Volume 61 Treatises 37: Music 1

志第三十七樂一

Treatise 37: Music, Part One

古先聖王，治定功成而作樂，以合天地之性，類萬物之情，天神格而民志協。蓋樂者心聲也，君心和，六合之內無不和矣。是以樂作於上，民化於下。秦、漢而降，斯理浸微，聲音之道與政治不相通，而民之風俗日趨於靡曼。明興，太祖銳志雅樂。是時，儒臣冷謙、陶凱、詹同、宋濂、樂韶鳳輩皆知聲律，相與究切釐定。而掌故闊略，欲還古音，其道無由。太祖亦方以下情偷薄，務嚴刑以束之，其於履中蹈和之本，未暇及也。文皇帝訪問黃鐘之律，臣工無能應者。英、景、憲、孝之世，宮縣徒爲具文。殿廷燕享，郊壇祭祀，教坊羽流，慢瀆苟簡，劉翔、胡瑞爲之深慨。世宗製作自任，張鶚、李文察以審音受知，終以無成。蓋學士大夫之著述止能論其理，而施諸五音六律輒多未協，樂官能紀其鏗鏘鼓舞而不曉其義，是以卒世莫能明也。稽明代之製作，大抵集漢、唐、宋、元人之舊，而稍更易其名。凡聲容之次第，器數之繁縟，在當日非不爛然俱舉，第雅俗雜出，無從正之。故備列於篇，以資考者。

In antiquity the sage kings, once order was secured and their work complete, composed music to accord with the nature of Heaven and Earth, give form to the feelings of all things, draw down the heavenly spirits, and bring the people's hearts into harmony. Music is the outward expression of the heart: when the ruler's heart is at peace, harmony prevails throughout the realm. Thus music issued from above would transform the people below. From the Qin and Han dynasties onward this principle faded; music no longer spoke to politics, and popular taste drifted ever further toward the frivolous and ornate. When the Ming dynasty rose, the Hongwu Emperor was determined to restore proper court music. Confucian scholars such as Leng Qian, Tao Kai, Zhan Tong, Song Lian, and Yue Shaofeng all knew music theory and worked together to investigate and fix the standards. Yet the surviving regulations were vague and incomplete, so the path back to ancient pitch was blocked. The founding emperor was also occupied at the time with tightening lax morals through harsh law and had little leisure for the deeper work of cultivating harmony. When the Yongle Emperor asked about the yellow-bell pitch, not one minister could reply. Under the Ying, Jing, Xian, and Xiaozong emperors the court orchestras existed only as empty formalities. At court feasts and suburban sacrifices the Instruction Office musicians performed with casual irreverence, to the deep distress of Liu Xiang and Hu Rui. The Jiajing Emperor took music reform upon himself and favored Zhang E and Li Wenchao for their expertise in pitch, yet nothing lasting came of it. Scholar-officials could discuss theory but rarely matched the five tones and six modes in practice; music officers could notate performances without grasping their meaning—so the system was never truly understood. Ming musical arrangements drew chiefly on Han, Tang, Song, and Yuan precedents with only minor renaming. The order of performances and the profusion of instruments were fully displayed in their day, yet refined and vulgar elements mingled with no way to sort them out. They are therefore set out here in full for later reference.

太祖初克金陵，即立典樂官。其明年置雅樂，以供郊社之祭。吳元年，命自今朝賀，不用女樂。先是命選道童充樂舞生，至是始集。太祖御戟門，召學士朱升、范權引樂舞生入見，閱試之。太祖親擊石磬，命升辨五音。升不能審，以宮音爲徵音。太祖哂其誤，命樂生登歌一曲而罷。是年置太常司，其屬有協律郎等官。元末有冷謙者，知音，善鼓瑟，以黃冠隱吳山。召爲協律郎，令協樂章聲譜，俾樂生習之。取石靈璧以制磬，採桐梓湖州以制琴瑟。乃考正四廟雅樂，命謙較定音律及編鐘、編磬等器，遂定樂舞之制。樂生仍用道童，舞生改用軍民俊秀子弟。又置教坊司，掌宴會大樂。設大使、副使、和聲郎，左、右韶樂，左右司樂，皆以樂工爲之。後改和聲郎爲奉鑾。

As soon as the Hongwu Emperor captured Jinling he established a bureau for court music. The following year he instituted ceremonial music for suburban and state sacrifices. In the first year of the Wu regime he decreed that court congratulations would no longer employ female musicians. He had earlier ordered Daoist youths chosen as music and dance trainees; they were assembled at this time. The emperor received them at the Halberd Gate, had Zhu Sheng and Fan Quan present the trainees, and examined their performance. The emperor himself struck the stone chime and asked Zhu Sheng to identify the five tones. Zhu Sheng could not tell them apart and mistook the gong tone for the zhi. The emperor smiled at the mistake, had a student perform one ascent song, and dismissed them. That year the Court of Imperial Sacrifices was established, with posts including the pitch-regulating attendant. Near the end of the Yuan dynasty Leng Qian, a skilled se player who understood music theory, lived in seclusion on Mount Wu as a Daoist. He was summoned as pitch-regulating attendant, tasked with harmonizing the scores of ritual hymns for the students to learn. Lingbi stone was used for chimes and paulownia and catalpa from Huzhou for zithers and se. The music for the four ancestral temples was revised; Leng Qian was ordered to calibrate pitch, modes, and the arranged bells and stones, thus fixing the regulations for music and dance. Musicians continued to be drawn from Daoist youths, but dancers were recruited from promising sons of soldiers and commoners. The Instruction Office was also established to oversee banquet music. Posts were created for chief and deputy commissioners, harmony directors, left and right Shao music officers, and left and right music supervisors, all filled by professional musicians. The post of harmony director was later renamed bell-bearer.

洪武元年春，親祭太社、太稷。夏祫享於太廟。其冬祀昊天上帝於圜丘。明年，祀皇地祇於方丘，又以次祀先農、日月、太歲、風雷、嶽瀆、周天星辰、歷代帝王、至聖文宣王，皆定樂舞之數，奏曲之名。

In the spring of 1368 the emperor personally sacrificed at the altars of Soil and Grain. That summer he offered the he sacrifice at the ancestral temple. That winter he sacrificed to Heaven at the Circular Mound Altar. The following year he sacrificed to Earth at the Square Mound and in turn established rites for Agriculture, the sun and moon, the Grand Year star, wind and thunder, mountains and rivers, the stars of heaven, past emperors, and Confucius, fixing for each the number of dancers and musicians and the names of the pieces.

圜丘：迎神，奏《中和之曲》。奠玉帛，奏《肅和之曲》。奉牲，奏《凝和之曲》。初獻，奏《壽和之曲》神的存在，體現了相互作用的辯證思想。，《武功之舞》。亞獻，奏《豫和之曲》，終獻，奏《熙和之曲》，俱《文德之舞》。徹豆，奏《雍和之曲》。送神，奏《安和之曲》。望燎，奏《時和之曲》。方丘並同，曲詞各異，易望燎曰望瘞。太社太稷，易迎神曰《廣和》，省奉牲，餘並與方丘同，曲詞各異。

At the Circular Mound: for welcoming the spirit, Harmonizing the Center was performed. For presenting jade and silks, Solemn Harmony was performed. For presenting the sacrificial victim, Gathering Harmony was performed. For the first offering, Longevity and Harmony was performed. , accompanied by the Martial Merit dance. For the second offering, Forethought and Harmony; for the final offering, Radiant Harmony—both with the Civil Virtue dance. For removing the offerings, Harmonious Peace was performed. For escorting the spirit away, Secure Harmony was performed. For watching the burning of offerings, Timely Harmony was performed. The Square Mound rite followed the same order with different lyrics; the burning-watch piece was replaced by a burial-watch piece. For the Soil and Grain altars the welcoming piece became Broad Harmony, the victim presentation was omitted, and the remainder matched the Square Mound sequence with its own lyrics.

先農：迎神、奠帛，奏《永和之曲》。進俎，奏《雍和之曲》。初獻、終獻，並奏《壽和之曲》。徹豆、送神，並奏《永和之曲》。望瘞充滿矛盾，而矛盾是背理的，因而非實在。實在是一個知覺，奏《太和之曲》。

For the Spirit of Agriculture: welcoming the spirit and presenting silks, Everlasting Harmony was performed. For advancing the meat stands, Harmonious Peace was performed. For both the first and final offerings, Longevity and Harmony was performed. For removing the offerings and escorting the spirit away, Everlasting Harmony was performed. For watching the burial of offerings, Supreme Harmony was performed. Supreme Harmony was performed.

