1
有宋之樂，自建隆訖崇寧，凡六改作。 始，太祖以雅樂聲高，不合中和，乃詔和峴以王朴律準較洛陽銅望臬石尺為新度，以定律呂，故建隆以來有和峴樂。 仁宗留意音律，判太常燕肅言器久不諧，復以朴準考正。 時李照以知音聞，謂朴準高五律，與古制殊，請依神瞽法鑄編鍾。 既成，遂請改定雅樂，乃下三律，鍊白石為磬，範中金為鍾，圖三辰、五靈為器之飾，故景祐中有李照樂。 未幾，諫官、御史交論其非，竟復舊制。 其後詔侍從、禮官參定聲律，阮逸、胡瑗實預其事，更造鍾磬，止下一律，樂名大安。 乃試考擊，鍾聲弇鬱震掉，不和滋甚，遂獨用之常祀、朝會焉，故皇祐中有阮逸樂。 神宗御歷，嗣守成憲，未遑制作，間從言者緒正一二。 知禮院楊傑條上舊樂之失，召范鎮、劉几與傑參議。 几、傑請遵祖訓，一切下王朴樂二律，用仁宗時所制編鍾，追考成周分樂之序，辨正二舞容節； 而鎮欲求一稃二米真黍，以律生尺，改修鍾量，廢四清聲。 詔悉從几、傑議。 樂成，奏之郊廟，故元豐中有楊傑、劉几樂。 范鎮言其聲雜鄭、?，請太府銅制律造樂。 哲宗嗣位，以樂來上，按試於庭，比李照樂下一律，故元祐中有范鎮樂。 楊傑復議其失，謂出於鎮一家之學，卒置不用。 徽宗銳意制作，以文太平，於是蔡京主魏漢津之說，破先儒累黍之非，用夏禹以身為度之文，以帝指為律度，鑄帝鼐、景鍾。 樂成，賜名大晟，謂之雅樂，頒之天下，播之教坊，故崇寧以來有魏漢津樂。
From the Jianlong era to Chongning, Song court music underwent six major reforms. Early on, Emperor Taizu judged that ceremonial music was pitched too high to achieve proper tonal balance. He directed He Xian to calibrate Wang Pu's pitch pipes against the bronze pitch tube and stone standard at Luoyang, set a new scale, and regulate the pitch pipes—giving rise to what came to be known as He Xian's music from the Jianlong reign onward. Emperor Renzong took a keen interest in pitch regulation. Yan Su, acting head of the Court of Imperial Sacrifices, reported that the instruments had long been out of tune and proposed recalibrating them against Wang Pu's standard. Li Zhao, renowned for his musical expertise, argued that Wang Pu's standard was five tones too high and diverged from ancient practice. He petitioned to cast a set of chime-bells using the method attributed to the Divine Blind Musician. When the bells were finished, he petitioned to overhaul ceremonial music: the pitch was lowered three tones, white stone was worked into sounding-stones, and gold was cast into bells ornamented with the Three Celestial Bodies and Five Auspicious Creatures. Thus the Jingyou era saw what became known as Li Zhao's music. Before long, remonstrating officials and censors joined in criticizing the reform, and the court eventually reverted to the old system. The court then ordered attendant officials and ritual specialists to settle the pitch standards. Ruan Yi and Hu Yuan took part in the work, had new bells and sounding-stones made, lowered the pitch by a single tone, and named the resulting music Great Peace. Trial performances showed the bells sounding muffled, dull, and unstable, with disharmony worse than before. The new set was therefore restricted to routine sacrifices and court assemblies, giving rise in the Huangyou era to what was called Ruan Yi's music. When Emperor Shenzong came to the throne, he upheld established institutions and had little time for musical reform, though he occasionally adopted suggestions for minor corrections. Yang Jie of the Office for Understanding Ritual submitted a detailed critique of the defects in the existing music. Fan Zhen and Liu Ji were summoned to deliberate with him. Liu Ji and Yang Jie urged adherence to ancestral precedent: lower the pitch of Wang Pu's music by two tones overall, use the chime-bells cast in Emperor Renzong's reign, reconstruct the Zhou-era arrangement of ceremonial music, and correct the choreography of the civil and military dances; Fan Zhen, by contrast, sought authentic millet with the one-husk-to-two-grain ratio, wished to derive the measuring foot from the pitch pipes, revise bell dimensions accordingly, and abolish the four supplementary clear tones. An edict adopted Liu Ji and Yang Jie's proposals in full. When the new music was finished, it was performed at the suburban altars and ancestral temples, giving rise in the Yuanfeng era to what was called the music of Yang Jie and Liu Ji. Fan Zhen argued that its tones were tainted with the licentious music of Zheng and Wei, and petitioned to have new music made using pitch pipes cast in copper by the Imperial Storehouse. When Emperor Zhezong succeeded to the throne, Fan Zhen presented his music for trial in the palace courtyard. It proved one tone lower than Li Zhao's system, giving rise in the Yuanyou era to what was called Fan Zhen's music. Yang Jie again criticized its flaws, arguing that it rested on Fan Zhen's private theories alone, and the court ultimately set it aside. Emperor Huizong was determined to create new ritual music and lend cultural luster to an age of peace. Cai Jing championed Wei Hanjin's theories, rejected the stacked-millet method of earlier Confucian scholars, invoked the tradition that Yu of Xia used the human body as a standard of measure, took the emperor's finger as the pitch reference, and had the Imperial Cauldron and Splendid Bell cast. When the music was completed, it received the name Great Flourishing, was designated ceremonial music, promulgated throughout the empire, and disseminated to the palace Music Office—giving rise from the Chongning era onward to what was called Wei Hanjin's music.
2
夫韶、濩之音，下逮戰國，歷千數百年，猶能使人感嘆作興。 當是時，桑間、濮上之音已作，而古帝王之樂猶存，豈不以其制作有一定之器，而授受繼承亦代有其人歟？ 由是論之，鄭?、風雅不異器也。 知此道也，則雖百世不易可也。 禮樂道喪久矣，故宋之樂屢變，而卒無一定不易之論。 考諸家之說，累黍既各執異論，而身為度之說尤為荒唐。 方古制作，欲垂萬世，難哉！ 觀其高二律、下一律之說，雖賢者有所未知，直曰樂聲高下於歌聲，則童子可知矣； 八音克諧之說，智者有所未諭，直以歌聲齊簫聲，以簫聲定十六聲而齊八器，則愚者可諭矣。 審乎此道，以之制作，器定聲應，自不奪倫，移宮換羽，特餘事耳。 去惉懘靡曼而歸之和平澹泊，大雅之音，不是過也。
The music of Shao and Hu survived down to the Warring States era, and even after more than a thousand years could still move listeners to sigh and be stirred to action. By then the decadent tunes of Sangjian and Poshang had already emerged, yet the music of the ancient sage-kings still survived. Was this not because their instruments were made to fixed standards, and each generation had specialists to transmit and preserve the tradition? From this perspective, the licentious music of Zheng and Wei and the court hymns of the Feng and Ya used the same instruments. Once this principle is understood, the tradition can remain unchanged for a hundred generations. The Way of ritual and music had long been in decline, which is why Song music was revised again and again yet never achieved a settled, enduring standard. A survey of competing theories shows that scholars already disagreed on the stacked-millet method, while the notion of using the human body as a standard of measure was especially absurd. Compared with the musical institutions of antiquity meant to endure for ten thousand generations, how difficult the task is! Their theories of raising pitch two tones or lowering it one tone puzzled even the learned; yet the simple truth that instrumental pitch should match vocal pitch is something a child can grasp; Their abstruse theories of harmonizing the eight categories of instruments likewise baffled the wise; yet align the voice with the pipes, use the pipes to establish the sixteen tones and tune the eight instrument types accordingly, and even the unlearned can understand. Grasp this principle in making music: once instruments are properly calibrated, their tones will harmonize naturally without disrupting proper order; modulations and scale changes are secondary concerns. Discard harsh, decadent, and overly ornate strains and return music to tranquility and restraint—the tones of great elegance are nothing more than this.
3
南渡之後，大抵皆用先朝之舊，未嘗有所改作。 其後諸儒朱熹、蔡元定輩出，乃相與講明古今制作之本原，以究其歸極，著為成書，理明義析，具有條制，粲然使人知禮樂之不難行也。 惜乎宋祚告終，天下未一，徒亦空言而已。
After the court crossed south of the Yangzi, it largely retained the music of the previous dynasty and attempted no further reforms. Later, scholars such as Zhu Xi and Cai Yuanding emerged. Working together, they elucidated the foundations of musical institutions past and present, pursued their underlying principles, and committed their findings to authoritative treatises—clear in reasoning, precise in analysis, and complete with systematic regulations that demonstrated ritual and music were not impracticable ideals. Alas, the Song dynasty came to its end before the realm was reunified, and their work remained mere words on the page.
4
今集累朝制作損益因革、議論是非，悉著于編，俾來者有考焉。 為樂志。
This compilation gathers the musical reforms, revisions, and debates of right and wrong from successive reigns, so that future readers may study them. This constitutes the Treatise on Music.
5
王者致治，有四達之道，其二曰樂，所以和民心而化天下也。 歷代相因，咸有制作。 唐定樂令，惟著器服之名。 後唐莊宗起於朔野，所好不過北鄙鄭、?而已，先王雅樂，殆將掃地。 晉天福中，始詔定朝會樂章、二舞、鼓吹十二案。 周世宗嘗觀樂縣，問工人，不能答。 由是患雅樂凌替，思得審音之士以考正之，乃詔翰林學士竇儼兼判太常寺，與樞密使王朴同詳定，朴作律準，編古今樂事為正樂。
When a ruler achieves good government, there are four avenues of influence, the second of which is music—by which the people's hearts are harmonized and the realm is transformed. Dynasty after dynasty inherited and revised musical institutions, each producing its own ceremonial music. The Tang codified music regulations that recorded chiefly the names of instruments and ceremonial attire. Emperor Zhuangzong of Later Tang, who rose from the northern frontier, favored nothing but the rustic Zheng and Wei tunes of the borderlands, and the ceremonial music of the former kings was nearly lost altogether. In the Tianfu era of Later Jin, the court first issued edicts fixing the music for court assemblies, the civil and military dances, and the twelve wind-and-percussion ensembles. Emperor Shizong of Later Zhou once inspected the suspended musical instruments and questioned the craftsmen, but they could not answer his questions. Disturbed that ceremonial music was in decline, he sought experts in pitch regulation to restore it. He ordered Hanlin academician Dou Yi to oversee the Court of Imperial Sacrifices and work with Military Affairs Commissioner Wang Pu on a thorough review. Wang Pu devised pitch standards and compiled a treatise on music ancient and modern entitled Correct Music.
