1
遼有國樂，有雅樂，有大樂，有散樂，有鐃歌、橫吹樂。 舊史稱聖宗、興宗咸通音律，聲氣、歌辭、舞節，徵諸太常、儀鳳、教坊不可得。 按《紀》、《志》、《遼朝雜禮》，參考史籍，定其可知者，以補一代之闕文。
The Liao possessed state music, court ritual music, great music, popular miscellaneous music, nao drum songs, and horizontal-flute music. Earlier histories report that Emperors Shengzong and Xingzong were fully conversant with pitch and rhythm, yet the timbres, lyrics, and dance patterns could not be recovered from the Court of Imperial Sacrifices, the Office of Ceremonial Phoenixes, or the Training Bureau. Drawing on the annals, treatises, and Miscellaneous Rites of the Liao, and consulting other historical sources, I have set down what can be established, to repair the gaps left in the record of that dynasty.
2
嗚呼！ 《咸》、《韶》、《夏》、《武》之樂，聲亡書逸，河間作《記》，史遷因以為《書》，寥乎希哉，遼之樂，觀此足矣。 ○國樂
Alas! The music of Xian, Shao, Xia, and Wu has vanished in sound and scattered in text; the Lord of Hejian compiled a Record, and Sima Qian treated it as a Classic—how remote and rare that is! For the music of the Liao, what is set down here is enough to judge by. State Music
3
遼有國樂，猶先王之風； 其諸國樂，猶諸侯之風。 故誌其略。
The Liao had state music, comparable to the royal airs of antiquity; and the music of its subject peoples, comparable to the regional airs of the feudal lords. Hence an outline is recorded here.
4
正月朔日朝賀，用宮懸雅樂。 元會，用大樂； 曲破後，用散樂； 角觝終之。 是夜，皇帝燕飲，用國樂。
On New Year's Day, when the court offered congratulations, full suspended ritual music was performed. At the great New Year assembly, great music was used; after the suite-break pieces, miscellaneous music was used; and wrestling brought the program to a close. That evening, at the emperor's convivial feast, state music was performed.
5
七月十三日，皇帝出行宮三十里卓帳。 十四日設宴，應從諸軍隨各部落動樂。 十五日中元，大宴，用漢樂。
On the thirteenth day of the seventh month, the emperor rode thirty li from the travelling palace and set up camp in a great tent. On the fourteenth a banquet was held, and each of the attendant armies played music according to its tribe. On the fifteenth, the Ghost Festival, a great banquet was held with Han music.
6
春飛放杏堝，皇帝射獲頭鵝，薦廟燕飲，樂工數十人執小樂器侑酒。 諸國樂
In spring, when the hunt was opened at Apricot Marsh, the emperor shot the first goose; after offerings at the temple and a convivial feast, several dozen musicians played small instruments to accompany the toasts. Music of the Subject Peoples
7
太宗會同三年，晉宣徽使楊端、王朓等及諸國使朝見，皇帝御便殿賜宴。 朓起進酒，作歌舞，上為舉觴極歡。
In the third year of Huitong, when Jin commissioners of the Palace Secretariat Yang Duan, Wang Tuo, and others came to court together with envoys from various states, Emperor Taizong received them in the side hall and granted a banquet. Wang Tuo rose to present wine and performed songs and dances; the emperor raised his cup and rejoiced to the full.
8
會同三年端午日，百僚及諸國使稱賀，如式燕飲，命回鶻、敦煌二使作本國舞。
On the Dragon Boat Festival in the third year of Huitong, the officials and envoys from various states offered congratulations; a banquet was held according to ritual, and the Uyghur and Dunhuang envoys were commanded to perform the dances of their own countries.
