regulations for them. That year at the winter solstice, Gaozu held court at Chongyuan Hall. Court suspended bells and chimes were set up in the hall, with the two dances to the north and ascending song above. Sixty-four civil dancers in eight rows wore the forward-virtue cap. They wore yellow gauze robes, white undergarments, white silk overskirt panels, white cloth wide-legged trousers, leather belts and shoes; in the left hand they held the yue flute, in the right they grasped plumes, and two men holding battle standards led. Sixty-four military dancers in eight rows wore plain kerchiefs, crimson silk large sleeves with embroidered panels, gold-trimmed armor ornaments, white silk overskirt panels, brocade belts with rising snake patterns, leopard-pattern wide-legged trousers, and black boots. In the left hand they held shields, in the right battle-axes, and two men holding pennants led. Twelve sets of wind-and-percussion were added, borne on bear and leopard figures, to symbolize the hundred beasts leading the dance. Each set had one feathered-canopy drum, one great drum, one metal chun, and two each for singing pipes and reed pipes. When princes and nobles offered longevity wishes, the Son of Heaven raised his cup and they played "Primary Unity"; At the second raising, ascending song played "Literary Unity"; When food was served, the civil dance played "Manifest Virtue" and the military dance the piece "Accomplishment." When the rites were complete, Gaozu was greatly pleased and bestowed gold and silk on Zuan. All the ministers and onlookers praised and marveled at it. Yet ritual and music had long been abandoned, and what was made was simple and flawed. Moreover they added the Kucha section's "Rainbow Skirt Law Piece," mingling and disrupting elegant music. The musicians and dancers were mostly entertainment-bureau performers, artisans and merchants, and people evading corvée duty from prefectures and districts. Moreover there were no veteran masters or skilled craftsmen to teach them. The next year at New Year's Day they again performed in court, but when ascending song sounded it was mournful, troubled, and grievous, like the tones of "Wild Leek Dew" and "Yu Funereal." The dancers' ranks advancing and retreating all failed to match the beat, and all who heard it felt grief and anger. In the second year of Kaiyun, Vice Director of the Court of Imperial Sacrifices Tao Gu memorialized to abolish the two dances.)〉
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漢高祖受命之年，秋九月，權太常卿張昭上疏，奏改一代樂名，其略曰？
In the year when Han Gaozu received the Mandate, in the ninth month of autumn, Acting Director of the Court of Imperial Sacrifices Zhang Zhao submitted a memorial requesting changes to the music names of the dynasty. Stated in summary:
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昔周公相成王，制禮作樂，殿庭遍奏六代舞，所謂《雲門》、《大咸》、《大韶》、《大夏》、《大》、《大武》也。 周室既衰，王綱不振，諸樂多廢，惟《大韶》、《大武》二曲存焉。 秦、漢以來，名為二舞：文舞，《韶》也； 武舞，《武》也。 漢時改為《文始》、《五行之舞》，歷代因而不改。 貞觀作樂之時，祖孝孫改隋文舞為《治康之舞》武舞為《凱安之舞》。 貞觀中，有《秦王破陣樂》、《功成慶善樂》二舞，樂府又用為二舞，是舞有四焉。 前朝行用年深，不可遽廢，俟國家偃伯靈臺，即別召工師，更其節奏，今改其名，具書如左：祖孝孫所定二舞名，文舞曰《治康之舞》，請改《治安之舞》； 武舞曰《凱安之舞》，請改為《振德之舞》。 貞觀中二舞名，文舞《功成慶善樂》，前朝名《九功舞》，請改為《觀象之舞》； 武舞《秦王破陣樂》，前朝名為《七德舞》，請改為《講功之舞》。 其《治安》、《振德》二舞，請依舊郊廟行用，以文舞降神，武舞送神。 其《觀象》、《講功》二舞，請依舊宴會行用。
Formerly, when the Duke of Zhou assisted King Cheng, he established rites and made music. In the palace hall the dances of the six ages were performed throughout—those called "Gate of Clouds," "Great All-Pervading," "Great Shao," "Great Xia," "Great Yin," and "Great Martial." When the Zhou house declined and royal discipline no longer held, most music was abandoned. Only the two pieces "Great Shao" and "Great Martial" remained. From Qin and Han onward they were named the two dances: the civil dance was Shao; the military dance was Wu. In Han times they were changed to "Literary Beginning" and "Dance of the Five Phases," and successive dynasties followed without change. When music was composed in the Zhenguan era, Zu Xiaosun changed the Sui civil dance to "Dance of Governing Tranquility" and the military dance to "Dance of Victorious Peace." In the Zhenguan era there were two dances, "Prince of Qin's Breaking the Battle Line" and "Celebrating Goodness upon Accomplishment." The Music Bureau also employed them as two dances, so there were four dances in all. The former dynasty's usage has run deep over many years and cannot be abruptly abolished. When the state rests its weapons and the Spirit Terrace is at peace, skilled craftsmen will be summoned separately to revise their rhythms. For now their names are changed, fully recorded as follows: the two dances fixed by Zu Xiaosun—the civil dance called "Dance of Governing Tranquility"—please change to "Dance of Governing Peace"; the military dance called "Dance of Victorious Peace"—please change to "Dance of Shaking Virtue." The two dance names of the Zhenguan era: the civil dance "Celebrating Goodness upon Accomplishment," formerly called "Dance of the Nine Achievements" in the previous dynasty—please change to "Dance of Observing the Images"; the military dance "Prince of Qin's Breaking the Battle Line," formerly called "Dance of the Seven Virtues" in the previous dynasty—please change to "Dance of Expounding Merit." As for the two dances "Governing Peace" and "Shaking Virtue," please continue to use them as before at suburban and temple rites, with the civil dance for welcoming the spirits and the military dance for sending them off. As for the two dances "Observing the Images" and "Expounding Merit," please continue to use them as before at banquets.
