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樂誌下
Treatise on Music, Part Two
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周廣順元年，太祖初即大位，惟新庶政，時太常卿邊蔚上疏請改舞名，其略云：「前朝改祖孝孫所定二舞名，文舞曰《治安之舞》，武舞曰《振德之舞》，今請改《治安》為《政和之舞》，《振德》為《善勝之舞》。 前朝改貞觀中二舞名，文舞曰《觀象之舞》，武舞曰《講功之舞》，今請改《觀象》為《崇德之舞》，《講功》為《象成之舞》。 又議改《十二成》，今改為順。 《十二順樂曲》名：祭天神奏《禋成》，請改為《昭順之樂》； 祭地祗奏《順成》，請改為《寧順之樂》； 祭宗廟奏《裕成》，請改為《肅順之樂》； 祭天地、宗廟，登歌奏《肅成》，今請改為《感順之樂》； 皇帝臨軒奏《政成》，請改為《治順之樂》； 王公出入奏《弼成》，請改為《忠順之樂》； 皇帝食舉奏《德成》，請改為《康順之樂》； 皇帝受朝、皇后入宮奏《扆成》，請改為《雍順之樂》； 皇太子軒懸出入奏《胤成》，請改為《溫順之樂》； 元日、冬至皇帝禮會，登歌奏《慶成》，請改為《禮順之樂》； 郊廟俎入奏《骍成》，請改為《禋順之樂》； 皇帝祭享、酌獻、讀祝及飲福、受胙奏《壽成》，請改為《福順之樂》。 梁武帝改《九夏》為《十二雅》，以協陽律、陰呂、十二管旋宮之義，祖孝孫改為《十二和》。 開元中，乃益三和，前朝去二和，改一雅。 今去雅，只用《十二順》之曲。 祭孔宣父、齊太公廟降神奏《師雅》，請同用《禮順之樂》； 三公升殿、會訖下階履行同用《弼成》，請同用《忠順之樂》； 享先農及籍田同用《順成》，請同用《寧順之樂》。」 曲詞文多不載。 〈（《五代會要》：邊蔚請添召樂師，令在寺習樂。 敕太常寺見管兩京雅樂節級樂工共四十人外，更添六十人，內三十八人宜抽教坊貼部樂官兼充，餘二十二人宜令本寺照名充填。 仍令三司定支春冬衣糧，月報聞奏。 其舊管四十人，亦量添請。）〉
In the first year of Later Zhou's Guangshun reign, when Taizu first ascended the throne and set about renewing government, Director of Imperial Sacrifices Bian Wei memorialized the throne to rename certain court dances. In brief he wrote: "The previous dynasty had altered the two dances that Zu Xiaosun had established—the civil dance Pacifying the Realm and the martial dance Stirring Virtue. We ask that Pacifying the Realm be renamed Harmonious Governance and Stirring Virtue be renamed Good Victory. He further noted that the previous dynasty had renamed two dances from the Zhenguan period—the civil Observing the Images and the martial Expounding Merit—and asked that Observing the Images become Honoring Virtue and Expounding Merit become Image Accomplished. He also proposed retitling the Twelve Accomplishments suite, substituting shun ("accord") for cheng ("accomplishment") throughout. Among the Twelve Shun pieces: for sacrifices to Heaven, where Yin Accomplished was played, he asked that it be renamed Zhao Shun; for sacrifices to earthly spirits, where Shun Accomplished was played, he asked that it be renamed Ning Shun; for ancestral temple sacrifices, where Yu Accomplished was played, he asked that it be renamed Su Shun; for sacrifices to Heaven, Earth, and the ancestral temple, where the ascending hymn Su Accomplished was used, he asked that it be renamed Gan Shun; when the emperor held court, where Zheng Accomplished was played, he asked that it be renamed Zhi Shun; when princes and dukes entered and left the palace, where Bi Accomplished was played, he asked that it be renamed Zhong Shun; at the emperor's meals, where De Accomplished was played, he asked that it be renamed Kang Shun; when the emperor received court and the empress entered the palace, where Yi Accomplished was played, he asked that it be renamed Yong Shun; when the crown prince entered and left with his full bell ensemble, where Yin Accomplished was played, he asked that it be renamed Wen Shun; at the emperor's New Year and winter solstice assemblies, where the ascending hymn Qing Accomplished was used, he asked that it be renamed Li Shun; when sacrificial stands were brought in at suburban and temple rites, where Xing Accomplished was played, he asked that it be renamed Yin Shun; during the emperor's sacrificial offering, libation, reading of prayers, drinking of the blessing wine, and receiving of sacrificial meat, where Shou Accomplished was played, he asked that it be renamed Fu Shun. Emperor Wu of Liang had replaced the Nine Summers with the Twelve Elegances to align with the yang pitches, yin notes, and the twelve-pipe system of circulatory tonality; Zu Xiaosun later renamed them the Twelve Harmonies. During the Kaiyuan reign three pieces were added