9
天祚天慶二年，駕幸混同江，頭魚酒筵，半酣，上命諸酋長次第歌舞為樂。 女直阿骨打端立直視，辭以不能。 上謂蕭奉先曰：「阿骨打意氣雄豪，顧視不常，可托以邊事誅之。 不然，恐貽後患。」 奉先奏：「阿骨打無大過，殺之傷向化之意。 蕞爾小國，又何能為。」
In the second year of Tianqing, Emperor Tianzuo visited the Huntong River; at the head-fish banquet, when the wine had gone halfway, he ordered the chieftains to sing and dance in turn for entertainment. The Jurchen leader Aguda stood erect and looked straight ahead, declining on the ground that he could not perform. The emperor said to Xiao Fengxian, "Aguda's bearing is bold and proud, and his gaze is unsettled. Find a pretext on the frontier and have him killed. Otherwise I fear he will become a trouble for us later. Fengxian replied, "Aguda has committed no serious offense. To kill him would wound our policy of winning others to allegiance. What harm can such a tiny state possibly do?"
10
聖宗太平元年，尊號冊禮，設宮懸於殿庭，舉麾位在殿第三重西階之上，協律郎各人就舉麾位，太常博士引太常卿，太常卿引皇帝。 將仗動，協律郎舉麾，太樂令令撞黃鐘之鐘，左右鐘皆應。 工人舉，樂作； 皇帝即御坐，扇合，樂止。 王公入門，樂作； 至位，樂止。 通事舍人引押冊大臣初動，樂作； 置冊殿前香案訖，就位，樂止。 舁冊官奉冊，初動，樂作； 升殿，置冊御坐前，就西墉北上位，樂止。 大臣上殿，樂作； 至殿欄內位，樂止。 大臣降殿階，樂作； 復位，樂止。 王公三品以上出，樂作； 太常博士引太常卿，太常卿引皇帝降御坐入閣，樂止。
In the first year of Taiping, at Emperor Shengzong's ceremony for the bestowal of an honorific title, full suspended bells were installed in the palace courtyard. The baton stations stood on the west steps of the hall's third tier; each pitch-tuning officer took his station; a Court of Imperial Sacrifices academician led the Director, and the Director led the emperor. As the insignia were about to move, the pitch-tuning officer raised his baton; the Director of Music ordered the yellow-bell bell struck, and the bells on both sides answered. The musicians raised their instruments and the music began; the emperor took the throne, the fans were closed, and the music ceased. When princes and dukes entered the gate, music sounded; when they reached their places, the music stopped. The protocol officer led the minister bearing the document of investiture at the first movement, and music sounded; when the document had been set on the incense table before the hall and they had taken their places, the music stopped. The officers carrying the document of investiture presented it; at the first movement, music sounded; they ascended the hall, set the document before the throne, and took their places north of the west parapet; the music stopped. When the minister ascended the hall, music sounded; when he reached his place inside the hall railing, the music stopped. When the minister descended the hall steps, music sounded; when he returned to his place, the music stopped. When princes and dukes of the third rank and above withdrew, music sounded; A Court of Imperial Sacrifices academician led the Director, and the Director led the emperor down from the throne into the side chamber; the music stopped.
11
興宗重熙九年，上契丹冊，皇帝出，奏《隆安》之樂。
In the ninth year of Chongxi, when the Khitan document of investiture was presented, the music Long Peace was played as the emperor came forth.
12
冊皇太子儀：太子初入門，《貞安》之樂作。
Ceremony for investing the crown prince: when the crown prince first entered the gate, the music Upright Peace was performed.
13
冊禮樂工次第：四隅各置建鼓一虡，樂工各一人； 宮懸每面九虡，每虡樂工一人； 樂虡近北置、各一，樂工各一人； 樂虡內坐部樂工，左右各一百二人； 樂虡西南武舞六十四人，執小旗二人； 樂虡東南文舞六十四人，執小旗二人； 協律郎二人； 太樂令一人。
Order of musicians at the investiture ceremony: at each of the four corners one rack of establishment drums was set up, with one musician at each; on each side of the suspended orchestra nine racks, with one musician at each rack; one additional rack placed near the north of each music stand, with one musician at each; within the music stands, seated-section musicians numbered one hundred and two on the left and on the right; southwest of the music stands, sixty-four military dancers, with two bearing small banners; southeast of the music stands, sixty-four civil dancers, with two bearing small banners; two pitch-tuning officers; one Director of Music.
