Volume 94 Treatises 69: Music 1

志六十九

Treatise Sixty-Nine

樂一

Music, Part One

記曰：「安上治民，莫善於禮。」「移風易俗，莫善於樂。」樂也者，考神納賓，類物表庸，以其德馨殷薦上帝者也。聖道四達，聲與政通，於是有綴兆之容，箾籥之音，被服其光輝，膏潤其猷烈，以與民康之，民無憔悴揫傷之嗟，放僻嫚蕩之志，夫然後雅頌作焉。蓋三苗格而韶舞，十一稅而頌謳，玄鳥歌而商祚興，靈台奏而周道昌。王官失守，神不降祉。移及春秋，脊脊大亂。仲尼序詩，列黍離於國風，齊王德於邦君，明其不能復雅。中更暴秦，樂經埃滅，音之鄭衛，自此而階，郊廟登歌，聲不逮下。擾民齊教，無聞焉爾。然而歷代創興，莫不舖陳南雅，自製郊辭，繩祖業之維艱，頌帝功之有赫，考較鐘懸，裁定縟典。雖渾灝三五，炳焉同風，而寤想聞韶，跂之彌卲。是則前誥所譏，鄰於夜誦者也。

The Record says: "For securing the ruler and governing the people, nothing is better than ritual." For changing customs and transforming habits, nothing is better than music." Music is the means by which one examines the spirits and receives guests, arranges things by kind and displays merit, and with fragrant virtue richly presents offerings to the Lord on High. When the sage Way reaches everywhere and music aligns with governance, there arise patterned dance formations and reed-pipe melodies; people clothe themselves in its brilliance and are nourished by its great deeds, and the people are brought to well-being. Without the people's sighs of exhaustion and injury, or their impulses toward wayward excess, only then do the Ya and Song odes take shape. When the Three Miao submitted, the Shao dance was performed; when the levy was one part in eleven, hymns of praise were sung; when the dark bird was hymned, the house of Shang rose; when music sounded at the Spirit Terrace, the Zhou dynasty flourished. The royal music offices lost their proper function, and the spirits ceased to send down blessings. By the Spring and Autumn period, disorder had mounted upon disorder. Confucius arranged the Odes, placing "Thorn-apple Millet" among the Airs of the States and setting the virtue of kings alongside that of feudal lords, making clear that the grand Ya style could no longer be recovered. Then came the tyranny of Qin, and the Music Classic was lost to dust; the sounds of Zheng and Wei thereafter gained the upper hand, and at suburban and temple rites the ascending hymns no longer reached the ranks below. As for harmonizing the people through instruction by music, nothing more was heard of it. Yet each newly founded dynasty spread forth the southern Ya odes, composed its own suburban hymns, bound itself to the arduous work of its forebears, praised the splendor of imperial merit, compared bell-chime arrangements, and settled the ritual canon. Though the Three Sovereigns and Five Emperors shine with a common grandeur, to dream of hearing the Shao is only to find it recede the more one reaches for it. This is what earlier imperial pronouncements mocked as little better than chanting lessons through the night.

清起僻遠，迎神祭天，初沿邊俗。及太祖受命，始習華風。天命、崇德中，征瓦爾喀，臣朝鮮，平定察哈爾，得其宮懸，以備四裔燕樂。世祖入關，修明之舊，有中和韶樂，郊廟朝會用之。有丹陛大樂，王公百僚慶賀用之。有中和清樂、丹陛清樂，宮中筵宴用之。有鹵簿導迎樂，巡蹕用之。又制鐃歌法曲，奮武敵愾，宣鬯八風，以儷漢世短簫。而滿洲舊舞，是曰莽式，率以蘭錡世裔充選，所陳皆遼瀋故事，作麾旄弢矢躍馬蒞陣之容，屈伸進反輕蹻俯仰之節，歌辭異漢，不頒太常，所謂纘業垂統，前王不忘者歟？

The Qing dynasty arose in a remote frontier region; in welcoming the spirits and sacrificing to Heaven it at first followed borderland custom. Once the Taizu received the Mandate, the court began to adopt Chinese ritual and musical practice. During the Tianming and Chongde periods the court campaigned against the Warka, received Korea as a tributary state, pacified the Chahar, and took over their palace bell-sets to furnish banquet music for the four frontier peoples. When the Shizu entered the Pass he restored Ming practice; there was Harmonious Central Shao music for suburban rites, temples, and court assemblies. There was the Great Music of the Cinnabar Steps for congratulatory ceremonies of princes, dukes, and the hundred officials. There was Harmonious Central clear music and Cinnabar Steps clear music for palace banquets. There was guard-of-honor conducting music for imperial progresses. They also composed regulated nao-song pieces to rouse martial spirit against the foe and spread harmony through the eight winds, matching the Han dynasty's short panpipe music. The old Manchu dance called Mangshi was performed chiefly by descendants of the Lanqi line; the scenes enacted were all tales of Liaodong and Shenyang—banners and plumes, sheathed arrows, mounted charges upon the field, with bending, advancing, retreating, and light-footed rhythms of bow and rise. The songs were not in Chinese and were not distributed by the Court of Imperial Sacrifices—is this not the meaning of carrying on the founding work and transmitting the tradition, that former kings are not forgotten?

聖祖、高宗，製作自任，臣匪師曠之聰，君逾姬旦之美。考音諧金石，昭德摛天漢，帝秩皇造，於斯為盛。但觀其命伶倫使協律。召咸黑以賡歌，非不陶英鑄莖，四隅率同，而繼體再傳，頌聲浸廢。魏文聽之而思臥，季札觀之而無譏，是知樂之為懿，覘國隆洿，謳歌在民，匪所自致，而三古承流，曾靡先覺，可為惋欷者也。

The Kangxi and Qianlong emperors took musical creation upon themselves; their ministers were no Shi Kuang in discernment, yet the sovereigns surpassed even the Duke of Zhou in accomplishment. They tuned sound to harmonize bells and chimes, displayed virtue spanning the heavens, and the imperial ordering of ritual music reached its fullest flowering. Yet consider how they charged Ling Lun with harmonizing the pitch-pipes. They summoned Xian Hei to carry on the hymns; it was not that they failed to refine tone and forge the standard, bringing the four quarters into accord, yet within two reigns of succession the songs of praise gradually decayed. King Wen of Wei heard it and wished only to sleep; Ji Zha observed it and found no fault to speak of. Thus music as a sign of excellence reveals whether a state flourishes or declines; the people's songs are not produced by the court alone, yet the three antiquities passed down the tradition without anyone truly foreseeing the end—this is indeed cause for sorrow.

稽清之樂，式遵明故，六間七始，實紹古亡，布咫( 艸剽) 禾，譣氣灰琯。斯乃神瞽以之塞( 流玉) ，隸首由其踠步。將欲起元音之廢，復淳樸之真，弘我夏聲，秕□乞西奏。澹欲繕性，一綖庶幾，有庇經誥，其或在此。必監前憲，我則優矣。國宬所書，聲容器數之次第，管律弦度之討論，煥乎秩秩，可謂有文。今掇其要，以備簡籍。

Examining Qing music, it formally follows Ming precedent; the six intervals and seven beginnings truly continue what antiquity had lost; spreading millet [text corrupt: cao piao] grain, and the reed-ash tubes for testing the seasonal breath. Thus blind musicians used them to tune [text corrupt: liu yu] , and Li Shou thereby took his measured steps. They wished to revive the abandoned primal tones, restore pristine simplicity, exalt our Chinese music, and (text corrupt) set aside Western performance. To calm desire and cultivate character, a single thread may nearly suffice; to uphold the classics and imperial instructions—perhaps the means lie here. If one must take earlier statutes as the standard, then we are indeed the better. What the Director of Music recorded—the ordering of sound, instruments, and numbers, the discussion of pipe pitches and string measures—is splendidly systematic and truly literate. Here I gather the essentials for the historical record.

太祖肇啟東陲，戡亂用武，聲物弇樸，率緣遼舊。天命元年，即尊位瀋陽，諸貝勒群臣廷賀上壽，始制鹵簿用樂。八年，定凱旋拜天行禮筵宴樂制。太宗天聰八年，又定出師謁堂子拜天行禮樂制、元旦朝賀樂制。九年，停止元旦雜劇。先是梅勒章京張存仁上言：「元旦朝賀，大體所關，雜劇戲謔，不宜陳殿陛。故事，八旗設宴，惟用雅樂。」從之。

The Taizu first rose on the eastern frontier, quelling disorder through arms; musical practice was plain and simple, generally following Liaodong tradition. In the first year of Tianming, upon taking the throne at Shenyang, when the beile and ministers congratulated him in court and offered wishes for long life, he first instituted music for the imperial guard of honor. In the eighth year he fixed the music for the banquet following a victorious return and the rite of worshipping Heaven. In the Taizong's eighth year of Tiancong he further fixed the music for departing on campaign, visiting the Tangzi altar, and worshipping Heaven, and the music for New Year's court congratulations. In the ninth year miscellaneous drama at New Year's was discontinued. Earlier Meile Zhangjing Zhang Cunren memorialized: "New Year's court congratulations concern the great body of state ritual; miscellaneous drama and jesting ought not be presented before the palace steps. By precedent, when the Eight Banners held banquets, only elegant music was used." The proposal was adopted.

十年，建國號曰清，改元崇德。其明年，遂有事太廟，追尊列祖，四孟時享、歲暮祫祭並奏樂。皇帝冬至、萬壽二節與元旦同。御前儀仗樂器，鑼二，鼓二，畫角四，簫二，笙二，架鼓四，橫笛二，龍頭橫笛二，檀板二，大鼓二，小銅鈸四，小銅鑼二，大銅鑼四，雲鑼二，嗩吶四。樂人綠衣黃褂紅帶，六瓣紅絨帽，銅頂上綴黃翎，從內院官奏請也。又詔公主冊封、諸王家祭、受降獻馘皆用樂。

In the tenth year the state was named Qing and the reign title was changed to Chongde. The following year they first sacrificed at the Imperial Ancestral Temple and posthumously honored the successive ancestors; seasonal offerings in the four ritual months and the year-end joint sacrifice all included music. The emperor's Winter Solstice and Longevity festivals were treated the same as New Year's Day. Musical instruments for the imperial guard of honor included two gongs, two drums, four painted horns, two xiao, two sheng, four frame drums, two transverse flutes, two dragon-head transverse flutes, two clappers, two large drums, four small bronze cymbals, two small bronze gongs, four large bronze gongs, two cloud gongs, and four suona. Musicians wore green robes, yellow jackets, and red sashes, with six-petaled red velvet caps bearing bronze finials topped by yellow plumes, as requested by Inner Court officials. An edict also required music at the investiture of princesses, domestic sacrifices of princely houses, and ceremonies presenting surrendered enemies and severed heads.

世祖順治元年，攝政睿親王多爾袞既定燕都，將於十月告祭天地宗廟社稷，大學士馮銓、洪承疇等言：「郊廟及社稷樂章，前代各取嘉名，以昭一代之制，梁用『雅』，北齊及隋用『夏』，唐用『和』，宋用『安』，金用『寧』，元宗廟用『寧』、郊社用『咸』，前明用『和』。我朝削平寇亂，以有天下，宜改用『平』。郊社九奏，宗廟六奏，社稷七奏。」從之。於是定圜丘大祀，皇帝出宮，午門聲鐘，不作樂。致祭燔柴迎神奏始平，奠玉帛奏景平，進俎奏咸平，初獻奏壽平，亞獻奏嘉平，終獻奏雍平，徹饌奏熙平，送神奏太平，望燎奏安平。禮成，教坊司導迎，樂奏祐平。午門鐘作，還宮。方澤大祀，皇帝出宮，午門聲鐘，不作樂。致祭瘞毛血迎神奏中平，奠玉帛奏廣平，進俎奏咸平，初獻奏壽平，亞獻奏安平，終獻奏時平，徹饌奏貞平，送神望瘞奏寧平。禮成，教坊司導迎，樂奏祐平。午門鐘作，還宮。祈穀，皇帝出宮，午門聲鐘，不作樂。燔柴迎神奏中平，奠玉帛奏肅平，進俎奏咸平，初獻奏壽平，亞獻奏景平，終獻奏永平，徹饌奏凝平，送神奏清平，望燎奏太平。餘與圜丘、方澤同。太廟時享，皇帝出宮，鐘止，不作樂。致祭迎神奏開平，奠帛初獻奏壽平，亞獻奏嘉平，終獻奏雍平，徹饌奏熙平，送神望燎奏成平。禮成，教坊司導迎奏禧平，聲鐘還宮。社稷壇，皇帝出宮，聲鐘，不作樂。致祭瘞毛血迎神奏廣平，奠玉帛初獻奏壽平，亞獻奏嘉平，終獻奏雍平，徹饌奏熙平，送神望瘞奏成平。禮成，教坊司導迎奏祐平，聲鐘還宮。

In the Shizu's first year of Shunzhi, after the regent Prince Rui Dorgon had secured Yanjing and was to announce sacrifices to Heaven and Earth, the ancestral temple, and the altars of soil and grain that October, Grand Secretaries Feng Quan and Hong Chengchou said: "Suburban, temple, and soil-and-grain hymn titles each dynasty took from an auspicious word to mark its age: Liang used Ya, Northern Qi and Sui used Xia, Tang used He, Song used An, Jin used Ning, Yuan used Ning for the ancestral temple and Xian for suburban rites, and the Ming used He. Our dynasty has quelled rebellion and gained the realm; we should adopt "Ping." Suburban and altar rites should have nine performances, the ancestral temple six, and the altars of soil and grain seven." This was adopted. They then fixed the great sacrifice at the Circular Mound: when the emperor left the palace, bells sounded at the Meridian Gate and no music was played. At the sacrifice: for burning firewood and welcoming the spirits, Shiping; for presenting jade and silk, Jingping; for presenting the offering tray, Xianping; for the first offering, Shouping; for the second, Jiaping; for the final, Yongping; for withdrawing the feast, Xiping; for sending off the spirits, Taiping; for gazing at the burning, Anping. When the rite was complete, the Directorate of Ceremonial Music conducted the welcome and performed Youping. Bells sounded at the Meridian Gate, and the emperor returned to the palace. At the great sacrifice at the Square Mound, when the emperor left the palace the Meridian Gate bells sounded and no music was played. At the sacrifice: for burying fur and blood and welcoming the spirits, Zhongping; for presenting jade and silk, Guangping; for the offering tray, Xianping; for the first offering, Shouping; for the second, Anping; for the final, Shiping; for withdrawing the feast, Zhenping; for sending off the spirits and gazing at the burial, Ningping. When the rite was complete, the Directorate conducted the welcome and performed Youping. Bells sounded at the Meridian Gate, and the emperor returned to the palace. For the Prayer for Grain, when the emperor left the palace the Meridian Gate bells sounded and no music was played. For burning firewood and welcoming the spirits, Zhongping; for presenting jade and silk, Suping; for the offering tray, Xianping; for the first offering, Shouping; for the second, Jingping; for the final, Yongping; for withdrawing the feast, Ningping; for sending off the spirits, Qingping; for gazing at the burning, Taiping. The remainder followed the Circular Mound and Square Mound rites. For seasonal offerings at the Imperial Ancestral Temple, when the emperor left the palace the bells stopped and no music was played. At the sacrifice: for welcoming the spirits, Kaiping; for presenting silk and the first offering, Shouping; for the second, Jiaping; for the final, Yongping; for withdrawing the feast, Xiping; for sending off the spirits and gazing at the burning, Chengping. When the rite was complete, the Directorate conducted the welcome and performed Xiping; bells sounded as the emperor returned to the palace. At the altars of soil and grain, when the emperor left the palace bells sounded and no music was played. At the sacrifice: for burying fur and blood and welcoming the spirits, Guangping; for presenting jade and silk and the first offering, Shouping; for the second, Jiaping; for the final, Yongping; for withdrawing the feast, Xiping; for sending off the spirits and gazing at the burial, Chengping. When the rite was complete, the Directorate conducted the welcome and performed Youping; bells sounded as the emperor returned to the palace.