6
五月，有司上言：「僖祖文獻皇帝室奏大善之舞，順祖惠元皇帝室奏大寧之舞，翼祖簡恭皇帝室奏大順之舞，宣祖昭武皇帝室奏大慶之舞。」 從之。
In the fifth month the responsible offices memorialized: "In the shrine of Ancestor Xi, Emperor Wenxian, perform the Dance of Great Goodness; in the shrine of Ancestor Shun, Emperor Huiyuan, the Dance of Great Tranquility; in the shrine of Ancestor Yi, Emperor Jiangong, the Dance of Great Accord; and in the shrine of Ancestor Xuan, Emperor Zhaowu, the Dance of Great Celebration." The court approved the proposal.
7
四年春，遣拾遺孫吉取成都孟昶偽宮縣至京師，太常官屬閱視，考其樂器，不協音律，命毀棄之。 六月，判太常寺和峴言：「大樂署舊制，宮縣三十六虡設於庭，登歌兩架設於殿上。 望詔有司別造，仍令徐州求泗濱石以充磬材。」 許之。 先是，晉開運末，禮樂之器淪陷，至是，始令有司復二舞、十二案之制。 二舞郎及引舞一百五十人，按視教坊、開封樂籍，選樂工子弟以備其列，冠服準舊制。 鼓吹十二案，其制：設氈牀十二，為熊羆騰倚之狀，以承其下； 每案設大鼓、羽葆鼓、金錞各一，歌、簫、笳各二，凡九人，其冠服同引舞之制。
In the spring of the fourth year, Remonstrance Official Sun Ji was dispatched to bring the ceremonial instruments from the former palace of Meng Chang of Chengdu to the capital. Officials of the Court of Imperial Sacrifices inspected them, found the instruments out of tune with proper pitch standards, and ordered them destroyed. In the sixth month He Xian, acting director of the Court of Imperial Sacrifices, reported: "Under the old regulations of the Great Music Office, thirty-six frames of palace suspended instruments were set up in the courtyard, with two elevation-song stands on the hall platform. He requested that the responsible offices be ordered to manufacture new sets, and that Xuzhou be instructed to procure Sibi stone from the banks of the Si River for sounding-stones." The request was approved. Earlier, at the end of the Later Jin Kaiyun era, the ritual instruments had been lost. Only now did the court order the responsible offices to restore the civil and military dances and the twelve wind-and-percussion ensembles. For the two dance companies and lead dancers—one hundred fifty persons in all—the court reviewed the registers of the Music Office and Kaifeng musicians, selected trainees from musician families to fill the ranks, and assigned caps and robes according to the old regulations. The twelve wind-and-percussion ensembles were arranged as follows: twelve felt platforms shaped like bears, panthers, and soaring beasts served as their bases; each ensemble had one large drum, one plumed-canopy drum, and one metal chime, plus two singers, two pipes, and two horns—nine performers in all—with caps and robes matching those of the lead dancers.
8
十月，峴又言：「樂器中有叉手笛，樂工考驗，皆與雅音相應。 按唐呂才歌白雪之琴，馬滔進太一之樂，當時得與宮縣之籍。 况此笛足以協十二旋相之宮，亦可通八十四調，其制如雅笛而小，長九寸，與黃鍾管等。 其竅有六，左四右二，樂人執持，兩手相交，有拱揖之狀，請名之曰『拱宸管』。 望於十二案、十二編磬，登歌兩架各設其一，編於令式。」 詔可。
In the tenth month He Xian reported again: "Among the instruments is the crossed-hands flute. When music workers tested it, the tones matched ceremonial pitch standards. In the Tang, Lü Cai performed the zither piece "White Snow," and Ma Tao presented the music of the Great Unity; both were admitted to the register of palace ceremonial instruments. Moreover, this flute can harmonize the twelve cyclically related modes and traverse all eighty-four tonal configurations. It resembles the ceremonial flute but is smaller—nine inches long, matching the length of the huangzhong pitch pipe. It has six finger holes—four on the left and two on the right. When held, the player's crossed hands resemble a bowing posture. He requested that it be named the "Arching-to-the-Sovereign Pipe." He requested that one be placed on each of the twelve wind-and-percussion ensembles, the twelve chime-stone sets, and the two elevation-song stands, and that this be codified in the music regulations. The court approved the proposal.
9
太祖每謂雅樂聲高，近於哀思，不合中和。 又念王朴、竇儼素名知樂，皆已淪沒，因詔峴討論其理。 峴言：「以朴所定律呂之尺較西京銅望臬古制石尺短四分，樂聲之高，良由於此。」 乃詔依古法別創新尺，以定律呂。 自此雅音和暢，事具律歷志。
Taizu often remarked that ceremonial music was pitched too high, sounding mournful rather than harmoniously balanced. He also noted that Wang Pu and Dou Yi, both renowned for musical expertise, had died, and therefore ordered He Xian to investigate the underlying principles. He Xian reported: "Wang Pu's pitch-measuring foot, compared with the ancient stone standard associated with the bronze pitch tube at the Western Capital, is four tenths shorter. This is precisely why the music sounds too high. An edict followed, ordering a new measuring foot to be devised according to ancient methods and used to regulate the pitch pipes. From that point ceremonial music sounded harmonious and flowing; the details are recorded in the Treatise on Pitch Pipes and Calendars.
10
自國初已來，御正殿受朝賀，用宮縣； 次御別殿，羣臣上壽，舉教坊樂。 是歲冬至，上御乾元殿受賀畢，羣臣詣大明殿行上壽禮，始用雅樂、登歌、二舞。 是月，和峴又上言：
From the founding of the dynasty, audiences held in the main hall used the full palace suspended ensemble; when the emperor then moved to a side hall for ministers to offer birthday felicitations, the palace Music Office ensemble performed. That winter solstice, after receiving congratulations in the Qianyuan Hall, the emperor proceeded to the Daming Hall where ministers offered birthday felicitations. For the first time, ceremonial music, elevation song, and the civil and military dances were performed. That month He Xian submitted another memorial:
11
郊廟殿庭通用文德、武功之舞，然其綴兆未稱武功、文德之形容。 又依古義，以揖讓得天下者，先奏文舞； 以征伐得天下者，先奏武舞。 陛下以推讓受禪，宜先奏文舞。 按尚書，舜受堯禪，玄德升聞，乃命以位。 請改殿宇所用文舞為玄德升聞之舞。 其舞人，約唐太宗舞圖，用一百二十八人，以倍八佾之數，分為八行，行十六人，皆著履，執拂，服褶，冠進賢冠。 引舞二人，各執五采纛，其舞狀、文容、變數，聊更增改。 又陛下以神武平一宇內，即當次奏武舞。 按尚書，周武王一戎衣而天下大定，請改為天下大定之舞，其舞人數、行列，悉同文舞，其人皆被金甲持戟。 引舞二人，各執五采旗。 其舞六變：一變象六師初舉，二變象上黨克平，三變象維揚底定，四變象荊湖歸復，五變象邛蜀納款，六變象兵還振旅。 乃別撰舞曲、樂章。 其鐃、鐸、雅、相、金錞、鼓?引二舞等工人冠服，即依樂令，而文德、武功之舞，請於郊廟仍舊通用。
The suburban altars, temples, and palace halls all used the Civil Virtue and Military Achievement dances, yet their choreography did not reflect the true character of civil and military virtue. According to ancient precedent, a ruler who gained the realm through peaceful succession should perform the civil dance first; while one who gained it through military conquest should perform the military dance first. Your Majesty received the throne through peaceful abdication and should therefore perform the civil dance first. According to the Documents, when Shun received Yao's abdication, his deep virtue rose and was heard, and only then was he commanded to take the throne. He requested that the civil dance used in palace halls be renamed the Dance of Deep Virtue Rising and Heard. The dancers, following roughly the choreography recorded for Emperor Taizong of Tang, numbered one hundred twenty-eight—twice the standard eight-by-eight formation—arranged in eight rows of sixteen. All wore shoes, carried ceremonial whisks, dressed in pleated robes, and wore the forward-worthy cap. Two lead dancers, each bearing a five-colored banner, had their movements, civil demeanor, and number of choreographic changes revised accordingly. Moreover, Your Majesty by divine martial prowess unified the realm, and the military dance should therefore follow. According to the Documents, King Wu of Zhou with a single suit of armor brought the realm to great peace. He requested that the military dance be renamed the Dance of Great Peace Throughout the Realm, with the same number and formation as the civil dance, but with all dancers clad in golden armor and bearing halberds. Two lead dancers, each carrying a five-colored flag. The dance had six choreographic changes: the first represented the six armies setting out; the second, the pacification of Shangdang; the third, the securing of the Huai region; the fourth, the recovery of Jinghu; the fifth, the submission of Qiong and Shu; and the sixth, the army's triumphant return. New dance melodies and musical sections were then composed for the occasion. The caps and robes of performers on the nao, duo, ya, xiang, metal chime, hand drums, and lead dancers followed the music statutes. For the suburban altars and temples, however, he requested that the old Civil Virtue and Military Achievement dances continue in use.
12
又按唐貞觀十四年，景雲見，河水清，張文收採古朱鴈、天馬之義，作景雲河清歌，名燕樂，元會第二奏者是也。 伏見今年荊南進甘露，京兆、果州進嘉禾，黃州進紫芝，和州進綠毛龜，黃州進白兔。 欲依月律，撰神龜、甘露、紫芝、嘉禾、玉兔五瑞各一曲，每朝會登歌首奏之。
In the Tang, in the fourteenth year of Zhenguan, auspicious clouds appeared and the Yellow River ran clear. Zhang Wenshou drew on the ancient symbolism of the Red Goose and Heavenly Horse to compose "Auspicious Clouds and the River Clear," designated Banquet Music—the second piece performed at the New Year's audience. This year Jingnan presented sweet dew; Jingzhao and Guozhou presented exceptional grain; Huangzhou presented purple fungus; Hezhou presented a green-haired tortoise; and Huangzhou presented a white hare. He proposed composing one tune for each of the five auspicious omens—the Divine Tortoise, Sweet Dew, Purple Fungus, Fine Grain, and Jade Hare—according to the monthly pitch modes, to be performed first in the elevation song at each court assembly.
13
有詔：「二舞人數衣冠悉仍舊制，樂章如所請。」
An edict stated: "The numbers and attire of the two dances shall follow the old regulations; the musical sections are approved as requested."