14
唐《十二和》樂，遼初用之，《豫和》祀天神，《順和》祭地祗，《永和》享宗廟，《肅和》登歌奠玉帛，《雍和》入俎接神，《壽和》酌獻飲神，《太和》節升降，《舒和》節出入，《昭和》舉酒，《休和》以飯，《正和》皇后受冊以行，《承和》太子以行。
The Tang Twelve Harmonies were used in the early Liao: Yuhe when sacrificing to Heaven, Shunhe to Earth, Yonghe in the ancestral temple, Suhe when ascending to sing and presenting jade and silk, Yonghe when the offering entered the stand to receive the spirit, Shouhe for libation and drinking to the spirit, Taihe to regulate ascent and descent, Shuhe to regulate entry and exit, Zhaohe when wine was raised, Xiuhe at the meal, Zhenghe when the empress received the register in procession, and Chenghe when the crown prince went in procession.
15
遼《十二安》樂：初，梁改唐《十二和》樂為《九慶》樂，後唐建唐宗廟，仍用《十二和》樂，晉改為《十二同》樂。 《遼雜禮》「天子出入，奏《隆安》； 太子行，奏《貞安》」，則是遼嘗改樂名矣。 餘十安樂名缺。
The Liao Twelve Tranquilities: at first the Liang had changed the Tang Twelve Harmonies to Nine Celebrations; Later Tang, when it built the Tang ancestral temple, reverted to the Twelve Harmonies; Jin renamed them the Twelve Unities. The Miscellaneous Rites of the Liao records: "When the Son of Heaven enters or exits, perform Long Peace; when the crown prince goes in procession, perform Upright Peace"—which shows that the Liao did rename some pieces. The names of the remaining ten Tranquilities are lost.
16
遼雅樂歌辭，文闕不具； 八音器數，大抵因唐之舊。 八音：金縛、鐘石球、磬
The lyrics of Liao ritual music survive only in fragmentary form; but the roster of instruments in the eight categories largely follows Tang practice. The eight categories: metal—gongs and cymbals; stone—bells, sounding stones, and chime-stones.
17
絲琴、瑟竹籥、簫、竾匏笙、竽土籥
silk—the qin and se zithers; bamboo—the yue pipe, xiao flute, and chi; gourd—the sheng and yu mouth-organs; earth—the ocarina.
18
革鼓、鼗木、
leather—drums and tambourines; wood—
19
十二律用周黍尺九寸管，空徑三分為本。 道宗大康中，詔行黍所定升斗，嘗定律矣。 其法大抵用古律焉。 大樂
The twelve pitch pipes were based on the Zhou millet-measure: a nine-inch tube with an inner diameter of three fen. In the Dakang era of Emperor Daozong, an edict ordered the adoption of the bushel and peck defined by the millet measure, and the pitch standard was once fixed accordingly. The method employed was largely that of the ancient pitch pipes. Great Music
20
自漢以來，因秦、楚之聲置樂府。 至隋高祖詔求知音者，鄭譯得西域蘇祗婆七旦之聲，求合七音八十四調之說，由是雅俗之樂，皆此聲矣。 用之朝廷，別於雅樂者，謂之大樂。 晉高祖使馮道、劉煦冊應天太后、太宗皇帝，其聲器、工官與法駕，同歸於遼。
From the Han dynasty onward, a Music Bureau was established to preserve the sounds of Qin and Chu. When Sui Gaozu issued an edict seeking masters of music, Zheng Yi obtained from the Western Regions the seven-mode system of the Kuchean musician Sujiva and sought to align it with the theory of seven tones and eighty-four modes; from that point, both court ritual and popular music drew on these sounds. What was used at court and distinguished from ritual music was called great music. When Jin Gaozu sent Feng Dao and Liu Xu to invest Empress Dowager Yingtian and Emperor Taizong, the musical instruments, musicians, and imperial regalia all passed into Liao hands together.
21
聖宗統和元年，冊承天皇太后，童子弟子隊樂引太后輦至金鑾門。
In the first year of Tonghe, when Empress Dowager Chengtian was invested, the boy-disciple musical corps escorted the empress dowager's carriage with music to the Golden Phoenix Gate.