to the Harmonies; the previous dynasty removed two Harmonies and retitled one Elegance. He proposed dropping the Elegances altogether and using only the Twelve Shun pieces. for spirit-descent rites at the temples of Confucius and Duke Tai of Qi, where Master Elegance was played, he asked that Li Shun be used instead; when the three highest ministers ascended the hall and when they left after an assembly, both occasions used Bi Accomplished; he asked that Zhong Shun be used for both; offerings to the spirit of agriculture and the ceremonial plowing both used Shun Accomplished; he asked that Ning Shun be used for both." The lyrics of these pieces are largely omitted from the record. (According to the Institutional History of the Five Dynasties: Bian Wei asked to recruit additional music masters and have them train at the Directorate of Sacrifices. An edict directed that beyond the forty graded court musicians already under the Directorate in both capitals, sixty more were to be added—thirty-eight drawn from attached chiefs of the Music Bureau to serve concurrently, and the remaining twenty-two filled from the directorate's own roster. The Three Departments were to set their spring and winter clothing and grain allowances, with monthly reports to the throne. The existing staff of forty were likewise to receive proportionate increases in allowance.)〉
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世宗顯德元年即位，有司上太祖廟室酌獻，奏《明德之舞》。
When Emperor Shizong ascended the throne in the first year of Xiande, the responsible officials offered libations at Taizu's temple hall to the accompaniment of the Dance of Bright Virtue.
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五年六月，命中書舍人竇儼參詳太常雅樂。 十一月，翰林學士竇儼上疏論禮樂刑政之源，其一曰：「請依《唐會要》所分門類，上自五帝，迄於聖朝，凡所施為，悉命編次，凡關禮樂，無有闕漏，名之曰大周通禮，俾禮院掌之。」 其二曰：「伏請命博通之士，上自五帝，迄於聖朝，凡樂章沿革，總次編錄，系於歷代樂錄之後，永為定式，名之曰大周正樂，俾樂寺掌之。 依文教習，務在齊肅。」 詔曰：「竇儼所上封章，備陳政要，舉當今之急務，疾近世之因循，器識可嘉，辭理甚當，故能立事，無愧蒞官。 所請編集大周通禮、大周正樂，宜依。 仍令於內外職官前資前名中，選擇文學之士，同共編集，具名以聞。 委儼總領其事。 所須紙筆，下有司供給。」
In the sixth month of his fifth year, he ordered Secretariat Drafter Dou Yi to review the directorate's court music. In the eleventh month, Hanlin Academician Dou Yi memorialized on the foundations of ritual, music, penal law, and governance. His first proposal read: "Following the topical divisions of the Tang Institutional Compendium, let everything enacted from the age of the Five Emperors down to our own dynasty be compiled in full, with nothing omitted concerning ritual and music. Call the work Comprehensive Rites of Great Zhou and place it under the Ritual Office. His second proposal read: "I humbly ask that learned scholars compile the entire history of musical pieces from the Five Emperors to our dynasty, arranged in order and appended to the music records of previous ages as a permanent standard, to be called Correct Music of Great Zhou and placed under the Music Directorate. Training should follow the written scores, with uniformity and solemnity as the goal." An edict replied: "Dou Yi's memorial sets forth the essentials of governance, identifies the urgent tasks of our day, and deplores the slavish conformity of recent times. His judgment is commendable and his reasoning sound; he is fit to take on such work without disgracing his office. His request to compile the Comprehensive Rites of Great Zhou and Correct Music of Great Zhou is approved. Literary scholars are to be chosen from among qualified officials inside and outside the court to join the compilation, and their names reported to the throne. Dou Yi was placed in overall charge of the project. Paper and writing materials are to be supplied by the appropriate offices."