舞皆八佾，初獻武舞，亞獻、終獻文舞，文武舞生各六十四人，執干戚羽籥於樂懸之次，引舞旌節四，舞生四人司之。祭之日，初獻樂作，司樂執旌節，引武舞生執干戚進，奏武功之舞。亞獻、終獻樂作，司樂執旌節，引文舞生執羽籥進，奏文德之舞。惟先師廟祗文舞六佾。

All dances used eight rows; the first offering used the martial dance, the second and final the civil dance. Martial and civil dancers numbered sixty-four each, holding shields, axes, feathers, and flutes beside the bell-frame; four leading banners and staffs were managed by four dancers. On the day of sacrifice, when the first-offering music began, the director of music held the banner and staff, led in martial dancers bearing shields and axes, and performed the dance of martial achievement. When the second- and final-offering music began, the director held the banner and staff, led in civil dancers bearing feathers and flutes, and performed the dance of civil virtue. Only at the temple of the Former Master was the civil dance alone performed in six rows.

其三大節、常朝及皇帝升殿、還宮，俱奏中和韶樂，群臣行禮，奏丹陛大樂。親祭壇廟，乘輿出入，用導迎樂，樂章均用「平」字。宴享清樂，則以樂詞之首為章名。

For the three great festivals, regular court audiences, and when the emperor ascended or left the hall, Harmonious Central Shao music was played throughout; when ministers performed rites, the Great Music of the Cinnabar Steps was used. When the emperor personally sacrificed at altars and temples and entered or left by carriage, conducting music was used, and all hymn titles used the character ping. For banquet clear music, the opening words of the lyric served as the title of the piece.

是年世祖至京行受寶禮，先期錦衣衛設鹵簿儀仗，旗手衛設金鼓旗幟，教坊司設大樂於行殿西前導。時龜鼎初奠，官懸備物，未遑潤色，沿明舊制雜用之。教坊司置奉鑾一人，左右韶舞各一人，協同官十有五人，俳長二十人，色長十七人，歌工九十八人。宮內宴禮，領樂官妻四人，領教坊女樂二十四人。祠祭諸樂，則太常寺神樂觀司之。以協律郎教習樂生，月三、六、九日演於凝禧殿。

That year, when the Shizu came to the capital for the ceremony of receiving the imperial seal, the Embroidered-Uniform Guard beforehand set out the guard of honor, the Banner-Bearer Guard set out golden drums and flags, and the Directorate placed great music west of the traveling hall to lead the procession. At the time the tortoise tripod had only just been set in place and the court instruments were in readiness; there was no leisure to refine them, and Ming practice was mixed in for use. The Directorate appointed one bearer of the imperial music carriage, one Shao dancer to the left and one to the right, fifteen coordinating officials, twenty leaders of comic performers, seventeen leaders of variety acts, and ninety-eight singing artisans. For palace banquets, four wives of music officials and twenty-four female musicians of the Directorate led the performance. Music for temple sacrifices was managed by the Temple of Divine Music under the Court of Imperial Sacrifices. Pitch masters instructed music students, who performed on the third, sixth, and ninth days of each month in the Hall of Concentrated Felicity.

二年，從有司言，春秋上丁釋奠先師，樂六奏，迎神奏咸平，奠帛初獻奏寧平，亞獻奏安平，終獻奏景平，徹饌送神奏咸平。

In the second year, following the relevant offices, for the spring and autumn upper ding sacrifices to Confucius, six musical performances were prescribed: for welcoming the spirits, Xianping; for presenting silk and the first offering, Ningping; for the second, Anping; for the final, Jingping; for withdrawing the feast and sending off the spirits, Xianping.

祭歷代帝王樂六奏，迎神奏雍平，奠帛初獻奏安平，亞獻奏中平，終獻奏肅平，徹饌奏凝平，送神望燎奏壽平。

For sacrifice to the emperors of successive dynasties, six performances: for welcoming the spirits, Yongping; for presenting silk and the first offering, Anping; for the second, Zhongping; for the final, Suping; for withdrawing the feast, Ningping; for sending off the spirits and gazing at the burning, Shouping.

八年，制：朝日七奏，樂章用「曦」，迎神奏寅曦，奠玉帛奏朝曦，初獻奏清曦，亞獻奏咸曦，終獻奏純曦，徹饌奏延曦，送神奏歸曦。

In the eighth year regulations were made: for the Morning Sun rite, seven performances with hymn titles using xi: for welcoming the spirits, Yinxii; for presenting jade and silk, Chaoxi; for the first offering, Qingxi; for the second, Xianxi; for the final, Chunxi; for withdrawing the feast, Yanxi; for sending off the spirits, Guixi.

夕月六奏，樂章用「光」，迎神奏迎光，奠玉帛初獻奏升光，亞獻奏瑤光，終獻奏瑞光，徹饌奏涵光，送神奏保光，皆中和韶樂。

For the Evening Moon, six performances with hymn titles using guang: for welcoming the spirits, Yingguang; for presenting jade and silk and the first offering, Shengguang; for the second, Yaoguang; for the final, Ruiguang; for withdrawing the feast, Hanguang; for sending off the spirits, Baoguang—all Harmonious Central Shao music.

皇太后、皇后三大節慶賀，皇帝大婚行禮，皆丹陛大樂。

Congratulations on the three great festivals of the Empress Dowager and Empress, and the emperor's grand wedding ceremony, all used the Great Music of the Cinnabar Steps.

祭真武、東嶽、城隍廟，教坊司作樂如群祀。

Sacrifices at the temples of the Perfected Warrior, the Eastern Peak, and the City God used music by the Directorate as for other group sacrifices.

是年又允禮部請，更定樂舞、樂章、樂器之數，享廟大樂於殿內奏之，文武佾舞備列樂章卒歌樂器俱設，補舞生舊額五百七十人。

That year the Ministry of Rites' request was also approved to revise the numbers of dances, hymns, and instruments; great temple music was performed inside the hall; martial and civil dances were fully arranged with hymns, concluding songs, and instruments all provided; and five hundred seventy dance students were added to the former quota.

其後又定常朝升殿中和韶樂奏隆平，王公百官行禮丹陛大樂奏慶平，外籓行禮丹陛大樂奏治平，還宮中和韶樂奏顯平。耤田饗先農，樂章七奏，用「豐」，迎神奏永豐，奠帛初獻奏時豐，亞獻奏咸豐，終獻奏大豐，徹饌奏屢豐，送神奏報豐，望瘞奏慶豐。

Later they further fixed that at regular court audiences, upon ascending the hall Harmonious Central Shao played Longping; when princes, dukes, and officials performed rites, the Cinnabar Steps music played Qingping; when foreign tributaries performed rites, it played Zhiping; upon returning to the palace, Harmonious Central Shao played Xianping. At the plowing field and feast to the God of Agriculture, seven hymn performances using feng: for welcoming the spirits, Yongfeng; for presenting silk and the first offering, Shifeng; for the second, Xianfeng; for the final, Dafeng; for withdrawing the feast, Lüfeng; for sending off the spirits, Baofeng; for gazing at the burial, Qingfeng.

禮成，御齋宮，導迎大樂奏天下樂，升座奏萬歲樂，群臣行禮丹陛大樂奏朝天子，筵宴上壽奏三月韶光，進饌清樂奏太清歌。

When the rite was complete, the emperor proceeded to the fasting palace; conducting music played Tianxia Yue; upon taking the seat, Wansui Yue; when ministers performed rites, the Cinnabar Steps music played Chao Tianzi; at the banquet offering longevity wishes, Sanyue Shaoguang; when dishes were served, clear music played Taiqing Ge.

太廟祫祭迎神奏貞平，奠帛初獻奏壽平，亞獻奏嘉平，終獻奏雍平，徹饌奏熙平，送神奏清平。

For the year-end joint sacrifice at the Imperial Ancestral Temple: for welcoming the spirits, Zhenping; for presenting silk and the first offering, Shouping; for the second, Jiaping; for the final, Yongping; for withdrawing the feast, Xiping; for sending off the spirits, Qingping.

大享殿合祀天地百神，樂章九奏，用「和」，迎神奏元和，奠玉帛奏景和，進俎奏肅和，初獻奏壽和，亞獻奏安和，終獻奏永和，徹饌奏協和，送神奏泰和，望燎瘞奏清和。

At the Hall of Great Enjoyment, where Heaven and Earth and the hundred spirits were jointly sacrificed to, nine hymn performances using he: for welcoming the spirits, Yuanhe; for presenting jade and silk, Jinghe; for the offering tray, Suhe; for the first offering, Shouhe; for the second, Anhe; for the final, Yonghe; for withdrawing the feast, Xiehe; for sending off the spirits, Taihe; for gazing at the burning and burial, Qinghe.

其上皇太后徽號冊寶、尊封太妃、冊立中宮、太和殿策士諸慶典，皆特詔用樂。自後幸盛京、謁陵，進實錄、玉牒亦如之。

Beyond those occasions, presenting the empress dowager's honorific title and regalia, ennobling imperial consorts, investing the empress, the palace examination at the Hall of Supreme Harmony, and other state celebrations all required special imperial edicts mandating music. Thereafter, imperial tours to Shengjing, visits to the imperial tombs, and the presentation of the veritable records and jade genealogy were handled the same way.

康熙初，聖祖踐阼幼沖，率承舊憲，無所改作。八年，惟詔定皇帝、太皇太后、皇太后、皇后三大節朝賀樂，皇帝元旦升座中和韶樂奏元平，還宮奏和平，冬至升座奏遂平，還宮奏允平，萬壽節升座奏乾平，還宮奏太平，群臣行禮丹陛大樂奏慶平，外籓奏治平，太皇太后升座奏昇平，還宮奏恆平，行禮奏晉平，皇太后升座奏豫平，還宮奏履平，行禮奏益平，皇后升座奏淑平，還宮奏順平，行禮奏正平。而有司肄習日久，樂句律度，凌厲失所，伶倫應官，比於制氏，但紀鏗鏘鼓舞而已。

In the early Kangxi years the Sage Ancestor came to the throne as a minor and, for the most part, followed existing regulations without instituting reforms. In the eighth year an edict alone defined the court congratulatory music for the emperor, grand empress dowager, empress dowager, and empress on the three great festivals. On New Year's Day the emperor's ascent was accompanied by Yuanping in the Zhonghe shaoyue, and Heping on his return to the palace; at the winter solstice, Suiping on ascent and Yunping on return; on the Longevity Festival, Qianping on ascent and Taiping on return. Ministers' obeisance on the crimson steps used Qingping in the great hall music, tributary envoys Zhiping, the grand empress dowager Shengping on ascent and Hengping on return with Jinping for the rite, the empress dowager Yuping and Lüping with Yiping for the rite, and the empress Shuping and Shunping with Zhengping for the rite. Over time, however, the officials charged with practice had drilled so long that melodic phrasing and pitch standards had drifted out of alignment. The Bureau of Music officers, like successors to the ancient Music Master, recorded little more than clashing tones and the beat of drums and dance.

自世祖時，已屢飭典樂官演習樂舞聲容儀節，嘗諭大學士等曰：「各處祭祀，太常寺所奏樂俱未和諧。樂乃祭祀之大典，必聲容儀節盡合歌章，始臻美善。其召太常寺官嚴飭之。」至十一年，聖祖亦諭禮臣：「慎重禋祀，勤加習練，勿仍前怠，褻越明典。」

Already under the Shizu Emperor the court had repeatedly ordered directors of ritual music to rehearse music, dance, sound, bearing, and ceremonial form. He once told the grand secretaries and others, "At sacrifices everywhere, the music performed by the Court of Imperial Sacrifices is still not harmonious. Music is a cardinal element of sacrifice. Only when sound, bearing, and ritual deportment fully match the hymn texts does the rite attain its proper beauty. Summon the Court of Imperial Sacrifices officials and discipline them strictly." By the eleventh year the Sage Ancestor likewise admonished the ritual officials: "Honor the great sacrifices, practice diligently, do not lapse into past negligence, and do not violate the enlightened regulations."

二十一年，三籓削平，天下無事，左副都御史余國柱首請釐正郊廟、朝賀、宴享樂章，上曰：「享祀樂章，一代製作所繫，禮部、翰林院其集議以聞。」尋奏：「自古廟樂，原以頌述祖宗功德，本朝郊壇廟祀樂章，曲名曰『平』，遵奉已久。太祖、太宗、世祖同於太廟致祭，宜如舊。惟朝會、宴享等樂曲調，風雅未備，宜敕所司酌古准今，求聲律之原，定雅奏之節。」從之。因命大學士陳廷敬重撰燕樂諸章，然猶襲明故，雖務典蔚，有似徒歌，五聲二變，踵訛奪倫，黃鍾為萬事根本，臣工無能言之者。帝方謙讓，亦未暇革也。

In the twenty-first year, with the Three Feudatories subdued and the empire at peace, Left Vice Censor-in-Chief Yu Guozhu was the first to ask that hymn texts for suburban rites, ancestral temples, court congratulations, and banquets be corrected. The emperor replied, "Sacrificial hymns concern a dynasty's own cultural creation. Let the Ministry of Rites and Hanlin Academy deliberate together and report to me." Soon after they submitted a memorial: "Temple music has always existed to praise the achievements and virtue of the ancestors. In our dynasty the hymns for suburban altars and temple sacrifices, whose tune titles use ping, have been followed for a long time. Taizu, Taizong, and Shizu are worshipped together in the Imperial Ancestral Temple and should remain unchanged. Only the melodies for court assemblies and banquets still lack full refinement. The responsible offices should be ordered to balance past models with present needs, recover the foundations of pitch and mode, and establish standards for elegant performance." The emperor approved. The court then ordered Grand Secretary Chen Tingjing to rewrite the banquet hymns, but the work still followed Ming precedents. Though written in a lofty classical style, the result resembled plain chanting. The five tones and two alterations continued to perpetuate errors and disorder, and although the yellow bell is the foundation of all things, no official could explain it. The emperor was still modest by temperament and had no time to undertake reform.

二十三年，東巡謁闕裡，躬祭孔林，陳鹵簿，奏導迎大樂樂章、樂舞，先期命太常寺遣司樂官前往肄習，與太學先師廟同。二十九年，以喀爾喀新附，特行會閱禮，陳鹵簿，奏鐃歌大樂，於是帝感禮樂崩隤，始有志製作之事。

In the twenty-third year, on his eastern tour to Qufu he personally sacrificed at the Kong Forest, deployed the honor guard, and performed the guiding and welcoming great music with its hymns and dances. In advance he ordered the Court of Imperial Sacrifices to send music officers to rehearse there, as at the Temple of the First Teacher in the Imperial Academy. In the twenty-ninth year, with the Khalkha newly submitted, the court held a special grand military review, deployed the honor guard, and performed the nao-song great music. The emperor then felt keenly that ritual and music had fallen into ruin and first resolved to undertake a program of restoration.