22
天祚皇帝天慶元年上壽儀：皇帝出東閣，鳴鞭，樂作； 簾卷，扇開，樂止。 太尉執臺，分班，太樂令舉麾，樂作； 皇帝飲酒訖，樂止。 應坐臣僚東西外殿，太樂令引堂上，樂升。 大臣執臺，太樂令奏舉觴，登歌，樂作； 飲訖，樂止。 行臣僚酒遍，太樂令奏巡周，舉麾，樂作； 飲訖，樂止。 太常卿進禦食，太樂令奏食遍，樂作； 《文舞》入，三變，引出，樂止。 次進酒，行臣僚酒，舉觴，巡周，樂作； 飲訖，樂止。 次進食，食遍，樂作； 《武舞》入，三變，引出，樂止。 扇合，簾下，鳴鞭樂作； 皇帝入西閣，樂止。
Ceremony for offering long life in the first year of Tianqing, Emperor Tianzuo: the emperor came forth from the east side chamber, the whip was sounded, and music began; the curtains were raised, the fans opened, and the music ceased. The Grand Commandant held the goblet-stand and the officials took their ranks; the Director of Music raised his baton and music sounded; when the emperor had finished drinking, the music stopped. The officials who were to be seated in the east and west outer halls were led onto the hall platform by the Director of Music as the music swelled. A minister held the goblet-stand; the Director of Music announced the raising of the cup; the ascending song was performed and music sounded; when the drinking was finished, the music stopped. When wine had been passed to all the officials, the Director of Music announced the circuit round, raised his baton, and music sounded; when the drinking was finished, the music stopped. The Director of the Court of Imperial Sacrifices presented the imperial meal; the Director of Music announced that the food round was complete, and music sounded; the Civil Dance entered, performed three changes, and was led out; the music stopped. Next wine was presented and passed among the officials; cups were raised and the circuit round performed as music sounded; when the drinking was finished, the music stopped. Next food was presented; when the food round was complete, music sounded; the Military Dance entered, performed three changes, and was led out; the music stopped. the fans were closed, the curtains lowered, the whip was sounded, and music began; the emperor entered the west side chamber and the music ceased.
23
大樂器：本唐太宗《七德》、《九功》之樂。 武后毀唐宗廟，《七德》、《九功》樂舞遂亡，自後宗廟用隋《文》、《武》二舞。 朝廷用高宗《景雲》樂代之，元會，第一奏《景雲》樂舞。 杜佑《通典》已稱諸樂並亡。 唯《景雲》樂舞僅存。 唐末、五代板蕩之餘，在者希矣。 遼國大樂，晉代所傳。 雜禮雖見坐部樂工左右各一百二人，蓋亦以《景雲》遺工充坐部； 其坐、立部樂，自唐已亡，可考者唯《景雲》四部樂舞而已。
Instruments of great music: they originally belonged to Emperor Taizong of Tang's Seven Virtues and Nine Achievements suites. When Empress Wu destroyed the Tang ancestral temple, the Seven Virtues and Nine Achievements dances were lost; thereafter the ancestral temple used the Sui Civil and Military dances. At court they were replaced by Emperor Gaozong's Jingyun music; at the New Year assembly the Jingyun dance was performed first. Du You's Comprehensive Institutions already records that all these pieces were lost. Only the Jingyun dance barely survived. After the upheavals of late Tang and the Five Dynasties, little survived. The great music of the Liao was what had been transmitted from the Jin. Although the Miscellaneous Rites mention one hundred and two seated-section musicians on the left and right, they were presumably filled by surviving practitioners of Jingyun; the seated and standing sections of music had been lost since the Tang; all that can be verified is the four-part Jingyun dance alone.
24
玉磬方響搊箏築
jade chimes, metal sounding plates, pipa lute, zheng zither, and stick-zither.
