Volume 127 Treatises 80: Music 2

景祐三年七月，馮元等上新修《景祐廣樂記》八十一卷，詔翰林學士丁度、知制誥胥偃、直史館高若訥、直集賢院韓琦取鄧保信、阮逸、胡瑗等鍾律，詳定得失可否以聞。

In the seventh month of Jingyou 3, Feng Yuan and others submitted the newly revised Records of Jingyou Broad Music in eighty-one volumes. The throne ordered Hanlin Academician Ding Du, drafter of imperial edicts Xu Yan, duty historian at the Historiography Institute Gao Ruone, and duty scholar at the Hall of Assembled Eminences Han Qi to review the pitch standards of Deng Baoxin, Ruan Yi, Hu Yuan, and others, determine what was sound or flawed and what might be adopted, and report back.

九月，阮逸言：“臣等所造鍾磬皆稟於馮元、宋祁，其分方定律又出於胡瑗算術，而臣獨執《周禮》嘉量聲中黃鍾之法及《國語》鈞鍾弦準之製，皆抑而不用。臣前蒙召對，言王樸律高而李照鍾下。竊睹御製《樂髓新經曆代度量衡》篇，言《隋書》依《漢志》黍尺製管，或不容千二百，或不啻九寸之長，此則明班《志》已後，曆代無有符合者。惟蔡邕銅龠本得於《周禮》遺範，邕自知音，所以隻傳銅龠，積成嘉量，則是聲中黃鍾而律本定矣。謂管有大小長短者，蓋嘉量既成，即以量聲定尺明矣。今議者但爭《漢志》黍尺無準之法，殊不知鍾有鈞、石、量、衡之製。況《周禮》、《國語》，姬代聖經，翻謂無憑，孰為稽古？有唐張文收定樂，亦鑄銅甌，此足驗周之嘉量以聲定律明矣。臣所以獨執《周禮》鑄嘉量者，以其方尺深尺，則度可見也；其容一鬴，則量右見也；其重鈞，則衡可見也；聲中黃鍾之宮，則律可見也。既律、度、量、衡如此符合，則製管歌聲，其中必矣。臣昧死欲乞將臣見鑄成銅甌，再限半月內更鑄嘉量，以其聲中黃鍾之宮，乃取李照新鍾就加修整，務合周製鍾量法度。文字已編寫次，未敢具進。 ”詔送度等並定以聞。

In the ninth month, Ruan Yi memorialized: "The bells and chime-stones we made were all overseen by Feng Yuan and Song Qi, and the method of assigning squares and setting pitch laws came from Hu Yuan's mathematics. Yet I alone insisted on the Rites of Zhou method whereby the Jialiang sounds Huangzhong and on the Discourses of the States system of tuned bells and string pitch standards — and all of this was set aside and rejected. When I was previously summoned to audience, I stated that Wang Pu's pitch standard ran high while Li Zhao's bell tones ran low. I have read Your Majesty's own essay on successive dynasties' measures in the Musical Essence New Classic, which observes that the Book of Sui, following the Han Treatise's millet-measure standard in making pipes, sometimes could not hold twelve hundred grains and sometimes exceeded nine inches in length. This makes clear that since the Han Treatise, no later age has produced a standard that truly matched it. Only Cai Yong's bronze yue tube truly preserved the surviving model of the Rites of Zhou. Yong himself was a master of pitch, which is why he transmitted only the bronze yue tube: once it was accumulated into the Jialiang, the sound matched Huangzhong and the foundation of pitch was established. Those who argue that pipes differ in size and length miss the point: once the Jialiang is complete, the measure's sound itself fixes the ruler, and the principle is plain. Today's debaters quarrel only over the Han Treatise's millet-measure method, which lacks a fixed standard, and fail to see that bell tones rest on integrated systems of tuning weights, stone weights, measures, and balances. The Rites of Zhou and the Discourses of the States are sacred classics of the Zhou house; to dismiss them as groundless is hardly what anyone would call examining antiquity. In the Tang dynasty, Zhang Wenshou fixed the music and also cast bronze ou vessels — enough proof that the Zhou Jialiang established pitch through sound, as the principle requires. I insist on casting the Jialiang according to the Rites of Zhou because, with its one square foot across and one foot deep, the standard of length is made visible; with its capacity of one fu, the proper measure is visible; with its weight of one jun, the standard of balance is visible; when it sounds the palace tone of Huangzhong, the pitch standard itself is visible. Once pitch, length, measure, and weight align in this way, pipes and song will necessarily fall into true pitch. At the risk of my life, I beg permission to use the bronze ou I have already cast, and within another fortnight to cast a new Jialiang. Once its sound matches the palace tone of Huangzhong, Li Zhao's new bell should be adjusted and trimmed until it conforms to the Zhou system's standards for bells and measures. The written account has already been drafted in order, but I have not yet dared to submit it in full. " The throne ordered the memorial sent to Ding Du and the others for joint review and report.

十月，度等言：“據鄧保信黍尺二，其一稱用上黨黍圓者一黍之長，累百成尺，與蔡邕合。臣等檢詳前代造尺，皆以一黍之廣為分，唯後魏公孫崇以一黍之長累為寸法，太常劉芳以黍中者一黍之廣即為一分，中尉元匡以一黍之廣度黍二縫以取一分，三家競不能決。而蔡邕銅龠，本誌中亦不明言用黍長廣累尺。今將保信黃鍾管內黍二百粒以黍長為分，再累至尺二條，比保信元尺一長五黍，一長七黍，又律管黃鍾龠一枚，容黍千二百粒，以元尺比量，分寸略同。復將實龠黍再累者校之，即又不同。其龠、合、升、鬥亦皆類此。又阮逸、胡瑗鍾律法黍尺，其一稱用上黨羊頭山黍中者累廣求尺，製黃鍾之聲。臣等以其大黍百粒累廣成尺，復將管內二百粒以黍廣為分，再累至尺二條，比逸等元尺一短七黍，一短三黍。蓋逸等元尺並用一等大黍，其實管之黍大小不均，遂致差異。又其銅律管十二枚，臣等據楚衍等圍九方分之法，與逸等元尺及所實龠黍再累成尺者校之，又各不同。又所製銅稱二量亦皆類此。臣等看詳其鍾、磬各一架，雖合典故，而黍尺一差，難以定奪。 ”又言：“太祖皇帝嚐詔和峴等用景表尺典修金石，七十年間，薦之郊廟，稽合唐製，以示詒謀。則可且依景表舊尺，俟天下有妙達鍾律之學者，俾考正之，以從周、漢之製。其阮逸、胡瑗、鄧保信並李照所用太府寺等尺及阮逸狀進《周禮》度量法，其說疏舛，不可依用。”