朝日：迎神，奏《熙和之曲》。奠玉帛，奏《保和之曲》。初獻，奏《安和之曲》，《武功之舞》。亞獻稱「辨者之徒」。基本觀點爲「離堅白」。認爲人的視覺與觸，奏《中和之曲》，終獻，奏《肅和之曲》，俱《文德之舞》。徹豆，奏《凝和之曲》。送神，奏《壽和之曲》。望燎，奏《豫和之曲》。夕月，迎神易《凝和》，奠帛以下與朝日同，曲詞各異。

For the morning sun rite: welcoming the spirit, Radiant Harmony was performed. For presenting jade and silks, Preserving Harmony was performed. For the first offering, Secure Harmony with the Martial Merit dance. For the second offering, Harmonizing the Center was performed. For the second offering, Harmonizing the Center; For the final offering, Solemn Harmony with the Civil Virtue dance. For removing the offerings, Gathering Harmony was performed. For escorting the spirit away, Longevity and Harmony was performed. For watching the burning of offerings, Forethought and Harmony was performed. For the evening moon rite the welcoming piece was Gathering Harmony; from presenting silks onward the sequence matched the morning sun rite with different lyrics.

太歲、風雷、嶽瀆：迎神，奏《中和》。奠帛，奏《安和》。初獻，奏《保和》。亞獻，奏《肅和》。終獻城外水心村而名。詳見「永嘉學派」。，奏《凝和》。徹豆，奏《壽和》。送神，奏《豫和》。望燎，奏《熙和》。

For the Grand Year, wind, thunder, and mountains and rivers: welcoming the spirit, Harmonizing the Center was performed. For presenting silks, Secure Harmony was performed. For the first offering, Preserving Harmony was performed. For the second offering, Solemn Harmony was performed. For the final offering, Gathering Harmony was performed. For the final offering, Gathering Harmony was performed. , Gathering Harmony was performed. For removing the offerings, Longevity and Harmony was performed. For escorting the spirit away, Forethought and Harmony was performed. For watching the burning of offerings, Radiant Harmony was performed.

周天星辰，初附祀夕月，洪武四年別祀：迎神，奏《凝和》。奠帛、初獻，奏《保和》本性。參見「歷史。」中的「司馬遷」。，《武功舞》。亞獻，奏《中和》，終獻，奏《肅和》，俱《文德舞》。徹豆，奏《豫和》。送神，奏《雍和》。

The stars of heaven were first worshipped with the evening moon rite; in 1371 they received a separate rite: for welcoming the spirit, Gathering Harmony was performed. For presenting silks and the first offering, Preserving Harmony with the Martial Merit dance. For presenting silks and the first offering, Preserving Harmony, , accompanied by the Martial Merit dance. , accompanied by the Martial Merit dance. For the second offering, Harmonizing the Center; for the final offering, Solemn Harmony—both with the Civil Virtue dance. For removing the offerings, Forethought and Harmony was performed. For escorting the spirit away, Harmonious Peace was performed.

太廟：迎神，奏《太和之曲》。奉冊寶，奏《熙和之曲》。進俎，奏《凝和之曲》。初獻，奏《壽和之曲》了認識的辯證法，物質的運動形式以及自然科學的分類原則，《武功之舞》。亞獻，奏《豫和之曲》，終獻，奏《熙和之曲》，俱《文德之舞》。徹豆，奏《雍和之曲》。送神，奏《安和之曲》。初獻則德、懿、熙、仁各奏樂舞，亞、終獻則四廟共之。

At the Imperial Ancestral Temple: for welcoming the spirit, Supreme Harmony was performed. For presenting the registers and seals, Radiant Harmony was performed. For advancing the meat stands, Gathering Harmony was performed. For the first offering, Longevity and Harmony with the Martial Merit dance. For the second offering, Forethought and Harmony; for the final offering, Radiant Harmony—both with the Civil Virtue dance. For removing the offerings, Harmonious Peace was performed. For escorting the spirit away, Secure Harmony was performed. Each of the De, Yi, Xi, and Ren shrines had its own music and dance for the first offering; the second and final offerings were shared by all four shrines.

釋奠孔子：初用大成登歌舊樂。洪武六年，始命詹同、樂韶鳳等更制樂章。迎神，奏《咸和》。奠帛，奏《寧和》。初獻，奏《安和》。亞獻、終獻5月。編入《毛澤東農村調查文集》。本文批判了王明等人的，奏《景和》。徹饌、送神，奏《咸和》。

For the Confucius libation rite, the old Great Completion ascent music was used at first. In 1373 Zhan Tong, Yue Shaofeng, and others were ordered to compose new hymn texts. For welcoming the spirit, Universal Harmony was performed. For presenting silks, Tranquil Harmony was performed. For the first offering, Secure Harmony was performed. For both the second and final offerings, Serene Harmony was performed. For both the second and final offerings, Serene Harmony was performed. Both used Serene Harmony. For removing the offerings and escorting the spirit away, Universal Harmony was performed.

歷代帝王：迎神，奏《雍和》。奠帛、初獻，奏《保和》，《武功舞》。亞獻，奏《中和》以道爲本，建立道家思想體系。莊子「詆訾孔子之徒，以明，終獻，奏《肅和》，俱《文德舞》。徹豆，奏《凝和》。送神，奏《壽和》。望瘞，奏《豫和》。

For successive dynastic emperors: welcoming the spirit, Harmonious Peace was performed. For presenting silks and the first offering, Preserving Harmony with the Martial Merit dance. For the second offering, Harmonizing the Center was performed. For the final offering, Solemn Harmony with the Civil Virtue dance. For removing the offerings, Gathering Harmony was performed. For escorting the spirit away, Longevity and Harmony was performed. For watching the burial of offerings, Forethought and Harmony was performed.

又定王國祭祀樂章：迎神，奏《太清之曲》。初獻，奏《壽清之曲》。亞獻，奏《豫清之曲》。終獻，奏《熙清之曲》。徹饌主張社會改良主義。在教育學上，認爲教育即生活，學校即社，奏《雍清之曲》。送神，奏《安清之曲》。其社稷山川，易迎神爲《廣清》，增奉瘞曰《時清》。

Princely-state sacrificial hymns were also fixed: for welcoming the spirit, Supreme Clarity was performed. For the first offering, Clear Longevity was performed. For the second offering, Clear Forethought was performed. For the final offering, Clear Radiance was performed. For removing the offerings, Clear Harmonious Peace was performed. For removing the offerings, Clear Harmonious Peace was performed. For escorting the spirit away, Clear Secure Peace was performed. For princely altars of Soil and Grain and mountains and rivers, the welcoming piece became Broad Clarity and a burial offering piece Timely Clarity was added.

此祭祀之樂歌節奏也。

Such was the order of music for these sacrifices.

洪武三年，又定朝會宴饗之制。

In 1370 regulations for court assemblies and banquets were also established.

凡聖節、正旦、冬至、大朝賀，和聲郎陳樂於丹墀百官拜位之南，北向。駕出，仗動。和聲郎舉麾，奏《飛龍引之曲》，樂作，升座。樂止，偃麾。百官拜，奏《風雲會之曲》，拜畢，樂止。丞相上殿致詞，奏《慶皇都之曲》，致詞畢，樂止。百官又拜，奏《喜昇平之曲》，拜畢，樂止。駕興，奏《賀聖朝之曲》，還宮，樂止。百官退，和聲郎、樂工以次出。

On imperial birthdays, New Year's Day, the winter solstice, and major court congratulations, harmony directors placed musicians south of the officials' bowing positions on the red steps, facing north. When the imperial procession emerged, the guard of honor moved. The harmony directors raised their batons and performed Leading the Flying Dragon; music played as the emperor took the throne. The music ceased and the batons were lowered. When the officials bowed, Gathering of Wind and Clouds was performed; when the bowing ended, the music stopped. When the chief minister delivered his address, Celebrating the Imperial Capital was performed; when the address ended, the music stopped. When the officials bowed again, Joy at Ascending Peace was performed; when the bowing ended, the music stopped. When the emperor departed, Congratulating the Holy Dynasty was performed; upon return to the palace the music ceased. The officials withdrew, and the harmony directors and musicians departed in turn.