25
臥箜篌大箜篌小箜篌大琵琶
reclining konghou, large konghou, small konghou, and large pipa
26
小琵琶大五弦小五弦吹葉
small pipa, large five-string lute, small five-string lute, and leaf-whistling
27
大笙小笙觱篥簫
large sheng, small sheng, bili pipe, and xiao flute
28
銅鈸長笛尺八笛短笛
bronze cymbals, long flute, shakuhachi flute, and short flute
29
以上皆一人。 毛員鼓連鼗鼓貝
Each of the above was played by one musician. Mao-yuan drum, linked tambourines, and conch shell
30
以上皆二人，余每器工一人。 歌二人。 舞二十人，分四部：《景雲》舞八人
Each of the above required two musicians; for the remaining instruments, one player per instrument. There were two singers. There were twenty dancers, divided into four sections: eight for the Jingyun dance
31
《慶雲》樂舞四人《破陣》樂舞四人《承天》樂舞四人
four for the Qingyun dance, four for the Pozhen dance, and four for the Chengtian dance
32
大樂調：雅樂有七音，大樂亦有七聲，謂之七旦：一曰娑陁力，平聲； 二曰雞識，長聲； 三曰沙識，質直聲； 四曰沙侯加濫，應聲； 五曰沙臘，應和聲； 六曰般贍，五聲； 七曰俟利<辶筆>，斛牛聲。 自隋以來，樂府取其聲，四旦二十八調為大樂。
Modes of great music: ritual music has seven tones, and great music likewise has seven sounds, called the seven modes. The first is Satuoli, the level tone; the second is Jishi, the long tone; the third is Shashi, the straightforward tone; the fourth is Shahou jialan, the responding tone; the fifth is Shala, the harmonizing tone; the sixth is Banshan, the pentatonic tone; the seventh is Sili chan, the measuring-ox tone. From the Sui dynasty onward, the Music Bureau adopted these sounds; four modes and twenty-eight keys made up great music.
33
娑陁力旦：正宮高宮中呂宮
Satuoli mode: proper palace, high palace, and central lü palace
34
道調宮南呂宮仙呂宮黃鐘宮
dao-mode palace, southern lü palace, immortal lü palace, and yellow-bell palace
35
雞識旦：越調大食調高大食調
Jishi mode: Yue mode, Great Food mode, and High Great Food mode
36
雙調小食調歇指調林鐘商調
Double mode, Small Food mode, Resting Finger mode, and Forest Bell merchant mode
37
沙識旦：大食角高大食角雙角
Shashi mode: Great Food corner, High Great Food corner, and Double corner
38
小食角歇指角林鐘角越角
Small Food corner, Resting Finger corner, Forest Bell corner, and Yue corner
39
般涉旦：中呂調正平調高平調
Banshe mode: central lü mode, proper level mode, and high level mode
40
仙呂調黃鐘調般涉調高般涉調
immortal lü mode, yellow-bell mode, banshe mode, and high banshe mode
41
右四旦二十八調，不用黍律，以琵琶弦葉之。 皆從濁至清，叠更其聲，下益濁，上益清。 七七四十九調，餘二十一調失其傳。 蓋出九部樂之《龜茲部》雲。
These four modes and twenty-eight keys did not use millet pitch pipes but were calibrated by the strings of the pipa. All proceeded from low to high pitch, changing sound in layers: lowering made the tone muddier, raising made it clearer. Seven times seven makes forty-nine modes; twenty-one of them have lost their transmission. They are said to derive from the Kuche section of the nine-department music.
42
大樂聲：各調之中，度曲協音，其聲凡十，曰：五、凡、工、尺、上、一、四、六、勾、合，近十二雅律，於律呂各闕其一，猶雅音之不及商也。 散樂
Tones of great music: within each mode, when melodies were set and pitches harmonized, there were ten sounds in all—wu, fan, gong, chi, shang, yi, si, liu, gou, and he—approximating the twelve ritual pitches yet lacking one from each class, much as ritual tone falls short of merchant tone. Miscellaneous Music
43
殷人作靡靡之樂，其聲往而不反，流為鄭、衛之聲。 秦、漢之間，秦、楚聲作，鄭、衛浸亡。 漢武帝以李延年典樂府，稍用西涼之聲。 今之散樂，俳優、歌舞雜進，往往漢樂府之遺聲。 晉天福三年，遣劉句以伶官來歸，遼有散樂，蓋由此矣。
The Yin made decadent music whose sound went out and did not return, eventually flowing into the music of Zheng and Wei. Between the Qin and Han dynasties, Qin and Chu sounds arose while Zheng and Wei music gradually died out. Emperor Wu of Han placed Li Yannian in charge of the Music Bureau and gradually introduced sounds from Western Liang. Present-day miscellaneous music, with actors, songs, and dances presented in succession, often preserves sounds handed down from the Han Music Bureau. In the third year of Tianfu, Jin sent Liu Gou back with court entertainers; the Liao acquired miscellaneous music, presumably from this event.