In the tenth month, Ding Du and his colleagues reported: "According to Deng Baoxin's second millet-measure standard, one version uses the length of a single round Shangdang millet grain, accumulated a hundred times to make a foot — and this agrees with Cai Yong. We examined how rulers were made in earlier ages. All used the width of one millet grain as a fen, except that Gongsun Chong of Later Wei accumulated millet lengths to define inches; Liu Fang, Director of Ceremonies, took the width of one middling millet grain as one fen; and Yuan Kuang, Commandant of Guards, measured one millet grain across two gaps to obtain one fen. The three schools disputed one another and could not settle the matter. Even in the original records of Cai Yong's bronze yue tube, there is no clear statement that a foot was built up by accumulating millet length or width. We took the two hundred millet grains inside Deng Baoxin's Huangzhong pipe, used millet length as the fen unit, and accumulated them into two one-foot strips. Compared with Deng Baoxin's original foot, one strip was five grains longer and one seven grains longer. A single Huangzhong yue pitch pipe, moreover, holds twelve hundred millet grains; measured against the original foot, its fen and cun divisions were roughly the same. When we checked again against a foot built up from the actual millet grains of the yue tube, the results differed once more. The yue, he, sheng, and dou vessels all showed the same kind of discrepancy. Ruan Yi and Hu Yuan's millet-measure standard for bell pitch law likewise had one version that accumulated the width of middling millet grains from Shangdang's Yangtoushan to obtain a foot and produce the Huangzhong tone. We accumulated a hundred large millet grains by width to make a foot, then took the two hundred grains inside the pipe, used millet width as the fen unit, and built two one-foot strips. Compared with Ruan Yi and his colleagues' original foot, one strip was seven grains shorter and one three grains shorter. This happened because Ruan Yi and his colleagues' original foot used only one grade of large millet, whereas the grains actually inside the pipe varied unevenly in size, which produced the discrepancy. Their twelve bronze pitch pipes, moreover, were checked by us according to Chu Yan's method of circumference nine and square fen against Ruan Yi's original foot and against feet built up from the actual yue millet grains — and again none agreed. The two copper balance weights they made showed the same problem throughout. We reviewed their one frame each of bells and chime-stones. Although they accorded with classical precedent, a single discrepancy in the millet-measure foot made a final judgment impossible. " They added: "Emperor Taizu once ordered He Ning and others to use the shadow-table standard in the canonical repair of metal and stone instruments. For seventy years those instruments were used at suburban and temple altars, checked against Tang practice, as guidance for posterity. For the present, the court may provisionally follow the old shadow-table standard and wait until someone in the realm truly masters bell-pitch learning, then commission a correction to restore the Zhou and Han systems. The standards used by Ruan Yi, Hu Yuan, Deng Baoxin, and Li Zhao from the Grand Treasury Bureau and elsewhere, together with Ruan Yi's memorial presenting the Rites of Zhou measure methods, are loose and mistaken and should not be adopted.

五年五月，右司諫韓琦言：“臣前奉詔詳定鍾律，嚐覽《景祐廣樂記》，睹照所造樂不依古法，皆率己意別為律度，朝廷因而施用，識者非之。今將親祀南郊，不可重以違古之樂上薦天地、宗廟。竊聞太常舊樂見有存者，郊廟大禮，請復用之。 ”詔資政殿大學士宋綬、三司使晏殊同兩製官詳定以聞。七月，綬等言：“李照新樂比舊樂下三律，眾論以為無所考據。願如琦請，郊廟復用和峴所定舊樂，鍾磬不經鐫磨者猶存三縣奇七虡，郊廟、殿庭可以更用。 ”太常亦言：“舊樂，宮縣用龍鳳散鼓四面，以應樂節，李照廢而不用，止以晉鼓一面應節。舊樂，建鼓四，並鞞、應共十二面，備而不擊，李照以四隅建鼓與鎛鍾相應擊之。舊樂，雷鼓兩架各八面，止用一人考擊，李照別造雷鼓，每麵各用一人椎鼓，順天左旋，三步一止，又令二人搖鞉以應之。又所造大竽、大笙、雙鳳管、兩儀琴、十二弦琴並行。今既復用舊樂，未審照所作樂器制度，合改與否？ ”詔：“悉仍舊制，其李照所作，勿復施用。”

In the fifth month of the fifth year, Right Remonstrating Censor Han Qi memorialized: "When I was previously ordered to review the pitch standards, I read the Records of Jingyou Broad Music and found that the music Li Zhao made did not follow ancient methods but followed his own ideas in setting separate pitch measures. The court adopted it anyway, and informed observers objected. The emperor is about to sacrifice personally at the Southern Suburban Altar. We cannot again offer Heaven, Earth, and the ancestral temples music that departs from antiquity. I understand that portions of the Court of Ceremonies' former music still survive. For the great suburban and temple rites, I ask that they be restored. " The throne ordered Grand Academician Song Shou of the Hall of Resources for Governance and Fiscal Commissioner Yan Shu, together with officials of the Two Drafting Offices, to review the matter and report. In the seventh month, Song Shou and his colleagues reported: "Li Zhao's new music is three pitch steps lower than the old music, and public opinion holds that it lacks any authoritative basis. As Han Qi requested, we ask that suburban and temple rites restore the old music fixed by He Ning. Bells and chime-stones that have not been chiseled or filed still survive in three complete suspended sets plus seven ju frames, and these may again be used at suburban altars, temple altars, and palace courts. " The Court of Ceremonies added: "In the old music, the palace ensemble used dragon-and-phoenix scattered drums on four sides to mark the musical beats. Li Zhao abolished them and used only a single Jin drum on one side to mark the beat. In the old music there were four established drums, together with side and answering drums — twelve faces in all, kept in readiness but not struck. Li Zhao had the four corner established drums struck in alternation with the bofu bells. In the old music, thunder drums stood in two frames of eight faces each, with only one person assigned to conduct and strike them. Li Zhao made new thunder drums and assigned one drummer to each face, turning left with the heavens, stopping every three steps, and also ordered two men to shake tao drums in response. He also introduced large yu, large sheng, double phoenix pipes, liangyi qin, and twelve-string qin, all used together. Now that the old music is to be restored, should the instruments Li Zhao devised be altered, or not? " An edict replied: "Everything is to follow the old system. What Li Zhao made must not be used again.

康定元年，阮逸上《鍾律製議》並圖三卷。皇祐二年五月，明堂禮儀使言：“明堂所用樂皆當隨月用律，九月以無射為均，五天帝各用本音之樂。 ”於是內出明堂樂曲及二舞名：迎神曰《誠安》；皇帝升降行止曰《儀安》；昊天上帝、皇地祇、神州地祇位奠玉幣曰《鎮安》，酌獻曰《慶安》；太祖、太宗、真宗位奠幣曰《信安》，酌獻曰《孝安》，司徒奉俎曰《饎安》；五帝位奠玉幣曰《鎮安》，酌獻曰《精安》，皇帝飲福曰《胙安》；退文舞、迎武舞、亞獻、終獻皆曰《穆安》，徹豆曰《歆安》，送神曰《誠安》歸大次曰《憩安》；文舞曰《右文化俗》，武舞曰《威功睿德》。又出禦撰樂章《鎮安》、《慶安》、《信安》、《孝安》四曲，餘詔輔臣分撰。庚戌，詔：“禦所撰樂曲名與常祀同者，更之。 ’遂更常所用圜丘寓祭明堂《誠安之曲》曰《宗安》，祀感生帝《慶安》之曲曰《光安》，奉慈廟《信安之曲》曰《慈安》。