凡宴饗，和聲郎四人總樂舞，二人執麾，立樂工前之兩旁；二人押樂，立樂工後之兩旁。殿上陳設畢，和聲郎執麾由兩階升，立於御酒案之左右；二人引歌工、樂工由兩階升，立於丹陛上之兩旁，東西向。舞師二人執旌，引武舞士立於西階下之南；又二人執翿，引文舞士立於東階下之南；又二人執幢，引四夷舞士立於武舞之西南；俱北向。武舞曰《平定天下之舞》，象以武功定禍亂也；文舞曰《車書會同之舞》，象以文德致太平也；四夷舞曰《撫安四夷之舞》，象以威德服遠人也。此大樂二人，執戲竹，引大樂工陳列于丹陛之西，文武二舞樂工列于丹陛之東，四夷樂工列於四夷舞之北，俱北向。駕將出，仗動，大樂作。升座，樂止。進第一爵，和聲郎舉麾，唱奏《起臨濠之曲》。引樂二人引歌工、樂工詣酒案前，北面，重行立定。奏畢，偃麾，押樂引衆工退。第二，奏《開太平之曲》。第三，奏《安建業之曲》。第四，奏《大一統之曲》。第五，奏《平幽都之典》。第六，奏《撫四夷之曲》。第七，奏《定封賞之曲》。第八，奏《大一統之曲》。第九，奏《守承平之曲》。其舉麾、偃麾，歌工、樂工進退，皆如前儀。進第一次膳，和聲郎舉麾，唱奏《飛龍引之樂》，大樂作。食畢，樂止，偃麾。第二，奏《風雲會之樂》。第三，奏《慶皇都之樂》。第四，奏《平定天下之舞》。第五，奏《賀聖朝之樂》。第六，奏《撫安四夷之舞》。第七，奏《九重歡之樂》。第八，奏《車書會同之舞》。第九，奏《萬年春之樂》。其舉麾、偃麾如前儀。九奏三舞既畢，駕興，大樂作。入宮，樂止，和聲郎執麾引衆工以次出。

At banquets four harmony directors oversaw music and dance; two held batons on either side before the musicians; two supervised the music behind them on either side. When the hall was set, the baton-holders ascended both stairways and stood beside the imperial wine table; two others led singers and musicians up to stand on either side of the red steps, facing east and west. Two dance masters with banners led martial dancers south of the western steps; two with feather fans led civil dancers south of the eastern steps; two with streamers led dancers of the four quarters southwest of the martial dancers; all facing north. The martial dance, Pacifying All Under Heaven, represented quelling disorder by force of arms; the civil dance, Chariots and Documents United, represented civil virtue bringing universal peace; the dance of the four quarters, Pacifying the Four Barbarians, represented winning distant peoples through majesty and virtue. Two leaders with clappers arrayed the main orchestra west of the red steps; martial and civil musicians stood east; musicians for the four-quarters dance stood north of it—all facing north. As the emperor was about to emerge, the guard moved and the great music began. When he took his seat, the music stopped. For the first toast the harmony directors raised their batons and announced Setting Out from Linhao. Two leaders brought singers and musicians before the wine table, facing north in double ranks. When finished, the batons were lowered and the supervisors led the musicians away. Second, Opening Great Peace. Third, Securing Jianye. Fourth, Great Unity. Fifth, Pacifying the Northern Capital. Sixth, Pacifying the Four Barbarians. Seventh, Fixing Rewards and Enfeoffments. Eighth, Great Unity again. Ninth, Maintaining Lasting Peace. Raising and lowering batons and the movements of singers and musicians followed the same protocol throughout. At the first course the directors announced Leading the Flying Dragon and the great music played. When the meal ended, the music stopped and the batons were lowered. Second, Gathering of Wind and Clouds. Third, Celebrating the Imperial Capital. Fourth, the Pacifying All Under Heaven dance. Fifth, Congratulating the Holy Dynasty. Sixth, the Pacifying the Four Barbarians dance. Seventh, Joy within the Ninefold Palaces. Eighth, the Chariots and Documents United dance. Ninth, Ten Thousand Years of Spring. Raising and lowering batons followed the same protocol. After the nine performances and three dances, the emperor rose and great music sounded. Upon entering the palace the music ceased; the directors led the musicians out in order.

宴饗之曲，後凡再更。四年所定，一曰《本太初》，二曰《仰大明》，三曰《民初生》，四曰《品物亨》，五曰《御六龍》，六曰《泰階平》，七曰《君德成》，八曰《聖道行》，九曰《樂清寧》。其詞，詹同、陶凱所制也。十五年所定，一曰《炎精開運》，二曰《皇風》，三曰《眷皇明》，四曰《天道傳》，五曰《振皇綱》，六曰《金陵》，七曰《長楊》，八曰《芳醴》，九曰《駕六龍》。

Banquet music was later revised twice altogether. The 1371 set comprised: Origin of the Great Beginning, Looking Up to Great Brilliance, The People First Born, All Things Flourishing, Driving Six Dragons, The Great Steps Level, The Ruler's Virtue Complete, The Sage Way Advancing, and Music Clear and Tranquil. The lyrics were composed by Zhan Tong and Tao Kai. The 1382 set comprised: Blazing Essence Opens Fortune, Imperial Wind, Cherishing Imperial Brilliance, Heaven's Way Transmitted, Shaking the Imperial Net, Jinling, Long Yang, Fragrant Wine, and Driving Six Dragons.

凡大朝賀，教坊司設中和韶樂於殿之東西，北向；陳大舞于丹陛之東西，亦北向。駕興，中和韶樂奏《聖安之曲》。升座進寶，樂止。百官拜，大樂作。拜畢，樂止。進表，大樂作。進訖，樂止。宣表目，致賀訖，百官俯伏，大樂作。拜畢，樂止。宣制訖，百官舞蹈山呼，大樂作。拜畢，樂止。駕興，中和韶樂奏《定安之曲》，導駕至華蓋殿，樂止。百官以次出。

At great court congratulations the Instruction Office placed harmonious Shao music east and west of the hall, facing north; great dances were arrayed east and west of the red steps, also facing north. When the emperor rose, harmonious Shao music performed Holy Peace. When he ascended and the treasure was presented, the music stopped. When the officials bowed, great music sounded. When the bowing ended, the music stopped. When the memorial was presented, great music sounded. When the presentation ended, the music stopped. When the memorial summary was announced and congratulations concluded, the officials prostrated and great music sounded. When the bowing ended, the music stopped. When the edict was announced, the officials danced and shouted their acclamation; great music sounded. When the bowing ended, the music stopped. When the emperor departed, harmonious Shao music performed Secure Peace, escorting him to the Hall of the Imperial Canopy; then the music stopped. The officials withdrew in order.

其大宴饗，教坊司設中和韶樂於殿內，設大樂於殿外，立三舞雜隊於殿下。駕興，大樂作。升座，樂止。文武官入列於殿外，北向拜，大樂作。拜畢，樂止。進御筵，樂作。進訖，樂止。進花，樂作。進訖，樂止。進第一爵，教坊司奏《炎精開運之曲》，樂作。內外官拜畢，樂止。散花，樂作。散訖，樂止。第二爵，教坊司奏《皇風之曲》。樂止，進湯。鼓吹饗節前導至殿外，鼓吹止，殿上樂作。羣臣湯饌成，樂止。武舞入，教坊司請奏《平定天下之舞》。第三爵，教坊司請奏《眷皇明之曲》，進酒如前儀。樂止，教坊司請奏《撫安四夷之舞》。第四爵，奏《天道傳之曲》，進酒進湯如前儀。樂止，奏《車書會同之舞》。第五爵，奏《振皇綱之曲》，進酒如前儀。樂止，奏百戲承應。第六爵，奏《金陵之曲》，進酒進湯如前儀。樂止，奏八蠻獻寶承應。第七爵，奏《長楊之曲》，進酒如前儀。樂止，奏採蓮隊子承應。第八爵，奏《芳醴之曲》，進酒進湯如前儀。樂止，奏魚躍於淵承應。第九爵，奏《駕六龍之曲》，進酒如前儀。樂止，收爵。進湯，進大膳，樂作。供羣臣飯食訖，樂止，百花隊舞承應。宴成徹案。羣臣出席，北向拜，樂作。拜畢，樂止。駕興，大樂作、鳴鞭，百官以次出。

At great banquets the Instruction Office placed harmonious Shao music inside, great music outside, and arrayed the three dances and miscellaneous troupes below the hall. When the emperor rose, great music sounded. When he took his seat, the music stopped. Civil and military officials lined up outside and bowed northward; great music sounded. When the bowing ended, the music stopped. When the imperial feast was presented, music sounded. When the presentation ended, the music stopped. When flowers were presented, music sounded. When the presentation ended, the music stopped. At the first cup the Instruction Office performed Blazing Essence Opens Fortune. When officials within and without had bowed, the music stopped. When flowers were scattered, music sounded. When the scattering ended, the music stopped. Second cup: the Instruction Office performed Imperial Wind. The music stopped and soup was served. The wind-and-drum procession led to the hall entrance; the wind drums ceased and hall music began. When the ministers' soup and dishes were ready, the music stopped. The martial dance filed in, and the Instruction Office called for Pacifying the Realm Under Heaven. At the third cup the Instruction Office performed Cherishing the Bright Ming; wine was served as before. The music ceased, and the Instruction Office called for Pacifying the Four Barbarians. Fourth cup: Heaven's Way Transmitted; wine and soup were served as before. The music ceased, and Chariots and Script Unite was danced. Fifth cup: Upholding the Imperial Net; wine was served as before. The music ceased, and variety acts were staged. Sixth cup: Jinling; wine and soup were served as before. The music ceased, and the Eight Barbarians Presenting Treasures act followed. Seventh cup: Long Yang; wine was served as before. The music ceased, and the Lotus-Picking Lad act followed. Eighth cup: Fine Mead; wine and soup were served as before. The music ceased, and the Fish Leaping in the Deep act followed. Ninth cup: Driving Six Dragons; wine was served as before. The music ceased and the cups were gathered in. Soup and the main banquet were served, and music played. After the ministers had eaten, the music stopped and the Hundred Flowers company danced. The banquet ended and the tables were cleared. The ministers rose, turned north, and bowed as music played. When the bows were complete, the music stopped. The emperor's carriage rose; great music and the ceremonial whip sounded, and officials withdrew in turn.