44
遼冊皇后儀：呈百戲、角觝、戲馬以為樂。 皇帝生辰樂次：酒一行觱篥起，歌。 酒二行歌，手伎入。
In the Liao ceremony for investing an empress, the hundred entertainments, wrestling, and horse play were presented as amusement. Order of music at the emperor's birthday: at the first round of wine, the bili sounded and singing began. At the second round of wine came singing, and hand acrobats entered.
45
酒三行琵琶獨彈。 餅、茶、致語。 食入，雜劇進。 酒四行闕。
At the third round of wine, a solo on the pipa. Cakes, tea, and formal address. Food was served and miscellaneous plays were presented. The fourth round of wine was omitted.
46
酒五行笙獨吹，鼓笛進。 酒六行箏獨彈，築球。 酒七行歌曲破，角觝。 曲宴宋國使樂次：
At the fifth round of wine, a solo on the sheng, and drums and flutes entered. At the sixth round of wine, a solo on the zheng, then stick-zither and ball games. At the seventh round of wine came song suite-break pieces and wrestling. Order of music at a private banquet for the Song envoy:
47
酒一行觱篥起，歌。 酒二行歌。 酒三行歌，手伎入。 酒四行琵琶獨彈。
At the first round of wine, the bili sounded and singing began. At the second round of wine came singing. At the third round of wine came singing, and hand acrobats entered. At the fourth round of wine, a solo on the pipa.
48
餅、茶、致語。 食入，雜劇進。 酒五行闕。 酒六行笙獨吹，合《法曲》。
Cakes, tea, and formal address. Food was served and miscellaneous plays were presented. The fifth round of wine was omitted. At the sixth round of wine came a solo on the sheng, performing the Legal Suite.
49
酒七行箏獨彈。 酒八行歌，擊架樂。 酒九行歌，角觝。
At the seventh round of wine, a solo on the zheng. At the eighth round of wine came singing and music on the frame drums. At the ninth round of wine came singing and wrestling.
50
散樂，以三音該三才之義，四聲調四時之氣，應十二管之數。 截竹為四竅之笛，以葉音聲，而被之弦歌。 三音：天音揚，地音抑，人音中，皆有聲無文。 四時：春聲曰平，夏聲曰上，秋聲曰去，冬聲曰入。
Miscellaneous music used three tones to encompass the three powers, four sounds to regulate the four seasons, and corresponded to the number of the twelve pitch pipes. Bamboo was cut into four-hole flutes; leaf-tones provided the pitch, and string songs were performed to accompany them. The three tones were heaven-tone rising, earth-tone falling, and human-tone in the middle—all sound without written text. The four seasons were represented in sound: spring as level tone, summer as rising, autumn as departing, and winter as entering.
51
散樂器：觱篥、簫、笛、笙、琵琶、五弦、箜篌、箏、方響、杖鼓、第二鼓、第三鼓、腰鼓、大鼓、鞚、拍板。
Instruments of miscellaneous music included the bili, xiao, flute, sheng, pipa, five-string lute, konghou, zheng, metal sounding plates, staff drum, second drum, third drum, waist drum, large drum, kong drum, and clappers.