In Kangding 1, Ruan Yi submitted his Discourse on Making Pitch Standards, together with three volumes of diagrams. In the fifth month of Huangyou 2, the Commissioner of Bright Hall Rites reported: "The music used in the Bright Hall should follow the pitch law of each month. In the ninth month Wushe serves as the key, and each of the Five Heavenly Emperors should use music in its own proper tone. " Thereupon the palace issued the Bright Hall musical pieces and the names of two dances: for welcoming the spirits, "Cheng An"; for the emperor's ascent, descent, movement, and pauses, "Yi An"; for placing jade silks at the seats of August Heaven, August Earth, and the Spirit Lord of the Central Land, "Zhen An"; for libation offerings, "Qing An"; for placing silks at the seats of Taizu, Taizong, and Zhenzong, "Xin An"; for libation offerings, "Xiao An"; for the Minister of Education presenting the sacrificial meat, "Chi An"; for placing jade silks at the seats of the Five Emperors, "Zhen An"; for libation offerings, "Jing An"; for the emperor drinking the blessing, "Zuo An"; for withdrawing the civil dance, welcoming the martial dance, the secondary offering, and the final offering, all "Mu An"; for removing the beans, "Xin An"; for sending off the spirits, "Cheng An"; for returning to the great tent, "Qi An"; The civil dance was titled "Right Culture Transforming Custom"; the martial dance was titled "August Merit and Wise Virtue." The palace also issued four imperially composed hymn texts — "Zhen An," "Qing An," "Xin An," and "Xiao An" — and ordered the remaining texts distributed among senior ministers for separate composition. On the gengxu day, an edict ordered: "Where the names of the imperially composed musical pieces duplicate those used in regular sacrifices, they are to be changed. ' Accordingly, the "Cheng An" hymn regularly used when the Round Mound sacrifice was performed by proxy at the Bright Hall was renamed "Zong An"; the "Qing An" hymn for the sacrifice to the Emperor of Generative Life became "Guang An"; and the "Xin An" hymn for the Ci Temple became "Ci An."

六月，內出禦撰明堂樂八曲，以君、臣、民、事、物配屬五音，凡二十聲為一曲；用宮變、徵變者，天、地、人、四時為七音，凡三十聲為一曲；以子母相生，凡二十八聲為一曲：皆黃鍾為均。又明堂月律五十七聲為二曲，皆無射為均；又以二十聲、二十八聲、三十聲為三曲，亦無射為均，皆自黃鍾宮入無射。如合用四十八或五十七聲，即依前譜次第成曲，其徹聲自同本律。及禦撰鼓吹、警嚴曲、合宮歌並肄於太常。

In the sixth month, the palace issued eight imperially composed Bright Hall pieces. Ruler, ministers, people, affairs, and things were assigned to the five tones, with twenty notes forming one piece; where gong mutation and zhi mutation were used, heaven, earth, man, and the four seasons formed seven tones, with thirty notes making one piece; using mother-and-son mutual generation, twenty-eight notes formed one piece — all with Huangzhong as the key. There were also two Bright Hall pieces based on the monthly pitch law, of fifty-seven notes each, all with Wushe as the key; and three further pieces of twenty, twenty-eight, and thirty notes, likewise with Wushe as the key, all proceeding from Huangzhong palace into Wushe. Where forty-eight or fifty-seven notes were required, the piece was completed in sequence according to the preceding score, with the closing note naturally matching its root pitch standard. The imperially composed drum-and-pipe music, guard-of-honor pieces, and combined palace songs were all rehearsed at the Court of Ceremonies.

是月，翰林學士承旨王堯臣等言：

That same month, Hanlin Academician Chief Wang Yao and his colleagues reported:

奉詔與參議阮逸所上編鍾四清聲譜法，請用之於明堂者。竊以律呂旋宮之法既定以管，又製十二鍾準為十二正聲，以律計自倍半。說者云：“半者，準正聲之半，以為十二子聲之鍾，故有正聲、子聲各十二。 ”子聲即清聲也。其正管長者為均，自用正聲；正管短者為均，則通用子聲而成五音。然求聲之法，本之於鍾，故《國語》所謂“度律均鍾”者也。

We were ordered to consult on Ruan Yi's submitted method for scoring the four qing tones of the arranged bells, which he proposed for use in the Bright Hall. We hold that once the method of rotating the palace through the pitch tubes is established by the pipe, twelve bell standards are also made as twelve primary tones, calculated by pitch in double and half relations. Expositors say: "By 'half' is meant half of the primary-tone standard, used to make the twelve zi-tone bells. Thus there are twelve primary tones and twelve zi tones. " The zi tone is the qing tone. When the primary pipe is long and serves as the key, the primary tone alone is used; when the primary pipe is short and serves as the key, the zi tones are used generally to complete the five tones. Yet the method of deriving tones is rooted in the bell — hence the Discourses of the States speaks of "measuring pitch and tuning bells."

其編金石之法，則曆代不同，或以十九為一虡者，蓋取十二鍾當一月之辰，又加七律焉；或以二十一為一虡者，以一均聲更加濁倍；或以十六為一虡者，以一均清、正為十四，宮、商各置一，是謂“縣八用七”也；或以二十四為一虡，則清、正之聲備。故唐製以十六數為小架，二十四為大架，天地、宗廟、朝會各有所施。

The method of arranging metal and stone instruments differed from age to age. Some used nineteen bells for one ju frame — taking twelve bells to match the months of the year and adding seven pitch steps; some used twenty-one for one ju, adding one muddy double to a key tone; some used sixteen for one ju, taking qing and primary tones of one key as fourteen and placing one each for gong and shang — this is what is meant by "eight suspended using seven"; some used twenty-four for one ju, in which qing and primary tones were fully provided. Accordingly, the Tang system used sixteen bells for a small frame and twenty-four for a large frame, with separate arrangements for rites to Heaven and Earth, ancestral temples, and court assemblies.

今太常鍾縣十六者，舊傳正聲之外有黃鍾至夾鍾四清聲，雖於圖典未明所出，然考之實有義趣。蓋自夷則至應鍾四律為均之時，若盡用正聲，則宮輕而商重，緣宮聲以下，不容更有濁聲。一均之中，宮弱商強，是謂陵僭，故須用子聲，乃得長短相敘。自角而下，亦循茲法。故夷則為宮，則黃鍾為角；南呂為宮，則大呂為角；無射為宮，則黃鍾為商、太簇為角；應鍾為宮，則大呂為商、夾鍾為角。蓋黃鍾、大呂、太簇、夾鍾正律俱長，並當用清聲，如此則音律相諧而無所抗，此四清聲可用之驗也。至他律為宮，其長短、尊卑自序者，不當更以清聲間之。

The Court of Ceremonies' sixteen-bell frame, by old transmission, includes four qing tones from Huangzhong to Jiazhong beyond the primary tones. Although canonical diagrams do not clearly explain their origin, examination shows real rationale behind them. When the four pitch steps from Yize to Yingzhong serve as keys, using only primary tones throughout makes gong light and shang heavy, for below gong there is no room for further muddy tones. Within a single key, weak gong and strong shang constitute what is called overstepping proper rank; therefore zi tones must be used so that long and short tones fall into proper order. From jue downward, the same principle applies. Thus when Yize serves as gong, Huangzhong serves as jue; when Nanlü serves as gong, Dalü serves as jue; when Wushe serves as gong, Huangzhong serves as shang and Taicu as jue; when Yingzhong serves as gong, Dalü serves as shang and Jiazhong as jue. Huangzhong, Dalü, Taicu, and Jiazhong are all long primary pitch steps and should therefore use qing tones. In this way pitch and tone harmonize without conflict — and this is the proof that these four qing tones may be used. When other pitch steps serve as gong and long and short, high and low already fall into proper order, qing tones should not be inserted among them.