14
六年，峴又言：「漢朝獲天馬、赤鴈、神鼎、白麟之瑞，並為郊歌。 國朝，合州進瑞木成文，馴象由遠方自至，秦州獲白烏，黃州獲白雀，並合播在筦絃，薦于郊廟。」 詔峴作瑞文、馴象、玉烏、皓雀四瑞樂章，以備登歌。 未幾，峴復言：「按開元禮，郊祀，車駕還宮入嘉德門，奏采茨之樂； 入太極門，奏太和之樂。 今郊祀禮畢，登樓肆赦，然後還宮，宮縣但用隆安，不用采茨。 其隆安樂章本是御殿之辭，伏詳禮意，隆安之樂自內而出，采茨之樂自外而入，若不並用，有失舊典。 今大樂署丞王光裕誦得唐日采茨曲，望依月律別撰其辭，每郊祀畢車駕初入，奏之。 御樓禮畢還宮，即奏隆安之樂。」 並從之。 太常寺又言：「準令，宗廟殿庭宮縣三十虡，郊社二十虡，殿庭加鼓吹十二案。 開寶四年，郊祀誤用宗廟之數，今歲親郊，欲用舊禮。」 有詔，圜丘增十六虡，餘依前制。
In the sixth year He Xian reported again: "The Han dynasty, upon receiving the auspicious signs of the Heavenly Horse, Red Wild Goose, Divine Cauldron, and White Unicorn, composed suburban hymns for each. In our dynasty, Hezhou presented patterned auspicious wood, a tame elephant arrived unbidden from afar, Qinzhou captured a white crow, and Huangzhou a white sparrow. He proposed setting all four to music and presenting them at the suburban altars and temples. An edict ordered He Xian to compose four auspicious musical sections—Auspicious Pattern, Tame Elephant, Jade Crow, and Bright Sparrow—for use in the elevation song. Before long He Xian reported again: "According to the Kaiyuan Rites, after a suburban sacrifice, when the imperial procession returned to the palace and entered the Gate of Excellent Virtue, the music Gathering Mulberry was performed; upon entering the Gate of Supreme Ultimate, the music Supreme Harmony was performed. Today, after the suburban sacrifice, the emperor ascends the tower to proclaim amnesty and only then returns to the palace. The palace ensemble plays only Grand Peace and omits Gathering Mulberry. The Grand Peace section was originally composed for audiences in the imperial hall. According to ritual propriety, Grand Peace represents music proceeding from within the palace, while Gathering Mulberry represents music entering from without. To omit either violates ancient precedent. Vice Director Wang Guangyu of the Great Music Office has recovered the Tang-period tune Gathering Mulberry. He requested that new lyrics be composed according to the monthly pitch modes and performed whenever the imperial procession first enters the palace after a suburban sacrifice. When the tower ceremony is complete and the emperor returns to the palace, Grand Peace should then be performed. All proposals were approved. The Court of Imperial Sacrifices reported: "According to statute, ancestral temples and palace halls require thirty frames of suspended instruments; suburban altars to Heaven and Earth require twenty; and palace halls add the twelve wind-and-percussion ensembles. In the fourth year of Kaibao, the suburban sacrifice mistakenly used the ancestral-temple complement. For this year's imperial suburban sacrifice, we wish to follow the correct precedent. An edict ordered sixteen additional frames for the Circular Mound Altar, with all else following established regulations.
15
太宗太平興國二年，冬至上壽，復用教坊樂。 九年，嵐州獻祥麟； 雍熙中，蘇州貢白龜； 端拱初，澶州河清，廣州鳳凰集； 諸州麥兩穗、三穗者，連歲來上。 有司請以此五端為祥麟、丹鳳、河清、白龜、瑞麥之曲，薦于朝會，從之。
In the second year of Taiping Xingguo, Emperor Taizong's winter-solstice longevity ceremony again employed Music Office ensembles. In the ninth year Lanzhou presented an auspicious unicorn; During the Yongxi era Suzhou presented a white tortoise; At the start of the Duan Gong era the Yellow River ran clear at Danzhou, and phoenixes gathered at Guangzhou; Year after year, various prefectures presented wheat stalks bearing two or three ears. The responsible offices proposed composing tunes for the five omens—the Auspicious Unicorn, Cinnabar Phoenix, River Clear, White Tortoise, and Auspicious Wheat—to be performed at court assemblies. The proposal was approved.
16
淳化二年，太子中允、直集賢院和上言：「兄峴嘗於乾德中約唐志故事，請改殿庭二舞之名，舞有六變之象，每變各有樂章，歌詠太祖功業。 今來歲正會之儀，登歌五瑞之曲已從改製，則文武二舞亦當定其名。 周易有『化成天下』之辭，謂文德也； 漢史有『威加海內』之歌，謂武功也。 望改殿庭舊用玄德升聞之舞為化成天下之舞，天下大定之舞為威加海內之舞。 其舞六變：一變象登臺講武，二變象漳、泉奉土，三變象杭、越來朝，四變象克殄?、汾，五變象肅清銀、夏，六變象兵還振旅。 每變樂章各一首。」 詔可。
In the second year of Chunhua, He Mao of the Heir Apparent's staff and the Hall for Assembling Worthies memorialized: "My elder brother He Xian, during the Qiande era, followed Tang precedents in petitioning to rename the two hall dances. Each of the dance's six choreographic changes had its own musical section celebrating Emperor Taizu's achievements. Since the elevation-song tunes for the five auspicious omens have already been revised for next year's New Year's audience, the civil and military dances should likewise receive definitive names. The Book of Changes speaks of "transforming and completing the realm," referring to civil virtue; Han histories record the song "awe extending across the seas," referring to military achievement. He requested renaming the civil dance Deep Virtue Rising and Heard to Transforming and Completing the Realm, and the military dance Great Peace Throughout the Realm to Awe Extending Across the Seas. The military dance had six choreographic changes: the first represented reviewing troops upon the terrace; the second, Zhang and Quan submitting their territories; the third, Hang and Yue coming to court; the fourth, the conquest of Bing and Fen; the fifth, the pacification of Yin and Xia; and the sixth, the army's triumphant return. Each change had its own musical section." The court approved the proposal.
17
三年，元日朝賀畢，再御朝元殿，羣臣上壽，復用宮縣、二舞，登歌五瑞曲，自此遂為定制。 又請取今朝祥瑞之殊尤者作為四瑞樂章，備郊廟奠獻，以代舊曲，詔從之。 有司雖承詔，不能奉行，故今闕其曲。
In the third year, after the New Year's audience, the emperor proceeded to the Chaoyuan Hall where ministers offered birthday felicitations. The full palace ensemble, civil and military dances, and the five auspicious elevation-song tunes were restored, establishing a permanent regulation. He Mao further proposed composing four auspicious musical sections from the most remarkable omens of the current reign for suburban altar and temple offerings, replacing older tunes. The court approved. Although the responsible offices received the edict, they failed to implement it, and the tunes are therefore lost.
18
太宗嘗謂舜作五絃之琴以歌南風，後王因之，復加文武二絃。 至道元年，乃增作九絃琴、五絃阮，別造新譜三十七卷。 凡造九絃琴宮調、鳳吟商調、角調、徵調、羽調、龍仙羽調、側蜀調、黃鍾調、無射商調、瑟調變弦法各一。 制宮調鶴唳天弄、鳳吟商調鳳來儀弄、龍仙羽調八仙操，凡三曲。 又以新聲被舊曲者，宮調四十三曲，商調十三曲，角調二十三曲，徵調十四曲，羽調二十六曲，側蜀調四曲，黃鍾調十九曲，無射商調七曲，瑟調七曲。 造五弦阮宮調、商調、鳳吟商調鳳吟商調「商」字原脫，據宋會要樂四之一四補。 、角調、徵調、羽調、黃鍾調、無射商調、瑟調、碧玉調、慢角調、金羽調變弦法各一金羽調變弦法各一「各一」二字原脫，據宋會要樂四之一四補。。 制宮調鶴唳天弄、鳳吟商調鳳來儀弄，凡二曲。 又以新聲被舊曲者，宮調四十四曲、商調十三曲、角調十一曲、徵調十曲、羽調十曲、黃鍾調黃鍾調「調」字原脫，據宋會要樂四之一四補。 十九曲、無射商調七曲、瑟調七曲、碧玉調十四曲、慢角調十曲、金羽調三曲。 阮成，以示中書門下，因謂曰：「雅樂與鄭、?不同，鄭聲淫，非中和之道。 朕常思雅正之音可以治心，原古聖之旨，尚存遺美。 琴七弦，朕今增之為九，其名曰君、臣、文、武、禮、樂、正、民、心，則九奏克諧而不亂矣。 阮四絃，增之為五，其名曰：水、火、金、木、土，則五材並用而不悖矣。」 因命待詔朱文濟、蔡裔齎琴、阮詣中書彈新聲，詔宰相及近侍咸聽焉。 由是中外獻賦頌者數十人。 二年，太常音律官田琮以九弦琴、五弦阮均配十二律，旋相為宮，隔八相生，並協律呂，冠于雅樂，仍具圖以獻。 上覽而嘉之，遷其職以賞焉。 自是遂廢拱宸管。
Taizong once observed that Shun created the five-string zither to perform the Southern Winds, and later rulers added two strings representing civil and military virtue. In the first year of Zhidao, the court introduced nine-string zithers and five-string ruan lutes and composed thirty-seven volumes of new musical scores. For the nine-string zither, a distinct string-tuning method was devised for each mode: palace, Phoenix-Song shang, jue, zhi, yu, Dragon-Immortal yu, lateral Shu, huangzhong, wuye shang, and se-mode variation. Three new compositions were created: Crane Cries to Heaven in palace mode, Phoenix Comes with Rites in Phoenix-Song shang mode, and Eight Immortals Suite in Dragon-Immortal yu mode. Existing tunes were adapted with new sounds: forty-three in palace mode, thirteen in shang, twenty-three in jue, fourteen in zhi, twenty-six in yu, four in lateral Shu, nineteen in huangzhong, seven in wuye shang, and seven in se mode. For the five-string ruan, tuning methods were devised for palace mode, shang mode, and Phoenix-Song shang mode. Jue, zhi, yu, huangzhong, wuye shang, se, jade-green, slow jue, and golden yu modes—each with its own string-tuning method. Two new ruan compositions were created: Crane Cries to Heaven in palace mode and Phoenix Comes with Rites in Phoenix-Song shang mode. Adapted ruan tunes numbered forty-four in palace mode, thirteen in shang, eleven in jue, ten in zhi, ten in yu, and nineteen in huangzhong mode. Nineteen in huangzhong, seven in wuye shang, seven in se, fourteen in jade-green, ten in slow jue, and three in golden yu mode. When the ruan was completed, it was presented to the Secretariat. The emperor remarked: "Ceremonial music differs from the licentious music of Zheng and Wei. Zheng music is decadent and not the path of harmonious balance. I have long believed that refined, correct music can cultivate the mind. Tracing the intent of the ancient sages, something of their musical legacy still survives. The zither has seven strings; I have added two more to make nine, named Ruler, Minister, Civil, Military, Ritual, Music, Correctness, People, and Mind—so that nine performances may achieve harmony without disorder. The ruan has four strings; I have added a fifth, named Water, Fire, Metal, Wood, and Earth—so that the five elements may work together without conflict. He ordered awaiting-edict Zhu Wenji and Cai Yi to bring the instruments to the Secretariat to perform the new music, and commanded chief ministers and close attendants to attend. In response, dozens of officials inside and outside the court submitted celebratory compositions. In the second year, Tian Cong, a pitch specialist of the Court of Imperial Sacrifices, demonstrated that the nine-string zither and five-string ruan could be tuned to all twelve pitch pipes, generate modes cyclically, and produce tones across the full scale in perfect accord with pitch standards. He ranked them foremost among ceremonial instruments and submitted explanatory diagrams. The emperor reviewed the submission with approval and promoted him as a reward. From that point the Arching-to-the-Sovereign Pipe was discontinued.