此朝賀宴饗之樂歌節奏也。

Such was the sequence of music and song at audiences and banquets.

其樂器之制，郊丘廟社，洪武元年定。樂工六十二人，編鐘、編磬各十六，琴十，瑟四，搏拊四，柷敔各一，壎四，篪四，簫八，笙八，笛四，應鼓一；歌工十二；協律郎一從執麾以引之。七年復增籥四，鳳笙四，壎用六，搏拊用二，共七十二人。舞則武舞生六十二人，引舞二人，各執干鏚；文舞生六十二人，引舞二人，各執羽籥；舞師二人執節以引之。共一百三十人。惟文廟樂生六十人，編鐘、編磬各十六，琴十，瑟四，搏拊四，柷敔各一，壎四，篪四，簫八，笙八，笛四，大鼓一；歌工十。六年鑄太和鍾。其制，仿宋景鍾。以九九爲數，高八尺一寸。拱以九龍，柱以龍虡，建樓於圜丘齋宮之東北，懸之。郊祀，駕動則鐘聲作。升壇，鍾止，衆音作。禮畢，升輦，鐘聲作。俟導駕樂作，乃止。十七年改鑄，減其尺十之四焉。

Instrument regulations for suburban altars and temples were set in the first year of Hongwu. There were sixty-two musicians: sixteen each of bell-chimes and stone-chimes, ten zithers, four se, four clappers, one sounding-box and one wooden tiger, four xun, four chi, eight xiao, eight sheng, four di, and one answering drum; twelve singers; and one pitch-regulation officer who followed, baton in hand, to lead them. In the seventh year four yue and four phoenix sheng were added, xun were increased to six and clappers to two, for seventy-two in all. For dance there were sixty-two martial dancers and two lead dancers, each with shield and axe; sixty-two civil dancers and two lead dancers, each with plume and reed-pipe; and two dance masters with rhythm-sticks to lead them. In all, one hundred thirty persons. At the Confucian temple alone there were sixty music students, with sixteen each of bell-chimes and stone-chimes, ten zithers, four se, four clappers, one sounding-box and one wooden tiger, four xun, four chi, eight xiao, eight sheng, four di, and one large drum; and ten singers. In the sixth year the Great Harmony Bell was cast. Its design followed the Song dynasty's Jing Bell. The measure was based on nine nines, and it stood eight chi and one cun tall. Nine dragons arched over it, dragon-and-tiger pillars supported it, and a tower northeast of the Round Mound fasting palace was built to suspend it. At suburban sacrifice, when the imperial procession set out, the bell sounded. On mounting the altar the bell stopped and the full ensemble played. When the rites ended and the emperor took his palanquin, the bell sounded again. It did not stop until the escort music began. In the seventeenth year it was recast, its dimensions reduced by four-tenths.

朝賀。洪武三年定丹陛大樂：簫四，笙四，箜篌四，方響四，頭管四，龍笛四，琵琶四，闉六，杖鼓二十四，大鼓二，板二。二十六年又定殿中韶樂：簫十二，笙十二，排簫四，橫笛十二，壎四，篪四，琴十，瑟四，編鐘二，編磬二，應鼓二，柷一，敔一，捕拊二，丹陛大樂：戲竹二，簫十二，笙十二，笛十二，頭管十二，闉八，琵琶八，二十弦八，方響二，鼓二，拍板八，杖鼓十二。命婦朝賀中宮，設女樂：戲竹二，簫十四，笙十四，笛十四，頭管十四，闉十，琵琶八，二十弦八，方響六，鼓五，拍板八，杖鼓十二。正旦、冬至、千秋凡三節。其後太皇太后、皇太后並用之。朔望朝參：戲竹二，簫四，笙四，笛四，頭管四，闉二，琵琶二，二十弦二，方響一，鼓一，拍板二，杖鼓六。

Court audiences. In Hongwu year 3 the cinnabar-steps great music was set: four xiao, four sheng, four konghou, four fangxiang, four touguan, four dragon flutes, four pipa, six yu, twenty-four staff-drums, two large drums, and two clappers. In year 26 hall Shao music was also fixed: twelve xiao, twelve sheng, four panpipes, twelve transverse flutes, four xun, four chi, ten zithers, four se, two bell-chime sets, two stone-chime sets, two answering drums, one sounding-box, one wooden tiger, two clappers; and cinnabar-steps great music: two bamboo conductors, twelve xiao, twelve sheng, twelve di, twelve touguan, eight yu, eight pipa, eight twenty-stringed instruments, two fangxiang, two drums, eight clappers, and twelve staff-drums. When titled ladies attended the empress at audience, female music was arranged: two bamboo conductors, fourteen xiao, fourteen sheng, fourteen di, fourteen touguan, ten yu, eight pipa, eight twenty-stringed instruments, six fangxiang, five drums, eight clappers, and twelve staff-drums. These applied to New Year's Day, the Winter Solstice, and the Longevity festival—three occasions in all. Later the Grand Empress Dowager and Empress Dowager used them as well. For audience on new and full moon: two bamboo conductors, four xiao, four sheng, four di, four touguan, two yu, two pipa, two twenty-stringed instruments, one fangxiang, one drum, two clappers, and six staff-drums.

大宴。洪武元年定殿內侑食樂：簫六，笙六，歌工四。丹陛大樂：戲竹二，簫四，笙四，琵琶六，闉六，箜篌四，方響四，頭管四，龍笛四，杖鼓二十四，大鼓二，板二。文武二舞樂器：笙二，橫管二，闉二，杖鼓二，大鼓一，板一。四夷舞樂：腰鼓二，琵琶二，胡琴二，箜篌二，頭管二，羌笛二，闉二，水盞一，板一。二十六年又定殿內侑食樂：祝一，敔一，搏拊一，琴四，瑟二，簫四，笙四，笛四，壎二，篪二，排簫一，鍾一，磬一，應鼓一。丹陛大樂：戲竹二，簫四，笙四，頭管二，琵琶二，闉二，二十弦二，方響二，杖鼓八，鼓一，板一。迎膳樂：戲竹二，笙二，笛四，頭管二，闉二，杖鼓十，鼓一，板一。進膳樂：笙二，笛二，杖鼓八，鼓一，板一。太平清樂：笙四，笛四，頭管二，闉四，方響一，杖鼓八，小鼓一，板一。

Grand banquets. In Hongwu 1 hall-side offering music was set: six xiao, six sheng, and four singers. Cinnabar-steps great music: two bamboo conductors, four xiao, four sheng, six pipa, six yu, four konghou, four fangxiang, four touguan, four dragon flutes, twenty-four staff-drums, two large drums, and two clappers. Civil and martial dance instruments: two sheng, two transverse pipes, two yu, two staff-drums, one large drum, and one clapper. Four-barbarian dance music: two waist-drums, two pipa, two huqin, two konghou, two touguan, two Qiang flutes, two yu, one water-bowl, and one clapper. In year 26 hall-side offering music was revised: one sounding-box, one wooden tiger, one clapper, four zithers, two se, four xiao, four sheng, four di, two xun, two chi, one panpipe, one bell, one chime-stone, and one answering drum. Cinnabar-steps great music: two bamboo conductors, four xiao, four sheng, two touguan, two pipa, two yu, two twenty-stringed instruments, two fangxiang, eight staff-drums, one drum, and one clapper. Welcoming-the-feast music: two bamboo conductors, two sheng, four di, two touguan, two yu, ten staff-drums, one drum, and one clapper. Presenting-the-feast music: two sheng, two di, eight staff-drums, one drum, and one clapper. Great Peace Pure music: four sheng, four di, two touguan, four yu, one fangxiang, eight staff-drums, one small drum, and one clapper.

樂工舞士服色之制。郊廟，洪武元年定；朝賀，洪武三年定。文武兩舞：武舞士三十二人，左幹右戚，四行，行八人，舞作發揚蹈厲坐作擊刺之狀，舞師二人執旌以引之；文舞士三十二人，左籥右翟，四行，行八人，舞作進退舒徐揖讓升降之狀，舞師二人執翿以引之。四夷之舞：舞士十六人，四行，行四人，舞作拜跪朝謁喜躍俯伏之狀，舞師二人執幢以引之。

Regulations for the dress of musicians and dancers. For suburban temples, fixed in Hongwu 1; for court audiences, fixed in Hongwu year 3. Civil and martial dances: thirty-two martial dancers with shield on the left and axe on the right, four rows of eight, performing vigorous stamping, sitting, thrusting, and striking motions; two dance masters with banners led them; thirty-two civil dancers with reed-pipe on the left and pheasant-plume on the right, four rows of eight, performing measured advance, retreat, bowing, yielding, and rising; two dance masters with feather-fans led them. Four-barbarian dance: sixteen dancers in four rows of four, performing bows, kneels, audience salutes, joyful leaps, and prostrations; two dance masters with streamers led them.

此祭祀朝賀之樂舞器服也。

Such were the music, dances, instruments, and costumes of sacrifice and court audience.