自唐末世，樂文墜缺，考擊之法久已不傳。今若使匏、土、絲、竹諸器盡求清聲，即未見其法。又據大樂諸工所陳，自磬、簫、琴、和、巢笙五器本有清聲，塤、篪、竽、築、瑟五器本無清聲，五弦阮、九弦琴則有太宗皇帝聖製譜法。至歌工引音極唱，止及黃鍾清聲。

Since the late Tang, musical texts have been lost and the methods of examination and striking have long ceased to be transmitted. If gourd, clay, silk, and bamboo instruments were all required to produce qing tones, no established method for doing so is yet visible. According to the great music artisans, chime-stone, xiao, qin, he, and nest-sheng originally possess qing tones; xun, chi, yu, zhu, and se originally lack them; and the five-string ruan and nine-string qin have scoring methods composed by Emperor Taizong himself. As for singers carrying the melody to its highest pitch, they reach only to the qing tone of Huangzhong.

臣等參議，其清、正二聲既有典據，理當施用。自今大樂奏夷則以下四均正律為宮之時，商、角依次並用清聲，自餘八均盡如常法。至於絲、竹等諸器舊有清聲者，令隨鍾石教習；本無清聲者，未可創意求法，且當如舊。惟歌者本用中聲，故夏禹以聲為律，明人皆可及。若強所不至，足累至和。請止以正聲作歌，應合諸器亦自是一音，別無差戾。其阮逸所上聲譜，以清濁相應，先後互擊，取音靡曼，近於鄭聲，不可用。

After consultation, we hold that since qing and primary tones both have canonical authority, they should by right be applied. Henceforth, whenever great music plays the four keys below Yize with primary pitch steps as gong, shang and jue should in sequence use qing tones; the remaining eight keys should follow the usual method. As for silk, bamboo, and other instruments that originally possessed qing tones, they should be taught to follow the bells and stones in performance; those that originally lacked qing tones cannot yet be made to produce them by newly devised methods and should for now remain as before. Singers, however, originally use the middle register; as Yu of Xia used human voice as the pitch standard, it is clear that everyone can reach it. To force what cannot be reached would only impair perfect harmony. We ask that songs use only primary tones; the instruments that should match them will naturally remain of one tone, with no separate discrepancy. The sound score Ruan Yi submitted, with qing and muddy tones answering one another and struck alternately in sequence, produces tones that are soft and lingering and approach the music of Zheng — and cannot be used.

詔可。

The edict approved it.

七月，禦撰明堂無射宮樂曲譜三，皆五十七字，五音一曲，奉俎用之；二變七律一曲，飲福用之；七律相生一曲，退文舞、迎武舞及亞獻、終獻、徹豆用之。

In the seventh month, the throne issued three imperially composed Bright Hall musical scores in the Wushe-gong mode, each of fifty-seven notes: one piece built from five tones, for the presentation of sacrificial meat; one piece with two mutations and seven tones, for drinking the blessing wine; and one piece of seven mutually generating tones, for withdrawing the civil dance, welcoming the martial dance, the secondary and final offerings, and removing the bean dishes.

是月，上封事者言：“明堂酌獻五帝《精安之曲》，並用黃鍾一均聲，此乃國朝常祀、五時迎氣所用舊法，若於親行大饗，即所未安。且明堂之位，木室在寅，火室在巳，金室在申，水室在亥，蓋木、火、金、水之始也；土室在西南，蓋土王之次也。既皆用五行本始所王之次，則獻神之樂亦當用五行本始月律，各從其音以為曲。其《精安》五曲，宜以無射之均；太簇為角，獻青帝；仲呂為徵，獻赤帝；林鍾為宮，獻黃帝；夷則為商，獻白帝；應鍾為羽，獻黑帝。 ”詔兩製官同太常議，而堯臣等言：“大饗日迫，事難猝更。 ”詔俟過大禮，詳定以聞。

That month, a memorialist submitted: "At the Bright Hall, the libation offerings to the Five Emperors use the hymn 'Perfect Peace,' all in a single Huangzhong key — the established method for the dynasty's regular sacrifices and the five-season welcoming of qi. For the emperor's personal performance of the grand feast sacrifice, this would be unsuitable. Moreover, at the Bright Hall the Wood chamber stands at yin, the Fire chamber at si, the Metal chamber at shen, and the Water chamber at hai — marking the beginnings of Wood, Fire, Metal, and Water; the Earth chamber stands in the southwest, marking the season when Earth holds sway. Since the layout already follows the sequence in which the Five Phases originally hold sway, the offering music ought likewise to use the monthly pitch pipes of each Phase's original beginning, with each hymn composed in its corresponding tone. The five 'Perfect Peace' hymns should be set in the Wushe key; with Taichu as jue for the Green Emperor; Zhonglü as zhi for the Red Emperor; Linzhong as gong for the Yellow Emperor; Yize as shang for the White Emperor; and Yingzhong as yu for the Black Emperor. An edict ordered the Two Drafting Offices and the Court of Ceremonies to deliberate together. Wang Yao Chen and others replied: "The grand feast is imminent, and the rite cannot be abruptly revised. The edict replied: after the great ceremony, examine the matter fully and report.

九月，帝服靴袍，禦崇政殿，召近臣、宗室、館閣、台諫官閱雅樂，自宮架、登歌、舞佾之奏凡九十一曲遍作之，因出太宗琴、阮譜及禦撰明堂樂曲音譜，並按習大樂新錄，賜群臣。又出新製頌塤、匏笙、洞簫，仍令登歌以八音諸器各奏一曲，遂召鼓吹局按警場，賜大樂、鼓吹令丞至樂工徒吏緡錢有差。帝既閱雅樂，謂輔臣曰：“作樂崇德，薦之上帝，以配祖考。今將有事於明堂，然世鮮知音，其令太常並加講求。 ”時言者以為鎛鍾、特磬未協音律，詔令鄧保信、阮逸、盧昭序同太常檢詳典禮，別行鑄造。太常薦太子中舍致仕胡瑗曉音，詔同定鍾磬制度。

In the ninth month, the emperor, dressed in boots and robe, proceeded to Chongzheng Hall and summoned close ministers, members of the imperial clan, institute and pavilion scholars, and remonstrating censors to review the court music. The suspended ensemble, ascent singing, and dance rows performed all ninety-one pieces in full. He then presented Taizong's qin and ruan scores and his own Bright Hall musical pitch scores, rehearsed the newly recorded great music, and bestowed them upon the assembled ministers. He also unveiled newly made song xun, gourd sheng, and vertical flutes, and had the ascent singers perform one piece on each instrument of the eight categories of sound. The drum-and-wind bureau was then summoned to rehearse the guard field music, and graded gifts of cash were bestowed on the directors and vice-directors of great music and drum-and-wind, down to the musicians, attendants, and clerks. After reviewing the court music, the emperor said to his chief ministers: "Music is made to exalt virtue, offered to August Heaven, and paired with the ancestors. We are about to perform rites at the Bright Hall, yet few in this age truly understand pitch. Order the Court of Ceremonies to pursue the matter with all diligence. Critics at the time held that the set bells and single chime-stones did not accord with pitch law. An edict ordered Deng Baoxin, Ruan Yi, and Lu Zhaoxu, together with the Court of Ceremonies, to examine the canonical rites in detail and cast new instruments separately. The Court of Ceremonies recommended Hu Yuan, a retired Vice Director of the Palace Secretariat versed in pitch, and an edict ordered him to join them in fixing the bell and chime-stone system.