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六年春正月，樞密使王樸奉詔詳定雅樂十二律旋相為宮之法，並造律準，上之。 其奏疏略曰：
In the first month of spring of his sixth year, Privy Council Commissioner Wang Pu was ordered to work out the method by which the twelve court-music pitches circulate as tonics, and to construct a pitch standard, which he then presented to the throne. His memorial, in summary, read:
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夫樂作於人心，成聲於物，聲氣既和，反感於人心者也。 所假之物，大小有數。 九者，成數也，是以黃帝吹九寸之管，得黃鐘之聲，為樂之端也。 半之，清聲也。 倍之，緩聲也。 三分其一以損益之，相生之聲也。 十二變而復黃鐘，聲之總數也。 乃命之曰十二律。 旋叠為均，均有七調，合八十四調，播之於八音，著之於歌頌。 宗周而上，率由斯道，自秦而下，旋宮聲廢。 洎東漢雖有大予丞鮑鄴興之，人亡而音息，無嗣續之者。 漢至隋垂十代，凡數百年，所存者黃鐘之宮一調而已。 十二律中，惟用七聲，其餘五律，謂之啞鐘，蓋不用故也。 唐太宗復古道，乃用祖孝孫、張文收考正雅樂，而旋宮八十四調復見於時，在懸之器，方無啞者，安、史之亂，京都為墟，器之與工，十不存一，所用歌奏，漸多紕繆。 逮乎黃巢之餘，工器都盡，購募不獲，文記亦亡，集官詳酌，終不知其制度。 時有太常博士殷盈孫，案《周官·考工記》之文，鑄緌鐘十二，編鐘二百四十，處士蕭承訓校定石磬，今之在懸者是也。 雖有樂器之狀，殊無相應之和。 逮乎朱梁、後唐，歷晉與漢，皆享國不遠，未暇及於禮樂。 以至於十二緌鐘，不問聲律宮商，但循環而擊，編鐘、編磬徒懸而已。 絲、竹、匏、土，僅有七聲，作黃鐘之宮一調，亦不和備，其餘八十三調，於是乎泯絕，樂之缺壞，無甚於今。
Music originates in the human heart and takes shape as sound through physical instruments; once sound and breath are harmonized, they move the heart in turn. The instruments used for this have fixed proportions of large and small. Nine is the number of completion; the Yellow Emperor therefore blew a nine-inch tube, obtained the yellow-bell pitch, and thereby established the foundation of music. Halving the length yields the higher, clear pitch. Doubling the length yields the lower, slow pitch. Adding or subtracting one-third of the length produces the mutually generating pitches. After twelve transformations the cycle returns to yellow bell—the full set of pitches. These were named the twelve standard pitches. Arranged in rotation they form tonal keys; each key has seven modes, for eighty-four modes in all, distributed among the eight categories of instruments and embodied in songs and hymns. From the Zhou founders onward, all followed this system; from the Qin dynasty downward, circulatory tonality fell into disuse. In the Eastern Han, Grand Music Master Bao Ye did revive it, but when he died the tradition died with him and no successor carried it on. From Han through Sui, nearly ten dynasties and several centuries, only the single yellow-bell palace mode survived. Of the twelve pitches only seven were actually used; the remaining five were called "mute bells" because they had fallen silent. Emperor Taizong of Tang restored the ancient tradition and had Zu Xiaosun and Zhang Wenshou revise the court music, so that the eighty-four circulatory modes reappeared and no instrument in the bell-chime ensemble remained mute. The An Lushan rebellion left the capital in ruins; scarcely one instrument or craftsman in ten survived, and the music performed grew ever more corrupt. After Huang Chao's rebellion, craftsmen and instruments were utterly lost; neither purchase nor recruitment could recover them, and the written records perished as well. Officials deliberated at length but could not recover the system. Directorate academician Yin Yingsun then followed the Artificers' Records of the Offices of Zhou to cast twelve tassel bells and two hundred forty chime-bells, while recluse Xiao Chengxun calibrated the stone chimes—the very instruments that hang in the court ensemble today. The instruments had the right outward form, but produced no true harmonic correspondence. Under Later Liang, Later Tang, Later Jin, and Later Han, each regime was short-lived and had no leisure to restore ritual and music. The twelve tassel bells were struck in rotation without regard to pitch or mode; the chime-bells and stone chimes were mere ornaments hanging in the ensemble. The string, bamboo, gourd, and clay instruments produced only seven notes in the single yellow-bell palace mode—and even that was imperfectly tuned. The other eighty-three modes had perished entirely; never has music fallen into such ruin as it has today.