三十一年，御乾清宮，召大學士九卿前，指五聲八風圖示之曰：「古人謂十二律定，而後被之八音，則八音和，奏之天地，則八風和，諸福之物，可致之祥，無不畢至，言樂律所關者大也。而十二律之所從出，其義不可知。律呂新書所言算數，專用徑一圍三之法，此法若合，則所算皆合；若舛，則無所不舛矣。朕觀徑一圍三之法，必不能合，蓋徑一尺，則圍當三尺一寸四分一釐有奇，若積累至於百丈，所差當十四丈有奇，等而上之，舛錯可勝言耶？」因取方圓諸圖謂群臣曰：「所言徑一圍三，但可算六角之數，若圍圓必有奇零。朕觀八線表中半徑句股之法極精微，凡圓者可以方算，開方之術，即從此出。若黃鍾之管九寸，空圍九分，積八百一十分，是為律本，此舊說也。其分寸若以尺言，則古今尺制不同，當以天地之度數為准。惟隔八相生之說，聲音高下，循環相生，復還本音，必須隔八，乃一定之理也。」隨命樂人取笛和瑟次第審音，至第八聲，仍還本音。上曰：「此非隔八相生之義耶？」群臣皆曰：「誠如聖訓，非臣等聞見所及。」

In the thirty-first year, at the Palace of Heavenly Purity he summoned the grand secretaries and nine chief ministers, pointed to the diagram of the five tones and eight winds, and said, "The ancients held that once the twelve pitch pipes are established and applied to the eight kinds of sound, those sounds harmonize; performed to Heaven and Earth, the eight winds harmonize, and every blessing and attainable auspice arrives without fail. That shows how vast the stakes of music and pitch truly are. Yet the principle by which the twelve pitch pipes arise remains unknowable. The calculations in the New Book on Pitch Pipes rely entirely on the method of taking the diameter as one and the circumference as three. If that method is correct, every calculation follows; if it is wrong, nothing downstream can be right. I see that the diameter-one, circumference-three method cannot possibly hold. For a diameter of one foot the circumference should be three feet, one inch, four fen, one li and a fraction more. Accumulated to a hundred zhang, the error would exceed fourteen zhang. Extrapolated further, the mistakes become beyond reckoning." He then produced diagrams of squares and circles and told the ministers, "The so-called diameter-one, circumference-three ratio can only calculate hexagonal approximations. A true circle must leave a remainder. The half-radius right-triangle method in the eight-line tables is extraordinarily precise. Every circle can be treated through square geometry, and root extraction proceeds from that foundation. The old doctrine holds that the yellow bell pipe is nine inches long, with an inner circumference of nine fen and a volume of eight hundred and ten fen, and that this constitutes the foundation of pitch. If one measures those inches and fen by the foot-rule, ancient and modern scales differ. The standard must be the celestial and terrestrial measures themselves. As for generation by skipping eight tones: pitches rise and fall, beget one another in cycle, and return to the original note. The interval of eight is a fixed law." He then ordered musicians to test the flute and zither tone by tone. At the eighth tone the pitch returned to the original note. The emperor asked, "Is this not exactly the principle of generation by skipping eight?" All the ministers replied, "It is exactly as Your Majesty teaches. This lies beyond our own hearing and understanding."

三十四年，定大閱鳴角擊鼓聲金之制。

In the thirty-fourth year the court fixed the regulations for horns, drums, and gongs at the grand military review.

四十九年正月，孝惠章皇后七十萬壽，又諭禮部曰：「瑪克式舞，乃滿洲筵宴大禮，典至隆重，故事皆王大臣行之。今歲皇太后七旬大慶，朕亦五十有七，欲親舞稱觴。」是日皇太后宮進宴奏樂，上前舞蹈奉爵，極懽乃罷。

In the first month of the forty-ninth year, on Empress Xiaohuizhang's seventieth birthday, he again told the Ministry of Rites, "The maikeshi dance is the great Manchu banquet ceremony, a rite of the highest solemnity. By precedent princes and senior ministers always performed it. This year, at the grand celebration of the empress dowager's seventieth year, I too am fifty-seven and wish to dance in person and raise the toast cup." That day a banquet with music was held at the empress dowager's palace. The emperor advanced, danced, and presented the wine cup, and the celebration ended only when merriment had reached its height.

帝既妙揅鍾律，時李光地為文淵閣大學士，以耆碩被顧問，會進所纂大司樂釋義及樂律論辨，因上言曰：「禮樂不可斯臾去身，亦不可以一日不行於天下。自漢以來，禮樂崩壞，不合於三代之意者二千餘年，而樂尤甚。蓋自諸經所載節奏、篇章、器數、律呂之昭然者，而紛紛之說，終不能以相一，又況乎精微之旨，與天地同其和者哉！今四海靡靡，風聲頹敝，等威無辨，而奢僭不可止；聯屬無法，而斗爭不可禁。記曰：『無本不立，無文不行。』神而明之者，本也；舉而措之者，文也。謂宜搜召名儒，以至淹洽古今之士，上監於夏、商，近稽自漢、唐以降，考定斟酌，成一代大典，以淑天下而范萬世。」大學士張玉書亦言：「樂律算數之學，失傳已久，承訛襲舛，莫摘其非；奧義微機，莫探其蘊。臣等躬聆訓誨，猶且一時省寤，而覆算迷濛；中外臣民，何由共喻？宜特賜裁定，編次成書，頒示四方，共相傳習。正歷來積算之差訛，垂萬世和聲之善法，學術政事，均有裨益。」

The emperor had already attained subtle mastery of bells and pitch. Li Guangdi, then grand secretary of the Wenyuan Pavilion, was consulted as a venerable elder and presented his compiled Explanations of the Grand Director of Music and Discussions on Musical Pitch. He memorialized, "Ritual and music cannot be separated from the person even for a moment, nor can they cease to operate throughout the realm for even a day. Since the Han, ritual and music have been in ruin. For more than two thousand years they have failed to match the spirit of the Three Dynasties, and music has suffered most of all. Even where the classics plainly record rhythm, hymn texts, instrument counts, and pitch pipes, competing doctrines still cannot be reconciled. How much less can anyone grasp the subtle principle that shares harmony with Heaven and Earth! Today the four seas are adrift, customs decayed, ranks and insignia blurred, yet extravagance and presumption cannot be checked; social bonds lack proper form, yet conflict cannot be restrained. The Record says, "Without root nothing stands; without pattern nothing proceeds." What is made luminous in spirit is the root; what is raised up and put into practice is the pattern. I propose summoning eminent Confucian scholars and men thoroughly versed in past and present, looking back to Xia and Shang and examining Han and Tang down to our day, to weigh and fix standards and complete a great code for the age that will refine the realm and set a model for ten thousand generations." Grand Secretary Zhang Yushu also said, "The study of musical pitch and mathematical calculation has long been lost. Errors are inherited and mistakes repeated, and no one can identify what is wrong; profound meanings and subtle mechanisms remain unexplored. We who have personally heard Your instruction still grasp it only for a moment, while repeated calculation leaves us in confusion; how can officials and people throughout the realm share in that understanding? Your Majesty should grant authoritative judgment, compile the results into books, promulgate them throughout the realm, and have all study and transmit them together. Correct the accumulated errors of calendrical calculation, establish sound methods of harmony for ten thousand generations, and benefit both scholarship and government alike."

帝重違臣下請，五十二年，遂詔修律呂諸書，於蒙養齋立館，求海內暢曉樂律者，光地薦景州魏廷珍、寧國梅□成、交河王蘭生任編纂。蘭生故光地所拔士，樂律有神契，硃子琴律圖說，字多訛謬，蘭生以意是正，瞭然可曉。及被詔入直，所與編校者皆淹雅士，而蘭生學獨深，亦時時折中於帝，遇有疑義，親臨決焉。

Unwilling to refuse his ministers' plea, in the fifty-second year the emperor decreed the compilation of works on pitch pipes, established an office at the Mengyang Studio, and sought experts in music and pitch throughout the realm. Guangdi recommended Wei Tingzhen of Jingzhou, Mei □ Cheng of Ningguo [one character missing in the source text], and Wang Lansheng of Jiaohe as compilers. Lansheng was a scholar Guangdi had earlier promoted and possessed an almost intuitive grasp of pitch. Zhu Xi's Illustrated Explanation of Qin Pitch contained many textual errors; Lansheng corrected them by reasoned judgment until the text was clear and intelligible. When he was summoned to regular attendance at court, his fellow compilers were all broadly cultivated scholars, yet Lansheng's learning stood deepest. He frequently mediated by the emperor's judgment, and whenever doubts arose the emperor decided them in person.

其法首明黃鍾為十二律呂根源，以縱黍橫黍定古今尺度，今尺八寸一分，當古尺十寸，橫黍百粒，當縱黍八十一粒。漢志：「黃鍾之長，以子穀秬黍中者，一黍之廣度之，九十分黃鍾之長，一為一分。」廣者橫也，九十分為黃鍾之長，則黃鍾為九十橫黍所累明矣。即以橫黍之度比縱黍，為古尺之比今尺，以古尺為一率，今尺為二率，黃鍾古尺九寸為三率，推得四率七寸二分九釐，即黃鍾今尺之度。律呂新書：黃鍾九寸，空圍九分，積八百一十分，再置古尺，積八百一十分，以九十分歸之，得面冪九方分，用比例相求，麵線相等，面積不同。定數圓面積一十萬為一率，方面積一十二萬七千三百二十四為二率，今面冪九方分為三率，推得四率一十一分四十五釐九十豪，開平方得三分三釐八豪五絲一忽，為黃鍾古尺徑數。求周，得十分六釐三豪四絲六忽。即以古尺之積比今尺之積，古尺一百分，自乘再乘得一百萬分為一率，今尺八十一分，自乘再乘得五十三萬一千四十一分為二率，黃鍾積八百一十分為三率，推得四率四百三十分四百六十七釐二百十一豪，即黃鍾今尺之積。以今尺長七寸二分九釐歸之，得面冪五分九十釐四十九豪，求徑得二分七釐四豪一絲九忽，而黃鍾管之縱長體積面徑定矣。

Their method first established the yellow bell as the root of the twelve pitch pipes and used vertical and horizontal millet grains to fix ancient and modern measures. The present foot of eight inches and one fen equals the ancient foot of ten inches, and one hundred horizontal grains equal eighty-one vertical grains. The Han Treatise states, "The length of the yellow bell: using the middle grain of black millet, measure by the breadth of one grain. Ninety such parts make the length of the yellow bell, and one part is one fen." "Breadth" means horizontal. If ninety parts make the length of the yellow bell, then the yellow bell is plainly built up from ninety horizontal grains. Comparing the measure of horizontal grains with vertical grains yields the ratio of ancient to present feet. With the ancient foot as the first term, the present foot as the second, and the yellow bell of nine ancient inches as the third, the fourth term comes to seven inches, two fen, and nine li in the present foot—the length of the yellow bell on the modern scale. The New Book on Pitch Pipes gives the yellow bell as nine inches long, with an inner circumference of nine fen and a volume of eight hundred and ten fen. Restating this on the ancient foot and dividing by ninety parts yields a face value of nine square fen. By proportional calculation the face and line are equal, yet the face area differs. Taking a fixed circular face area of one hundred thousand as the first term and a square face area of one hundred twenty-seven thousand three hundred twenty-four as the second, with the present face value of nine square fen as the third, the fourth term is eleven fen, forty-five li, and ninety hao. Extracting the square root yields three fen, three li, eight hao, five si, and one hu as the diameter of the yellow bell on the ancient foot. The circumference comes to ten fen, six li, three hao, four si, and six hu. Comparing the volume of the ancient foot with that of the present foot: one hundred parts of the ancient foot, cubed, gives one million parts as the first term; eighty-one parts of the present foot, cubed, gives five hundred thirty-one thousand forty-one parts as the second; the yellow bell volume of eight hundred ten parts is the third. The fourth term is four hundred thirty parts, four hundred sixty-seven li, and two hundred eleven hao—the volume of the yellow bell on the present foot. Dividing by the present-foot length of seven inches, two fen, and nine li yields a face value of five fen, ninety li, and forty-nine hao. The diameter is two fen, seven li, four hao, one si, and nine hu. Thus the yellow bell pipe's length, volume, face area, and diameter were all fixed.

黃鍾既定，於是制律呂同徑之法，以積實容黍為數，三分損益以覈之，黃鍾三分損一，下生林鍾，林鍾三分益一，上生太簇，太簇三分損一，下生南呂，南呂三分益一，上生姑洗，姑洗三分損一，下生應鍾，應鍾三分益一，上生蕤賓，蕤賓三分益一，上生大呂，大呂三分損一，下生夷則，夷則三分益一，上生夾鍾，夾鍾三分損一，下生無射，無射三分益一，上生仲呂。又倍之，自蕤賓以下至應鍾，半之，自黃鍾以下至仲呂，皆六。不用京房變律之說，定宮聲在黃鍾、大呂之間。

Once the yellow bell was fixed, they established the method of uniform diameter for the pitch pipes, using filled volume and grain capacity as the measure and verifying by three-part diminishment and augmentation. The yellow bell diminished by one-third generates the forest bell below; the forest bell augmented by one-third generates the great cluster above; the great cluster diminished generates the southern lü below; the southern lü augmented generates the maiden wash above; the maiden wash diminished generates the responding bell below; the responding bell augmented generates the luxuriant guest above; the luxuriant guest augmented generates the great lü above; the great lü diminished generates the barren lü below; the barren lü augmented generates the squeezed bell above; the squeezed bell diminished generates the untiring shoot below; the untiring shoot augmented generates the second lü above. They were then doubled from the luxuriant guest down to the responding bell and halved from the yellow bell down to the second lü—six pipes in each group. They rejected Jing Fang's doctrine of altered pitch pipes and fixed the palace tone between the yellow bell and the great lü.

黃鍾為宮，次太簇以商應，次姑洗以角應，次蕤賓以變徵應，次夷則以徵應，次無射以羽應，次半黃鍾以變宮應，所謂陽律五聲二變也。至半太簇為清宮，仍應黃鍾焉。大呂為宮，次夾鍾以商應，次仲呂以角應，次林鍾以變徵應，次南呂以徵應，次應鍾以羽應，次半大呂以變宮應，所謂陰呂五聲二變也。至半夾鍾為清宮，仍應大呂焉。旋相為宮，折中取聲，類而不雜。驗之簫笛，工為宮，則凡應商，六應角，五應變徵，乙應徵，上應羽，尺應變宮。

With the yellow bell as palace, the great cluster answers as merchant, the maiden wash as horn, the luxuriant guest as altered zhi, the barren lü as zhi, the untiring shoot as feather, and the half yellow bell as altered palace—this is the yang pitch series of five tones and two alterations. Down to the half great cluster as clear palace, which still corresponds to the yellow bell. With the great lü as palace, the squeezed bell answers as merchant, the second lü as horn, the forest bell as altered zhi, the southern lü as zhi, the responding bell as feather, and the half great lü as altered palace—this is the yin pitch series of five tones and two alterations. Down to the half squeezed bell as clear palace, which still corresponds to the great lü. Rotating through the series as palace and selecting tones from the middle register, the categories remain distinct without confusion. Tested on flute and pipe: when gong is palace, fan answers as merchant, liu as horn, wu as altered zhi, yi as zhi, shang as feather, and chi as altered palace.

黃鍾為低工，大呂為高工，而分清濁。太簇為低凡，夾鍾為高凡，而分清濁。姑洗為低六，仲呂為高六，而分清濁。蕤賓為低五，林鍾為高五，而分清濁。夷則為低乙，南呂為高乙，而分清濁。無射為低上，應鍾為高上，而分清濁。倍之，則倍無射、倍應鍾為宮聲之右變宮尺字，而分清濁。倍夷則、倍南呂為變宮之右下羽上字，而分清濁。倍蕤賓、倍林鍾為下羽之右下徵乙字，而分清濁。半之，則半黃鍾、半大呂為羽聲之左變宮尺字，而分清濁。半太簇、半夾鍾為變宮之左少宮工字，而分清濁。半姑洗、半仲呂為少宮之左少商凡字，而分清濁。古樂所以起下徵而終清商也。

The yellow bell is low gong and the great lü high gong, distinguishing clear from muddy pitch. The great cluster is low fan and the squeezed bell high fan, distinguishing clear from muddy pitch. The maiden wash is low liu and the second lü high liu, distinguishing clear from muddy pitch. The luxuriant guest is low wu and the forest bell high wu, distinguishing clear from muddy pitch. The barren lü is low yi and the southern lü high yi, distinguishing clear from muddy pitch. The untiring shoot is low shang and the responding bell high shang, distinguishing clear from muddy pitch. When doubled, the doubled untiring shoot and doubled responding bell become the right altered-palace chi of the palace tone, again distinguishing clear from muddy pitch. The doubled barren lü and doubled southern lü form the right lower-feather shang of altered palace, distinguishing clear from muddy pitch. The doubled luxuriant guest and doubled forest bell form the right lower-zhi yi of lower feather, distinguishing clear from muddy pitch. When halved, the half yellow bell and half great lü become the left altered-palace chi of the feather tone, distinguishing clear from muddy pitch. The half great cluster and half squeezed bell form the left lesser-palace gong of altered palace, distinguishing clear from muddy pitch. The half maiden wash and half second lü form the left lesser-merchant fan of lesser palace, distinguishing clear from muddy pitch. This is why ancient music begins from the lower zhi and ends in clear merchant.