閏十一月，詔曰：“朕聞古者作樂，本以薦上帝、配祖考，三、五之盛，不相沿襲，然必太平，始克明備。周武受命，至成王時始大合樂；漢初亦沿舊樂，至武帝時始定泰一、後土樂詩；光武中興，至明帝時始改“大予”之名；唐高祖造邦，至太宗時孝孫、文收始定鍾律，明皇方成唐樂。是知經啟善述，禮樂重事，須三四世，聲文乃定。

In the intercalary eleventh month, an edict declared: "We have heard that in antiquity music was made above all to offer to August Heaven and pair with the ancestors. The glories of the Three Dynasties and Five Emperors did not simply follow one upon another, yet only in ages of great peace could music be brought to full clarity and completion. King Wu of Zhou received the Mandate, yet music was not fully consolidated until the reign of King Cheng; At the founding of Han the court likewise followed the old music; only under Emperor Wu were the hymns of Grand Unity and Queen Earth established; When Guangwu restored the dynasty, the name 'Grandee of Music' was not changed until the reign of Emperor Ming; Tang Gaozu founded the realm, yet bell pitch was not fixed until the reign of Taizong, when Zhang Xiaosun and Zhang Wenshou did so; only under Emperor Ming was Tang music fully completed. This shows that rites and music are weighty matters, opened through goodness and completed through transmission: three or four generations are needed before sounds and texts are truly fixed.

國初亦循用王樸、竇儼所定周樂，太祖患其聲高，遂令和峴減一律，真宗始議隨月轉律之法，屢加按核。然念《樂經》久墜，學者罕傳，曆古研覃，亦未究緒。頃雖博加訪求，終未有知聲、知經可信之人。嚐為改更，未適茲意。中書門下其集兩製及太常禮樂官，以天地、五方、神州、日月、宗廟、社蠟祭享所用登歌、宮縣，審定聲律是非，按古合今，調諧中和，使經久可用，以發揚祖宗之功德，朕何憚改為？但審聲、驗書，二學鮮並，互詆胸臆，無所援據，慨然希古，靡忘於懷。”

At the dynasty's founding the court likewise followed the Zhou music established by Wang Pu and Dou Yan. Taizu found its pitch too high and ordered He Ning to lower it by one step. Zhenzong first proposed the method of rotating pitch by month, and the matter was repeatedly examined and verified. Yet we reflect that the Music Classic has long been lost, and few scholars still transmit it; though the subject has been studied across the ages, its principles have never been fully recovered. Although we have lately sought widely, we have still found no one trustworthy in both pitch and the classics. Revisions have been attempted before, yet none have satisfied our intent. Let the Secretariat and Chancellery assemble officials of the Two Drafting Offices and the Court of Ceremonies' ritual and music officers to examine the ascent singing and suspended ensembles used in sacrifices to Heaven and Earth, the Five Directions, the Central Land, sun and moon, ancestral temples, and the altars of soil and grain and seasonal rites — determine whether the pitch laws are sound or flawed, reconcile antiquity with the present, and harmonize them to perfect balance so that they may endure. To spread abroad the merit and virtue of the ancestors, what change would We hesitate to make? Yet the two disciplines of examining pitch and verifying texts are rarely united; their practitioners assail one another from private conviction, with nothing authoritative to cite. We sigh at this and long for antiquity, and the thought never leaves Our mind.

於是中書門下集兩製、太常官，置局於秘閣，詳定大樂。王堯臣等言：天章閣待制趙師民博通今古，願同祥定，及乞借參知政事高若訥所校十五等古尺。並從之。

Thereupon the Secretariat and Chancellery assembled officials of the Two Drafting Offices and the Court of Ceremonies, established an office in the Secret Repository, and set about examining and fixing the great music in detail. Wang Yao Chen and others reported that Zhao Shimin, Palace Attendant-in-Waiting at the Hall of Heavenly Manifestations, was broadly versed in past and present and wished to join the review, and asked to borrow the fifteen-rank ancient ruler collated by Vice Grand Councilor Gao Ruone. Both requests were approved.

三年正月，詔徐、宿、泗、耀、江、鄭、淮陽七州軍采磬石，仍令諸路轉運司訪民間有藏古尺律者上之。二月，詔兩製及禮官參稽典制，議定國朝大樂名，中書門下審加詳閱以聞。初，胡瑗請太祖廟舞用幹戚，太宗廟兼用幹、羽，真宗廟用羽、龠，以象三聖功德。然議者謂國朝七廟之舞，名雖不同，而幹、羽並用，又廟製與古異。及瑗建言，止降詔定樂名而已。

In the first month of the third year, an edict ordered the prefectures and military commissions of Xu, Su, Si, Yao, Jiang, Zheng, and Huaiyang to gather chime-stone, and directed the transport commissions of each circuit to seek out private owners of ancient rulers and pitch pipes and submit them to the throne. In the second month, an edict ordered the Two Drafting Offices and ritual officers to consult the canonical institutions and determine a name for the dynasty's great music; the Secretariat and Chancellery were to review the proposal in detail and report. Earlier, Hu Yuan had proposed that the dance at Taizu's temple use shields and axes, at Taizong's temple both shields and feathers, and at Zhenzong's temple feathers and yue pipes, to symbolize the merit and virtue of the three sage emperors. Critics objected, however, that although the dances of the dynasty's seven ancestral temples bore different names, shields and feathers were used together in all of them, and the temple system itself differed from antiquity. When Yuan's proposal came forward, the throne issued only an edict fixing the music's name and nothing more.

七月，堯臣等言：“按太常天地、宗廟、四時之祀，樂章凡八十九曲，自《景安》而下七十五章，率以‘安’名曲，豈特本道德、政教嘉靖之美，亦緣神靈、祖考安樂之故。臣等謹上議，國朝樂宜名《大安》。 ”詔曰：“朕惟古先格王隨代之樂，亦既製作，必有稱謂，緣名以討義，由義以知德，蓋名者，德之所載，有行遠垂久之效焉。故《韶》以紹堯，《夏》以承舜，《》以救民，《武》以象伐，傳之不朽，用此道也。國家舉墜正失，典章交備，獨斯體大而有司莫敢易言之。朕憫然念茲，大懼列聖之休未能昭揭於天下之聽，是用申敕執事，還求博講而考定其衷。今禮官、學士迨三有事之臣，同寅一辭，以《大安》之議來復。且謂：藝祖之戡暴亂也，安天下之未安，其功大；二宗之致太平也，安天下之既安，其德盛；洎朕之承聖烈也，安祖宗之所安，其仁厚。祇覽所議，熟復於懷。恭惟神德之造基，神功之戢武，章聖恢清淨之治，衝人蒙成定之業，雖因世之跡各異，而靖民之道同歸。以之播鍾球、文羽籥、用諸郊廟、告於神明，曰‘大’且‘安’，誠得其正。”

In the seventh month, Wang Yao Chen and others reported: "According to the Court of Ceremonies, the hymn texts for sacrifices to Heaven and Earth, ancestral temples, and the four seasons number eighty-nine pieces in all. From 'Prosperous Peace' downward, seventy-five sections are mostly named with 'Peace.' This reflects not only the beauty of virtue, governance, and flourishing teaching, but also the peace in which spirits and ancestors dwell. We respectfully propose that the dynasty's music should be named 'Great Peace.' An edict replied: "We reflect that the music of successive dynasties under the ancient sage kings, once created, always received a name. From the name one seeks the meaning, and from the meaning one knows virtue; for a name is what virtue bears, and it has the power to reach far and endure. Thus Shao continued Yao, Xia succeeded Shun, Shang rescued the people, and Wu depicted conquest — they have been transmitted undying because they followed this principle. Our state has raised what had fallen and corrected what was lost until its institutions stand complete; yet this matter alone is so vast in scope that responsible officials have not dared lightly to propose a change. Moved by this, We greatly fear that the blessings of the successive sage emperors have not yet been fully revealed to all the world. We therefore charged Our officers anew to seek broad counsel and determine the true meaning. Now the ritual officers, academicians, and those charged with these three matters speak with one accord, returning with the proposal of 'Great Peace.' It went on to say that when the Founding Ancestor put down rebellion and brought peace to an unsettled realm, his achievement was supreme; that when the Two Ancestors achieved great peace and kept secure what was already secure, their virtue was sublime; and that now, as I inherit their sacred legacy and preserve what the ancestors preserved, my own benevolence runs deep. Having reverently read what was proposed, I have turned it over again and again in my mind. I reflect with reverence on the divine virtue that founded our house, the divine martial power that stilled the wars, Emperor Zhang's restoration of pure and tranquil rule, and the young emperor's inheritance of an already settled realm: though each age left its own mark, the path of bringing peace to the people leads to the same end. To set this forth in bells and chimes, feathered banners and reed pipes, to use it in suburban and ancestral rites and proclaim it before the spirits—to call it both Great and Tranquil is indeed the right name.