當太祖時，前後稍有增損。樂章之鄙者，命儒臣易其詞。二郊之作，太祖所親制。後改合祀，其詞復更。太社稷奉仁祖配，亦更制七奏。嘗諭禮臣曰：「古樂之詩，章和而正。後世之詩，章淫以誇。故一切諛詞豔曲，皆棄不取。」嘗命儒臣撰迴鑾樂歌，所奏《神降祥》、《神貺》、《酣酒》、《色荒》、《禽荒》諸曲，凡三十九章，命曰《御鑾歌》，皆寓諷諫之意。然當時作者，惟務明達易曉，非能如漢、晉間詩歌，鏗鏘雅健，可錄而誦也。殿中韶樂，其詞出於教坊俳優，多乖雅道。十二月樂歌，按月律以奏，及進膳、迎膳等曲，皆用樂府、小令、雜劇爲娛戲。流俗喧嘵，淫哇不逞。太祖所欲屏者，顧反設之殿陛間不爲怪也。

Under the founding emperor the regulations were adjusted here and there over time. Where hymn texts were crude, he ordered scholar-officials to rewrite them. The two suburban hymn cycles were the founder's own work. When combined sacrifice was later adopted, the texts were revised again. For the Great Altars of Soil and Grain with the dynastic founder as associate, a new set of seven performances was made. He once told the ritual officials: "Poetry in ancient music was harmonious in form and upright in tone. Later poetry grew dissolute in form and boastful in tone. So every flattery, lewd song, and sensual air was rejected. He also ordered Confucian officials to compose Returning Palanquin songs—Spirit Descends in Blessing, Spirit Bestows, Deep Drinking, Lust for Color, Lust for Birds, and thirty-four others, thirty-nine in all, titled Imperial Palanquin Songs, each meant to admonish. Yet those who wrote them aimed only at plain clarity, not at the sonorous elegance of Han and Jin verse fit to be sung and remembered. Hall Shao music drew its words from Instruction Office performers and often departed from proper taste. Twelve-month songs followed the monthly pitch; presenting and welcoming the feast relied on yuefu, short songs, and variety plays for amusement. Popular noise and unrestrained sensual sound prevailed. What the founder had meant to exclude was now installed on the palace steps as if it were nothing strange.

永樂十八年，北京郊廟成。其合祀合享禮樂，一如舊制。更定宴饗樂舞：初奏《上萬壽之曲》，《平定天下之舞》；二奏《仰天恩之曲》，《撫四夷之舞》；三奏《感地德之曲》，《車書會同之舞》；四奏《民樂生之曲》，《表正萬邦之舞》；五奏《感皇恩之曲》，《天命有德之舞》；六奏《慶豐年之曲》；七奏《集禎應之曲》；八奏《永皇圖之曲》；九奏《樂太平之曲》。奏曲膚淺，舞曲益下俚。景泰元年，助教劉翔上書指其失。請敕儒臣推演道德教化之意，君臣相與之樂，作爲詩章，協以律呂，如古《靈臺》、《辟雍》、《清廟》、《湛露》之音，以振勵風教，備一代盛典。時以襲用既久，卒莫能改。其後教坊司樂工所奏中和韶樂，且多不諧者。成化中，禮官嘗請三倍其額，博教而約取之。

In the eighteenth year of Yongle the Beijing suburban temples were completed. Combined sacrifice and combined offering followed the old regulations in every respect. Banquet music and dance were revised: first Ten Thousand Years to Your Majesty with Pacifying the Realm Under Heaven; second Looking Up to Heaven's Grace with Pacifying the Four Barbarians; third Grateful for Earth's Virtue with Chariots and Script Unite; fourth The People Find Life with Setting Right the Myriad States; fifth Grateful for Imperial Grace with Heaven's Mandate Has Virtue; sixth Celebrating a Bountiful Year; seventh Gathering Auspicious Responses; eighth Forever the Imperial Domain; ninth Rejoicing in Great Peace. The songs were shallow; the dances cruder still. In the first year of Jingtai, Assistant Instructor Liu Xiang submitted a memorial on these faults. He asked that scholar-officials be charged to draw on moral teaching, compose verses for the joy of ruler and minister, and set them to pitch and mode like the ancient Ling Terrace, Academy, Clear Temple, and Heavy Dew—to revive custom and crown the age. Long usage had hardened into habit, and in the end nothing was changed. Later the Shao music of the Instruction Office was often out of tune. In Chenghua the ritual officials once proposed tripling the roster, teaching widely, and selecting strictly.

弘治之初，孝宗親耕耤田，教坊司以雜劇承應，間出狎語。都御史馬文升厲色斥去。給事中胡瑞嘗言：「御殿受朝，典禮至大，而殿中中和韶樂乃屬之教坊司，嶽鎮海瀆，三年一祭，乃委之神樂觀樂舞生，褻神明，傷大體。望敕廷臣議，嶽瀆等祭，當以縉紳從事。中和韶樂，擇民間子弟肆習，設官掌之。年久則量授職事。」帝以奏樂遣祭，皆國朝舊典，不能從也。馬文升爲尚書，因災異陳言，其一訪名儒以正雅樂，事下禮官。禮官言：「高皇帝命儒臣考定八音，修造樂器，參定樂章。其登歌之詞，多自裁定。但歷今百三十餘年，不復校正，音律舛訛，釐正宜急。且太常官恐未足當制器協律之任。乞詔下諸司，博求中外臣工及山林有精曉音律者，禮送京師。會禮官熟議至當，然後造器正音，庶幾可以復祖制，致太和。」帝可其奏。末年詔南京及各王府，選精通樂藝者詣京師，復以禮官言而罷。

Early in Hongzhi, when Xiaozong plowed the sacred field himself, the Instruction Office supplied variety plays and sometimes let coarse jokes slip. Censor-in-chief Ma Wensheng rebuked them sharply and sent them away. Supervising Secretary Hu Rui once said: "Audience in the imperial hall is the weightiest ceremony, yet hall Shao music is left to the Instruction Office; the sacred mountains and rivers are sacrificed only every three years yet left to Divine Music Office students—profaning the spirits and wounding the state's dignity. He asked that the throne order court officials to debate whether sacrifices to the sacred mountains and rivers ought to be performed by gentry-officials. Shao music should be taught to sons of common families under appointed officials. After long service they should receive offices in due measure. The emperor replied that using musicians at sacrifices was an old dynastic statute and could not be changed. When Ma Wensheng became Minister he cited omens in memorial, among them seeking renowned scholars to rectify court music; the matter went to the ritual officials. The ritual officials replied: "The founding emperor ordered scholars to fix the eight sounds, repair instruments, and collate hymn texts. The elevated-singing texts were largely his own composition. Yet more than one hundred thirty years have passed without revision; pitches are wrong and correction is urgent. Moreover, Court of Imperial Sacrifices officers may not suffice to make instruments and harmonize pitch. We beg an edict commanding all offices to seek, at court and in the hills, those who understand pitch, and ceremonially send them to the capital. When ritual officials have agreed on the right course, instruments may be made and pitch corrected—perhaps the ancestral system and great harmony may be restored. The emperor approved. Late in his reign he ordered Nanjing and the princely establishments to send skilled musicians to the capital, but on the ritual officials' advice the order was dropped.

正德三年，武宗諭內鐘鼓司康能等曰：「慶成大宴，華夷臣工所觀瞻，宜舉大樂。邇者音樂廢缺，無以重朝廷。」禮部乃請選三院樂工年壯者，嚴督肄之，仍移各省司取藝精者赴京供應。顧所隸益猥雜，筋斗百戲之類日盛于禁廷。既而河間等府奉詔送樂戶，居之新宅。樂工既得幸，時時言居外者不宜獨逸，乃復移各省司所送技精者於教坊。於是乘傳續食者又數百人，俳優之勢大張。臧賢以伶人進，與諸佞幸角寵竊權矣。

In Zhengde year 3 the Martial Emperor told Kang Neng of the inner Bell-and-Drum Office: "The post-celebration banquet is watched by court and foreign officials alike; the court should perform great music. Of late music has decayed and no longer dignifies the court. The Ministry of Rites then proposed selecting young musicians from the three academies for strict training and summoning the finest from the provinces to serve at court. Yet their ranks grew ever more vulgar; tumbling and variety acts flourished daily in the inner palace. Soon musicians from Hejian and other prefectures arrived by imperial order and were lodged in new quarters. Favored, the musicians complained that those outside should not enjoy ease alone, and skilled men sent from the provinces were moved again to the Instruction Office. Hundreds more traveled on relay rations, and the actors' influence swelled. Zang Xian rose as an actor and contended with other favorites for influence.