黃鍾一徑，別其長短，為十二律呂，復助以倍半，而得五聲二變之全，由是制以樂器，以黃鍾之積為本，加分減分，皆用黃鍾之長與徑相比，大加至八倍，則長與徑亦加一倍，小減至八分之一，則長與徑亦減其半。正律呂管十二，倍管六，半管六。黃鍾同形管五十六，亦倍管六，半管六。同形管又生同徑管十一，凡一千三百六十八管。依數立制，以考其度，以審其音。八倍黃鍾之管，聲應正黃鍾之律濁宮低工。七倍黃鍾之管，應大呂之呂清宮高工。六倍黃鍾之管，應太簇之律濁商低凡。五倍黃鍾之管，應夾鍾之呂清商高凡。四倍黃鍾之管，應姑洗之律濁角低六。三倍半黃鍾之管，應仲呂之呂清角高六。三倍黃鍾之管，應蕤賓之律濁變徵低五。三倍宜應仲呂，今高半音而應蕤賓，蓋管體漸小，聲音易別。必於三倍之積，復加正黃鍾之半積，始應仲呂之呂清角高六。半積之理，由此生也。二倍半黃鍾之管，應林鍾之呂清變徵高五。二倍加四分之一黃鍾之管，應夷則之律濁徵低乙。二倍黃鍾之管，不應夷則，而二倍半二倍之間始應之。必以半積復半之，為四分之一，加於二倍之內，其分乃合。四分之一之理，由此生焉。二倍黃鍾之管，應南呂之呂清徵高乙。正加四分之三黃鍾之管，應無射之律濁羽低上。正加四分之二黃鍾之管，應應鍾之呂清羽高上。正加四分之一黃鍾之管，應半黃鍾之律濁變宮低尺。正加八分之一黃鍾之管，應半大呂之呂清變宮高尺。此管與正黃鍾最近，欲取合清宮之分，則以四分之一復半之，為八分之一，加於正黃鍾之分，其聲始應。八分之一之理，由此生焉。

From a single yellow bell diameter, varying length and shortness yields the twelve pitch pipes; doubling and halving then complete the five tones and two alterations. Instruments were fashioned accordingly, using the yellow bell volume as the foundation. Whether adding or subtracting parts, all proportions were measured against the yellow bell's length and diameter. At eightfold increase, length and diameter also double; at one-eighth reduction, length and diameter are halved. There were twelve standard pitch pipes, six doubled pipes, and six halved pipes. There were fifty-six yellow bell uniform-form pipes, likewise with six doubled and six halved pipes. The uniform-form pipes further generated eleven uniform-diameter types, for a total of one thousand three hundred sixty-eight pipes. Standards were established by numerical rule to test their dimensions and verify their pitches. The eightfold yellow bell pipe produces a tone corresponding to the proper yellow bell pitch: muddy palace, low gong. The sevenfold yellow bell pipe corresponds to the great lü pitch: clear palace, high gong. The sixfold yellow bell pipe corresponds to the great cluster pitch: muddy merchant, low fan. The fivefold yellow bell pipe corresponds to the squeezed bell pitch: clear merchant, high fan. The fourfold yellow bell pipe corresponds to the maiden wash pitch: muddy horn, low liu. The three-and-a-half-fold yellow bell pipe corresponds to the second lü pitch: clear horn, high liu. The threefold yellow bell pipe corresponds to the luxuriant guest pitch: muddy altered zhi, low wu. At threefold length it should correspond to the second lü, yet it sounds a half-tone higher and matches the luxuriant guest instead—presumably because as the pipe grows smaller, its tone becomes easier to distinguish. Only at threefold volume, with half the proper yellow bell volume added again, does the tone match the second lü pitch: clear horn, high liu. The principle of half volume arises from this. The two-and-a-half-fold yellow bell pipe corresponds to the forest bell pitch: clear altered zhi, high wu. The twofold yellow bell pipe plus one-quarter corresponds to the barren lü pitch: muddy zhi, low yi. The twofold yellow bell pipe does not match the barren lü; correspondence begins only between two-and-a-half-fold and twofold length. Half the volume must be halved again to yield one-quarter, added within the twofold measure, before the parts align. The principle of one-quarter parts arises from this. The twofold yellow bell pipe corresponds to the southern lü pitch: clear zhi, high yi. The proper yellow bell pipe plus three-quarters corresponds to the untiring shoot pitch: muddy feather, low shang. The proper yellow bell pipe plus two-quarters corresponds to the responding bell pitch: clear feather, high shang. The proper yellow bell pipe plus one-quarter corresponds to the half yellow bell pitch: muddy altered palace, low chi. The proper yellow bell pipe plus one-eighth corresponds to the half great lü pitch: clear altered palace, high chi. This pipe lies closest to proper yellow bell. To obtain the interval matching clear palace, one quarters it, halves again to one-eighth, adds that to the proper yellow bell portion, and only then does the tone correspond. The principle of one-eighth parts arises from this.

繼此則正黃鍾管聲應半太簇之律，濁宮低工乃與八倍黃鍾之管相和同聲矣。遞減之，黃鍾正積八分之七之管，應大呂之呂。八分之六之管，應太簇之律。八分之五之管，應夾鍾之呂。八分之四之管，應姑洗之律。八分之三分有半之管，應仲呂之呂。八分之三之管，應蕤賓之律。八分之二分有半之管，應林鍾之呂。八分之二又加一分之四分之一之管，應夷則之律。此一分之四分之一，乃正黃鍾三十二分之一，至此三十二分之理生焉。八分之二之管，應南呂之呂。八分之一又加一分之四分之三之管，應無射之律。八分之一又加一分之四分之二之管，應應鍾之呂。八分之一又加一分之四分之一之管，應半黃鍾之律。八分之一又加一分之八分之一之管，應半大呂之呂。此一分之八分之一，乃正黃鍾六十四分之一，至此六十四分之理生焉。而八分之一之管，又應正黃鍾，而為正黃鍾長與徑之半。

Next, the proper yellow bell pipe corresponds to the half great cluster pitch, muddy palace, low gong, and thus sounds in unison with the eightfold yellow bell pipe. By successive reduction, the pipe of seven-eighths of the yellow bell proper volume corresponds to the great lü pitch. The six-eighths pipe corresponds to the great cluster pitch. The five-eighths pipe corresponds to the squeezed bell pitch. The four-eighths pipe corresponds to the maiden wash pitch. The three-and-a-half-eighths pipe corresponds to the second lü pitch. The three-eighths pipe corresponds to the luxuriant guest pitch. The two-and-a-half-eighths pipe corresponds to the forest bell pitch. The two-eighths pipe plus one-quarter of one-eighth corresponds to the barren lü pitch. This quarter-of-an-eighth is one thirty-second of proper yellow bell; here the principle of thirty-second parts arises. The two-eighths pipe corresponds to the southern lü pitch. The one-eighth pipe plus three-quarters of one-eighth corresponds to the untiring shoot pitch. The one-eighth pipe plus two-quarters of one-eighth corresponds to the responding bell pitch. The one-eighth pipe plus one-quarter of one-eighth corresponds to the half yellow bell pitch. The one-eighth pipe plus one-eighth of one-eighth corresponds to the half great lü pitch. This eighth-of-an-eighth is one sixty-fourth of proper yellow bell; here the principle of sixty-fourth parts arises. The one-eighth pipe again matches proper yellow bell, with length and diameter each half those of proper yellow bell.

自八倍黃鍾至黃鍾八分之一，皆具同徑之十二律呂，皆成一調之五聲二變。推而演之，加黃鍾之積至六十四倍，則同形管長徑皆四倍於正黃鍾，減黃鍾之積至六十四分之一，則同形管長徑皆得正黃鍾四分之一。六十四倍積同形管應正黃鍾，五十六倍積同形管與六十四分之七同形管應大呂，四十八倍積同形管與六十四分之六同形管應太簇，四十倍積同形管與六十四分之五同形管應夾鍾，三十二倍積同形管與六十四分之四同形管應姑洗，二十八倍積同形管與六十四分之三加半同形管應仲呂，二十四倍積同形管與六十四分之三同形管應蕤賓，二十倍積同形管與六十四分之二加半同形管應林鍾，十八倍積同形管與六十四分之二加一分四之一同形管應夷則，十六倍積同形管與六十四分之二同形管應南呂，十四倍積同形管與六十四分之一加一分四之三同形管應無射，十二倍積同形管與六十四分之一加一分四之二同形管應應鍾，十倍積同形管與六十四分之一加一分四之一同形管應半黃鍾，九倍積同形管與六十四分之一加一分八之一同形管應半大呂，六十四分之一同形管仍應正黃鍾，於是十二律呂之同徑異形者，合長短倍半以成旋宮之用。而黃鍾之同形異徑者，因加減實積，亦成旋宮之用。制器求聲，齊於此矣。

From eightfold yellow bell down to one-eighth yellow bell, each pipe of uniform diameter carries the full twelve pitch pipes, each yielding the five tones and two alterations of a single mode. Carrying the method forward: at sixty-fourfold yellow bell volume, the uniform-form pipe's length and diameter are each four times those of proper yellow bell; at one sixty-fourth volume, the uniform-form pipe's length and diameter are each one-quarter of proper yellow bell. The sixty-fourfold-volume uniform-form pipe matches proper yellow bell; the fifty-sixfold pipe and the seven-sixty-fourths pipe match the great lü; forty-eightfold and six-sixty-fourths match the great cluster; fortyfold and five-sixty-fourths the squeezed bell; thirty-twofold and four-sixty-fourths the maiden wash; twenty-eightfold and three-and-a-half sixty-fourths the second lü; twenty-fourfold and three-sixty-fourths the luxuriant guest; twentyfold and two-and-a-half sixty-fourths the forest bell; eighteenfold and two-sixty-fourths plus one sixty-fourth of a sixty-fourth the barren lü; sixteenfold and two-sixty-fourths the southern lü; fourteenfold and one-sixty-fourth plus three-quarters of a sixty-fourth the untiring shoot; twelvefold and one-sixty-fourth plus two-quarters of a sixty-fourth the responding bell; tenfold and one-sixty-fourth plus one-quarter of a sixty-fourth the half yellow bell; ninefold and one-sixty-fourth plus one-eighth of a sixty-fourth the half great lü; the one-sixty-fourth pipe still matches proper yellow bell. Thus the twelve pitch pipes of uniform diameter but differing shape, combining long and short with doubling and halving, complete the method of circulating modes. Yellow bell pipes of uniform shape but differing diameter, by adding and subtracting solid volume, likewise serve to circulate the modes. Instrument-making and tone-seeking are brought into full accord here.

雖然，五聲二變管律與弦度又各不同，漢、唐以後，皆宗司馬、淮南之說，以三分損益之術，誤為管音五聲二變之次，復執管子弦音五聲度分，而牽合於十二律呂之中。試截竹為管吹之，黃鍾半律，不與黃鍾合，而合黃鍾者為太簇之半律，則倍半相應之說，在弦音而非管音也。又黃鍾為宮，其徵聲不應於林鍾而應於夷則，則三分損益宮下生徵之說，在弦度而非管律也。以弦度取聲，全弦與半弦之音相應，而半律較全律則下一音。蓋弦之體，實藉人力鼓動而生聲，全弦長，故得音緩，半弦短，故得音急，長短緩急之間，全半相應之理寓焉。管之體虛，假人氣入之以生聲，故管之徑同者，其全半不相應，求其相應，必徑減半始得，所以正黃鍾與黃鍾八分之一之管相應同聲也。

Yet pipe pitch and string measure differ in their five tones and two alterations. After Han and Tang, scholars followed Sima Qian and the Huainan masters, misapplied three-part diminishment and augmentation as the order of pipe tones, then forced Guanzi's string-degree divisions into the twelve pitch pipes. Cut bamboo into a pipe and blow: the half yellow bell pitch does not unite with yellow bell, but the half great cluster pitch does—proving that octave correspondence belongs to strings, not pipes. With yellow bell as palace, the zhi tone answers not the forest bell but the barren lü—so the rule that palace generates zhi by three-part diminishment applies to string measure, not pipe pitch. On strings, the full string and half string sound in correspondence, yet a half pitch stands one tone below its full pitch. A string sounds only when human force sets it vibrating: the long full string yields a slow tone, the short half string a quick one—and in that contrast of length and speed lies the principle of full-and-half correspondence. A pipe is hollow and sounds when breath enters it. Pipes of equal diameter do not correspond at full and half length; correspondence requires halving the diameter—hence proper yellow bell and the one-eighth yellow bell pipe sound as one.

因全半之不同，於是管律弦度首音至八音，其間所生五聲二變之度分亦異。管律黃鍾之全為宮聲首音，則太簇之半為少宮八音，其間太簇之全為商聲二音，姑洗為角聲三音，蕤賓為變徵四音，夷則為徵聲五音，無射為羽聲六音，黃鍾之半為變宮七音。自首音至第八音，得七全分。若弦度假借黃鍾全分為宮聲首音，則黃鍾之半為少宮八音，其間太簇之分為商聲二音，姑洗之分為角聲三音，蕤賓之分為變徵四音，而林鍾之分乃為徵聲五音，南呂之分為羽聲六音，應鍾之分為變宮七音。各弦之分，宮至商，商至角，角至變徵，徵至羽，羽至變宮，皆得全分，而變徵至徵，變宮至少宮，祗得半分。自首音至八音，合為六全分，故弦音不可以十二律呂之度取分。如以倍無射變宮尺字定弦，則得下徵之分。倍無射變宮尺字，即今笛與頭管之合字也。凡品樂居首一弦，必得下徵之分，而五音之位始正。故世以頭管合字定琴之一弦為黃鍾之宮者，蓋一弦不得不定以合字，正為取下徵之分也。

Since full and half lengths differ, the degree-parts of the five tones and two alterations between the first and eighth tones differ for pipe pitch and string measure alike. In pipe pitch, full yellow bell is the first palace tone; half great cluster is the eighth lesser-palace tone; between them full great cluster is merchant, maiden wash horn, luxuriant guest altered zhi, barren lü zhi, untiring shoot feather, and half yellow bell altered palace. From the first tone through the eighth, seven full parts are obtained. On strings, borrowing the full yellow bell part as the first palace tone makes half yellow bell the eighth lesser-palace tone; the great cluster part is merchant, maiden wash horn, luxuriant guest altered zhi, forest bell zhi, southern lü feather, and responding bell altered palace. On each string, palace to merchant, merchant to horn, horn to altered zhi, zhi to feather, and feather to altered palace each span a full part; altered zhi to zhi and altered palace to lesser palace span only half a part. From first to eighth tone the total is six full parts—so string tones cannot be measured by the twelve pitch-pipe degrees. Setting the string by the doubled untiring shoot altered-palace chi yields the lower-zhi division. The doubled untiring shoot altered-palace chi is the unison note used on the modern flute and lead pipe. In graded music the leading string must carry the lower-zhi division before the five tones fall into their proper places. Hence musicians fix the qin's first string to the lead pipe's unison note as yellow bell palace: the first string must be set to that unison precisely to obtain the lower-zhi division.