19
真宗咸平四年，太常寺言：「樂工習藝匪精，每祭享郊廟，止奏黃鍾宮一調，未嘗隨月轉律，望示條約。」 乃命翰林侍讀學士夏侯嶠、判寺郭贊同按試，擇其曉習月律者，悉增月奉，自餘權停廩給，再俾學習，以奬勵之。 雖頗振綱紀，然亦未能精備。 蓋樂工止以年勞次補，而不以藝進，至有抱其器而不能振作者，故難於驟變。
In the fourth year of Xianping, the Court of Imperial Sacrifices reported: "Musicians' training is inadequate. At suburban and temple sacrifices they perform only the huangzhong palace mode and never shift pitch according to the month. We request that regulations be issued." The court ordered Hanlin academician Xia Houqiao and acting director Guo Zan to examine the musicians, increase the salaries of those proficient in monthly pitch regulation, suspend rations for the rest pending further training, and thereby encourage improvement. Although discipline improved somewhat, full proficiency was not achieved. Musicians were appointed by seniority rather than skill, and some could not even play their instruments competently—making rapid reform difficult.
20
景德二年八月，監察御史艾仲孺上言，請修飾樂器，調正音律，乃詔翰林學士李宗諤權判太常寺，及令內臣監修樂器。 後復以龍圖閣待制戚綸同判寺事，乃命太樂、鼓吹兩署工校其優劣，黜去濫吹者五十餘人。 宗諤因編次律呂法度、樂物名數，目曰樂纂，又裁定兩署工人試補條式及肄習程課。
In the eighth month of the second year of Jingde, Investigating Censor Ai Zhongru petitioned to repair musical instruments and correct pitch standards. The court ordered Hanlin academician Li Zong'e to oversee the Court of Imperial Sacrifices and assigned inner-court personnel to supervise instrument repairs. Later Qi Lun of the Dragon Diagram Hall was appointed co-director. Musicians of the Great Music and Wind-and-Drum offices were compared for competence, and more than fifty incompetent performers were dismissed. Li Zong'e compiled pitch standards, instrument specifications, and nomenclature into a work entitled Compendium of Music, and established examination, appointment, and training regulations for both music offices.
21
明年八月，上御崇政殿張宮縣閱試，召宰執、親王臨觀，宗諤執樂譜立侍。 先以鍾磬按律準，次令登歌，鍾、磬、塤、箎、琴、阮、笙、簫各二色合奏，箏、瑟、筑三色合奏，迭為一曲，復擊鎛鍾為六變、九變。 又為朝會上壽之樂及文武二舞、鼓吹、導引、警夜之曲，頗為精習。 上甚悅。 舊制，巢笙、和笙每變宮之際，必換義管，然難於遽易，樂工單仲辛遂改為一定之制，不復旋易，與諸宮調皆協。 又令仲辛誕唱八十四調曲，遂詔補副樂正，賜袍笏、銀帶，自餘皆賜衣帶、緡錢，又賜宗諤等器幣有差。 自是，樂府制度頗有倫理。
The following eighth month, the emperor held a review at the Chongzheng Hall with the palace suspended ensemble fully deployed, summoning chief ministers and imperial princes to observe while Li Zong'e stood by with the musical score. First the bells and stones were tuned to pitch standards, then the elevation song was performed. Bells, stones, ocarina, bamboo flute, zither, ruan, sheng, and xiao—two of each—played together, alternating with zheng, se, and zhu. The great bell was then struck through six and nine choreographic changes. Music for court assemblies, birthday ceremonies, civil and military dances, wind-and-percussion, procession, and night-watch pieces was performed with considerable refinement. The emperor was greatly pleased. Under the old system, nest-sheng and harmony-sheng required replacing auxiliary pipes whenever the mode changed—a cumbersome procedure. Musician Shan Zhongxin devised a fixed configuration that eliminated the need for rotation while harmonizing with all modes. Zhongxin was commanded to perform songs in all eighty-four modes and appointed assistant director of music, receiving official robes, court tablet, and silver belt. Other musicians received robes, belts, and cash rewards, while Li Zong'e and others received gifts of vessels and silk in varying amounts. From that point the Music Office operated with considerably greater order and coherence.
22
是，惟天地、感生帝、宗廟用樂，親祀用宮縣，有司攝事，止用登歌，自餘大祀，未暇備樂。 時既罷兵，垂意典禮，至是詔曰：「致恭明神，邦國之重事； 升薦備樂，方冊之彝章。 矧在尊神，固當嚴奉。 舉行舊典，用格明靈。 自今諸大祠並宜用樂，皆同感生帝，六變、八變如通禮所載。」
At this time, music was provided only for sacrifices to Heaven and Earth, the Progenitor of Life, and the ancestral temples. Imperial sacrifices in person used the full palace ensemble; when officials conducted rites on the emperor's behalf, only elevation song was performed. Other major sacrifices still lacked complete musical provision. With warfare concluded, the emperor turned his attention to ritual institutions. An edict declared: "Showing reverence to the luminous spirits is a weighty affair of state; presenting offerings with full musical accompaniment is the constant regulation of written codes. How much more so for the honored spirits, who surely deserve the strictest observance. Uphold and perform the ancient canon to move the luminous spirits. Henceforth all major sacrifices shall employ music, with six and eight choreographic changes as prescribed in the comprehensive rites, following the precedent of the Progenitor of Life."
23
大中祥符元年四月，詳定所言：「東封道路稍遠，欲依故事，山上圜臺及山下封祀壇前俱設登歌兩架，壇下設二十架?二舞，其朝覲壇前亦設二十架，更不設熊羆十二案。」 從之。
In the fourth month of the first year of Dazhong Xiangfu, the review committee reported: "The eastern Feng and Shan journey is lengthy. Following precedent, we propose two elevation-song stands at both the mountaintop circular altar and the altar below, twenty frames of suspended instruments and the two dances at the base of the altar, twenty frames at the audience altar, and no bear-and-panther wind-and-percussion ensembles." The proposal was approved.
24
九月，都官員外郎、判太常禮院孫奭上言：「按禮文，饗太廟終獻降階之後，武舞止，太祝徹豆，豐安之樂作，一成止，然後理安之樂作，是謂送神。 論語曰：『三家者以雍徹。』 又周禮樂師職曰：『及徹，帥學士而歌徹。』 鄭玄曰：『謂歌雍也。』 郊祀錄載登歌徹豆一章，奏無射羽。 然則宗廟之樂，禮有登歌徹豆，今於終獻降階之後即作理安之樂，誠恐闕失，望依舊禮增用。」 詔判太常寺李宗諤與檢討詳議以聞。 宗諤等言：「國初撰樂章，有徹豆豐安曲辭，樂署因循不作，望如奭所奏。」 從之。 時以將行封禪，詔改酌獻昊天上帝禧安之樂為封安，皇地祇禧安之樂為禪安，飲福禧安之樂為祺安，別製天書樂章瑞安、靈文二曲，每親行禮用之。 又作醴泉、神芝、慶雲、靈鶴、瑞木五曲，施於朝會、宴享，以紀瑞應。
In the ninth month Sun Shi of the Ritual Office memorialized: "According to ritual texts, after the final offering at the Grand Temple, when the offerer descends the steps, the military dance ceases, the Grand Invoker removes the offerings, the music Abundant Peace is performed through one completion, and then Ordered Peace is performed—this constitutes seeing off the spirits. The Analects states: "The Three Families used Yong for the removal of offerings." The Rites of Zhou, in the duties of the Music Master, also states: "When offerings are removed, lead the students to sing the removal hymn." Zheng Xuan explains: "This means singing Yong." The Record of Suburban Sacrifice records one elevation-song section for removing offerings, performed in wuye yu mode. Ancestral temple ritual requires an elevation song for removing offerings. Currently Ordered Peace is performed immediately after the final offering descends the steps, which appears to omit this step. I request restoration of the old practice. The court ordered Li Zong'e of the Court of Imperial Sacrifices to deliberate with reviewers and report. Li Zong'e and others reported: "At the dynasty's founding, lyrics were composed for the removal-of-offerings Abundant Peace section, but the Music Office has neglected to perform them. We recommend adopting Sun Shi's proposal." The proposal was approved. With the Feng and Shan rites imminent, the court renamed the libation music for August Heaven from Auspicious Peace to Feng Peace, that for August Earth to Chan Peace, and the blessing-drinking music to Qi Peace. Two new Heavenly Book sections, Rui Peace and Spirit Text, were composed for use whenever the emperor performed the rites in person. Five additional compositions—Sweet Spring, Divine Fungus, Celebratory Clouds, Spirit Crane, and Auspicious Wood—were created for court assemblies and banquets to commemorate auspicious omens.