十二月，召兩府及侍臣觀新樂於紫宸殿，凡鎛鍾十二：黃鍾高二尺二寸半，廣一尺二寸，鼓六，鉦四，舞六，甬、衡並旋蟲高八寸四分，遂徑一寸二分，深一寸一厘，篆帶每麵縱者四，橫者四，枚景挾鼓與舞，四處各有九，每麵共三十六，兩欒間一尺四寸，容九斗九升五合，重一百六斤；大呂以下十一鍾並與黃鍾同製，而兩欒間遞減半分；至應鍾容九斗三升五合，而其重加至應鍾重一百四十八斤；並中新律本律。特磬十二：黃鍾、大呂股長二尺，博一尺，鼓三尺，博六寸九分寸之六，弦三尺七寸五分；太簇以下股長尺八寸，博九寸，鼓二尺七寸，博六寸，弦三尺三寸七分半，其聲各中本律。黃鍾厚二寸一分，大呂以下遞加其厚，至應鍾厚三寸五分。詔以其圖送中書。議者以為《周禮》：“大鍾十分其鼓間，以其一為之厚；小鍾十分其鉦間，以其一為之厚。 ”則是大鍾宜厚，小鍾宜薄。今大鍾重一百六斤，小鍾乃重一百四十八斤，則小鍾厚，非也。又：“磬氏為磬，倨句一矩有半，博為一，股為二，鼓為三。參分其股博，去其一以為鼓博；三分其鼓博，以其一為之厚。 ”今磬無博厚、無長短，亦非也。

In the twelfth month the Two Departments and attendant ministers were summoned to the Hall of Purple Brightness to hear the new music. There were twelve bo bells. The Yellow Bell stood two chi two and a half cun high and one chi two cun across, with six drum panels, four zheng panels, and six dance panels; stem, crossbar, and spiral-dragon finial together measured eight cun four fen; the nipple was one cun two fen across and one cun one li deep. On the inscribed band each face bore four vertical and four horizontal lines. Bosses and cross-struts bracketed the drum and dance panels—nine at each of four positions, thirty-six per face. The two suspension bars were one chi four cun apart. Capacity was nine dou nine sheng five he; weight, one hundred six jin. The eleven bells from Great Pipe downward followed the Yellow Bell's design, but the gap between the two suspension bars shrank by half a fen at each step; down to the Ying Bell, whose capacity was nine dou three sheng five he and whose weight rose step by step to one hundred forty-eight jin; Each bell struck true to its fundamental pitch under the new standard. There were twelve special stone chimes. For Yellow Bell and Great Pipe the thigh was two chi long and one chi wide, the soundbow three chi long and six cun nine and six-tenths of a fen wide, and the suspension cord three chi seven and a half cun; From Major Third downward the thigh measured one chi eight cun by nine cun, the soundbow two chi seven cun by six cun, and the suspension cord three chi three cun seven and a half fen; each chime sounded its proper fundamental. The Yellow Bell was two cun one fen thick; from Great Pipe down the chimes grew progressively thicker, reaching three cun five fen at the Ying Bell. An edict directed that the diagrams be sent to the Secretariat. Commentators cited the Rites of Zhou: "For a large bell, one-tenth of the drum interval gives the thickness; for a small bell, one-tenth of the zheng interval gives the thickness." By that rule the large bell ought to be thick and the small bell thin. Yet here the large bell weighs one hundred six jin and the small bell one hundred forty-eight—the small bell is the heavier one, which is wrong. They also cited: "The Chime Maker shapes chimes at an obtuse angle of one and a half right angles, with width as one, thigh as two, and soundbow as three." Take two-thirds of the thigh's width for the soundbow's width; divide the soundbow width into three and take one part as the thickness." Yet these chimes show no gradation in width, thickness, or length—another error.

五年四月，命參知政事劉沆、梁適監議大樂。是月，知制誥王洙奏：“黃鍾為宮最尊者，但聲有尊卑耳，不必在其形體也。言鍾磬依律數為大小之製者，經典無正文，惟鄭康成立意言之，亦自雲假設之法。孔穎達作疏，因而述之。據曆代史籍，亦無鍾磬依律數大小之說，其康成、穎達等即非身曾製作樂器。至如言‘磬前長三律，二尺七寸；後長二律，一尺八寸，是磬有大小之製’者，據此以黃鍾為律。臣曾依此法造黃鍾特磬者，止得林鍾律聲。若隨律長短為鍾磬大小之製，則黃鍾長二尺二寸半，減至應鍾，則形製大小比黃鍾才四分之一。又九月、十月以無射、應鍾為宮，即黃鍾、大呂反為商聲，宮小而商大，是君弱臣強之象。今參酌其鎛鍾、特磬制度，欲且各依律數，算定長短、大小、容受之數，仍以皇祐中黍尺為法，鑄大呂、應鍾鍾磬各一，即見形製、聲韻所歸。 ”奏可。

In the fourth month of year five, Vice Grand Councillors Liu Kang and Liang Shi were appointed to oversee the review of the great music. That month Drafting Officer Wang Shu submitted a memorial: "Yellow Bell as gong is the most exalted pitch, but that honor lies in the pitch itself, not in the instrument's size. The notion that bells and chimes should be sized by pitch ratios has no basis in canonical text. Only Zheng Xuan asserted it on his own, and even he admitted it was hypothetical. Kong Yingda followed him in his commentary. Historical records across the dynasties contain no precedent for sizing bells and chimes by pitch ratios, and neither Xuan nor Yingda ever made instruments themselves. As for the rule that "the chime's front spans three pitch-lengths, two chi seven cun; the back spans two pitch-lengths, one chi eight cun—so chimes come in graded sizes"—that calculation takes Yellow Bell as the standard pitch. When I once cast a Yellow Bell stone chime by this method, it sounded only Forest Bell. If bells and chimes were scaled to pitch length—Yellow Bell at two chi two and a half cun, tapering down to Ying Bell—the smallest would be only one-quarter the Yellow Bell's size. Moreover, in the ninth and tenth months, when Wushe and Ying Bell serve as gong, Yellow Bell and Great Pipe become shang—the tonic small and the shang large, an omen of a weak sovereign and powerful ministers. I propose, after reviewing the bo-bell and stone-chime regulations, to calculate length, size, and capacity for each pitch, using the Huangyou millet-foot as the standard, and cast one bell and one chime each for Great Pipe and Ying Bell to see where form and pitch actually fall. " The memorial was approved.