黃鍾宮聲工字定弦，得下羽之分；太簇商聲凡字定弦，得變宮之分；姑洗角聲六字定弦，得宮弦之分；蕤賓變徵五字定弦，得商弦之分；夷則徵聲乙字定弦，得角弦之分；無射羽聲上字定弦，得變徵之分；而半黃鍾變宮尺字定弦，仍得徵弦之分焉。今借黃鍾之分為宮弦全分，其首音仍定以黃鍾之律，則二音限於太簇之分，而聲亦應太簇之律，三音則變為夾鍾之分，而聲始應姑洗之律。如仍取姑洗之分，則聲必變而應於仲呂之呂，四音復變為仲呂之分，而聲應蕤賓之律。如仍取蕤賓之分，則聲必變而應於林鍾之呂，五音則為林鍾之分而應夷則之律，六音則為南呂之分而應無射之律，七音又變為無射之分而聲始應半黃鍾之律。如仍取應鍾之分，則聲必變而應於半大呂之呂。此宮弦之分因全弦首音定黃鍾之律，而變為羽弦之分者也。或以黃鍾之分為宮弦全分，而本弦七音欲各限以宮弦內七音之分，則首音必定以姑洗之律。以次分之，此宮弦之分因全弦首音定姑洗之律，而得宮弦之分者也。又或以笛與頭管合字為今所定倍無射之律為宮弦全分，首音依次分之，得下徵弦之分，此宮弦之分因全弦首音定以笛之合字而變為徵弦之分者也。依律呂而定弦音，則弦度之分隨之潛移，依弦度之分命為七音之次，則聲音宮調不與律呂相協。此由管律、弦度全、半生聲取分之不同，於是絲樂弦音之旋宮轉調，與竹樂管音亦異。

Fixing the string to yellow bell palace gong yields the lower-feather division; Fixing to great cluster merchant fan yields the altered-palace division; Fixing to maiden wash horn liu yields the palace-string division; Fixing to luxuriant guest altered zhi wu yields the merchant-string division; Fixing to barren lü zhi yi yields the horn-string division; Fixing to untiring shoot feather shang yields the altered-zhi division; Yet fixing to half yellow bell altered palace chi still yields the zhi-string division. Borrowing the yellow bell part as the palace string's full measure, with the first tone still on yellow bell pitch, confines the second tone to the great cluster part—sound and measure both on great cluster—while the third shifts to the squeezed bell part before the sound answers maiden wash. If one keeps the maiden wash part, the sound shifts to the second lü pitch; the fourth tone moves to the second lü part while the sound answers luxuriant guest. If one keeps the luxuriant guest part, the sound shifts to forest bell; the fifth becomes forest bell part answering barren lü, the sixth southern lü part answering untiring shoot, and the seventh shifts to untiring shoot before answering half yellow bell. If one keeps the responding bell part, the sound shifts to the half great lü pitch. Here the palace-string division, with the full string's first tone fixed to yellow bell pitch, shifts into the feather-string division. Or, taking the yellow bell part as the palace string's full measure while confining all seven tones to the palace string's seven internal parts, the first tone must be fixed to maiden wash pitch. Dividing sequentially: with the first tone on maiden wash pitch, the palace-string division is obtained. Or taking the flute and lead pipe unison as today's doubled untiring shoot pitch for the palace string's full measure and dividing from the first tone yields the lower-zhi string division—here the palace string, with its first tone on the flute's unison, shifts into the zhi-string division. Fix strings by pitch pipes and their degree-parts drift; name the seven tones by string parts and the mode no longer matches the pipes. Since pipe pitch and string measure differ in deriving parts from full, half, and sounding length, silk strings and bamboo pipes diverge in circulating modes and transposition.

清濁二均各七調，中與管樂有同者，有可同者，有不可同者。同者惟宮調一調，五聲二變皆正應。可同者，商調、徵調五聲正、應二變借用；不可同者，角調、變徵調、羽調、變宮調五聲之內清濁相淆。如但以弦音奏之，而不和以管音，祗有四調，餘三調皆轉入弦音宮調。故周禮大司樂三宮，漢志三統，皆以三調為準。所謂三統，其一天統，黃鍾為宮，乃黃鍾宮聲位羽起調，姑洗角聲立宮，主調是為宮調也。其一人統，太簇為宮，乃太簇商聲位羽起調，蕤賓變徵立宮，主調是為商調也。其一地統，林鍾為宮，乃弦音徵分位羽，實管音夷則徵聲位羽起調，半黃鍾變宮立宮，主調是為徵調也。隋志鄭譯云：考尋律呂，七聲之內，三聲乖應。當時考較聲律，或以管音考核弦音，或以弦音考核管音，故得四調相和，三調乖應，即二變調與角調也。變徵調與羽調五正聲內祗一聲乖應，然羽調猶能自立一調，變徵調則轉入宮調聲字。至角調變宮調，五聲之內二三聲乖應，與宮調聲字雷同，皆不能成一調也。唐志載四宮二十八調，率以弦音之分定為十二律呂之度，故有正宮大食、高大食之名。今即弦音、管音之和不和，以辨陽律、陰呂之分用、合用，乃知唐書之二十八調獨取弦音，不在管律。而古人所用三統，實取管音、弦音之相和者用之也。

Clear and muddy registers each hold seven modes; against pipe music some align fully, some partially, and some not at all. Only the palace mode matches completely, with all five tones and two alterations in true correspondence. Merchant and zhi modes can partially match: the five proper tones align and the two alterations are borrowed; Horn, altered-zhi, feather, and altered-palace modes cannot match, for clear and muddy tones mingle within the five tones. Played on strings alone, without pipe harmony, only four modes remain; the other three collapse into the string palace mode. Hence the Zhou Rites' Grand Music Master of three palaces and the Han Treatise's three sequences both treat three modes as the standard. Of the three sequences, the Heaven sequence takes yellow bell as palace—the palace tone with feather as starting degree and maiden wash horn establishing the mode—forming the palace mode. The Human sequence takes great cluster as palace—the merchant tone with feather as starting degree and luxuriant guest altered zhi establishing the mode—forming the merchant mode. The Earth sequence takes forest bell as palace—in strings the zhi degree stands in the feather place, while in pipes barren lü zhi starts from feather and half yellow bell altered palace establishes the mode—forming the zhi mode. Zheng Yi in the Sui Treatise wrote: "Examining the pitch pipes, three of the seven tones fail to correspond." When sound and pitch were compared—sometimes pipe testing string, sometimes the reverse—four modes harmonized and three failed, namely the two altered modes and the horn mode. Altered-zhi and feather modes each have one mismatched tone among the five proper tones; yet feather can still stand alone, while altered-zhi collapses into palace syllables. Horn and altered-palace modes have two or three mismatched tones and duplicate palace syllables—they cannot form independent modes. The Tang Treatise records four palaces and twenty-eight modes, largely deriving the twelve pitch-pipe degrees from string parts—hence names like Proper Palace, Great Shí, and Lofty Great Shí. Judging string and pipe harmony and the separate or combined use of yang pipes and yin pipes shows that the Tang History's twenty-eight modes drew on strings alone, not pipe pitch. Yet the ancients' three sequences in fact used only what harmonized between pipe and string.

是以弦音諸樂，其要有四：一，定弦音應某律呂之聲字，即得某弦之度分。一，弦音轉調不能依次遞遷，故以宮調為準，有幾弦不移，而他弦或緊一音，或慢半音，遂成一調，而各弦七聲之分因之而變。一，弦音諸調雖無二變，而定弦取音，必審二變之聲，必計二變之分，始能得其條貫，不然，宮調無所取準。一，弦音宮調，惟宮與商徵得與律呂相和為用，餘四調陰陽乖應，或淆入宮調聲字，不得自成一調。即此四者，條分縷析，則弦音旋宮轉調之法備矣。

String music rests on four essentials: first, fix which pitch pipe's syllable the string answers to obtain that string's degree-part. Second, transposition cannot march stepwise, so the palace mode is standard: some strings stay fixed while others tighten a whole tone or loosen a half tone to form a mode, shifting each string's seven-tone parts. Third, though string modes omit the two alterations, tuning requires judging altered tones and their parts; without this the palace mode lacks a standard. Fourth, in string palace mode only palace, merchant, and zhi harmonize with the pipes; the other four modes mismatch yin and yang or collapse into palace syllables and cannot stand alone. These four points, analyzed in detail, complete the method of circulating modes and transposition for strings.

樂之學既微，自古言者又歧說繁滋，莫衷一是。子長、孟堅時已異同，隋、唐登歌，雜蘇祗婆龜茲樂，以律呂文之，神瞽弗世，等於詩亡。宋人李照、和峴、范鎮、蔡元定之徒，稍有志於復古，然但資肊驗，或且飾以陰陽郛廓之說，明鄭世子載堉始以勾股譚律度。

Music studies had faded, and ancient authorities multiplied conflicting doctrines until no single view prevailed. Sima Qian and Ban Gu already disagreed; Sui and Tang court hymns mixed in Zhemo Tupo's Kucha music under pitch-pipe terminology—once divine hearing ceased to pass down, music was as lost as the Odes. Song scholars Li Zhao, He Xian, Fan Zhen, and Cai Yuanding still sought antiquity but relied on piecemeal tests, sometimes draped in yin-yang cosmology; only in Ming did Prince Zhu Zai of Zheng apply gougu geometry to pitch and measure.

帝本長疇人術，加之以密率，基之以實測，管音弦分千載之襲繆，至是乃定。明年書成，分三編：曰正律審音，發明黃鍾起數，及縱長、體積、面冪、周徑律呂損益之理，管弦律度旋宮之法；曰和聲定樂，明八音制器之要，詳考古今之同異；曰協均度曲，取波爾都哈兒國人徐日昇及意大裡亞國人德裡格所講聲律節度，證以經史所載律呂宮調諸法，分配陰陽二均字譜，賜名曰律呂正義。蘭生、廷珍等皆賜及第，進官有差。

The emperor was himself versed in calendrical arts; adding precise ratios and real measurement, he at last corrected the millennial errors of pipe pitch and string division. The following year it was finished in three parts: Zhènglǜ Shěnyīn, on the yellow bell's starting number, length, volume, face area, circumference, diameter, pipe diminishment and augmentation, and pipe-string circulation; Héshēng Dìngyuè, on the eight sounds, instrument-making, and ancient versus modern practice; Xiéjūn Dùqǔ, drawing on Thomas Pereira of Portugal and Teodorico Pedrini of Italy, checked against classical pipe and mode methods, assigned yin-yang registers and notation, and received the title Lǚlǜ Zhèngyì. Lansheng, Tingzhen, and the rest received jinshi degrees and promotions of varying rank.

既又諭改訂中和樂章聲調，曰：「殿陛所奏中和樂章，皆沿明代，句有長短，體制類詞，曾因不雅，命大學士陳廷敬等改撰，章法皆以四字為句，而樂人未嫻聲調，仍以長短句湊拍歌之。今考舊調已得，宮商節奏甚為和平，必使歌章字句亦隨韻逗，則章明而宮聲諧，其著南書房翰林同大學士詳定以聞。」是年十一月冬至，躬祀圜丘，遂用新定樂律。

He also ordered revision of the Zhonghe Yuezhang tones, saying: "The Zhonghe Yuezhang performed at court still follow Ming forms: lines of uneven length in a lyric style. Deeming them inelegant, I had Grand Academician Chen Tingjing rewrite them in four-character lines, yet the musicians, unskilled in tonal patterns, still sang them to long-and-short phrasing. The old melodies are now recovered and palace and merchant rhythms are harmonious; the sung text must follow the rhyme pauses so text and tone align. Let the Southern Studio Hanlin and Grand Academicians examine this in detail and report." That winter solstice in the eleventh month, the emperor personally sacrificed at the Circular Mound and adopted the newly fixed pitch standards.

五十四年，改造圜丘壇，金鐘玉磬，各十有六。五十五年，頒中和韶樂於直省文廟。初，樂章既改用「平」，而直省仍沿用「和」，至是從禮部請，始頒行焉。

In the fifty-fourth year they rebuilt the Circular Mound altar, with sixteen gold bells and sixteen jade chimes. In the fifty-fifth year the Zhonghe Shaoyue was distributed to Confucian temples in the metropolitan provinces. Hymn titles had already been changed to "Ping," but the provinces still used "He"; only now, at the Board of Rites' request, were the new titles promulgated.

世宗雍正二年，定耕耤三十六禾詞，耕耤筵宴樂制，進筵，丹陛樂奏雨暘時若之章，進酒，管弦樂奏五穀豐登之章，進饌，清樂奏家給人足之章，其辭皆大學士蔣廷錫撰。後又定祭時應宮、祭風伯廟、教坊司作樂，祭雷師、雲師廟，和聲署作樂，官民婚嫁，品官鼓樂人不得過十二，生、監、軍、民不得過八人，著為令。

In Yongzheng 2 they fixed the thirty-six grain hymns and ploughing banquet music: Dangdi music for the feast course ("Yǔyáng Shírùo"), orchestra music for wine ("Wǔgǔ Fēngdēng"), qing music for food ("Jiājì Rénzú")—all composed by Grand Academician Jiang Tingxi. They also fixed music for the Time-Appropriate Palace and Wind Earl Temple (Court Entertainment Office), and for the Thunder Master and Cloud Master temples (Harmony Office). For weddings, ranked officials were limited to twelve drum musicians and students, licentiates, soldiers, and commoners to eight—enacted as law.

高宗即位，銳意製作，莊親王允祿自聖祖時監修律算三書，至是仍典樂事。乾隆六年，殿陛奏中和韶樂，帝覺音律節奏與樂章不協，因命和親王弘晝同允祿奏試，允祿因言：「明代舊制，樂章以五、六、七字為句，而音律之節奏隨之，樂章音律俱八句，故長短相協。今殿陛樂若定以四字為句，則與壇廟無殊，惟樂章更定，大典攸關，謂宜會同大學士、禮部將樂章十二成詳議，令翰林改擬進覽。」尋大學士鄂爾泰等議：「樂章十二成內，惟淑平、順平二成每章八句，其十成樂章每章各十句，句四字，而按之音律，則每章八句，每句六、七、八字，以十句四字樂章，和以八句六、七、八字之音律，長短抑揚，宜不盡協。應將樂章字句，按音律之節奏以調和之，章酌從八句，句無拘四言。」奏可。

On Gaozong's accession he pursued institutional reform; Prince Zhuang Yunlu, who since Kangxi had overseen the three books on pitch and measure, still directed music. In Qianlong 6 the Zhonghe Shaoyue was played at court; the emperor found pitch rhythm and hymn text misaligned and ordered Prince He Hongzhou and Yunlu to test them. Yunlu said: "Under Ming practice, hymn lines ran five, six, or seven characters and pitch rhythm followed; both hymn and pitch had eight lines, so lengths matched. If court music is fixed at four characters per line, it will be no different from altar and temple music; yet revising the hymns touches great rites. Grand Academicians and the Board of Rites should deliberate the twelve suites in detail, and the Hanlin should revise and submit for review." Grand Academician Ortai and others replied: "Of the twelve suites, only Shúpíng and Shùnpíng have eight lines per stanza; the other ten have ten four-character lines, yet pitch rhythm gives eight lines of six, seven, or eight characters. Ten four-character hymn lines set to eight longer rhythmic lines cannot fully align in length and cadence. Hymn lines should be adjusted to pitch rhythm; stanzas should generally use eight lines, without confining lines to four characters. The memorial was approved.