25
十月，真宗親習封禪儀于崇德殿，亞獻、終獻皆不作樂，因令檢討故事以聞。 有司按開寶通禮，親郊，壇上設登歌，皇帝升降、奠獻、飲福則作樂； 壇下設宮縣，降神、迎俎、退文舞、引武舞、迎送皇帝則作。 亞獻、終獻、升降在退文舞引武舞之間。 有司攝事，不設宮架、二舞，故三獻、升降並用登歌。 今山上設登歌，山下設宮縣、二舞，其山上圜臺亞獻、終獻準親祠例，無用樂之文。 於是特詔亞、終獻並用登歌。
In the tenth month Emperor Zhenzong rehearsed the Feng and Shan rites in the Chongde Hall without music for the second and final offerings, and ordered a review of precedents. According to the Kaibao Comprehensive Rites, when the emperor sacrifices in person, elevation song is performed on the altar whenever he ascends or descends, offers libation, or drinks the blessing cup; below the altar the palace suspended ensemble plays for escorting the spirits, welcoming the offering stand, withdrawing the civil dance, introducing the military dance, and escorting the emperor. The second and final offerings take place between the withdrawal of the civil dance and the introduction of the military dance. When officials conduct the rite, the palace frame and dances are omitted, and all three offerings use elevation song alone. For the present rites, elevation song is set up on the mountain and the palace ensemble and dances below. For the second and final offerings at the mountaintop circular altar, following the precedent of personal sacrifice, no ritual text prescribes music. A special edict therefore ordered elevation song for both the second and final offerings.
26
五年，聖祖降，有司言：「按唐太清宮樂章，皆明皇親製，其崇奉玉皇、聖祖及祖宗配位樂章，並望聖製。」 詔可之。 聖製薦獻聖祖文舞曰發祥流慶之舞，武舞曰降真觀德之舞。 自是，玉清昭應宮、景靈宮親薦皆備樂，用三十六虡。 景靈宮以庭狹，止用二十虡。 上又取太宗所撰萬國朝天曲曰同和之舞，平晉曲曰定功之舞，親作樂辭，奏于郊廟。 自時厥後，仁宗以大明之曲尊真宗，英宗以大仁之曲尊仁宗，神宗以大英之曲尊英宗。
In the fifth year, upon the descent of the Sage Ancestor, the responsible offices reported: "In the Tang, Emperor Ming personally composed all music for the Grand Supreme Clarity Palace. We request that Your Majesty personally compose the music for venerating the Jade Emperor, the Sage Ancestor, and the accompanying ancestral tablets." The court approved the request. The emperor personally composed the civil dance for offerings to the Sage Ancestor, naming it Sending Forth Auspiciousness and Flowing Celebration, and the military dance Descending Truth and Observing Virtue. Thereafter, when the emperor personally offered at the Jade Clarity Manifest Response Palace and the Splendid Spirit Palace, full music with thirty-six frames of instruments was provided. At the Splendid Spirit Palace, the narrow courtyard permitted only twenty frames. The emperor adopted Taizong's composition Myriad States Paying Court as the Shared Harmony dance and Pacifying Jin as the Fixing Achievement dance, personally wrote the lyrics, and had them performed at suburban altars and temples. Thereafter, Renzong honored Zhenzong with the tune Great Brightness, Yingzong honored Renzong with Great Humaneness, and Shenzong honored Yingzong with Great Excellence.
27
仁宗天聖五年十月，翰林侍講學士孫奭言：「郊廟二舞失序，願下有司考議。」 於是翰林學士承旨劉筠等議曰：「周人奏清廟以祀文王，執競以祀武王，漢高帝、文帝亦各有舞。 至唐有事太廟，每室樂歌異名。 蓋帝王功德既殊，舞亦隨變。 屬者，有司不詳舊制，奠獻止登歌而樂舞不作，其失明甚。 請如舊制，宗廟酌獻復用文舞，皇帝還版位，文舞退，武舞入。 亞獻酌醴已，武舞作，至三獻已奠還位則止。 蓋廟室各頌功德，故文舞迎神後各奏逐室之舞。 郊祀則降神奏高安之曲，文舞已作及皇帝酌獻，惟登歌奏禧安之樂，而縣樂舞綴不作，亞獻、終獻仍用武舞。」 詔從之。 是時，仁宗始大朝會，羣臣上壽，作甘露、瑞木、嘉禾之曲。
In the tenth month of the fifth year of Tiansheng, Hanlin lecturer Sun Shi memorialized: "The civil and military dances at suburban altars and temples are performed out of proper sequence. I request that the responsible offices investigate." Hanlin academician-in-chief Liu Yun and others deliberated: "The Zhou performed Qingmiao for King Wen and Zhi Jing for King Wu. Emperor Gaozu and Emperor Wen of Han likewise each had dedicated dances. By the Tang, each shrine hall of the Grand Temple had its own distinct musical composition. Because each ruler's achievements differ, the dances differ accordingly. Recently the responsible offices, unfamiliar with the old system, performed only elevation song at libation offerings without the dances—a serious lapse. We request restoring the old practice: at ancestral temple libation offerings, perform the civil dance; when the emperor returns to his position, the civil dance withdraws and the military dance enters. After the second offering pours the sweet wine, the military dance begins and continues until the third offering is placed and the offerer returns to position. Each shrine hall celebrates its own ruler's achievements; after the civil dance welcomes the spirits, the dance specific to each hall is performed. At suburban sacrifices, High Peace is performed for escorting the spirits. After the civil dance and during the emperor's libation, only elevation song performs Auspicious Peace, without the suspended ensemble choreography. The second and final offerings retain the military dance." The court approved the proposal. At this time Renzong held his first major court assembly with ministers offering birthday felicitations. Compositions for Sweet Dew, Auspicious Wood, and Fine Grain were created.
28
明道初，章獻皇太后御前殿，見羣臣，作玉芝、壽星、奇木連理之曲，厚德無疆、四海會同之舞。 明年，太后躬謝宗廟，帝耕籍田、享先農，率有樂歌。 其後親祀南郊、享太廟、奉慈廟、大享明堂、祫享，帝皆親製降神、送神、奠幣、瓚祼、酌獻樂章，餘詔諸臣為之。 至於常祀、郊廟、社稷諸祠，亦多親製。
Early in the Mingdao era, Empress Dowager Zhangxian received ministers in the front hall. Compositions for Jade Fungus, Longevity Star, and Extraordinary Wood with Conjoined Grain were created, along with the dances Boundless Deep Virtue and All Within the Four Seas United. The following year the empress dowager personally offered thanks at the ancestral temple, while the emperor plowed the sacred field and sacrificed to the Progenitor of Agriculture—all with accompanying music. Thereafter, for personal sacrifices at the Southern Suburb, the Grand Temple, the Compassionate Temple, the Bright Hall, and collective seasonal offerings, the emperor personally composed music for escorting and seeing off the spirits, offering silks, jade libation, and libation offerings, commissioning ministers for the remainder. For regular sacrifices at suburban altars, temples, and the altars of soil and grain, he likewise composed many pieces himself.
29
景祐元年八月，判太常寺燕肅等上言：「大樂制器歲久，金石不調，願以周王朴所造律準考按修治，?閱樂工，罷其不能者。」 乃命直史館宋祁、內侍李隨同肅等典其事，又命集賢校理李照預焉。 於是，帝御觀文殿取律準閱視，親篆之，以屬太常。 明年二月，肅等上考定樂器?見工人，帝御延福宮臨閱，奏郊廟五十一曲，因問照樂音高，命詳陳之。 照言：「朴準視古樂高五律，視教坊樂高二律。 蓋五代之亂，雅樂廢壞，朴意造準，不合古法，用之本朝，卒無福應。 又編鍾、鎛、磬無大小、輕重、厚薄、長短之差，銅錫不精，聲韻失美，大者陵，小者抑，非中度之器也。 昔軒轅氏命伶倫截竹為律，後令神瞽協其中聲，然後聲應鳳鳴，而管之參差亦如鳳翅。 其樂傳之亘古，不刊之法也。 願聽臣依神瞽律法，試鑄編鍾一虡，可使度、量、權、衡協和。」 乃詔於錫慶院鑄之。 既成，奏御。
In the eighth month of the first year of Jingyou, Yan Su and others reported: "Ceremonial instruments have aged and the metal and stone instruments are out of tune. We request recalibration against Wang Pu's pitch standard, review of musicians, and dismissal of the incompetent." The court appointed Song Qi of the Historical Archives and inner attendant Li Sui to oversee the project with Yan Su and others, and Li Zhao of the Hall for Assembling Worthies to participate. The emperor then proceeded to the Hall for Viewing Literature, inspected the pitch standard, personally inscribed it in seal script, and entrusted it to the Court of Imperial Sacrifices. The following February, Yan Su and his colleagues submitted the recalibrated instruments and screened the musicians. Emperor Renzong reviewed them at the Palace of Extended Blessings, heard fifty-one suburban and temple compositions, then questioned Li Zhao about musical pitch and ordered a full explanation. Li Zhao replied: "Wang Pu's pitch standard is five tones above ancient music and two tones above the Imperial Music Bureau standard. During the chaos of the Five Dynasties, ceremonial music fell into ruin. Wang Pu arbitrarily devised his pitch standard in violation of ancient practice, and its use in our dynasty has brought no sign of divine favor. Moreover, the chime-bells, bell-chimes, and sounding-stones lack proper gradations of size, weight, thickness, and length. Impure copper and tin produce unlovely tones: large instruments dominate, small ones are muffled—they fail to meet proper standards. In antiquity the Yellow Emperor ordered Ling Lun to cut bamboo into pitch pipes, then had the Divine Blind Musician tune them until their tones matched the phoenix's cry and the graduated pipe lengths resembled phoenix wings. That music has endured across the ages—it is an immutable standard. I request permission to trial-cast a set of chime-bells by the Divine Blind Musician's method, so that dimensions, measures, weights, and balances may all harmonize. The court ordered the bells cast at the Court of Blessings and Celebration. When they were finished, Li Zhao presented them to the emperor.