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陛下天縱文武，奄宅中區，思復三代之風，臨視樂懸，親自考聽，知其亡失，深動上心。 乃命中書舍人竇儼參詳太常樂事，不逾月調品八音，粗加和會。 以臣嘗學律歷，宣示古今樂錄，令臣討論，臣雖不敏，敢不奉詔。 遂依周法，以黍校定尺度，長九寸，虛徑三分，為黃鐘之管，與見在黃鐘之聲相應。 以上下相生之法推之，得十二律管。 以為眾管互吹，用聲不便，乃作律準，十三弦宣聲，長九尺張弦，各如黃鐘之聲。 以第八弦六尺，設柱為林鐘； 第三弦八尺，設柱為大簇； 第十弦五尺三寸四分，設柱為南呂； 第五弦七尺一寸三分，設柱為姑洗； 第十二弦四尺七寸五分，設柱為應鐘； 第七弦六尺三寸三分，設柱為蕤賓； 第二弦八尺四寸四分，設柱為太呂； 第九弦五尺六寸三分，設柱為夷則； 第四弦七尺五寸一分，設柱為夾鐘； 第十一弦五尺一分，設柱為無射； 第六弦六尺六寸八分，設柱為中呂； 第十三弦四尺五寸，設柱為黃鐘之清聲。 十二律中，旋用七聲為均，為均之主者，宮也，徵、商、羽、角、變宮、變徵次焉，發其均主之聲，歸乎本音之律，七聲叠應而不亂，乃成其調。 均有七調，聲有十二均，合八十四調，歌奏之曲，由之出焉。
Your Majesty, endowed with civil and martial gifts from Heaven, has taken the central realm and seeks to restore the culture of the Three Dynasties. Inspecting the court ensemble in person, you heard its losses for yourself and were deeply moved. You then ordered Secretariat Drafter Dou Yi to review the directorate's music; within a month the eight categories of instruments were tuned into rough harmony. Because I have studied pitch theory and calendrics, I was shown the music records of past and present and ordered to investigate them. Though I am not clever, how could I refuse the command? I followed Zhou methods, using millet grains to calibrate the measure—a tube nine inches long with an inner diameter of three tenths—and produced a yellow-bell pipe that matched the yellow-bell pitch already in use. By the method of mutual generation I derived the full set of twelve pitch tubes. Because blowing many tubes against one another was impractical, I constructed a pitch standard—a nine-foot frame with thirteen strings, each tuned to the yellow-bell pitch. on the eighth string at six feet, a bridge was set for forest bell; on the third string at eight feet, a bridge was set for great cluster; on the tenth string at five feet, three inches, and four tenths, a bridge was set for southern lü; on the fifth string at seven feet, one inch, and three tenths, a bridge was set for maiden wash; on the twelfth string at four feet, seven inches, and five tenths, a bridge was set for responding bell; on the seventh string at six feet, three inches, and three tenths, a bridge was set for luxuriant guest; on the second string at eight feet, four inches, and four tenths, a bridge was set for great lü; on the ninth string at five feet, six inches, and three tenths, a bridge was set for yi rule; on the fourth string at seven feet, five inches, and one tenth, a bridge was set for pressed bell; on the eleventh string at five feet and one inch, a bridge was set for wu she; on the sixth string at six feet, six inches, and eight tenths, a bridge was set for central lü; on the thirteenth string at four feet and five inches, a bridge was set for the higher octave of yellow bell. Among the twelve pitches, seven notes rotate as the basis of each key; gong is the governing note, followed by zhi, shang, yu, jue, and the altered tones. When the governing note sounds, it resolves to its home pitch; the seven notes answer one another in layers without confusion, and a mode is thereby formed. Each key has seven modes, and there are twelve keys in all, yielding eighty-four modes from which all ceremonial songs and performances derive.