舊中和樂編鐘內倍夷則四鐘在黃鍾正律之前，帝疑其舛，兼詢編鐘倍律及設而不作之故於臣工，時張照以刑部侍郎副允祿管部，名知樂，奏言：「編鐘之制，以十六鐘為一架，陽律八為一懸，在上；陰律八為一懸，在下。陽自陽，陰自陰。律呂之法，必有倍、半，然後高低清濁具備，以成旋宮之用。故陽律有倍蕤賓、倍夷則、倍無射在黃鍾之前，有半黃鍾、半太簇、半姑洗在無射之後。陰律則有倍林鍾、倍南呂、倍應鍾在大呂之前，有半大呂、半夾鍾、半仲呂在應鍾之後。倍蕤賓以還，則聲過低而啞，半仲呂以還，則聲過高而促，故不用。編鐘無倍蕤賓、倍林鍾，亦無六半律，以編鐘具八，其音中和，已足於用。低不至倍蕤賓、倍林鍾，高不至六半律，其序以從低至高，濁至清，排列為次。倍夷則、倍無射當在黃鍾之前，倍南呂、倍應鍾當在大呂之前，與簫管之長短，琴弦之鉅細為一例。排簫倍夷則、倍無射二管在黃鍾之前，倍南呂、倍應鍾二管在大呂之前。 ★A9之倍徵、倍羽二弦在宮弦之前，若琴弦簫管易位，則音不可諧，是以編鐘之次第同於弦管。」又奏：「編鐘一架，上八下八，上陽律，下陰呂。考擊之節，南郊、廟祀及臨朝大典，皆用黃鍾為宮，北郊、月壇，則用大呂為宮。用黃鍾為宮，則擊上鐘，用大呂為宮，則擊下鐘。臨朝以下鐘易置於上而擊之，非下八鐘不擊也。又八鐘原祗七音，姑洗為宮，黃鍾起調為工字，倍夷則、無射為變徵，太簇為變宮，三鐘不入調，是以不擊。工字調外，則惟二鐘不擊。如以太簇為宮，倍無射起調為尺字，則倍夷則、無射、太簇三鐘皆擊，而黃鍾為變宮，夷則為變徵，二鐘又當不擊矣。因相沿俱以黃鍾調為黃鍾宮，儒生不知音律，謂黃鍾為聲氣之元，萬物之母，郊廟、朝廷用之吉，否則凶。不知黃鍾為宮，其第一聲便是下羽，除變宮、變徵不入調，商、角、徵、羽必須迭用。若聲聲皆是黃鍾，晏子所謂琴瑟專一，誰能聽之。況大武之樂，即是無射為宮，載之國語。無射乃陽律之窮，而武王用之，則十二月各以其律為宮，無所不可，亦明矣。」上是之，命如故。

In the old Zhonghe music, four doubled-Yíze bells stood before standard Huángzhōng in the bell frame; the emperor suspected error and asked ministers why some doubled bells were set but not struck. Zhang Zhao, Vice Minister of Justice assisting Yunlu and famed for music, memorialized: "The bell frame has sixteen bells: eight yang pitches as the upper suspension; eight yin pitches as the lower suspension. Yang with yang, yin with yin. Pitch pipes require doubled and halved tones before the full range of high and low, clear and muddy, is available for circulating modes. Yang pitches therefore include doubled Ruíbīn, doubled Yíze, and doubled Wúshè before Huángzhōng, and half Huángzhōng, half Tàicù, and half Gǔxiàn after Wúshè. Yin pitches include doubled Línzhōng, doubled Nánlǜ, and doubled Yīngzhōng before Dàlǜ, and half Dàlǜ, half Jiázhōng, and half Zhònglǜ after Yīngzhōng. From doubled Ruíbīn down the sound is too low and muffled; from half Zhònglǜ up it is too high and hurried—so they are not used. The bell frame omits doubled Ruíbīn and Línzhōng and the six half pitches; eight bells suffice, their tone harmonious for use. The range stops before doubled Ruíbīn and Línzhōng and above the six half pitches, ordered from low to high, muddy to clear. Doubled Yíze and Wúshè belong before Huángzhōng; doubled Nánlǜ and Yīngzhōng before Dàlǜ—as with panpipe length and string thickness. In the panpipe array, doubled Yíze and Wúshè pipes stand before Huángzhōng; doubled Nánlǜ and Yīngzhōng before Dàlǜ. On the qin, the doubled-zhī and doubled-yǔ strings stand before the palace string; if strings, panpipes, and pipes are rearranged, tone cannot harmonize—so bell order follows strings and pipes." He added: "One frame: eight bells above, eight below; yang pitches above, yin pipes below. In performance, the Southern Suburb, temple rites, and great court ceremonies use Huángzhōng as palace; the Northern Suburb and Moon Altar use Dàlǜ. With Huángzhōng as palace the upper bells are struck; with Dàlǜ as palace, the lower. At court audiences the lower bells are moved above for striking; the lower eight are not left unused. The eight bells originally yield only seven tones: Gǔxiàn as palace, Huángzhōng opening the mode as the gōng syllable; doubled Yíze and Wúshè as altered-zhī; Tàicù as altered-palace—three bells lie outside the mode and are not struck. Outside the gōng mode, only two bells go unstruck. If Tàicù is palace and doubled Wúshè opens the chǐ syllable, doubled Yíze, Wúshè, and Tàicù are struck, while Huángzhōng becomes altered-palace and Yíze altered-zhī—two bells again go unstruck. Custom had long treated Huángzhōng mode as Huángzhōng palace; scholars ignorant of pitch law called Huángzhōng the origin of sound and breath, mother of all things—auspicious at suburban altars and court, otherwise ill-omened. They did not see that with Huángzhōng as palace the first tone is lower yǔ; except altered-palace and altered-zhī, shāng, jué, zhī, and yǔ must alternate. If every note were Huángzhōng, it would be Yanzi's "lute and zither all one note—who could listen?" The Great Martial music used Wúshè as palace, as the Guoyu records. Wúshè is the limit of yang pitch, yet King Wu used it—so any month may take its pitch as palace; that much is clear. The emperor approved and left the arrangement unchanged.

當是時，清興百餘年矣，古學萌芽，儒者毛奇齡、李□恭、胡彥升、江永輩多著書言樂事，考證益邃密。帝亦慕簫韶九成之盛，剬詩緝頌，勇於改為，欲以文致太平。聖祖時雖編定樂書，大抵稽於音律，而樂章句逗無譜，不與音相應。有協律高萬霖者，耆年審音，改定宮譜，然祗壇廟之樂。朝會清歌，仍踵前繆。照遂請續纂律呂書，謂「前代墜典，宜見刊正」，許之。開館纂修，仍命允祿監其事。未幾，館臣上議：「壇廟樂章字譜，天壇、太廟、朝日壇俱黃鍾為宮，地壇、夕月壇大呂為宮，近於南齊祗用黃鍾之說，而兼清濁二均。及於大呂，雖義有可取，但編鐘器內必有設而不作者，同於隋以前啞鐘之誚。我皇上製作定世，繼述休明，允宜博考詳稽，以襄盛典。夫言禮樂必宗成周，顧周代遙邈，文不足徵，所可考者，莫如周禮。而周禮所載圜鐘為宮祭天、函鐘為宮祭地、黃鍾為宮祭宗廟之說，圜鐘、函鐘不知何律。鄭康成以圜鐘為夾鍾，函鐘為林鍾，祭地用林鍾，義則善矣。然林鍾何以又稱函鐘，則亦無所據也。惟准六樂次第論之，有函鐘而無林鍾，則知函鐘即林鍾，然六樂又有夾鍾無圜鐘，其以圜鐘為夾鍾，謂夾鍾生於房、心之間，房、心大辰，天帝之明堂，則用甘公、石申戰代星家之言，以解七百年前周公之制度，誠非篤詁。李光地謂祭天以黃鍾為宮，祭宗廟以圜鐘為宮，圜黃互錯，諸儒相承而不知改。揆以春禘之文，則夾鍾之月也，雖若近理，然亦出於肊見。周禮本言祭天以圜鐘為宮，其下即雲黃鍾為角，一章之樂，斷無黃鍾既為宮，而又為角之理。六樂次第，清濁各一均，黃鍾與大呂配祀天神，太簇與應鍾配祭地祗，姑洗與南呂配祀四望，蕤賓與函鐘配祭山川，夷則與仲呂配享姜嫄，無射與夾鍾配享先祖，以律之次第分神之尊卑。顧律呂同用，而清濁之間，有同均者，有不同均者，見諸實用，難於施行。是以歷代皆欲仰法周制，而苦無所憑。惟唐貞觀時祖孝孫定為祭圜丘以黃鍾為宮，方澤以林鍾為宮，宗廟以太簇為宮，朝賀宴饗則隨月用呂為宮，最為通論。蓋黃鍾子位，天之統也。乾位在亥，亥前為子，十二辰之始。黃鍾下生林鍾，林鐘未位，地之統也。坤位在申，陽順陰逆，申前為未。自子至午七律，而天之道備，自未至丑七律，而地之道備。故黃鍾屬天，林鍾屬地，林鍾上生太簇，太簇寅位，人之統也。故以祀宗廟，先儒所謂萬物本乎天，人本乎祖之義也。光地亦稱祖孝孫特有遠識，而歷代用樂，此最近古。臣等愚見，謂宜遵聖祖律呂正義所定旋宮轉調之法，將地壇樂章改林鍾為宮，太廟樂章改太簇為宮，社稷壇亦地也，亦宜改用林鍾為宮。月生於西，酉，西方正位也。又秋分夕月，建酉之月也。夕月壇宜改用南呂為宮，朝日壇若以日東月西、日卯月酉論，應用夾鍾為宮，但夾鍾陰而日陽，衷以人心屬日之義，宜改用太簇為宮。其朝會宴享，並應依唐祖孝孫之說，各以其月之律為宮。先農壇，農事也，宜以姑洗為宮。歷代帝王廟、孔子廟祭以春秋，春夾鍾、秋南呂為宮，太歲壇宜以歲始之律太簇為宮。」奏上，而皇太后、皇后升座、還宮樂章律呂未定，因命禮臣集議。允祿議曰：「皇太后、皇后樂章應用律呂，博考前典，並無明文。惟十二律呂皆生於黃鍾，故黃鍾為聲氣之元，但既專用於南郊以尊上帝，自不便擬用。且律協於乾，呂協於坤，坤元允宜用呂。大呂為黃鍾之呂，擬皇太后樂以大呂為宮。禮記：天子日也，日月東西相從而不已，天道也。酉為月之正位，援後月之義，擬皇后樂以南呂為宮。」履親王允祹議曰：「館臣擬皇太后樂以大呂為宮，皇后樂以南呂為宮，臣愚以為大呂、南呂並是陰呂，皇上曾有『凡慶賀大典，皇太后宮應用陽律』之旨，舊制一切大典，俱以黃鍾為宮，請仍循舊制。皇上冬至、元旦、萬壽三大節，皇太后、皇后三大節，並以黃鍾為宮。」帝以「大呂者，黃鍾之呂也。既用黃鍾尊上帝，林鍾尊后土，太簇尊宗廟，而議皇太后樂用大呂，大呂之序，乃在南呂後，皇后樂已用南呂，是先於皇太后也。又方澤壇用蕤賓之呂，林鍾為宮，而社稷亦宜有別」。因命重議。於是館臣請定皇太后樂用南呂為宮，社稷壇祭以春秋二仲月上戊，宜以夾鍾南呂為宮。從之。七年，允祿等又奏：「太皇太后升座、還宮用中和韶樂，行禮用丹陛樂，與皇帝同，而皇太后、皇后俱用丹陛樂。考諸掌儀司，自來升座、還宮並用中和韶樂，緣陳廷敬撰擬樂章之時，以皇太后、皇后不敢同於太皇太后，便以丹陛名之。請仍復舊，各為樂章。」尋定皇太后御慈寧宮升座中和韶樂奏豫平；皇帝率諸王群臣行禮丹陛大樂奏益平，還宮中和韶樂奏履平，皇后率皇貴妃、貴妃、妃、嬪及公主、福晉、命婦至宮行禮並同。皇帝三大節臨軒、還宮、御內殿升座中和韶樂奏元平，皇后率皇貴妃、貴妃、妃、嬪行禮丹陛大樂奏雍平，降座中和韶樂奏和平，皇后三大節升座中和韶樂奏淑平，行禮丹陛大樂奏正平，降座中和韶樂奏順平。皇帝筵宴、進茶、賜茶丹陛清樂奏海宇昇平日，進酒、賜酒奏玉殿雲開，進饌、賜食中和清樂奏萬象清寧。皇太后三大節升座、還宮行禮與慶賀同，筵宴進茶、進酒、進饌所奏歌詞與皇帝同。

By then the Qing had flourished over a century; ancient learning was reviving; Mao Qiling, Li Chong, Hu Yansheng, Jiang Yong, and others wrote extensively on music, and scholarship grew ever more rigorous. The emperor also admired the splendor of the ninefold Xiāosháo, composed poems and compiled eulogies, and pursued reform boldly, seeking peace through culture. Kangxi had compiled music books focused chiefly on pitch law, but hymn phrasing lacked notation and did not match the tones. Gao Wanlin, an aged harmonizer skilled in sound, revised palace notation—but only for altar and temple music. Court clear songs still followed old errors. Zhang Zhao then asked to continue compiling pitch books, saying "fallen institutions of former ages should be published and corrected"—and was permitted. A compilation office was opened, again under Yunlu's supervision. Soon the compilers proposed: "Altar and temple hymn notation assigns Huángzhōng as palace for the Temple of Heaven, Imperial Ancestral Temple, and Sun Altar, and Dàlǜ for the Earth and Moon altars—near the Southern Qi idea of Huangzhong alone, yet mixing clear and muddy registers. Dàlǜ is defensible in theory, but the frame must include bells set but not struck—the same reproach as pre-Sui mute bells. The emperor's creative ordering fixes the age; a broad, careful inquiry should assist the great ceremony. Ritual and music must look to the Zhou, but the Zhou is remote and texts scarce—the Zhouli is the best evidence available. The Zhouli says Yuánzhōng is palace for Heaven, Hánzhōng for Earth, and Huángzhōng for the ancestral temple—but which pitches Yuánzhōng and Hánzhōng denote is unknown. Zheng Xuan identified Yuánzhōng with Jiázhōng and Hánzhōng with Línzhōng; Línzhōng for Earth sacrifice is reasonable in principle. Yet why Línzhōng is also called Hánzhōng has no textual basis. By the Six Music sequence there is Hánzhōng but no Línzhōng, so Hánzhōng must be Línzhōng; yet the Six Music has Jiázhōng and no Yuánzhōng. Calling Yuánzhōng Jiázhōng because Jiázhōng lies between Fáng and Xīn—the Bright Hall of the Heavenly Emperor—imports Warring States star lore to explain Duke of Zhou ritual seven centuries earlier—hardly sound exegesis. Li Guangdi held Heaven sacrifice used Huángzhōng as palace and the ancestral temple Yuánzhōng—yuán and huáng transposed, handed down uncorrected. Measured against the spring dì text it is the month of Jiázhōng—plausible, yet still private surmise. The Zhouli says Heaven sacrifice takes Yuánzhōng as palace and immediately adds Huángzhōng as jué—in one suite Huángzhōng cannot be both palace and jué. The Six Music sequence pairs clear and muddy registers: Huángzhōng with Dàlǜ for heavenly spirits; Tàicù with Yīngzhōng for earthly spirits; Gǔxiàn with Nánlǜ for the Four Peaks; Ruíbīn with Hánzhōng for mountains and rivers; Yíze with Zhònglǜ for Jiāng Yuán; Wúshè with Jiázhōng for remote ancestors—ranking spirits by pitch order. In practice, mixing registers that share or differ among clear and muddy pitches is hard to execute. Hence every dynasty wished to follow the Zhou yet lacked a workable model. Only in Tang Zhenguan did Zu Xiaosun fix Huángzhōng for the Circular Mound, Línzhōng for the Square Pond, Tàicù for the ancestral temple, and the month's pitch for court congratulations and banquets—the most comprehensive doctrine. Huángzhōng is the zǐ position, Heaven's unity. Qián lies at hài; before hài is zǐ—the start of the twelve branches. Huángzhōng generates Línzhōng downward; Línzhōng is the wèi position, Earth's unity. Kūn lies at shēn; yang advances and yin reverses—before shēn is wèi. Seven pitches from zǐ to wǔ complete Heaven's Way; seven from wèi to chǒu complete Earth's Way. Huángzhōng belongs to Heaven, Línzhōng to Earth; Línzhōng generates Tàicù upward—Tàicù is the yín position, humanity's unity. Hence it serves the ancestral temple—the early ru's "myriad things root in Heaven, man roots in the ancestors." Guangdi also praised Zu Xiaosun's far-sightedness; among dynastic practice this is nearest antiquity. We humbly advise following the Kangxi Lǚlǜ Zhèngyì circulating-mode method: Earth Altar hymns should use Línzhōng as palace, Imperial Temple hymns Tàicù; the Altars of Soil and Grain, being Earth, should likewise use Línzhōng. The moon rises in the west; yǒu is the due-west position. The autumn-equinox evening moon rite falls in the month established at yǒu. The Moon Altar should use Nánlǜ as palace; for the Sun Altar, sun-east and moon-west would suggest Jiázhōng—but Jiázhōng is yin and the sun yang; honoring the heart's attachment to the sun, Tàicù is fitting. Court congratulations and banquets should follow Tang Zu Xiaosun, each month taking its own pitch as palace. The First-Farmer Altar concerns agriculture and should use Gǔxiàn as palace. Dynastic emperor and Confucius temples sacrifice in spring and autumn—Jiázhōng in spring, Nánlǜ in autumn; the Grand Year Altar should use Tàicù, the year's opening pitch. The memorial was submitted, but palace and return hymns for the Empress Dowager and Empress still lacked fixed pitch—so ritual officials were ordered to deliberate. Yunlu argued: "Empress Dowager and Empress hymns should use pitch pipes, but antiquity offers no explicit rule. All twelve pitches spring from Huángzhōng, the origin of sound and breath—but Huángzhōng is reserved for the Southern Suburb to honor the Supreme Lord and cannot be reused. Pitch harmonizes with Qián and pipe with Kūn; Kūn's origin properly calls for yin pipes. Dàlǜ is Huángzhōng's pipe; we propose Dàlǜ as palace for the Empress Dowager's music. The Liji says: "The Son of Heaven is the sun; sun and moon follow east and west unceasingly—this is Heaven's Way." Yǒu is the moon's due position; invoking the later moon, we propose Nánlǜ as palace for the Empress. Prince Yunxiang argued: "The compilers propose Dàlǜ for the Empress Dowager and Nánlǜ for the Empress; both are yin pipes. Your Majesty once said, 'For all congratulatory great ceremonies, the Empress Dowager's palace should use yang pitch.' The old system used Huángzhōng for every great ceremony; I ask to keep it. For Your Majesty's winter solstice, New Year, and Longevity festivals and the Empress Dowager and Empress's three festivals, all should use Huángzhōng as palace." The emperor said: "Dàlǜ is Huángzhōng's pipe. Huángzhōng honors the Supreme Lord, Línzhōng Queen Earth, Tàicù the ancestral temple—yet Dalu for the Empress Dowager would place her after Nánlǜ in pitch order while the Empress already uses Nánlǜ, putting the Empress before the Empress Dowager. Moreover, the Square Pond uses Ruíbīn's pipe with Línzhōng as palace; the Altars of Soil and Grain should also differ." He ordered the matter reconsidered. The compilers then proposed Nánlǜ as palace for the Empress Dowager; for the Altars of Soil and Grain, wǔ days in the second month of spring and autumn should use Jiázhōng and Nánlǜ. Approved. In the seventh year Yunlu memorialized: "The Grand Empress Dowager uses Zhonghe Shaoyue for mounting the throne and return, Dangdi music for the rite—as the emperor does—while the Empress Dowager and Empress both use Dangdi music. The Directorate of Ceremonies records that mounting and return always used Zhonghe Shaoyue; Chen Tingjing named them Dangdi because the Empress Dowager and Empress dared not equal the Grand Empress Dowager. We ask to restore the old practice, each with separate hymns. They fixed: when the Empress Dowager presided at Cíníng Palace, mounting the throne used Zhonghe Shaoyue performing Yùpíng; when the emperor led princes and ministers, Dangdi great music performed Yìpíng; on return, Zhonghe Shaoyue performed Lǚpíng—the same when the Empress led consorts, princesses, fujin, and titled ladies. For the emperor's three festivals at court, return, and inner-hall mounting, Zhonghe Shaoyue played Yuánpíng; the Empress's rite used Dangdi great music with Yōngpíng; descent used Hépíng. For the Empress's three festivals: mounting Shúpíng, rite Zhèngpíng, descent Shùnpíng. At imperial banquets: tea used Dangdi qing music ("Hǎiyǔ Shēngpíng Rì"); wine ("Yùdiàn Yúnkāi"); food Zhonghe qing music ("Wànxiàng Qīngníng"). For the Empress Dowager's three festivals, mounting, return, and rites matched congratulations; banquet tea, wine, and food used the emperor's lyrics.