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又請改《十二和樂》云：
He further requested changes to the "Twelve Harmonious Pieces," stating:
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昔周朝奏六代之樂，即今二舞之類是也。 其賓祭常用，別有《九夏之樂》，即《肆夏》、《皇夏》等是也，梁武帝善音樂，改《九夏》為《十二雅》，前朝祖孝孫改雅為和，示不相沿也。 臣今改和為成，取《韶》樂九成之義也。 《十二成樂曲》名：祭天神奏《豫和之樂》，請改為《禋成》； 祭地祇奏《順和》，請改為《順成》； 祭宗廟奏《永和》，請改為《裕成》； 祭天地、宗廟，登歌奏《肅和》，請改為《肅成》； 皇帝臨軒奏《太和》，請改為《政成》； 王公出入奏《舒和》，請改為《弼成》； 皇帝食舉及飲宴奏《休和》，請改為《德成》； 皇帝受朝、皇后入宮奏《正和》，請改為《骍成》； 皇太子軒懸出入奏《承和》，請改為《允成》； 元日、冬至皇帝禮會，登歌奏《昭和》，請改為《慶成》； 郊廟俎入奏《雍和》，請改為《骍成》； 皇帝祭享、酌獻、讀祝文及飲福、受胙奏《壽和》，請改為《壽成》。
Formerly the Zhou court played the music of the six ages—the same kind as today's two dances. For guest rites and sacrifices in common use there were separately the "Nine Summers Pieces," such as "Free Summer" and "August Summer." Emperor Wu of Liang was skilled in music and changed the "Nine Summers" to the "Twelve Elegances." In the previous dynasty Zu Xiaosun changed elegance to harmony, showing that one should not simply follow precedent. Your subject now changes harmony to accomplishment, taking the meaning of the nine accomplishments of Shao music. Names of the "Twelve Accomplishment Pieces": for sacrificing to Heaven they play "Music of Forethought and Harmony"—please change to "Accomplishment of the Smoke Offering"; for sacrificing to earthly spirits they play "Compliance and Harmony"—please change to "Compliance Accomplished"; for sacrificing at the ancestral temple they play "Everlasting Harmony"—please change to "Abundant Accomplishment"; for sacrificing to Heaven and Earth and at the ancestral temple, ascending song plays "Solemn Harmony"—please change to "Solemn Accomplishment"; when the emperor presides at court they play "Grand Harmony"—please change to "Government Accomplished"; when princes and nobles enter and leave they play "Easy Harmony"—please change to "Assisting Accomplishment"; when the emperor raises food and at drinking banquets they play "Restful Harmony"—please change to "Virtue Accomplished"; when the emperor receives court and the empress enters the palace they play "Correct Harmony"—please change to "Sacrificial Accomplishment"; when the crown prince with suspended bells and chimes enters and leaves they play "Receiving Harmony"—please change to "Sincere Accomplishment"; at New Year's Day and the winter solstice when the emperor holds ceremonial assembly, ascending song plays "Bright Harmony"—please change to "Celebration Accomplished"; when sacrificial stands enter at suburban and temple rites they play "Harmonious Unity"—please change to "Sacrificial Accomplishment"; when the emperor sacrifices, pours the offering, reads the prayer text, drinks the blessing wine, and receives the sacrificial meat they play "Longevity Harmony"—please change to "Longevity Accomplished."
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祖孝孫元定《十二和曲》，開元朝又奏三和，遂有《十五和》之名。 凡制作禮法，動依典故，梁置《十二雅》，蓋取十二天之成數，契八音十二律之變，輒益三和，有乖稽古。 又緣祠祭所用，不可盡去，臣取其一焉。 祭孔宣父、齊太公廟降神奏《宣和》，請改為《師雅之樂》； 三公升殿、會訖下階履行奏《祴和》，請廢，同用《弼成》； 享先農、耕籍田奏《豐和》，請廢，同用《順成》。
Zu Xiaosun originally fixed the "Twelve Harmonious Pieces." In the Kaiyuan reign three more harmonious pieces were added, and thus arose the name "Fifteen Harmonious Pieces." In all establishing ritual and law, one should always follow ancient precedent. Liang established the "Twelve Elegances," taking the completed number of twelve heavens and matching the transformations of the eight tones and twelve pitch pipes. Arbitrarily adding three harmonious pieces departs from examining antiquity. Moreover, because they are used in sacrificial rites and cannot all be removed, your subject takes one of them. For sacrificing at the temples of Confucius and Duke Tai of Qi, when welcoming the spirits they play "Proclaiming Harmony"—please change to "Music of the Master's Elegance"; when the Three Dukes ascend the hall and, when the assembly is finished, descend the steps and walk in procession they play "Ceremonial Harmony"—please abolish it and use "Assisting Accomplishment" instead; for offerings to the Field of the First Grains and plowing the sacred field they play "Abundant Harmony"—please abolish it and use "Compliance Accomplished" instead.
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已上四舞、《十二成》、《雅樂》等曲，今具錄合用處所及樂章首數，一一條例在下。
The four dances above, the "Twelve Accomplishments," elegant music, and other pieces are now fully recorded below, with the places where they are used together and the number of music sections itemized one by one.
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其歌詞文不錄。
Their lyrics are not recorded.