30
照遂建議請改制大樂，取京縣秬黍累尺成律，鑄鍾審之，其聲猶高。 更用太府布帛尺為法，乃下太常制四律。 別詔潞州取羊頭山秬黍上送於官，照乃自為律管之法，以九十黍之量為四百二十星，率一星占九秒，一黍之量得四星六秒，九十黍得四百二十星，以為十二管定法。 乃詔內侍鄧保信監視?工。 照?引集賢校理聶冠卿為檢討雅樂制度故實官，入內都知閻文應董其事，中書門下總領焉。 凡所改制，皆關中書門下詳定以聞。 別詔翰林侍讀學士馮元同祁、冠卿、照討論樂理，為一代之典。 又詔天下有深達鍾律者，在所亟以名聞。 於是，杭州鄭向言阮逸、蘇州范仲淹言胡瑗皆通知古樂，詔遣詣闕。 其他以樂書獻者，悉上有司。
Li Zhao then proposed overhauling ceremonial music. Using black millet from the capital counties to establish a pitch measure, he cast bells for testing, but their pitch remained too high. Switching to the Treasury Department's cloth measure as the standard, he lowered the pitch by four tones at the Court of Imperial Sacrifices. A separate edict ordered Luzhou to deliver black millet from Mount Yangtou. Li Zhao then devised his own pitch-pipe method: ninety millet grains equaled four hundred and twenty watermark divisions on the standard—one division per nine seconds, four divisions and six seconds per grain—establishing the fixed standard for twelve pipes. The court appointed inner attendant Deng Baoxin to supervise the craftsmen. Li Zhao then recommended Nie Guanqing of the Hall for Assembling Worthies as researcher of ceremonial music institutions and historical precedents, with Inner Attendant Director Yan Wenyin directing the work under overall Secretariat-Chancellery supervision. Every proposed reform was referred to the Secretariat-Chancellery for review and imperial report. The emperor separately commissioned Hanlin Academician Reader Feng Yuan, Song Qi, Nie Guanqing, and Li Zhao to discuss music theory and establish standards for their generation. The court also ordered local officials to report anyone in the realm with expert knowledge of bells and pitch regulation. Zheng Xiang of Hangzhou recommended Ruan Yi, and Fan Zhongyan of Suzhou recommended Hu Yuan, both experts in ancient music. The court ordered them summoned to the capital. Other music treatises submitted were forwarded to the appropriate offices.
31
五月，照言：「既改制金石，則絲、竹、匏、土、革、木亦當更制，以備獻享。」 照乃鑄銅為龠、合、升、斗四物，以興鍾、鎛聲量之法，龠之率六百三十黍為黃鍾之容，合三倍於龠，升十二倍於合，斗十倍於升。 乃改造諸器，以定其法。 俄又以鎛之容受差大，更增六龠為合，十合為升，十升為斗，銘曰「樂斗」。 後數月，潞州上秬黍，照等擇大黍縱累之，檢考長短，尺成，與太府尺合，法乃定。
In the fifth month Li Zhao argued: "Having reformed the metal and stone instruments, we should also remake the silk, bamboo, gourd, clay, leather, and wood instruments for full sacrificial performance." Li Zhao cast copper yue, he, sheng, and dou vessels to calibrate bell volumes: the yue held six hundred and thirty millet grains as the yellow bell capacity; the he equaled three yue, the sheng twelve he, and the dou ten sheng. He then remade the remaining instruments to establish the new standard. Finding the bell-chime vessel's capacity still somewhat large, he adjusted the measures: six yue to one he, ten he to one sheng, ten sheng to one dou, inscribed "Music Dou." Months later Luzhou delivered millet. Li Zhao selected the largest grains, stacked them to form a measure, and found it matched the Treasury standard—the method was finally fixed.
32
先時，太常鍾磬每十六枚為虡，而四清聲相承不擊，照因上言：「十二律聲已備，餘四清聲乃鄭、衛之樂，請於編縣止留十二中聲，去四清聲，則哀思邪僻之聲無由而起也。」 元等駮之曰：「前聖制樂，取法非一，故有十三管之和，十九管之巢，三十六簧之竽，二十五弦之瑟，十三弦之箏，九弦、七弦之琴，十六枚之鍾磬，各自取義，寧有一之於律呂專為十二數者？ 且鍾磬，八音之首，絲竹以下受之於均，故聖人尤所用心焉。 春秋號樂，總言金奏； 詩頌稱美，實依磬聲。 此二器非可輕改。 今照欲損為十二，不得其法，稽諸古制，臣等以為不可。 且聖人既以十二律各配一鍾，又設黃鍾至夾鍾四清聲以附正聲之次，原四清之意，蓋為夷則至應鍾四宮而設也。 夫五音：宮為君，商為臣，角為民，徵為事，羽為物。 不相凌謂之正，迭相凌謂之慢，百王所不易也。 聲重濁者為尊，輕清者為卑，卑者不可加於尊，古今之所同也。 故列聲之尊卑者，事與物不與焉。 何則？ 事為君治，物為君用，不能尊於君故也。 惟君、臣、民三者則自有上下之分，不得相越。 故四清聲之設，正謂臣民相避以為尊卑也。 今若止用十二鍾旋相考擊，至夷則以下四管為宮之時，臣民相越，上下交戾，則凌犯之音作矣。 此甚不可者也。 其鍾磬十六，皆本周、漢諸儒之說及唐家典法所載，欲損為十二，惟照獨見，臣以為且如舊制便。」 帝令權用十二枚為一格，且詔曰：「俟有知者，能考四鍾協調清濁，有司別議以聞。」 鍾舊飾旋蟲，改為龍。 乃遣使採泗濱浮石千餘段以為縣磬。
Previously the Court of Imperial Sacrifices grouped sixteen bells or stones per rack, passing over the four clear tones without striking them. Li Zhao petitioned: "The twelve pitch tones are complete. The four clear tones belong to Zheng and Wei music. I request retaining only the twelve median tones in the suspended ensemble and removing the four clear tones, so that melancholy and corrupt sounds cannot arise." Feng Yuan and his colleagues objected: "The sages drew on many models in designing music—the thirteen-pipe he, nineteen-pipe nest, thirty-six-reed yu, twenty-five-string se, thirteen-string zheng, nine- and seven-string qin, and sixteen-piece bell frames each had its own rationale. How can pitch be reduced exclusively to twelve? Bells and sounding-stones lead the eight categories of sound; silk, bamboo, and the rest take their tuning from them—hence the sages lavished special attention on these instruments. The Spring and Autumn Annals refer to music collectively as "metal performance"; the Odes and Hymns praise virtue through the sounding-stones. These two instruments must not be altered lightly. Li Zhao's proposal to reduce them to twelve lacks proper justification. Examining ancient practice, we find it unacceptable. The sages assigned one bell to each of the twelve pitch pipes and added four clear tones from yellow bell through wedge bell after the main tones—intended for the four scales from yize through ying bell. In the five tones, gong represents the ruler, shang the minister, jue the people, zhi affairs, and yu things. Non-encroachment is correctness; successive encroachment is licentiousness—a principle no ruler has ever changed. Heavy, full tones rank above light, clear ones. The inferior cannot stand above the superior—universally acknowledged in all ages. In the hierarchy of tones, affairs and things are excluded from the ranking. Why is this? Affairs are what the ruler governs; things are what he employs. Neither can rank above the ruler. Only ruler, minister, and people have a proper hierarchy that must not be violated. The four clear tones exist precisely so minister and people tones can avoid one another, preserving hierarchical order. Using only twelve bells in rotational striking, when tones below yize serve as gong, minister and people would overstep their stations, superior and inferior would clash, and encroaching tones would arise. This is entirely unacceptable. The sixteen bells and stones follow Zhou and Han scholarly tradition and Tang court regulations. Reducing them to twelve is Li Zhao's idiosyncrasy alone. We recommend retaining the existing system. The emperor provisionally ordered twelve pieces per rack and decreed: "When someone can properly tune the four bells to harmonize clear and dull tones, the responsible offices shall submit separate recommendations." The bells' coiled-insect ornamentation was changed to dragons. The court dispatched envoys to collect over a thousand blocks of floating stone from the Si Riverbank for suspended sounding-stones.
33
先是，宋祁上言：「縣設建鼓，初不考擊，又無三，且舊用諸鼓率多陋敝。」 於是敕元等詳求典故而言曰：「建鼓四，今皆具而不擊，別設四散鼓於縣間擊之，以代建鼓。 乾德四年，祕書監尹拙上言：『散鼓不詳所置之由，且於古無文，去之便。』 時雖奏可，而散鼓于今仍在。 又雷鼓、靈鼓、路鼓雖擊之皆不成聲，故常賴散鼓以為樂節，而靈?、露?、路?闕而未製。 今既修正雅樂，謂宜申敕大匠改作諸鼓，使擊考有聲。 及創為三?，如古之制，使先播之，以通三鼓。 罷四散鼓，如乾德詔書。」 奏可。
Earlier Song Qi reported: "The suspended ensemble includes established drums never struck in performance, lacks the three Qu drums, and most existing drums are shabby and worn." The emperor ordered Feng Yuan and colleagues to research precedents. They reported: "Four established drums are present but never struck. Four separate drums placed among the ensemble stand in for them. In Qiande 4, Secretariat Director Yin Zhuo argued: "The separate drums' origin is unrecorded and they have no ancient precedent—they should be removed." Although approved at the time, the separate drums remain in use to this day. Moreover, the thunder, spirit, and road drums produce no proper sound when struck, so separate drums serve as rhythmic substitutes, while the spirit, thunder, and road tao drums remain unmade. Now that ceremonial music is being reformed, they proposed ordering master craftsmen to remake the drums so they produce proper sound when struck. They also proposed creating three Qu drums in the ancient style, shaken first to announce the three main drums. Abolish the four separate drums, as the Qiande edict directed." The court approved the proposal.
34
時有上言，以為雷鼓八面，前世用以迎神，不載考擊之法，而大樂所製，以柱貫中，故擊之無聲。 更令改造，山趺上出雲以承鼓，刻龍以飾柱，面各一工擊鼓，一工左執?以先引。 凡圜丘降神六變，初八面皆三擊，推而左旋，三步則止。 三者，取陽數也。 又載擊以為節，率以此法至六成。 靈鼓、路鼓亦如之。 植建鼓于四隅，皆有左鞞、右應。 乾隅，左鞞應鍾，亥之位也； 中鼓黃鍾，子之位也； 右應大呂，丑之位也。 艮隅，左鞞太簇，寅之位也； 中鼓夾鍾，卯之位也； 右應姑洗，辰之位也。 巽隅，右應仲呂，巳之位也； 中鼓蕤賓，午之位也； 左鞞林鍾，未之位也。 坤隅，右應夷則，申之位也； 中鼓南呂，酉之位也； 左鞞無射，戍之位也。 宜隨月建，依律呂之均擊之。 後照等復以殿庭備奏，四隅既隨月協均，顧無以節樂，而周官鼓人「以晉鼓鼓金奏」，應以施用。 詔依周官舊法製焉。 於是縣內始有晉鼓矣。
At the time a memorial argued that the eight-faced thunder drum, used in antiquity to welcome the spirits, had no recorded striking method, while the Great Music Office version had a pillar through its center and produced no sound when struck. They ordered a redesign: clouds rising from the mountain pedestal to support the drum, dragons carved on the pillar, one worker per face to strike the drum, and one worker holding a tao drum in the left hand to lead. For the round altar's sixfold spirit descent, all eight faces are first struck three times, then turned leftward, stopping after three steps. Three represents the yang number. Subsequent rounds follow the same rhythmic pattern through all six performances. The spirit and road drums followed the same procedure. Established drums were placed at the four corners, each flanked by a left pi and right ying drum. At the northwest corner, the left pi drum is ying bell, corresponding to the hai position; the central drum is yellow bell, corresponding to the zi position; the right ying drum is great lu, corresponding to the chou position. At the northeast corner, the left pi drum is grand beginning, corresponding to the yin position; the central drum is wedge bell, corresponding to the mao position; the right ying drum is gu wash, corresponding to the chen position. At the southeast corner, the right ying drum is zhong lu, corresponding to the si position; the central drum is luxuriant guest, corresponding to the wu position; the left pi drum is forest bell, corresponding to the wei position. At the southwest corner, the right ying drum is yize, corresponding to the shen position; the central drum is southern lu, corresponding to the you position; the left pi drum is flawless pitch, corresponding to the xu position. They should be struck according to the monthly ascendant and pitch harmony. Later Li Zhao and colleagues noted that although the four-corner drums followed monthly pitch harmony during full palace performances, nothing regulated the overall rhythm. The Zhou Office of Drummers states that "the Jin drum beats metal performance"—this should be adopted. The court ordered them made according to the Zhou Office of Drummers' ancient method. The suspended ensemble thus acquired Jin drums for the first time.