時山東道監察御史徐以升奏言：「古有雩祭之典，所以為百穀祈膏雨也。其制，則為壇於南郊之旁。我朝禮制具備，惟雩祭未有壇壝，乞敕下禮臣博求典故，詳考制度，仿古龍見而雩之禮，擇地立壇。」帝下其章，大學士鄂爾泰等議曰：「孟夏之月，蒼龍宿見東方，為百穀祈膏雨，故龍見而雩。晉永和中，依郊壇制為雩壇，祈上帝百辟，旱則祈雨。唐時雩祀於南郊，後行雩禮於圜丘。歷代京師孟夏後旱雩之禮，皆七日一祈，唐制斟酌最善，臣等酌議宜仿其制。古大雩用舞童二佾，衣玄衣，各執羽翳，歌雲漢之詩。今皇上仿雲漢體御制詩歌八章，聖念懇誠，宸章剴切，應用舞童十六人，玄衣，八列，執羽翳，終獻樂止，贊者讚：『舞童歌詩。』歌畢，乃望燎。令掌儀司選聲音清亮者充之，羽翳依周禮皇舞之式，禮儀與孟夏常雩同。上帝、社稷、宗廟、太歲壇俱舊有樂章，惟神祇壇闕，應敕律呂館撰進。」乃定雩祀天神從圜丘，以黃鍾為宮；地祇從方澤，以林鍾為宮。樂用七成，迎神奏祈豐，奠帛奏華豐，初獻奏安豐，亞獻奏興豐，終獻奏儀豐，徹饌奏和豐，送神奏錫豐。是年始專設樂部，凡太常寺、神樂觀所司祭祀之樂，和聲署、掌儀司所司朝會宴饗之樂，鑾儀衛所司鹵簿諸樂，均隸焉。以禮部內務府大臣及各部院大臣諳曉音律者總理之，設署正、署丞、侍從、待詔、供奉、供用官、鼓手、樂工，總曰署吏，而以所司樂器別其目。鐘曰司鐘，磬曰司磬，琴、瑟、笙、簫亦如之。又禁道士充太常寺樂員。初，明樂舞生多選道童，世祖定都，沿而用之，羽流慢褻，識者慨焉，至是其弊始革。

Shandong Circuit censor Xu Yisheng memorialized: "Antiquity had the yú sacrifice to pray rich rain for the hundred grains. Its form was an altar beside the Southern Suburb. Our ritual system is complete, yet the yú sacrifice has no altar; I beg ritual officials to search antiquity, examine the system, imitate the ancient yú when the dragon appears, and choose a site for an altar." The emperor sent down the memorial; Grand Secretaries Ortai and others argued: "In early summer the Azure Dragon appears in the east to pray rich rain for the hundred grains—hence the yú when the dragon appears. Under the Jin Yonghe reign they built a yú altar on the suburban model, praying to the Supreme Lord and the hundred powers; in drought they prayed for rain. Tang held yú at the Southern Suburb; later they performed yú at the Round Mound. Across dynasties the capital's midsummer drought yú was prayed every seven days; Tang's arrangement was best—we propose following it. The ancient great yú used two rows of boy dancers in dark robes, each with feather fans, singing the Yún Hàn ode. His Majesty composed eight stanzas in the Yún Hàn manner—earnest in purpose, incisive in diction—so sixteen boy dancers in dark robes, eight ranks deep with feather fans; at the final offering the music stops and the usher calls: 'Let the dancers sing the odes.' When the singing ends, they gaze toward the pyre. The Directorate of Ceremonies was to choose singers with clear voices; feather fans followed the Zhou ritual imperial dance; the ceremony matched the regular midsummer yú. The Supreme Lord, soil and grain, ancestral temple, and Grand Year altars already had hymns; only the Spirits Altar lacked them—the Pitch-Pipe Office was ordered to compose and submit. They fixed yú rites to heaven following the Round Mound, with Huángzhōng as palace pitch; earth spirits followed the Square Mound, with Línzhōng as palace. Music comprised seven movements: welcoming spirits Qí Fēng; offering silk Huá Fēng; first offering Ān Fēng; second Xīng Fēng; final Yí Fēng; clearing feast Hé Fēng; dismissal Xī Fēng. That year a dedicated Music Office was created, absorbing sacrificial music from the Court of Imperial Sacrifices and Divine Music Bureau, court and banquet music from the Harmonious Sound Office and Directorate of Ceremonies, and procession music from the Imperial Procession Guard. Ministers of the Board of Rites, Imperial Household, and other boards versed in pitch oversaw it; they appointed bureau chiefs, deputies, attendants, awaiting-edict officers, court musicians, supply officers, drummers, and players—office clerks all—sorted by instrument. Bell players were bell masters, stone-chime players chime masters; zither, se, sheng, and xiao players likewise. Daoist priests were also barred from serving as Court of Imperial Sacrifices musicians. Earlier Ming dance students were mostly Daoist youths; when the Founding Emperor fixed the capital the practice continued, and the feathered clergy grew irreverent—thoughtful men lamented it—until now that abuse was finally reformed.

既又從館臣言，定耕耤之樂。耕耤前期進種，導迎樂前導，至日，和聲署率屬鵠立采棚南，采棚之制，後二十三年裁。歌禾辭者十四人，司鑼、司鼓、司版、司笛、笙、簫者各六人，搴采旗者五十人。祭畢，行耕耤禮。禮成，導迎樂作，駕蒞齋宮內門，樂止，中和韶樂作。皇帝御後殿，樂止，報終畝，中和韶樂作。皇帝御齋宮，升座，樂止，群臣慶賀行禮，丹陛大樂作。進茶、賜茶中和韶樂作。皇帝乘輦出宮，和聲署鹵簿大樂並作。筵宴、進茶、賜茶改雨暘時若為喜春光。進酒、賜酒改五穀豐登為雲和迭奏。進饌、賜饌改家給人足為風和日麗，升座、還宮樂章與三月常朝同。群臣行禮丹陛樂章與元旦同。又定祀先蠶樂章器用方響十有六，雲鑼、瑟、杖鼓、拍版各二，琴四，簫、笛、笙各六，建鼓一。皇后採桑歌器用金鼓、拍版二，簫、笛、笙六。遣官致祭樂章與群祀同。

Thereafter, on the Hanlin compilers' advice, they fixed music for the ploughing-and-sacred-field ceremony. Before the ceremony seed was brought forward with conducting-welcome music leading; on the day the Harmonious Sound Office led its men standing in ranks south of the silk-picking shelter—the shelter itself was abolished twenty-three years later. Fourteen sang the grain hymn; six each played gong, drum, clapper, flute, sheng, and xiao; fifty carried silk flags. After the sacrifice they performed the ploughing-and-sacred-field rite. When the rite ended, conducting-welcome music sounded; the carriage reached the fasting palace inner gate—music stopped—then Harmonious Central Shao music. The emperor entered the rear hall—music stopped; when the final furrow was reported, Harmonious Central Shao music resumed. The emperor entered the fasting palace and took his seat—music stopped; officials congratulated and bowed—Cinnabar Steps Great Music began. Tea service and imperial tea: Harmonious Central Shao music. The emperor rode out; the Harmonious Sound Office guard-of-honor great music played together. Banquet and tea hymns changed from Yǔ Yáng Shí Ruò to Xǐ Chūn Guāng. Wine service changed from Wǔ Gǔ Fēng Dēng to Yún Hé Dié Zòu. Food service changed from Jiā Jǐ Rén Zú to Fēng Hé Rì Lì; seat and return hymns matched the third-month regular audience. Officials' obeisance used the same Cinnabar Steps hymns as New Year's Day. They also fixed First Silkworm sacrifice music: sixteen square sonorous stones; two each of cloud gongs, se, staff drums, and clappers; four zithers; six each of xiao, flute, and sheng; one established drum. For the empress's mulberry picking and song: two gold drums and clappers, six each of xiao, flute, and sheng. Dispatched-official sacrifices used the same hymns as group rites.

又定賜衍聖公宴樂章奏洙泗發源長。正一真人宴奏上清碧落。文進士宴奏啟天門。武進士奏和氣洽。鄉飲酒禮歌鹿鳴、四牡、皇皇者華三章，笙御制補南陔、白華、華黍三章，閒歌魚麗、南有嘉魚、南山有台三章，笙御制補由庚、崇丘、由儀三章，合樂周南關雎、葛覃、卷耳三章，召南鵲巢、采蘩、采蘋三章。

They fixed the banquet for the Duke Continuator of the Sage to perform Zhū Sī Fā Yuán Cháng. The Zhengyi Perfect Man's banquet performed Shàng Qīng Bì Luò. The civil jinshi banquet performed Qǐ Tiān Mén. The military jinshi performed Hé Qì Qià. The district drinking rite sang Lù Míng, Sì Mǔ, and Huáng Huáng Zhě Huá; the sheng added imperial Nán Gāi, Bái Huá, and Huá Shǔ; interlude songs Yú Lì, Nán Yǒu Jiā Yú, and Nán Shān Yǒu Tái; sheng imperial supplements Yóu Gēng, Chóng Qiū, and Yóu Yí; combined with Zhōu Nán's Guān Jū, Gé Tán, and Juǎn Ěr and Zhāo Nán's Què Cháo, Cǎi Fán, and Cǎi Píng.

八年九月，高宗東巡狩至盛京，儀仗具，馬上鼓吹導引，翼日設丹陛大樂於兩樂亭，禮部設龍亭，置慶賀表，用導迎樂。上御崇政殿，升座中和韶樂奏元平，諸王大臣行禮、宣表丹陛大樂奏慶平，朝鮮陪臣朝賀丹陛大樂奏治平，頒詔、賜茶中和韶樂奏和平。是日崇政殿筵宴所奏中和丹陛清樂與太和殿筵宴同。改瑪克式舞為慶隆之舞，又增世德之舞。旋定樂舞內大小馬護為揚烈舞，舞人所騎竹馬為禺馬，馬護為面具。大臣起舞上壽為喜起舞。歌章者曰司章，騎竹馬曰司舞，搊琵琶曰司琵琶，彈弦子曰司三弦，彈箏曰司箏，劃節曰司節，拍版曰司拍，拍掌曰司抃。

In the eighth year, ninth month, the emperor on eastern tour reached Shengjing with full guard; mounted drum-and-pipe led; the next day Cinnabar Steps great music was placed at the two music pavilions; the Board of Rites set the dragon pavilion with a congratulatory memorial and conducting-welcome music. He entered Chongzheng Hall and ascended—Harmonious Central Shao played Yuán Píng; princes and ministers bowed and the memorial was read—Cinnabar Steps played Qìng Píng; Korean envoys congratulated—Zhi Píng; edict and tea—Hé Píng. That day's Chongzheng banquet used the same Harmonious Central, Cinnabar Steps, and clear music as the Hall of Supreme Harmony. They renamed the Makshi-style dance the Dance of Celebrated Grandeur and added the Dance of Worldly Virtue. They then fixed the dance roster: great and small horse-guards became the Spreading Valor dance; bamboo horses the dancers rode were "fool horses," horse-guards their masks. Ministers dancing the longevity offering became the Joyful Rising dance. Stanza singers were stanza masters; bamboo-horse riders dance masters; pipa players pipa masters; sanxian players sanxian masters; zheng players zheng masters; beat markers beat masters; clapper players clapper masters; hand-clappers hand-clap masters.

九年，親幸翰林院，詔樂部設樂，升座奏隆平，掌院大學士率百官行禮奏慶平，進茶、賜茶奏文物京華盛，進御筵宴奏玉署延英、進酒、賜酒奏延閣雲濃，百官謝恩奏慶平，還官奏顯平。

In the ninth year he visited the Hanlin Academy; the Music Office set music—ascending played Lóng Píng; the chancellor leading officials bowed to Qìng Píng; tea played Wén Wù Jīng Huá Shèng; the imperial banquet Yù Shǔ Yán Yīng, wine Yán Gé Yún Nóng; officials' thanks Qìng Píng; return Xiǎn Píng.

是年裁太常寺司樂人六，增設天神地祇壇樂器，諭禮臣，除夕保和殿筵宴蒙古王等，先進蒙古樂曲，次慶隆舞，元旦太和殿筵宴王大臣，互易用之，著為令。

That year six Court of Imperial Sacrifices musicians were cut and instruments added for the Heavenly and Earth Spirits altars; ritual officials were told: on New Year's Eve the Hall of Preserving Harmony banquet for Mongol princes should lead with Mongol tunes, then Celebrated Grandeur; on New Year's Day at the Hall of Supreme Harmony the order was reversed—statute.