嘉靖元年，御史汪珊請屏絕玩好，令教坊司毋得以新聲巧技進。世宗嘉納之。是時更定諸典禮，因亦有志於樂。建觀德殿以祀獻帝，如協律郎肄樂供祀事。後建世廟成，改殿曰崇先。乃親制樂章，命大學士費宏等更定曲名，以別於太廟。其迎神曰《永和之曲》。初獻曰《清和之曲》，亞獻曰《康和之曲》，終獻曰《沖和之曲》，徹饌曰《泰和之曲》，送神曰《寧和之曲》。宏等復議，獻皇生長太平，不尚武功，其三獻皆當用《文德舞》。從之。已而太常復請，乃命禮官會張璁議。璁言：「樂舞以佾數爲降殺，不聞以武文爲偏全。使八佾之制，用其文而去其武，則兩階之容，得其左而闕其右。是皇上舉天子禮樂，而自降殺之矣。」乃從璁議，仍用二舞。

In Jiajing 1 Censor Wang Shan asked to banish frivolous delights and forbid the Instruction Office new sounds and clever tricks. The Shizong Emperor approved. As rites were being revised across the board, he also turned to music. The Observing Virtue Hall was built to honor the deceased emperor, with pitch officers drilling music for its rites. When the World Temple was completed the hall was renamed Honoring the Ancestors. He personally composed hymns and ordered Grand Secretaries Fei Hong and others to rename the tunes, distinct from the Grand Temple. Welcoming the spirit: Everlasting Harmony. First offering Pure Harmony, second Abundant Harmony, final Pervading Harmony, clearing the feast Supreme Harmony, sending off the spirit Tranquil Harmony. Fei Hong argued that the deceased emperor, raised in peace, did not favor martial display and that all three offerings should use the Civil Virtue Dance. The emperor agreed. Later the Court of Imperial Sacrifices petitioned again, and the emperor ordered ritual officials to confer with Zhang Cong. Zhang Cong said: "Dance is graded by the number of performers, not by treating martial and civil as partial sets. If eight rows used only civil dance and dropped martial, the two staircases would show the left side and lack the right. That would mean the Son of Heaven's own ritual music reduced by his own hand. The emperor followed Zhang Cong and kept both dances.

九年二月，始祈谷於南郊。帝親制樂章，命太常協於音譜。是年，始祀先蠶，下禮官議樂舞。禮官言：「先蠶之祀，周、漢所同。其樂舞儀節，經史不載。唐開元先蠶儀注，大樂令設宮縣於北郊壇壝內，諸女工鹹列於後，則祀先蠶用女樂可知。《唐六典》，宮縣之舞八佾，軒縣之舞六佾，則祀先蠶用八佾又可知。然止言舞生冠服，而不及舞女冠服。陳暘《樂書享先蠶圖》下，止有《宮架登歌圖》，而不及舞。夫有樂有舞，雖祀禮之常，然周、漢制度既不可考，宋祀先蠶，代以有司，又不可據。惟開元略爲近古，而陳氏《樂書》考據亦明。前享先農，既以佾數不足，降八爲六，則今祀先蠶，止用樂歌，不用樂舞，亦合古制。且以見少殺先農之禮。」帝以舞非女子事，罷不用。使議樂女冠服以聞。禮官言：「北郊陰方，其色尚黑。同色相感，事神之道。漢蠶東郊，魏蠶西郊，色皆尚青，非其色矣。樂女冠服宜黑。」乃用樂六奏，去舞。其樂女皆黑冠服，因定享先蠶樂章。

In the second month of year 9 prayer for grain began at the southern altar. He composed hymns himself and ordered the Court of Imperial Sacrifices to set them to score. That year sacrifice to the Sericulture Spirit began, and ritual officials were ordered to fix music and dance. They said: "Sacrifice to the Sericulture Spirit was shared by Zhou and Han. Its music and dance are not recorded in the classics. Tang Kaiyuan regulations place palace bells inside the northern suburban enclosure with women workers behind—so female music is indicated. Tang Institutions gives eight rows for palace bells and six for hall bells—so eight rows for this sacrifice is also indicated. Yet it names only male dancers' dress, not female dancers'. Chen Yang's Music Book shows elevated singing for the Sericulture Spirit but not dance. Music and dance are normal in sacrifice, but Zhou and Han cannot be verified and Song used officials in place—none may be relied on. Only Kaiyuan is somewhat near antiquity, and Chen's book is clear. For the Spirit of Agriculture rows were reduced from eight to six; for the Sericulture Spirit song without dance also fits ancient usage. This also marks a slight reduction below the Spirit of Agriculture rite. The emperor held dance no woman's work and abolished it. He ordered deliberation on female musicians' dress to be reported. The ritual officials said: "The northern suburb is yin; its color is black. Like responds to like—such is serving spirits. Han placed sericulture east and Wei west, both favoring green—not the proper color. Female musicians should wear black. Six performances were used, without dance. Female musicians wore black, and hymns for the Sericulture Spirit were fixed.

又以祀典方釐定南北郊，復朝日夕月之祭，命詞臣取洪武時舊樂歌，一切更改。禮官因請廣求博訪，有如宋胡瑗、李照者，具以名聞。授之太常，考定雅樂。給事中夏言乃以致仕甘肅行太僕寺丞張鶚應詔。命趣召之。既至，言曰：

As suburban rites were being sorted, morning-sun and evening-moon sacrifices were restored and Hongwu hymn texts ordered wholly revised. Ritual officials asked for broad search, naming men such as Song Hu Yuan and Li Zhao. They were to be given to the Court of Imperial Sacrifices to fix court music. Supervising Secretary Xia Yan presented retired Zhang E of Gansu, Acting Grand Master of the Stud, in answer to the edict. The emperor ordered him summoned at once. When he arrived he said:

大樂之正，乃先定元聲。元聲起自冥罔既覺之時，亥子相乘之際。積絲成毫，積毫成釐，積釐成分。一時三十分，一日十二時。故聲生於日，律起於辰。氣在聲先，聲從氣後。若拘於器以求氣，則氣不能致器，而反受制於器，何以定黃鐘、起曆元？須依蔡元定，多截竹以擬黃鐘之律，長短每差一分。冬至日按律而候，依法而取。如衆管中先飛灰者，即得元氣。驗其時刻，如在子初二刻，即子初一刻移於初二刻矣；如在正二刻，即子正一刻移於正二刻矣。顧命知歷官一人，同臣參候，庶幾元聲可得，而古樂可復。

To rectify great music one must first fix the primal sound. It arises when darkness first stirs, at the meeting of hai and zi. Silk accumulates to a hair, hairs to a li, li to a fen. One double-hour has thirty fen; one day has twelve double-hours. Sound is born from the day; pitch arises from the double-hour. Breath precedes sound; sound follows breath. If one seeks breath only through instruments, breath cannot command them but is commanded by them—how fix yellow bell or establish the calendar epoch? Follow Cai Yuanding: cut many bamboo tubes approximating yellow bell, each differing by one fen. On the winter solstice test by pitch and take by rule. Whichever tube first shows flying ash holds primal breath. Verify the moment: if ash flies at the beginning of zi, second quarter, the first quarter of zi shifts to the second; if at the exact second quarter, the exact first quarter shifts to the exact second. Appoint one calendar official to join me in observation—then perhaps primal sound may be found and ancient music restored.

又言：

He also said:

古人制爲十六編鐘，非徒事觀美，蓋爲旋宮而設。其下八鍾，黃鐘、大呂、太簇、夾鍾、姑洗、仲呂、蕤賓、林鐘是已；其上八鍾，夷則、南呂、無射、應鐘、黃鐘、大呂、太簇是已。近世止用黃鐘一均，而不遍具十六鍾，古人立樂之方已失。況太常止以五、凡、工、尺、上、一、四、六、勾、合字眼譜之，去古益遠。且如黃鐘爲合似矣，其以大呂爲下四，太簇爲高四，夾鍾爲下一，姑洗爲高一，夷則爲下工，南呂爲高工之類，皆以兩律兼一字，何以旋宮取律，止黃鐘一均而已。

The ancients made sixteen bell sets—not for display but for rotating modes. The lower eight: yellow bell, great lü, great cluster, compressed bell, gu xian, zhong lü, flaccid guest, forest bell; the upper eight: yi ze, southern lü, wu she, ying bell, yellow bell, great lü, great cluster. Recent ages use only the yellow-bell key and lack full sixteen bells—the ancient method is lost. The Court notates only with gong, chi, and related solfège—farther still from antiquity. Yellow bell is 'he'; great lü lower si, great cluster higher si, and so on—two pitches per sign—so how rotate modes when only yellow bell is used?

且黃鐘、大呂、太族、夾鍾爲上四清聲。蓋黃鐘爲君，至尊無比。黃鐘爲宮，則十一律皆從而受制，臣民事物莫敢凌犯焉。至於夾鍾爲宮，則下生無射爲徵，無射上生仲呂爲商，仲呂下生黃鐘爲羽。然黃鐘正律聲長，非仲呂爲商三分去一之次。所以用黃鐘爲羽，必用子聲，即上黃六之清聲，正爲不敢用黃鐘全聲，而用其半耳。姑洗以下之均，大率若此。此四清聲之所由立也。編鐘十六，其理亦然。

Yellow bell, great lü, great cluster, and compressed bell are the upper four clear tones. Yellow bell is sovereign, beyond compare. As gong, the eleven other pitches follow and are constrained; nothing dares transgress. When compressed bell is gong, wu she generates yi ze as zhi and zhong lü as shang, and zhong lü generates yellow bell as yu. Yet full yellow bell is long—not the rank of zhong lü generating shang by subtracting one-third. So yellow bell as yu uses the child-tone, upper yellow-six clear sound—daring not the full tone but half only. Keys from gu xian downward are mostly so. Thus the four clear tones are established. Sixteen bells follow the same principle.