35
古者，鎛鍾擊為節檢，而無合曲之義，大射有二鎛，皆亂擊焉。 後周以十二鎛相生擊之。 景德中，李宗諤領太常，總考十二鎛鍾，而樂工相承，殿庭習用三調六曲。 三調者，黃鍾、太簇、蕤賓也； 六曲者，調別有隆安、正安二曲。 郊廟之縣則環而擊之。 宗諤上言曰：「金部之中，鎛鍾為難和，一聲不及，則宮商失序，使十二鎛工皆精習，則遲速有倫，隨月用律，諸曲無不通矣。」 真宗因詔黃鍾、太簇二宮更增文舞、武舞、福酒三曲。 至是，詔元等詢考擊之法，元等奏言：「後周嘗以相生之法擊之，音韻克諧，國朝亦用隨均合曲，然但施殿庭，未及郊廟。 謂宜使十二鍾依辰列位，隨均為節，便於合樂，仍得?施郊廟。 若軒縣以下則不用此制，所以重備樂尊王制也。」 詔從焉。
In antiquity bell-chimes served as rhythmic markers rather than melody instruments; the great archery rite used two bell-chimes struck without fixed pattern. The Later Zhou struck twelve bell-chimes in mutual generation sequence. During the Jingde era Li Zong'e headed the Court of Imperial Sacrifices and reviewed the twelve bell-chimes, but musicians had long used three modes and six tunes in palace performances. The three modes were yellow bell, grand beginning, and luxuriant guest; the six tunes comprised Long Peace and Correct Peace for each mode. Suburban and temple ensembles struck them in circular sequence. Li Zong'e argued: "Among metal instruments, bell-chimes are hardest to harmonize—a single mistimed stroke disrupts gong and shang. If all twelve bell-chime players master their parts, tempo will be orderly and every tune accessible through monthly pitch rotation." Emperor Zhenzong ordered three additional tunes—civil dance, military dance, and blessing wine—for the yellow bell and grand beginning modes. The court then ordered Feng Yuan and colleagues to research striking methods. They reported: "The Later Zhou struck bell-chimes by mutual generation with harmonious results. Our dynasty also uses mode-based combined tunes, but only in palace performances—not yet at suburban sacrifices and temples. They proposed arraying the twelve bells by earthly branch positions, using mode as rhythmic framework for ensemble performance, and extending the practice to suburban sacrifices and temples. Lesser ensembles below xuan rank would not use this system, preserving the full ceremonial music reserved for the royal rites." The court approved the proposal.
36
隋制，內宮縣二十虡，以大磬代鎛鍾而去建鼓。 唐武后稱制，改用鍾，因而莫革。 及是，乃詔訪元等曰：「大磬應何法考擊，何禮應用？」 元等具言：「古者，特磬以代鎛鍾，本施內宮，遂及柔祀，隋、唐之代，繼有因改。 先皇帝東禪梁甫，西瘞汾陰，並仍舊章，陳於縣奏。 若其所用，吉禮則中宮之縣，祀禮則皇地祇、神州地祇、先蠶、今之奉慈廟、后廟，皆應陳設。 宮縣則三十六虡，去四隅建鼓，如古便。 若考擊之法，謂宜同於鎛鍾。 比緣詔旨，不俾循環互擊，而立依均合曲之制，則特磬固應不出本均，與編磬相應，為樂之節也。」 詔可。
Under Sui practice, the inner palace ensemble used twenty racks, substituting the great qing for bell-chimes and omitting established drums. When Empress Wu of Tang seized power, bells replaced the qing, and the practice was never reformed. The court then asked Feng Yuan and colleagues: "By what method should the great qing be struck, and for which rites should it be used?" Feng Yuan and colleagues explained: "In antiquity the special qing replaced bell-chimes, originally for the inner palace and later extended to gentle sacrifices. Sui and Tang each modified the practice. The former emperor performed the eastern enfeoffment at Mount Liangfu and western burial at Fenyin, both retaining the old regulations in suspended ensemble performance. For auspicious rites it belongs to the inner palace ensemble; for sacrificial rites it should be displayed at rites for Earth Empress, Spirit Land Earth Empress, Progenitor of Silkworms, the Compassionate Temple, and empress temples. The palace ensemble uses thirty-six racks without the four-corner established drums, following ancient practice. Striking methods should follow those used for bell-chimes. Given the recent edict against circular mutual striking in favor of mode-based combined tunes, the special qing should remain within its home mode, coordinating with chime-stones to mark the musical rhythm." The court approved the proposal.
37
九月，翰林學士承旨章得象等言：「宋祁所上大樂圖義，其論武舞所執九器，經、禮但舉其凡而不著言其用後先，故旅進輩作而無終始之別。 且?者，所謂導舞也； 鐸者，所謂通鼓也； 錞者，所謂和鼓也； 鐃者，所謂止鼓也； 相者，所謂輔樂也； 雅者，所謂陔步也。 寧有導舞方始而參以止鼓，止鼓既搖而亂以通鐸？ 臣謂當舞入之時，左執干，右執戚，離為八列，別使工人執旌最前，?、鐸以發之，錞以和之，左執相以輔之，右執雅以節之。 及舞之將成也，則鳴鐃以退行列，築雅以陔步武，?、鐸、錞、相皆止而不作。 如此則庶協舞儀，請如祁所論。」 其冬，帝躬款奉慈廟，樂縣罷建鼓，始以磬代鎛鍾。
That September, Hanlin Academician Director Zhang Dexiang and colleagues reported that in Song Qi's Exposition of the Great Music Diagram, the discussion of the nine implements used in the martial dance cited the classics and rites only in general terms without fixing the sequence of their use, so the dancers entered in ranks without a clear beginning or end. The tao drum, moreover, is the instrument that leads the dance; the bell-clapper signals the communicating drum; the chun harmonizes the drums; the nao stops the drums; the xiang clapper assists the music; and the ya staff marks the gai steps. Surely the dance cannot begin with the stopping drum, nor, once the drums have ceased, be thrown into confusion by the communicating bell? We propose that when the dancers enter, they should hold shields in the left hand and axes in the right, arrayed in eight ranks, with artisans bearing banners at the front; the tao and bell-clapper should open the dance, the chun should harmonize it, the xiang should assist on the left, and the ya should mark the steps on the right. As the dance nears completion, the nao should sound to withdraw the ranks and the ya should be struck to mark the gai steps, while the tao, bell-clapper, chun, and xiang all fall silent. In this way the dance ceremony would accord with proper form; we ask that Song Qi's proposal be adopted. That winter, when the emperor personally paid his respects at the Compassionate Temple, the suspended ensemble omitted the established drums and for the first time substituted the qing for bell-chimes.
38
禮官又言：「春秋隱公五年：『考仲子之宮，初獻六羽。』 何休、范等咸謂，不言佾者，明佾則干舞在其中，婦人無武事，獨奏文樂也。 江左宋建平、王宏皆據以為說，故章皇后廟獨用文舞。 至唐垂拱以來，中宮之縣既用鎛鍾，其後相承，故儀坤等廟獻武舞，備鍾石之樂，尤為失禮。 前詔議奉慈之樂，有司援舊典，已用特磬代鎛鍾，取陰教尚柔，以靜為體。 今樂去大鍾而舞進干盾，頗戾經旨，請止用文德之舞。」 奏可。
The ritual officials added: "The Spring and Autumn Annals records that in Duke Yin's fifth year, when the temple of Zhongzi was completed, the first offering used six plumes. He Xiu, Fan Ning, and others all held that because the text does not mention rows of dancers, it implies that naming rows would include the shield dance; since women have no martial role, only civil music should be performed. Song Jianping and Wang Hong of the Eastern Jin both adopted this view, so the temple of Empress Zhang used only the civil dance. From the Tang Chuigong period onward the inner palace ensemble used bell-chimes, and later courts followed suit, so temples such as Yikun presented the martial dance with full bell-and-stone music— a serious breach of ritual propriety. In the earlier edict on music for the Compassionate Temple, officials had already cited precedent to substitute the special qing for bell-chimes, honoring the feminine principle of gentleness and taking stillness as its essence. Now that the great bells have been removed but the dance still advances shields and axes, the practice departs markedly from the intent of the classics; we ask that only the Civil Virtue dance be used." The court approved the proposal.