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伏以旋宮之聲久絕，一日而補，出臣獨見，恐未詳悉，望集百官及內外知音者較其得失，然後依調制曲。 八十四調，曲有數百，見存者九曲而已，皆謂之黃鐘之宮。 今詳其音數，內三曲即是黃鐘宮聲，其餘六曲，錯雜諸調，蓋傳習之誤也。 唐初雖有還宮之樂，至於用曲，多與禮文相違。 既不敢用唐為則，臣又懵學獨力，未能備究古今，亦望集多聞知禮文者，上本古曲，下順常道，定其義理。 於何月行何禮，合用何調何曲，聲數長短，幾變幾成，議定而制曲，方可久長行用。 所補雅樂旋宮八十四調，並所定尺、所吹黃鐘管、所作律準，謹同上進。
Circulatory tonality has been lost for centuries; to restore it in a day on my judgment alone may not be adequate. I ask that officials and all who understand music inside and outside the court compare its strengths and flaws, and only then compose pieces according to the modes. The eighty-four modes ought to comprise hundreds of pieces, yet only nine survive, and all are labeled yellow-bell palace. On examination, only three of the nine are genuinely in yellow-bell palace; the other six mix modes incorrectly—errors accumulated through transmission. Early Tang did restore circulatory music, but the pieces actually used often contradicted ritual prescriptions. Since Tang practice cannot serve as our standard, and I am too limited to investigate the full history alone, I also ask that learned scholars versed in ritual texts be assembled to ground the work in ancient pieces, align it with present practice, and settle the underlying principles. Which mode and piece belong to which month's rites, how many notes and transformations each requires—these must be settled before pieces are composed, if the system is to endure. I respectfully present the restored eighty-four circulatory modes of court music, together with the calibrated measure, the yellow-bell pipe, and the pitch standard I have constructed.
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世宗善之，詔尚書省集百官詳議。 兵部尚書張昭等議曰：
Emperor Shizong approved the proposal and ordered the Department of State Affairs to convene all officials for full deliberation. Minister of War Zhang Zhao and others submitted their deliberation, saying:
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昔帝鴻氏之制樂也，將以範圍天地，協和人神，候八節之風聲，測四時之正氣。 氣之清濁不可以筆授，聲之善否不可以口傳，故鳧氏鑄金，伶倫截竹。 為律呂相生之算，宮商正和之音。 乃播之於管弦，宣之於鐘石，然後覆載之情訢合，陰陽之氣和同，八風從律而不奸，五聲成文而不亂。 空桑、孤竹之韻，足以禮神； 《雲門》、《大夏》之容，無虧觀德。 然月律有旋宮之法，備於太師之職。 經秦滅學，雅道淩夷。 漢初制氏所調，惟存鼓舞，旋宮十二均更用之法，世莫得聞。 漢元帝時，京房善《易》、別音，探求古義，以《周官》均法，每月更用五音，乃立準調，旋相為宮，成六十調。 又以日法析為三百六十，傳於樂府，而編懸復舊，律呂無差。 遭漢中微，雅音淪缺，京房準法，屢有言者，事終不成。 錢樂空記其名，沈重但條其說，六十律法，寂寥不傳。 梁武帝素精音律，自造四通十二笛，以鼓八音。 又引古五正、二變之音，旋相為宮，得八十四調，與律準所調，音同數異。 侯景之亂，其音又絕，隋朝初定雅樂，群黨沮議，歷載不成。 而沛公鄭譯，因龜茲琵琶七音，以應月律，五正、二變，七調克諧，旋相為宮，復為八十四調。 工人萬寶常又減其絲數，稍令古淡。 隋高祖不重雅樂，令儒官集議。 博士何妥駁奏，其鄭、萬所奏八十四調並廢。 隋氏郊廟所奏，惟黃鐘一均，與五郊迎氣，雜用蕤賓，但七調而已，其餘五鐘，懸而不作。 三朝宴樂，用縵樂九部，迄於革命，未能改更。 唐太宗爰命舊工祖孝孫、張文收整比鄭譯、萬寶常所均七音八十四調，方得絲管並施，鐘石俱奏，七始之音復振，四廂之韻皆調。 自安、史亂離，鹹秦蕩覆。 崇牙樹羽之器，掃地無餘； 戛擊搏拊之工，窮年不嗣。 郊廟所奏，何異南箕，波蕩不遷，知音始絕。
When the Di Hong clan first established music, it was meant to encompass Heaven and Earth, harmonize humanity and the spirits, observe the winds of the eight seasonal nodes, and measure the correct qi of the four seasons. The clarity and turbidity of qi cannot be conveyed in writing; the quality of sound cannot be passed on by word of mouth. Therefore the Fu clan cast bells and Ling Lun cut bamboo pipes. They worked out the mathematics of mutual pitch generation and the properly harmonized tones of gong and shang. They spread the system among strings and pipes and proclaimed it on bells and stones; only then did the sentiments of Heaven and Earth unite, yin and yang harmonize, the eight winds follow the pitches without