宋胡瑗知此義，故四清聲皆小其圍徑以就之。然黃鐘、太簇二聲雖合，大呂、夾鍾二聲又非，遂使十二律、五聲皆不得正。至於李照、範鎮止用十二律，不用四清聲，其合於三分損益者則和矣。夷則以降，其臣民事物，安能尊卑有辨，而不相凌犯耶？

Song Hu Yuan knew this and reduced the four clear tones' circumference. Yellow bell and great cluster matched, but great lü and compressed bell did not, and twelve pitches and five tones went wrong. Li Zhao and Fan Zhen used only twelve pitches without the four clear tones; what matched three-part increase and decrease was harmonious. From yi ze downward, how could rank be kept and nothing transgress?

臣又考《周禮》，圜鍾、函鍾、黃鐘、天地人三宮之說，有薦神之樂，有降神之樂。所爲薦神之樂者，乃奏黃鐘，歌大呂，子醜合也，舞《雲門》以祀天神。乃奏太簇，歌應鐘，寅亥合也，舞《咸池》以祀地祇。乃奏姑洗，歌南呂，辰酉合也，舞《大韶》以祭四望。乃奏蕤賓，歌林鐘，午未合也，舞《大夏》以祭山川。乃奏夷則，歌小呂，巳申合也，舞《大武》以享先祖，舞《大濩》以享先妣。所謂降神之樂者，冬至祀天圜丘，則以圜鍾爲宮，黃鐘爲角，太簇爲徵，姑洗爲羽，是三者陽律相繼。相繼者，天之道也。夏至祭地方丘，則以函鍾爲宮，夾鍾爲角，姑洗爲徵，南呂爲羽，是三者陰呂相生。相生者，地之功也。祭宗廟，以黃鐘爲宮，大呂爲角，太簇爲徵，夾鍾爲羽，是三者律呂相合。相合者，人之情也。

I have examined Rites of Zhou: round bell, envelope bell, yellow bell—the three palaces of Heaven, Earth, and Man; music for presenting spirits and music for descending spirits. Presenting spirits: perform yellow bell, sing great lü—zi and chou unite; dance Cloud Gate for the Heavenly Spirit. Perform great cluster, sing ying bell—yin and hai unite; dance Xian Pool for earthly spirits. Perform gu xian, sing southern lü—chen and you unite; dance Great Shao for the four expanses. Perform flaccid guest, sing forest bell—wu and wei unite; dance Great Xia for mountains and rivers. Perform yi ze, sing lesser lü—si and shen unite; dance Great Martial for ancestors and Great Huo for the ancestral mother. Music for descending spirits: at winter solstice on the round mound, round bell is gong, yellow bell jue, great cluster zhi, gu xian yu—three yang pitches in succession. Succession is Heaven's way. At summer solstice on the square mound, envelope bell is gong, compressed bell jue, gu xian zhi, southern lü yu—three yin lü generating one another. Generation is Earth's work. At the ancestral temple, yellow bell is gong, great lü jue, great cluster zhi, compressed bell yu—lü and pitch united. Union is human feeling.

且圜鍾，夾鍾也。生於房心之氣，爲天地之明堂，祀天從此起宮，在琴中角弦第十徽，卯位也。函鍾，林鐘也。生於坤位之氣，在井東輿鬼之外，主地祇，祭地從此起宮，在琴中徽弦第五徽，未位也。黃鐘，生於虛危之氣，爲宗廟，祭人鬼從此起宮，在琴中宮弦第三徽，子位也。至若六變而天神降，八變而地祇格，九變而人鬼享，非有難易之分。蓋陽數起子而終於少陰之申，陰數起午而終於少陽之寅。圜鍾在卯，自卯至申六數，故六變而天神降。函鍾在未，自未至寅八數，故八變而地祇格。黃鐘在子，自子至申九數，故九變而人鬼享。此皆以本元之聲，召本位之神，故感通之理速也。或者謂自漢以來，天地鬼神聞新聲習矣，何必改作。不知自人觀天地，則由漢迄今千七百年；自天地觀，亦頃刻間耳。自今正之，猶可及也。

Round bell is compressed bell. Born of Heart-and-Room qi, it is Heaven and Earth's Bright Hall; sacrifice to Heaven starts gong here—on the zither, jue string, tenth stud, mao position. Envelope bell is forest bell. Born of kun-position qi, beyond Well east of Chariot and Ghost, it governs earthly spirits; sacrifice to Earth starts gong here—hui string, fifth stud, wei position. Yellow bell is born of Void-and-Danger qi, is the ancestral temple; sacrifice to human ghosts starts gong here—gong string, third stud, zi position. Six changes and the Heavenly Spirit descends, eight and earthly spirits arrive, nine and human ghosts enjoy—not because one is harder than another. Yang numbers run from zi to lesser yin's shen; yin from wu to lesser yang's yin. Round bell stands at mao; mao to shen is six—hence six changes and Heaven descends. Envelope bell at wei; wei to yin is eight—hence eight changes and earth arrives. Yellow bell at zi; zi to shen is nine—hence nine changes and the dead are feasted. Each uses its primal tone to summon its native spirit—so response is swift. Some say that since Han the spirits have grown used to new sounds—why change? From man's view, Han to today is one thousand seven hundred years; from Heaven and Earth's view, but an instant. To correct from today is still in time.

並進所著樂書二部。其一曰《大成樂舞圖譜》，自琴瑟以下諸樂，逐字作譜。其一曰《古雅心談》，列十二圖以象十二律。圖各有說。又以琴爲正聲，樂之宗系。凡郊廟大樂，分注琴絃定徽，各有歸旨。且自謂心所獨契，斫輪之妙，有非口所能言者。

He also presented two music books he had written. One, Complete Chart of Music and Dance, notating every instrument from zither and se downward. One, Heart Discourse on Ancient Elegance, with twelve diagrams for the twelve pitches. Each diagram had its explanation. He held the zither the correct sound and root of music. For suburban and temple music he marked zither strings and studs, each with its proper aim. He claimed a private accord beyond words, like the wheelwright's secret craft.

疏下禮部。禮官言：「音律久廢，太常諸官循習工尺譜，不復知有黃鐘等調。臣等近奉詔演習新定郊祀樂章，間問古人遺制，茫無以對。今鶚謂四清聲所以爲旋宮，其注弦定徽，蓋已深識近樂之弊。至欲取知歷者，互相參考，尤爲探本窮源之論。似非目前司樂者所及。」乃授鶚太常寺丞，令詣太和殿較定樂舞。

The memorial went to the Ministry of Rites. Ritual officials replied: "Pitch has long been lost; Court officers follow only gong-chi notation and no longer know yellow bell. We were recently ordered to drill new suburban hymns; asked about ancient practice, we could not answer. Zhang E's four clear tones and string markings show he knows recent music's faults. His wish to join calendar experts in testing probes to the root. It seems beyond present music officers. Zhang E was made Vice Director of the Court of Imperial Sacrifices and sent to the Hall of Supreme Harmony to fix music and dance.

鶚遂上言：「《周禮》有郊祀之樂，有宗祀之樂。尊親分殊，聲律自別。臣伏聽世廟樂章，律起林鐘，均殊太廟。臣竊異之。蓋世廟與太廟同禮，而林鐘與黃鐘異樂。函鍾主祀地祇，位寓坤方，星分井鬼，樂奏八變，以報資生之功。故用林鐘起調，林鐘畢調也。黃鐘主祀宗廟，位分子野，星隸虛危，樂奏九成，以報本源之德。故用黃鐘起調，黃鐘畢調也。理義各有歸旨，聲數默相感通。況天地者父母之象，大君者宗子之稱。今以祀母之樂，奏以祀子，恐世廟在天之靈，必不能安且享矣。不知譜是樂者，何所見也。臣觀舊譜樂章，字用黃鐘，聲同太廟。但審聽七聲，中少一律，今更補正。使依奏格，則祖孫一氣相爲流通，函黃二宮不失均調。尊親之分兩得，神人之心胥悅矣。」詔下禮官。

Zhang E then wrote: "Rites of Zhou distinguishes suburban music from temple music. Honor to parents differs; sound and mode must differ. I have heard the World Temple hymns begin at forest bell, not the Grand Temple key. I find this strange. World Temple and Grand Temple share one rite, yet forest bell and yellow bell differ. Envelope bell governs earth, in kun, stars Well and Ghost, eight changes to repay nourishing life. So forest bell opens and closes that mode. Yellow bell governs the ancestral temple, stars Void and Danger, nine accomplishments for the root virtue. So yellow bell opens and closes its mode. Principle has its aim; sound and number respond in silence. Heaven and Earth image parents; the emperor is the eldest son. To play the mother's music when sacrificing to the son—I fear the World Temple spirit in Heaven cannot rest and enjoy. Who scored this music—and on what grounds? The old score uses yellow-bell signs but sounds like the Grand Temple. On careful hearing one pitch is missing; I have corrected it. Performed as scored, grandfather and grandson share one breath; envelope and yellow gong keep their balance. Honor to parents is secured; spirits and men alike are pleased. An edict went to the ritual officials.