52
雜戲：自齊景公用倡優侏儒，至漢武帝設魚龍曼延之戲，後漢有繩舞、自刳之伎，杜佑以為多幻術，皆出西域。 哇俚不經，故不具述。 鼓吹樂
Miscellaneous entertainments: from Duke Jing of Qi's actors and dwarfs to Emperor Wu of Han's fish-dragon pageant, and in Later Han rope dances and self-disemboweling acts—Du You regarded most of these as illusion arts originating in the Western Regions. They are vulgar and unorthodox, and so are not described in full. Drum-and-Wind Music
53
鼓吹樂，一曰短簫鐃歌樂，自漢有之，謂之軍樂。 《遼雜禮》，朝會設熊羆十二案，法駕有前後部鼓吹，百官鹵簿皆有鼓吹樂。 前部：
Drum-and-wind music, also called short-flute nao-song music, has existed since the Han and is known as military music. According to the Miscellaneous Rites of the Liao, court assemblies set out twelve bear-and-panther tables; the imperial procession had front and rear drum-and-wind sections; and every official's guard of honor included drum-and-wind music. Front section:
54
鼓吹令二人掆鼓十二金鉦十二大鼓百二十
two Directors of drum-and-wind, twelve carrying-drums, twelve gold cymbals, one hundred and twenty large drums
55
長鳴百二十鐃十二鼓十二歌二十四
one hundred and twenty long calls, twelve nao, twelve drums, twenty-four singers
56
管二十四簫二十四笳二十四後部：
twenty-four pipes, twenty-four xiao, twenty-four qiang. Rear section:
57
鼓吹丞二人大角百二十羽葆十二鼓十二
two Deputy Directors of drum-and-wind, one hundred and twenty great horns, twelve feather banners, twelve drums
58
管二十四簫二十四鐃十二鼓十二
twenty-four pipes, twenty-four xiao, twelve nao, twelve drums
59
簫二十四笳二十四右前後鼓吹，行則導駕奏之，朝會則列仗，設而不奏。 橫吹樂
twenty-four xiao and twenty-four qiang. The front and rear drum-and-wind sections: when the emperor travelled they led the procession and played; at court assemblies they were drawn up in formation but set out without being played. Horizontal-Flute Music
60
橫吹亦軍樂，與鼓吹分部而同用，皆屬鼓吹令。 前部：大橫吹百二十節鼓二
Horizontal-flute music is also military music; though organized separately from drum-and-wind, it was used together with it, all under the Director of drum-and-wind. Front section: one hundred and twenty great horizontal flutes, two festival drums
61
笛二十四觱篥二十四笳二十四桃皮觱篥二十四
twenty-four flutes, twenty-four bili, twenty-four qiang, twenty-four peach-skin bili
62
掆鼓十二金鉦十二小鼓百二十中鳴百二十
twelve carrying-drums, twelve gold cymbals, one hundred and twenty small drums, one hundred and twenty middle calls
63
羽葆十二鼓十二管二十四簫二十四
twelve feather banners, twelve drums, twenty-four pipes, twenty-four xiao
64
笳二十四後部：小橫吹百二十四笛二十四
twenty-four qiang. Rear section: one hundred and twenty-four small horizontal flutes, twenty-four flutes
65
簫二十四觱篥二十四桃皮蒨篥二十四
twenty-four xiao, twenty-four bili, twenty-four peach-skin qian-bili
66
百官鼓吹、橫吹樂，自四品以上，各有增損，見《儀衛志》。 自周衰，先王之樂浸以亡缺，《周南》變為《秦風》。 始皇有天下，鄭、衛、秦、燕、趙、楚之聲叠進，而雅聲亡矣。 漢唐之盛，文事多西音，是為大樂、散樂； 武事皆北音，是為鼓吹、橫吹樂。 雅樂在者，其器雅，其音亦西雲。
The drum-and-wind and horizontal-flute music allotted to officials of the fourth rank and above varied in scale; see the Treatise on Ceremonial Guards. From the decline of Zhou onward, the music of the former kings gradually vanished; the Odes of Zhou and the South gave way to the Airs of Qin. When the First Emperor united the realm, the sounds of Zheng, Wei, Qin, Yan, Zhao, and Chu crowded in one after another, and ritual music was lost. At the height of Han and Tang, civil ceremonies drew heavily on western sounds—this is great music and miscellaneous music; military affairs relied on northern sounds—this is drum-and-wind and horizontal-flute music. What survives of ritual music has refined instruments, yet its sound too is said to be western in character.