straying, and the five tones form ordered patterns. the melodies of Kongsang and Guzhu sufficed to honor the spirits; the dances Cloud Gate and Great Xia did not fall short as displays of virtue. Yet the monthly pitches included the method of circulatory tonality, which fell within the Grand Music Master's charge. When Qin suppressed learning, the elegant tradition declined. In early Han only the Zhi clan's drum-and-dance music survived; the method of rotating among the twelve keys was lost to the world. Under Emperor Yuan of Han, Jing Fang, skilled in the Changes and expert in pitch, sought the ancient meaning and, following the key method of the Offices of Zhou, rotated the five notes month by month; he established a pitch standard, set the circulating tonics, and produced sixty modes. He also divided the day-cycle into three hundred sixty parts and transmitted the system to the Music Bureau; the chime ensemble was restored and the pitches aligned without error. When Han fell into mid-dynasty decline, elegant music was lost; advocates repeatedly urged adoption of Jing Fang's pitch-standard method, but the effort never succeeded. Qian Yue recorded only names in vain; Shen Chong merely summarized the theories; the sixty pitch laws fell silent and were never transmitted. Emperor Wu of Liang, himself expert in pitch theory, devised twelve four-way flutes to sound the eight categories of instruments. He also applied the ancient five regular and two altered tones, rotating them as tonics to produce eighty-four modes—matching the pitch standard in sound though differing in numerical arrangement. Hou Jing's rebellion extinguished the tradition again; when Sui first sought to fix court music, factional obstruction delayed the work for years. Duke of Pei Zheng Yi then adapted the seven notes of Kucha pipa to the monthly pitches; combining the five regular and two altered tones into seven harmonious modes and rotating them as tonics, he restored the eighty-four modes. The craftsman Wan Baochang further reduced the number of strings, giving the music a somewhat plainer, more archaic character. Emperor Gaozu of Sui did not esteem court music and ordered Confucian officials to deliberate the matter. Academician He Tuo submitted a counter-memorial, and the eighty-four modes proposed by Zheng and Wan were abolished entirely. Sui suburban and temple music used only the yellow-bell key; the five suburban qi-welcoming rites mixed in luxuriant guest—seven modes in all—while the remaining five bells hung unused. Banquet music at the three courts relied on the nine divisions of slow music, and through the dynastic transition no change was made. Emperor Taizong of Tang ordered veteran masters Zu Xiaosun and Zhang Wenshou to reconcile the seven-note, eighty-four-mode system of Zheng Yi and Wan Baochang; only then could strings and pipes sound together with bells and stones, the seven foundational tones revive, and harmony return to all four sides of the ensemble. After the An Lushan rebellion, the heartland was laid waste. the lofty-toothed, feather-decked instruments were swept away without a trace; craftsmen skilled in tapping, striking, and clapping went years without successors. suburban and temple performances were as meaningless as the southern Winnowing Basket constellation—adrift without direction, until those who understood music vanished entirely.