五月，翰林學士承旨王拱辰言：“奉詔詳定大樂，比臣至局，鍾磬已成。竊緣律有長短，磬有大小，黃鍾九寸最長，其氣陽，其象土，其正聲為宮，為諸律之首，蓋君德之象，不可並也。今十二鍾磬，一以黃鍾為率，與古為異。臣等亦嚐詢逸、瑗等，皆言‘依律大小，則聲不能諧。 ’故臣竊有疑，請下詳定大樂所，更稽古義參定之。 ”是月，知諫院李兌言：“曩者紫宸殿閱太常新樂，議者以鍾之形製未中律度，遂斥而不用，復詔近臣詳定。竊聞崇文院聚議，而王拱辰欲更前史之義，王洙不從，議論喧嘖。夫樂之道廣大微妙，非知音入神，豈可輕議？西漢去聖尚近，有制氏世典大樂，但能紀其鏗鏘，而不能言其義。況今又千餘年，而欲求三代之音，不亦難乎？且阮逸罪廢之人，安能通聖明述作之事？務為異說，欲規恩賞。朝廷製樂數年，當國財匱乏之時，煩費甚廣。器既成矣，又欲改為，雖命兩府大臣監議，然未能裁定其當。請以新成鍾磬與祖宗舊樂參校其聲，但取諧和近雅者合用之。”

In the fifth month Hanlin Academician Exemplar Wang Gongchen reported: "Ordered to review the great music, I found the bells and chimes already completed when I reached the bureau. I note that pitch tubes vary in length and chimes in size. Yellow Bell at nine cun is the longest; its qi is yang, its emblem earth; its proper tone is gong, first among the pitches—the image of royal virtue, not to be made equal with the others. Yet all twelve bells and chimes are now scaled uniformly from Yellow Bell—a departure from ancient practice. We also questioned Yi, Yuan, and the others, who all said, "Size them strictly by pitch and the tones will not harmonize." I therefore have my doubts and ask that the case be referred back to the Bureau for Examining and Fixing the Great Music for a fresh review against ancient principle. That month Remonstrance Bureau Officer Li Dui said: "When the Court of Imperial Sacrifices' new music was reviewed in the Hall of Purple Brightness, critics found the bells out of pitch and rejected them. The court then ordered a fresh review by senior officials. I hear that at the Hall for Venerating Literature the debate has grown heated: Wang Gongchen wants to overturn the interpretations of earlier histories, Wang Shu refuses to go along, and the argument has turned noisy. Music is vast and subtle. Without true mastery of tone and spirit, who may speak of it lightly? Western Han was still near the sages, and the Zhi clan held hereditary charge of the great music—yet they could record its clangor, not explain its meaning. After another thousand years and more, is it not folly to expect the music of the Three Dynasties? And Ruan Yi is a disgraced and dismissed man—what competence has he for work that demands sage clarity? He peddles eccentric theories in hope of winning favor and reward. The court has spent years on this music at a time of depleted treasury, at enormous trouble and cost. The instruments are finished, yet the court wants to redo them. Even with Two Departments ministers supervising the debate, no one can settle what is right. I ask that the new bells and chimes be tested against the ancestral music, and that whatever harmonizes and approaches true elegance be adopted for use."

六月，帝御紫宸殿，奏太常新定《大安之樂》，召輔臣至省府、館閣預觀焉，賜詳定官器幣有差。八月，詔：“南郊姑用舊樂，其新定《大安之樂》，常祀及朝會用之。 ”翰林學士胡宿上言：“自古無並用二樂之理，今舊樂高，新樂下，相去一律，難並用。且新樂未施郊廟，先用之朝會，非先王薦上帝、配祖考之意。 ”帝以為然。九月，禦崇政殿，召近臣、宗室、台諫、省府推判官觀新樂並新作晉鼓。乃以瑗為大理寺丞，逸復尚書屯田員外郎，保信領榮州防禦使，入內東頭供奉官賈宣吉為內殿承製，並以製鍾律成，特遷之。

In the sixth month the emperor attended the Hall of Purple Brightness, where the Court of Ceremonies performed the newly fixed Music of Great Tranquility. He summoned chief ministers to the ministries, agencies, and academies for a preview and bestowed vessels and ceremonial goods on the examining officials according to rank. In the eighth month an edict ordered: "For the Southern Suburban sacrifice, use the old music for the time being. The newly fixed Music of Great Tranquility is to be used for regular sacrifices and court assemblies. " Hanlin Academician Hu Su memorialized: "From antiquity there has never been a principle of using two musics at once. The old music is pitched higher and the new music lower — they differ by one standard, and the two cannot be used together. Moreover, the new music has not yet been used at suburban and temple altars, yet it is deployed first at court assemblies. That is not what the ancient kings intended when they offered to the Supreme Lord and paired the ancestors. " The emperor agreed. In the ninth month he attended the Hall of Promoting Governance and summoned attendant ministers, members of the imperial clan, remonstrance officials, and acting officials of the ministries and agencies to view the new music and the newly made Jin drums. Yuan was then made Assistant Director of the Court of Judicial Review; Yi was restored as Supernumerary Secretary in the Ministry of Revenue's Colonization Bureau; Baoxin was appointed Defender-in-Chief of Rong Prefecture; and Palace Attendant of the Eastern Inner Gate Jia Xuanji was made Palace Draftsman — all specially promoted for completing the bells and pitch standards.

至和元年，言者多以陰陽不和由大樂未定。帝曰：“樂之不合於古久矣。水旱之來，係時政得失，豈特樂所召哉？ ”二年，潭州上瀏陽縣所得古鍾，送太常。初，李照斥王樸樂音高，乃作新樂，下其聲。太常歌工病其太濁，歌不成聲，私賂鑄工，使減銅齊，而聲稍清，歌乃協。然照卒莫之辨。又樸所製編鍾皆側垂，照、瑗皆非之。及照將鑄鍾，給銅於鑄瀉務，得古編鍾一，工人不敢毀，乃藏於太常。鍾不知何代所作，其銘云：“粵朕皇祖寶龢鍾，粵斯萬年，子子孫孫永寶用。 ”叩其聲，與樸鍾夷則清聲合，而其形側垂。瑗後改鑄，正其鈕，使下垂，叩之弇，鬱而不揚。其鎛鍾又長甬而震掉，聲不和。著作佐郎劉羲叟謂人曰：“此與周景王無射鍾無異，上將有眩惑之疾。 ”嘉祐元年正月，帝御大慶殿受朝，前一夕，殿庭設仗衛、既具而大雨雪，至壓宮架折，帝於禁中跣而告天，遂暴感風眩，人以羲叟之言為驗。八月，御製恭謝樂章。是月，詔恭謝用舊樂。