帝自御宇，樂制屢易，因革損益，悉出睿裁，群臣希旨，務為補苴，非有張乾龜、萬寶常之識也。帝思隆巍煥，遂特詔釐定朝會宴饗諸樂章，自七年定郊廟祭祀諸樂章，至十一年始成。朝會，皇帝元旦中和樂，升座元平，還宮和平。冬至中和樂，升座遂平，還宮允平。萬壽中和樂，升座乾平，還宮泰平。上元中和樂，升座怡平，還宮昇平，常朝中和樂，升座隆平，還宮顯平。內廷行禮丹陛樂雝平，諸王百官行禮丹陛樂慶平，外籓丹陛樂治平。皇太后三大節中和樂，升座豫平，還宮履平，丹陛樂益平。皇后三大節中和樂，升座淑平，還宮順平，丹陛樂正平。郊廟圜丘迎神始平，奠玉帛景平，進俎咸平，初獻壽平，亞獻嘉平，終獻永平，徹饌熙平，送神清平，望燎太平。方澤迎神中平，奠玉帛廣平，進俎含平，初獻大平，亞獻安平，終獻時平，徹饌貞平，送神、望瘞寧平。祈穀迎神祈平，奠玉帛綏平，進俎萬平，初獻寶平，亞獻穰平，終獻瑞平，徹饌渥平，送神滋平，望燎穀平。雩祭迎神靄平，奠玉帛雲平，進俎需平，初獻霖平，亞獻露平，終獻霑平，徹饌靈平，送神霮平，望燎霈平。太廟時饗，迎神貽平，奠帛、初獻敉平，亞獻敷平，終獻紹平，徹饌光平，送神、還宮、望燎乂平。祫祭迎神開平，奠帛、初獻肅平，亞獻協平，終獻裕平，徹饌諴平，送神、還宮、望燎成平。社稷迎神登平，奠帛、初獻茂平，亞獻育平，終獻敦平，徹饌博平，送神樂平，望瘞徵平。社稷壇祈雨報祀迎神延豐，奠帛、初獻介豐，亞獻滋豐，終獻霈豐，徹饌綏豐，送神貽豐，望瘞博豐。朝日迎神寅曦，奠玉帛朝曦，初獻清曦，亞獻咸曦，終獻純曦，徹饌延曦，送神歸曦。夕月迎神迎光，奠帛、初獻升光，亞獻瑤光，終獻瑞光，徹饌涵光，送神保光。歷代帝王迎神肇平，奠帛、初獻興平，亞獻崇平，終獻恬平，徹饌淳平，送神、望燎匡平。先師迎神昭平，奠帛、初獻宣平，亞獻秩平，終獻敘平，徹饌懿平，送神德平。先農迎神永豐，奠帛、初獻時豐，亞獻咸豐，終獻大豐，徹饌屢豐，送神報豐，望瘞慶豐。先蠶迎神庥平，奠帛、初獻承平，亞獻均平，終獻齊平，徹饌柔平，送神洽平，天神地祇迎神祈豐，奠帛、初獻華豐，亞獻興豐，終獻儀豐，徹饌和豐，送神錫豐。太歲迎神保平，奠帛、初獻定平，亞獻嘏平，終獻富平，徹饌盈平，送神豐平。太歲壇祈雨、報祀迎神需豐，奠帛、初獻宜豐，亞獻晉豐，終獻協豐，徹饌應豐，送神洽豐。皇帝祭壇廟還宮導迎樂祐平，慶典導迎樂禧平。其詞皆命儒臣重撰，天子親裁之，分刌而節比，合則仍其故，不合則易其辭、更其調，視舊章增損有加，而律呂正義後編亦於是年書成。曰祭祀樂，曰朝會樂，曰宴饗樂，曰導迎樂，曰行幸樂。更參稽前代因革損益之異，為樂器考、樂制考、樂章考、度量權衡考。復推闡聖祖所以審音定樂制器協均者，為樂問三十五篇。大抵詳於宮譜，而於律呂之原，管音弦度之分合，一遵聖祖，無所創也。帝自製序以冠之。

From his accession music changed repeatedly; every reform issued from the throne; ministers curried favor and patched piecemeal—none had the discernment of Zhang Qian-gui or Wan Baochang. Wishing to elevate splendor, he ordered court and banquet hymns fixed—from suburban and temple hymns in the seventh year until completion in the eleventh. Court assembly: New Year's Harmonious Central—ascending Yuán Píng, return Hé Píng. Winter solstice—ascending Suí Píng, return Yǔn Píng. Longevity—ascending Qián Píng, return Tài Píng. Lantern Festival—Yí Píng ascending, Shēng Píng return; regular audience—Lóng Píng ascending, Xiǎn Píng return. Inner court rites: Cinnabar Steps Yōng Píng; princes and officials Qìng Píng; tributaries Zhì Píng. Empress Dowager's three festivals: Harmonious Central—Yù Píng ascending, Lǚ Píng return; Cinnabar Steps Yì Píng. Empress's three festivals: Harmonious Central—Shū Píng ascending, Shùn Píng return; Cinnabar Steps Zhèng Píng. Round Mound: welcoming Shǐ Píng; jade and silk Jǐng Píng; offerings Xián Píng; first Shòu Píng; second Jiā Píng; final Yǒng Píng; clearing Xī Píng; dismissal Qīng Píng; pyre Tài Píng. Square Mound: welcoming Zhōng Píng; jade and silk Guǎng Píng; offerings Hán Píng; first Dà Píng; second Ān Píng; final Shí Píng; clearing Zhēn Píng; dismissal and burial Níng Píng. Prayer for grain: welcoming Qí Píng; jade and silk Suí Píng; offerings Wàn Píng; first Bǎo Píng; second Rǎng Píng; final Ruì Píng; clearing Wò Píng; dismissal Zī Píng; pyre Gǔ Píng. Yú sacrifice: welcoming Ǎi Píng; jade and silk Yún Píng; offerings Xū Píng; first Lín Píng; second Lù Píng; final Zhān Píng; clearing Líng Píng; dismissal Diàn Píng; pyre Pèi Píng. Ancestral temple seasonal rite: welcoming Yí Píng; silk and first offering Shū Píng; second Fū Píng; final Shào Píng; clearing Guāng Píng; dismissal, return, and pyre Yì Píng. Collective rite: welcoming Kāi Píng; silk and first Sù Píng; second Xié Píng; final Yù Píng; clearing Xián Píng; dismissal, return, and pyre Chéng Píng. Soil and grain: welcoming Dēng Píng; silk and first Mào Píng; second Yù Píng; final Dūn Píng; clearing Bó Píng; dismissal Yuè Píng; burial Zhēng Píng. Soil-and-grain rain prayer and thanksgiving: welcoming Yán Fēng; silk and first Jiè Fēng; second Zī Fēng; final Pèi Fēng; clearing Suí Fēng; dismissal Yí Fēng; burial Bó Fēng. Morning sun: welcoming Yín Xī; jade and silk Zhāo Xī; first Qīng Xī; second Xián Xī; final Chún Xī; clearing Yán Xī; dismissal Guī Xī. Evening moon: welcoming Yíng Guāng; silk and first Shēng Guāng; second Yáo Guāng; final Ruì Guāng; clearing Hán Guāng; dismissal Bǎo Guāng. Dynastic emperors: welcoming Zhào Píng; silk and first Xīng Píng; second Chóng Píng; final Tián Píng; clearing Chún Píng; dismissal and pyre Kuāng Píng. First Teacher: welcoming Zhāo Píng; silk and first Xuān Píng; second Zhì Píng; final Xù Píng; clearing Yì Píng; dismissal Dé Píng. First Farmer: welcoming Yǒng Fēng; silk and first Shí Fēng; second Xián Fēng; final Dà Fēng; clearing Lǚ Fēng; dismissal Bào Fēng; burial Qìng Fēng. First Silkworm: welcoming Xiū Píng; silk and first Chéng Píng; second Jūn Píng; final Qí Píng; clearing Róu Píng; dismissal Qià Píng; Heavenly and Earth Spirits—Qí Fēng welcoming; Huá Fēng first; Xīng Fēng second; Yí Fēng final; Hé Fēng clearing; Xī Fēng dismissal. Grand Year: welcoming Bǎo Píng; silk and first Dìng Píng; second Gù Píng; final Fù Píng; clearing Yíng Píng; dismissal Fēng Píng. Grand Year rain prayer and thanksgiving: welcoming Xū Fēng; silk and first Yí Fēng; second Jìn Fēng; final Xié Fēng; clearing Yìng Fēng; dismissal Qià Fēng. Return from altar and temple sacrifice: conducting-welcome Yòu Píng; great celebrations Xǐ Píng. Texts were rewritten by scholar-officials and trimmed by the throne—split and matched by measure; what fit stayed, what did not brought new words and tunes; gains and losses over old statutes were considerable, and the Correct Meaning of Pitch Pipes sequel was completed the same year. Categories included sacrificial, court-assembly, banquet, conducting-welcome, and imperial progress music. Collating earlier reforms, they compiled studies of instruments, musical systems, hymns, and measures, weights, and balances. They further expounded how the founding emperor examined tone, fixed music, fashioned instruments, and harmonized pitch—thirty-five Musical Questions. Detailed on palace notation, yet on pitch-pipe origins and the joining of tube tone to string measure they wholly followed the founding emperor without innovation. The emperor composed a preface to crown the work.

十三年二月，東巡山左，祭岱嶽，大學士等上言：「泰山向不用樂，考周禮大司樂『奏蕤賓、歌函鐘、舞大夏以祭山川』。今特舉盛典，秩於岱宗，請遵古用樂，樂章飭部撰擬。」於是詔樂章六奏，用「豐」。十月，張廣泗、訥親討金川久無功，上特命大學士傅恆為經略，出師，行授鉞禮。是日御太和殿，陳法駕鹵簿樂器如常儀。升座，中和韶樂奏隆平，經略跪受敕印行禮，丹陛大樂奏慶平，經略隨奉敕印大臣由東階下，樂止，上還宮中和韶樂奏顯平。禡日建八旗大纛於堂子內門外之南，軍士執螺角列竣，上輿出宮，樂陳而不作。至紅椿，聲螺角，上入自街門降輿，螺止。行禮，復聲螺。纛前行禮畢，出至紅椿，螺止，導迎樂作。駕至東長安門外，御武帳，升座，賜經略酒，從征官皆櫜鞬，辭，啟行。還宮，導迎樂作。明年凱旋，賜宴豐澤園，駕御帳殿，進茶、賜茶奏景運乾坤泰，掌儀捧臺盞卮壺奏聖德誕敷，進饌奏日耀中天。其後兆惠平定西域，阿桂再克金川，凱旋皆用此禮，改景運乾坤泰為聖武光昭世，聖德誕敷為禹甸遐通，日耀中天為聖治遐昌。改德隆舞為德勝之舞。中和樂章皆增武成慶語，以誇膚績。上又自作凱歌三十章，增鐃歌十六章，郊勞時奏之。聲容矞厖，邁隆古矣。

In the thirteenth year, second month, touring east into Shandong he sacrificed at Mount Tai; Grand Secretaries memorialized: "Mount Tai has never used music; the Zhou Grand Director of Music 'plays Ruíbīn, sings Hántóng, dances Great Xia for mountains and rivers. This extraordinary ceremony ranks with Dai Zong—we beg to follow antiquity and use music; let the ministry compose hymns." An edict then fixed six hymn movements, all using Fēng. In the tenth month Zhang Guangsi and Neqin had campaigned against Jinchuan without success; the emperor appointed Grand Secretary Fu Heng commissioner-general and performed the rite of bestowing the battle-axe. That day at the Hall of Supreme Harmony guard and instruments followed usual rites. Ascending, Harmonious Central Shao played Lóng Píng; the commissioner-general knelt for seal and edict—Cinnabar Steps Qìng Píng; he followed the minister bearing them down the east steps—music stopped; return Xiǎn Píng. On the exorcism day eight-banner great standards were raised south of the Hall of the Spirits inner gate; soldiers with conch horns stood in ranks; the carriage left the palace—music arrayed but silent. At Hongchun conchs sounded; he entered by the street gate and descended—conchs stopped. During the rites conchs sounded again. When rites before the banners ended and they reached Hongchun, conchs stopped and conducting-welcome music began. The carriage reached outside the East Chang'an Gate; at the military tent he ascended and bestowed wine on the commissioner-general; campaign officers with quivers and bows took leave and marched. Returning to the palace, conducting-welcome music played. The next year, on triumphant return, a banquet at Fengze Garden; entering the tent hall, tea played Jǐng Yùn Qiān Kūn Tài; the Directorate bore platters and cups to Shèng Dé Dàn Fū; food Rì Yào Zhōng Tiān. When Zhao Hui pacified the Western Regions and Agui reconquered Jinchuan, triumph used the same rite—Jǐng Yùn Qiān Kūn Tài became Shèng Wǔ Guāng Zhāo Shì, Shèng Dé Dàn Fū Yǔ Diàn Xiá Tōng, Rì Yào Zhōng Tiān Shèng Zhì Xiá Chāng. The Virtue Ascendant dance became the Virtue Victorious dance. Harmonious Central hymns gained martial triumph phrases to boast received achievements. He also composed thirty triumph songs and added sixteen nao-song pieces, performed at suburban reward rites. Sound and spectacle grew luxuriant—surpassing antiquity's splendor.

二十六年，江西撫臣奏得古鐘十一，圖以進，上示廷臣，定為鎛鐘，命依鍾律尺度，鑄造十二律鎛鐘，備中和特懸。既成，帝自製銘，允祿等又請造特磬十二虡，與鎛鐘配，鑿和闐玉為之。三十三年，定關帝廟樂章，迎神、送神三獻章各一。四十五年八月，高宗七旬萬壽，增喜起舞樂九章。自是凡有大慶典，則增制樂章以為常……

In the twenty-sixth year the Jiangxi governor reported eleven ancient bells and submitted drawings; the emperor showed the court, identified them as bó bells, and ordered twelve-pitch bó bells cast to bell scale for a special Harmonious Central suspension. When complete the emperor inscribed them himself; Yunlu and others also requested twelve special qing frames paired with the bó bells, carved from Khotan jade. In the thirty-third year they fixed Guandi temple hymns—one each for welcoming spirits, dismissal, and the three offerings. In the eighth month of the forty-fifth year, for the Qianlong Emperor's seventieth-birthday celebration, nine musical pieces for the Joyful Rising Dance were added. Thereafter, whenever a great celebration occurred, additional hymn pieces were composed as a matter of course, and the like.

五十二年，命皇子永瑢與鄒奕孝、莊存與重定詩經樂譜，糾鄭世子載堉之謬。五十八年，又命樂部肄演安南、廓爾喀、粗緬甸、細緬甸諸樂，故清之樂，終帝之世凡數變。

In the fifty-second year the prince Yong Rong, Zou Yixiao, and Zhuang Cunyu were ordered to revise the musical scores of the Book of Odes and correct the errors of Prince Zaiyu of Zheng. In the fifty-eighth year the Music Office was again ordered to rehearse the music of Annam, Gurkha, coarse Burma, and fine Burma; thus Qing music changed several times over the Qianlong Emperor's reign.

仁宗，增製太上皇帝三大節御殿中和韶樂二章，丹陛大樂一章，宮中行禮丹陛大樂一章，筵宴中和清樂一章、丹陛清樂二章、慶隆舞樂九章，又增皇極殿千叟宴太上皇帝御殿中和韶樂二章。自後臨雍，幸翰林院、文昌廟祀，社稷壇祈晴及萬壽節，皆增制樂章。八年，命筵宴停止安南樂。十四年元旦，太和殿筵宴，命演朝鮮、回部、金川、緬甸樂舞等項，遇慶隆舞、喜起舞，即以承應。又增隊舞大臣四人，歲如故事。

Under the Jiaqing Emperor were added: for the Retired Emperor's three great festivals at the imperial hall, two Harmonious Central Shao pieces; one Cinnabar Steps great music piece; one Cinnabar Steps great music piece for rites within the palace; for banquets, one Harmonious Central clear music piece, two Cinnabar Steps clear music pieces, and nine Qinglong dance pieces; and two further Harmonious Central Shao pieces for the Retired Emperor's hall at the Thousand Elders banquet in the Hall of Imperial Supremacy. Thereafter, for imperial lectures at the National University, visits to the Hanlin Academy, sacrifices at the Wenchang Temple, prayers for clear weather at the altars of soil and grain, and the Longevity Festival, new hymn pieces were composed in each case. In the eighth year banquets were ordered to discontinue Annam music. On New Year's Day of the fourteenth year, at the banquet in the Hall of Supreme Harmony, Korean, Muslim, Jinchuan, and Burmese music and dance were performed; when the Qinglong or Joyful Rising dances were called for, these items served in their place. Four ministers for formation dance were also added, appointed each year according to precedent.

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