11
臣等竊以音之所起，出自人心，夔、曠不能長存，人事不能常泰，人亡則音息，世亂則樂崩，若不深知禮樂之情，安能明制作之本。 陛下心苞萬化，學富三雍。 觀兵耀武之功，已光鴻業； 尊祖禮神之致，尤軫皇情。 乃眷奉常，痛淪樂職，親閱四懸之器，思復九奏之音，爰命廷臣，重調鐘律。 樞密使王樸，采京房之準法，練梁武之通音，考鄭譯、寶常之七均，校孝孫、文收之九變，積黍累以審其度，聽聲詩以測其情，依權衡嘉量之前文，得備數和聲之大旨，施於鐘虡，足洽《簫韶》。 臣等今月十九日於太常寺集，命太樂令賈峻奏王樸新法黃鐘調七均，音律和諧，不相淩越。 其餘十一管諸調，望依新法教習，以備禮寺施用。 其五郊天地、宗廟、社稷、三朝大禮，合用十二管諸調，並載唐史、《開元禮》，近代常行。 廣順中，太常卿邊蔚奉敕定前件祠祭朝會舞名、樂曲、歌詞，寺司合有薄籍，伏恐所定與新法曲調聲韻不協，請下太常寺檢詳校試。 如或乖舛，請本寺依新法聲調，別撰樂章舞曲，令歌者誦習，永為一代之法，以光六樂之書。
We hold that music arises from the human heart; masters like Kui and Kuang cannot endure forever, and human affairs cannot always prosper—when men die, music falls silent; when the age is chaotic, music collapses. Without deep understanding of ritual and music, how can one grasp the foundations of cultural order? Your Majesty's heart embraces all transformations, and your learning is steeped in the classics of the three Yong halls. your military achievements have already glorified the great enterprise; your reverence for ancestors and the spirits moves your imperial heart above all. You turned to the Directorate of Sacrifices, grieved at the collapse of its musical duties, personally inspected the four suspended ensembles, sought to restore the ninefold performance, and ordered court ministers to retune the bells and pitches. Privy Council Commissioner Wang Pu drew on Jing Fang's pitch standard, mastered Emperor Wu of Liang's universal tones, studied the seven keys of Zheng Yi and Wan Baochang and the nine transformations of Zu Xiaosun and Zhang Wenshou, calibrated measures with millet grains, tested pitches against the Sound Poems, followed ancient standards of weight and measure, recovered the principle of numbered harmony, and applied it to bells and stands until it matched the legendary Xiao-Shao music. On the nineteenth of this month we assembled at the Directorate and had Grand Music Master Jia Jun perform Wang Pu's new seven keys in yellow-bell mode; the pitches were harmonious, with no note overpowering another. We ask that the remaining eleven pipes and their modes be taught by the new method, so the ritual directorate may put them into use. The five suburban rites, sacrifices to Heaven and Earth, the ancestral temple, the altars of soil and grain, and the great ceremonies of the three courts all require the full twelve pipes and their modes, as recorded in Tang histories and the Kaiyuan Rites and practiced in recent times. During Guangshun, Director Bian Wei was ordered to fix the dance names, pieces, and lyrics for those sacrifices and assemblies; the directorate should hold the records on file. We fear they may not match the new pitch system and ask that the directorate examine and test them. If discrepancies are found, we ask the directorate to compose new pieces and dances to the new tones, have the singers learn them by heart, and establish them as the permanent standard of our age—to honor the tradition of the six classical musics.
12
世宗覽奏，善之。 乃下詔曰：「禮樂之重，國家所先。 近朝以來，雅音廢墜，雖時運之多故，亦官守之因循。 遂使擊拊之音，空留梗概； 旋相之法，莫究指歸。 樞密使王仆，博識古今，懸通律呂，討尋舊典，撰集新聲，定六代之正音，成一朝之盛事。 其王樸所奏旋宮之法，宜依張昭等議狀行。 仍令有司依調制曲，其間或有疑滯，更委王樸裁酌施行。」 自是雅樂之音，稍克諧矣。
Emperor Shizong read the memorial and approved it. He then issued an edict: "Ritual and music are what the state must put first. In recent reigns court music has fallen into ruin—partly because of the turmoil of the times, but also because officials clung to routine. so that the sounds of drums and clappers retain only a bare outline; the method of rotating tonics—no one could trace its principles. Privy Council Commissioner Wang Pu, learned in antiquity and the present, master of pitch and mode, has searched the old canons and compiled new music, restored the correct tones of six dynasties, and achieved a crowning accomplishment of our reign. Wang Pu's method of circulatory tonality should be implemented as Zhang Zhao and his colleagues recommended. The responsible offices are to compose pieces according to the modes; any difficulties that arise are to be referred to Wang Pu for final decision." From that point the sound of court music gradually achieved harmony.