李時等覆奏，以爲：「鶚所言，與臣等所聞於律呂諸書者，深有所合。蓋黃鐘一調，以黃鐘爲宮，太簇爲商，姑洗爲角，蕤賓爲變徵，林鐘爲徵，南呂爲羽，應鐘爲變宮。舊樂章用合，用四，用一，用尺，用工。去蕤賓之勾，而越次用再生黃鐘之六，此舊樂章之失也。若林鐘一調，則以林鐘爲宮，南呂爲商，應鐘爲角，大呂之半聲爲變徵，太簇之半聲爲徵，姑洗之半聲爲羽，蕤賓之半聲爲變宮。邇者沈居敬更協樂章，用尺，用合，用四，用一，用工，用六。夫合，黃鐘也；四，太簇之正聲也；一，姑洗之正聲也；六，黃鐘之子聲也。以林鐘爲宮，而所用爲角徵羽者，皆非其一均之聲，則謬甚矣。況林鐘一調，不宜用於宗廟，而太廟與世廟，不宜異調，鶚見尤真。自今宜用舊協音律，惟加以蕤賓勾聲，去再生黃鐘之六，改用應鐘之凡，以成黃鐘一均，庶於感格之義，深有所補。」

Li Shi and others replied that Zhang E agreed with books on pitch they had read. In the yellow-bell key: yellow bell gong, great cluster shang, gu xian jue, flaccid guest altered zhi, forest bell zhi, southern lü yu, ying bell altered gong. Old hymns used he, si, yi, chi, gong. They dropped flaccid guest's gou and wrongly used regenerated yellow bell's liu—that was the old fault. In the forest-bell key: forest bell gong, southern lü shang, ying bell jue, great lü half-tone altered zhi, great cluster half-tone zhi, gu xian half-tone yu, flaccid guest half-tone altered gong. Recently Shen Jujing used chi, he, si, yi, gong, liu. He is yellow bell; si is great cluster's full tone; yi is gu xian's full tone; liu is yellow bell's child-tone. With forest bell as gong, the jue, zhi, and yu used are not of that key—the error is extreme. The forest-bell key should not serve the temple; Grand and World Temples should not differ—Zhang E is especially right. Hereafter use the old harmony, add flaccid guest's gou, drop regenerated liu, use ying bell's fan, to complete the yellow-bell key and aid sympathetic response."

乃命鶚更定廟享樂音，而逮治沈居敬等。鶚尋譜定帝社稷樂歌以進。詔嘉其勤，晉爲少卿，掌教雅樂。

Zhang E was ordered to revise temple music and punish Shen Jujing and others. He soon scored the emperor's soil-and-grain hymns and presented them. The emperor praised his diligence, made him Vice Minister, and put him in charge of court music.

夏言又引古者龍見而雩，命樂正習盛樂，舞皇舞。請依古禮，定大雩之制。當三獻禮成之後，九奏樂止之時，皛括《雲漢》詩辭，製爲《雲門》一曲，使文武舞士並舞而合歌之。帝可其議。

Xia Yan cited antiquity: when the dragon appeared, rain was prayed and the Director of Music drilled abundant music and the imperial dance. He asked to fix the great rain-prayer by ancient rite. When three offerings and nine performances ended, distill the Clouds ode into one Cloud Gate, civil and martial dancers dancing and singing together. The emperor approved.

時七廟既建，樂制未備，禮官因請更定宗廟雅樂，言：「德、懿、熙、仁四祖久祧，舊章弗協。太祖創業，太宗定鼎，列聖守成。當有頌聲，以對越在天，垂之萬蜺。若特享，若祫享，若大祫，詩歌頌美，宜命儒臣撰述，取自上裁。其樂器、樂舞、各依太廟成式，備爲規制。」制可。已而尊獻帝爲睿宗，祔享太廟。於是九廟春特、三時祫、季冬大祫樂章，皆更定焉。

The seven temples stood but music was incomplete; ritual officials asked to revise temple music, saying the four distant ancestors De, Yi, Xi, and Ren no longer matched old rules. The founder created the enterprise; Taizong secured the realm; successive sages preserved it. Praise should face Heaven and extend ten thousand generations. For special, combined, and great combined offerings, scholars should compose praise hymns for the emperor's decision. Instruments and dances should follow the Grand Temple pattern and be fully set. Approved. Later the deceased emperor was honored as Ruizong and enshrined in the Grand Temple. Then hymns for the nine temples' spring specials, three seasonal combined offerings, and winter great combined offerings were all revised.

十八年巡狩興都，帝親制樂章，享上帝于飛龍殿，奉皇考配。其後，七廟火，復同堂之制，四時歲祫，樂章器物仍如舊制。初增七廟樂官及樂舞生，自四郊九廟暨太歲神祇諸壇，樂舞人數至二千一百名。後稍裁革，存其半。

In year 18 on tour at Xingdu he composed hymns, sacrificing to the Supreme Lord at Flying Dragon Hall with his father as associate. After the seven temples burned, the shared-hall system returned; four-season offerings kept old hymns and instruments. Music officers and dancers were first increased to two thousand one hundred for suburbs, temples, and spirit altars. Later they were cut to half.

張鶚遷太常卿，復申前說，建白三事：一請設特鍾、特磬以爲樂節；一請復宮縣以備古制；一請候元氣以定鐘律。事下禮官，言：「特鍾、特磬宜造樂懸，在廟廷中，周旋未便，不得更制。惟黃鐘爲聲氣之元，候氣之法，實求中氣以定中聲，最爲作樂本原。其說，若重室墐戶，截管實灰，覆緹，按歷氣至灰飛，證以累黍，具有成法可依。其法，築室於圜丘外垣隙地，選知歷候者往相其役，待稍有次第，然後委官考驗。」從之。仍詔取山西長子縣羊頭山黍，大小中三等各五斗，以備候氣定律。

Zhang E became Director and again proposed three things: special bells and chime-stones as markers; restore palace bells for the ancient system; await primal breath to fix bell pitch. Ritual officials said special bells and stones should hang on the frame but temple movement was awkward and they could not be newly made. Only yellow bell is sound's origin; awaiting qi seeks central breath for central tone—the root of music. The method: sealed heavy room, tubes filled with ash, silk cover, when qi arrives ash flies—verified by millet measures—has established law. Build a room outside the round mound wall, appoint a calendar expert to oversee, then officials to verify. Approved. Millet large, medium, and small, five dou each, was ordered from Yangtou Mountain, Changzi, Shanxi, for awaiting qi.

明自太祖、世宗，樂章屢易，然鐘律爲製作之要，未能有所講明。呂懷、劉濂、韓邦奇、黃佐、王邦直之徒著書甚備，職不與典樂，託之空言而已。張鶚雖因知樂得官，候氣終屬渺茫，不能准以定律。弘治中，莆人李教授文利，著《律呂元聲》，獨宗《呂覽》黃鐘三寸九分之說。世宗初年，御史範永鑾上其書，其說與古背，不可用。嘉靖十七年六月，遼州同知李文察進所著樂書四種，禮官謂於樂理樂書多前人所未發者。乃授文察爲太常典簿，以獎勸之。而其所云：「按人聲以考定五音。」者，不能行也。神宗時，鄭世子載堉著《律呂精義》、《律學新說》、《樂舞全譜》共若干卷，具表進獻。崇禎六年，禮部尚書黃汝良進《昭代樂律志》。宣付史館，以備稽考，未及施行。

From founder to Shizong hymns changed often, yet bell pitch—the crux—was never clarified. Lü Huai, Liu Lian, Han Bangqi, Huang Zuo, Wang Bangzhi wrote fully but held no music office—their work remained words. Zhang E gained office through music, but awaiting qi stayed vague and could not fix pitch. In Hongzhi, Putian professor Li Wenli wrote Primal Sounds of Pitch, holding alone to Spring and Autumn of Master Lü on yellow bell at three cun nine fen. Early in Jiajing, Censor Fan Yongquan presented the book; its theory opposed antiquity and was rejected. In the sixth month of Jiajing year 17, Liaozhou Vice Prefect Li Wenchao presented four music books; ritual officials said they opened much predecessors had not. Wenchao was made Recorder of the Court of Imperial Sacrifices as encouragement. But his claim to "determine the five tones from the human voice could not be carried out. Under Shenzong, Prince of Zheng Zaiyu wrote Essence of Pitch, New Discourse on Pitch, and Complete Chart of Music and Dance and presented them by memorial. In Chongzhen year 6, Minister Huang Ruliang presented Record of Music and Pitch of the Illustrious Age. It was sent to the Historiography Office for reference but was not enacted in time.

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