39
大樂塤，舊以漆飾，敕令黃其色，以本土音。 或奏言：「柷，舊以方畫木為之，外圖以時卉則可矣，而中設一色，非稱也。 先儒之說曰：『有柄，連底挏之。』 鄭康成以為設椎其中撞之。 今當法垂久，用明制作之意有所本焉。 柷之中，東方圖以青，隱而為青龍； 南方圖以赤，隱而為丹鳳； 西方圖以白，隱而為騶虞； 北方圖以黑，隱而為靈龜； 中央圖以黃，隱而為神螾。 撞擊之法，宜用康成之說。」 從之。 又詔以新製雙鳳管付大樂局，其制，合二管以足律聲，管端刻飾雙鳳，施兩簧焉。 照因自造葦籥、清管、簫管、清笛、雅笛、大笙、大竽、宮琴、宮瑟、大阮、大嵇，凡十一種，求備雅器。 詔許以大竽、大笙二種下大樂用之。
The ceremonial xun had formerly been lacquered; an edict ordered them painted yellow to accord with the native earth tone. A memorial argued that although the zhu had formerly been made of square painted wood with seasonal flowers on the exterior, filling the interior with a single color was inappropriate. Earlier Confucians said: "It has a handle, and the base is struck by thrusting against it." Zheng Xuan held that a mallet should be placed inside to strike it. We should now establish institutions meant to endure, making clear that the design of these instruments rests on proper foundations. Within the zhu, the east would be shown in green, subtly forming the Azure Dragon; the south in red, forming the Vermilion Phoenix; the west in white, forming the Zouyu; the north in black, forming the Spirit Tortoise; and the center in yellow, forming the Spirit Earthworm. The striking method should follow Zheng Xuan's explanation. The court approved the proposal. An edict also assigned the newly made twin-phoenix pipes to the Great Music Office; two pipes were joined to complete the pitch scale, with twin phoenixes carved at the ends and two reeds fitted. Li Zhao then personally devised eleven kinds of instruments— reed yue, clear pipes, xiao pipes, clear flutes, ya flutes, large sheng, large yu, palace qin, palace se, large ruan, and large ji— seeking a complete set of ceremonial instruments. The court authorized the Great Music Office to use the large yu and large sheng.
40
時又出兩儀琴及十二弦琴二種，以備雅樂。 兩儀琴者，施兩弦、十二柱； 十二弦琴者，如常琴之制而增其弦，皆以象律呂之數。 又敕更造七弦、九弦琴，皆令圓其首者以祀天，方其首者以祀地。
Two more instruments were also produced for elegant music: the Dual-Principle qin and the twelve-string qin. The Dual-Principle qin had two strings and twelve bridges; the twelve-string qin followed the ordinary qin form with additional strings, all symbolizing the pitch pipes and modes. An edict also ordered new seven-string and nine-string qins, with rounded heads for sacrifices to Heaven and square heads for sacrifices to Earth.
41
帝乃親製樂曲，以夾鍾之宮、黃鍾之角、太簇之徵、姑洗之羽，作景安之曲，以祀昊天。 更以高安祀五帝、日月，作太安以享景靈宮，罷舊真安之曲。 以黃鍾之宮、大呂之角、太簇之徵、應鍾之羽作興安，以獻宗廟，罷舊理安之曲。 景安、興安惟乘輿親行則用之。 以姑洗之角、林鍾之徵、黃鍾之宮、太簇之角、南呂之羽作祐安之曲，以酌獻五帝。 以林鍾之宮、太簇之角、姑洗之徵、南呂之羽作寧安之曲，以祭地及太社、太稷，罷舊靖安之曲。
The emperor personally composed a hymn, Jing'an, in the palace of Jiazhong, the horn of Huangzhong, the mode of Taicu, and the feather of Guxian, for sacrifice to August Heaven. He retained Gao'an for the Five Emperors and the sun and moon, composed Tai'an for the Jingling Palace, and replaced the old Zhen'an hymn. He composed Xing'an in the palace of Huangzhong, the horn of Dalü, the mode of Taicu, and the feather of Yingzhong for presentation at the ancestral temple, replacing the old Li'an hymn. Jing'an and Xing'an were reserved for occasions when the emperor personally performed the rite. He composed You'an in the horn of Guxian, the mode of Linzhong, the palace of Huangzhong, the horn of Taicu, and the feather of Nanlü for libation presentation to the Five Emperors. He composed Ning'an in the palace of Linzhong, the horn of Taicu, the mode of Guxian, and the feather of Nanlü for sacrifices to Earth, the Great Soil Altar, and the Great Grain Altar, replacing the old Jing'an hymn.
42
于時制詔有司，以太祖、太宗、真宗三聖並侑，乃以黃鍾之宮作廣安之曲以奠幣、彰安之曲以酌獻。 又詔，躬謁奉慈廟章獻皇后之室，作達安之曲以奠瓚、厚安以酌獻； 章懿皇后之室，作報安之曲以奠瓚、衍安以酌獻。 皇帝入出作乾安，罷舊隆安之曲。 常祀：至日祀圜丘，太祖配，以黃鍾之宮作定安以奠幣、英安以酌獻； 孟春祀感生帝，宣祖配，以太簇之宮作皇安以奠幣、肅安以酌獻； 祈穀祀昊天，太宗配，作仁安以奠幣、紹安以酌獻； 孟夏雩上帝，太祖配，以仲呂之宮作獻安以奠幣、感安以酌獻； 夏至祭皇地祇，太祖配，以蕤賓之宮作恭安以奠幣、英安以酌獻； 季秋大饗明堂，真宗配，以無射之宮作誠安以奠幣、德安以酌獻； 孟冬祭神州地祇，太宗配，以應鍾之宮作化安以奠幣、韶安以酌獻。 又造沖安之曲，以七均演之為八十四，皆作聲譜以授有司，沖安之曲獨未施行。 親製郊廟樂章二十一曲，財成頌體，告于神明，詔宰臣呂夷簡等分造樂章，參施?祀。
An edict then instructed officials that because Taizu, Taizong, and Zhenzong were jointly enshrined, Guang'an in the palace of Huangzhong should accompany silk presentation and Zhang'an libation presentation. Another edict specified that when the emperor personally visited Empress Zhangxian's chamber at the Compassionate Temple, Da'an should accompany presentation of the jade cup and Hou'an libation presentation; and for Empress Zhangyi's chamber, Bao'an for jade-cup presentation and Yan'an for libation presentation. For the emperor's entry and exit he composed Qian'an, replacing the old Long'an hymn. For regular sacrifices: at the winter solstice at the Round Altar with Taizu as associate, Ding'an in the palace of Huangzhong accompanied silk presentation and Ying'an libation presentation; in early spring at the Lord of Life-Generation with Xuanzu as associate, Huang'an in the palace of Taicu accompanied silk presentation and Su'an libation presentation; at the prayer-for-grain sacrifice to August Heaven with Taizong as associate, Ren'an accompanied silk presentation and Shao'an libation presentation; in early summer at the rain-prayer to the Supreme Lord with Taizu as associate, Xian'an in the palace of Zhonglü accompanied silk presentation and Gan'an libation presentation; at the summer solstice to the Empress of Earth with Taizu as associate, Gong'an in the palace of Ruibin accompanied silk presentation and Ying'an libation presentation; in late autumn at the great feast in the Bright Hall with Zhenzong as associate, Cheng'an in the palace of Wushe accompanied silk presentation and De'an libation presentation; in early winter at the Spirit Land Earth Empress with Taizong as associate, Hua'an in the palace of Yingzhong accompanied silk presentation and Shao'an libation presentation. He also composed Chong'an, developing it through seven modes into eighty-four settings, with pitch charts delivered to officials; Chong'an alone had not yet been put into practice. He personally composed twenty-one suburban and temple hymns in a celebratory style to address the spirits, and ordered chief ministers including Lü Yijian to compose additional hymns for use across the various sacrifices.
43
又為景祐樂髓新經，凡六篇：第一，釋十二均； 第二，明所主事； 第三，辨音聲； 第四，圖律呂相生，?祭天地、宗廟用律及陰陽數配； 第五，十二管長短； 第六，歷代度、量、衡。 皆本之於陰陽，配之於四時，建之於日辰，通之於鞮笁，演之於壬式遁甲之法，以授樂府，以考正聲，以賜羣臣焉。
He also compiled the Jingyou New Classic on the Marrow of Music in six sections: first, explaining the twelve modes; second, clarifying the matters each mode governs; third, distinguishing sounds and tones; fourth, diagramming the mutual generation of pitch pipes and modes, together with the pitches used in sacrifices to Heaven and Earth and the ancestral temple and their yin-yang numerical correspondences; fifth, the lengths of the twelve pipes; sixth, measures, capacity, and weights through successive dynasties. All were grounded in yin and yang, aligned with the four seasons, established by day and hour, extended through the Diqiang pipes, and developed by Renshi and Dunjia methods, then delivered to the Music Office to verify the proper tones and bestowed upon the court.
44
初，照等改造金石所用員程凡七百十四：攻金之工百五十三，攻木之工二百十六，攻皮之工四十九，刮摩之工九十一，搏埴之工十六，設色之工百八十九。 起五月，止九月，成金石具七縣。 至於鼓吹及十二案，悉修飾之。 令冠卿等纂景祐大樂圖二十篇，以載鎔金鑢石之法、歷世八音諸器異同之狀、新舊律管之差。 是月，與新樂?獻於崇政殿，詔中書、門下、樞密院大臣預觀焉。 自董監而下至工徒凡七百餘人，進秩賞賜各有差。 其年十一月，有事南郊，悉以新樂衞聖製及諸臣樂章用之。
When Zhao and his colleagues remade the metal and stone instruments, the labor quotas totaled 714 workers: 153 metalworkers, 216 woodworkers, 49 leatherworkers, 91 polishers, 16 clay workers, and 189 color workers. Work began in the fifth month and ended in the ninth, completing the metal and stone instruments for seven suspended ensembles. The wind-and-percussion ensemble and the twelve cases were also fully refurbished. Nie Guanqing and colleagues were ordered to compile twenty sections of the Jingyou Diagram of Great Music, recording methods of casting metal and shaping stone, the forms of the eight-tone instruments across history, and differences between old and new pitch pipes. That month the new music was presented at the Chongzheng Hall, and chief ministers of the Secretariat, Chancellery, and Bureau of Military Affairs were summoned to observe. More than seven hundred people, from directors and supervisors down to artisans, received rank advancement and rewards according to merit. When the southern suburban sacrifice was performed that November, the new music was used throughout, together with the emperor's own compositions and the ministers' hymns.
45
先是，左司諫姚仲孫言：「照所製樂多詭異，至如煉白石以為磬，範中金以作鍾，又欲以三辰、五靈為樂器之飾。 臣愚，竊有所疑。 自祖宗考正大樂，薦之郊廟，垂七十年，一旦黜廢而用新器，臣竊以為不可。」 御史曹脩睦亦為言。 帝既許照制器，且欲究其術之是非，故不聽焉。
Earlier, Left Remonstrance Official Yao Zhongsun had argued: "Li Zhao's music is largely unorthodox— refining white stone into sounding-stones, casting gold into bells, and proposing to ornament the instruments with the Three Celestial Bodies and Five Auspicious Creatures. Your subject, though unworthy, harbors private doubts. Since the founders examined and corrected the great music and presented it at the suburban altars and temples, nearly seventy years have passed; to discard it overnight for new instruments seems to me inadmissible. Censor Cao Xiumu made a similar argument. The emperor had already approved Zhao's instruments and wished to test whether his methods were sound, so he did not heed the objections.