In Zhihe 1, many commentators blamed the disharmony of yin and yang on the failure to fix the great music. The emperor said: "Music has failed to accord with antiquity for a long time. When flood and drought come, they reflect the gains and losses of current policy. How could music alone summon them? " In the second year Tan Prefecture submitted an ancient bell found in Liuyang County, and it was sent to the Court of Ceremonies. Earlier Li Zhao had rejected Wang Pu's music as too high in pitch, composed new music, and lowered the pitch. The Court of Ceremonies' singers found the tone too muddy to sing cleanly. They privately bribed the casters to reduce the copper alloy, the sound grew somewhat clearer, and the singing finally harmonized. Yet Zhao never discovered it. All the chime bells Wang Pu made also hung askew, and both Zhao and Yuan rejected them. When Zhao was about to cast bells, copper was supplied at the casting foundry and an ancient chime bell turned up. The craftsmen dared not destroy it, so it was kept in the Court of Ceremonies. No one knew from which age the bell came. Its inscription read: "This is Our August Forebear's treasured harmon bell — may it endure for myriad years; may sons and grandsons forever treasure and use it. " When struck, its tone matched the clear Yize pitch of Wang Pu's bell, yet its form hung askew. Later Yuan recast it, straightened the suspension loop so it hung straight down, but when struck it was muffled — dull and without resonance. His set bells also had long stems and shook loose, and their tones did not harmonize. Assistant Editorial Director Liu Xisou told others: "This is no different from King Jing of Zhou's Wushe bell. The sovereign will suffer dizziness and confusion. " In the first month of Jiayou 1 the emperor received court at the Hall of Great Celebration. The night before, armed guards had been arrayed in the courtyard; once all was ready, heavy rain and snow fell until the palace musical frame was crushed and broken. The emperor, barefoot in the inner palace, prayed to Heaven and suddenly took a violent chill with dizziness. People took Liu Xisou's words as prophecy fulfilled. In the eighth month the emperor composed thanksgiving hymn texts. That month an edict ordered the thanksgiving rite to use the old music.

四年九月，御製祫享樂舞名：僖祖奏《大基》，順祖奏《大祚》，翼祖奏《大熙》，宣祖奏《大光》，太祖奏《大統》，太宗奏《大昌》，真宗奏《大治》，孝惠皇后奏《淑安》，孝章皇后奏《靜安》，淑德皇后奏《柔安》，章懷皇后奏《和安》，迎神、送神奏《懷安》，皇帝升降奏《肅安》，奠瓚奏《顧安》，奉俎、徹豆奏《充安》，飲福奏《禧安》，亞獻、終獻奏《祐安》，退文舞、迎武舞奏《顯安》，皇帝歸大次奏《定安》，登樓禮成奏《聖安》，駕回奏《采茨》；文舞曰《化成治定》，武舞曰《崇功昭德》。帝自製迎神、送神樂章，詔宰臣富弼等撰《大祚》至《采茨》曲詞十八。七年八月，御製明堂迎神樂章，皆肄於太常。

In the ninth month of the fourth year the emperor fixed the names of music and dance for the joint spirit feast: for Emperor Xi-zu, "Great Foundation"; for Emperor Shun-zu, "Great Fortune"; for Emperor Yi-zu, "Great Splendor"; for Emperor Xuan-zu, "Great Radiance"; for Emperor Taizu, "Great Succession"; for Emperor Taizong, "Great Flourishing"; for Emperor Zhenzong, "Great Order"; for Empress Xiaohui, "Shu An"; for Empress Xiaozhang, "Jing An"; for Empress Shude, "Rou An"; for Empress Zhanghuai, "He An"; for welcoming and escorting the spirits, "Huai An"; for the emperor's ascent and descent, "Su An"; for laying the libation cup, "Gu An"; for presenting the sacrificial meat and removing the dishes, "Chong An"; for drinking the blessing, "Xi An"; for the secondary and final offerings, "You An"; for retiring the civil dance and welcoming the martial dance, "Xian An"; for the emperor's return to the side hall, "Ding An"; for completion of the tower rite, "Sheng An"; for the imperial carriage's return, "Cai Ci"; The civil dance was called "Transforming into Order and Settling Governance"; the martial dance was called "Honoring Merit and Proclaiming Virtue." The emperor himself composed the hymn texts for welcoming and escorting the spirits and ordered Chief Minister Fu Bi and others to write the lyrics for eighteen pieces from "Great Fortune" through "Cai Ci." In the eighth month of the seventh year the emperor composed Bright Hall hymn texts for welcoming the spirits, and all were rehearsed at the Court of Ceremonies.

翰林學士王珪言：“昔之作樂，以五聲播於八音，調和諧合而與治道通，先王用於天地、宗廟、社稷，事於山川鬼神，使鳥獸盡感，況於人乎？然則樂雖盛而音虧，未知其所以為樂也。今郊廟升歌之樂，有金、石、絲、竹、匏、土、革而無木音。夫所謂敔者，聖人用以著樂之始終，顧豈容有缺耶？且樂莫隆於《韶》，《書》曰‘戛擊’，是、之用。既雲下而擊鞀，知鳴球與敔之在堂，故《傳》曰：‘堂上堂下，各有敔也’。今陛下躬祠明堂，宜詔有司考樂之失而合八音之和。 ”於是下禮官議，而堂上始置敔。

Hanlin Academician Wang Gui said: "In ancient times music spread the five tones through the eight kinds of sound, harmonizing them so as to connect with the way of governance. The former kings used it for Heaven and Earth, ancestral temples, and the altars of soil and grain; they served mountains, rivers, ghosts, and spirits, moving birds and beasts to the full — how much more so men? Yet if music is grand but its tones are deficient, one no longer knows what music is for. Today the ascending hymn music at suburban and temple altars has metal, stone, silk, bamboo, gourd, clay, and hide — but no wood tone. The yi — the wooden clapper the sages used to mark the beginning and end of music — surely cannot be omitted? Moreover, no music is loftier than the "Shao." The Documents says "strike the yi" — the yi is what is used. Since it also says "strike the to below," we know that sounding spheres and the yi belong in the hall. Hence the Commentary says: "In the upper hall and lower hall, each has its yi." Now that Your Majesty personally sacrifices at the Bright Hall, you should order the responsible officials to examine faults in the music and restore the harmony of the eight kinds of sound. " Thereupon the matter was sent down to the ceremonial officials for deliberation, and a yi was placed in the upper hall for the first time.

又秘閣校理裴煜奏：“大祠與國忌同者，有司援舊制，禮樂備而不作。忌日必哀，誌有所至，其不有樂，宜也。然樂所以降格神祇非以適一己之私也。謹案開元中禮部建言，忌日享廟應用樂。裴寬立議，廟尊忌卑則作樂，廟卑忌尊則備而不奏。中書令張說以寬議為是。宗廟如此，則天地、日月、社稷之祠用樂明矣。臣以為凡大祠天地、日月、社稷與忌日同者，伏請用樂，其在廟則如寬之議。所冀略輕存重，不失其稱。 ”下其章禮官，議曰“《傳》稱祭天以禋為歆神之始，以血為陳饌之始；祭地以埋為歆神之始，以血為陳饌之始。宗廟以灌為歆神之始，以腥為陳饒之始。然則天地、宗廟皆以樂為致神之始，故曰大祭有三始，謂此也。天地之間虛豁而不見其形者，陽也。鬼神居天地之間，不可以人道接也。聲屬於陽，故樂之音聲號呼召於天地之間，庶幾神明聞之，因而來格，故祭必求諸陽。商人之祭，先奏樂以求神，先求於陽也；次灌地求神於陰，達於淵泉也。周人尚臭，四時之祭，先灌地以求神，先求諸陰也。然則天神、地祇、人鬼之祀不可去樂明矣。今七廟連室，難分廟忌之尊卑，欲依唐製及國朝故事：廟祭與忌同日，並縣而不作；其與別廟諸後忌同者，作之；若祠天地、日月、九宮、太一及蠟百神，並請作樂；社稷以下諸祠既卑於廟，則樂可不作。 ”翰林學士王珪等以為：“社稷，國之所尊，其祠日若與別廟諸後忌同者，伏請亦不去樂。 ”詔可。

Editorial Director of the Secretariat Pavilion Pei Yu also memorialized: "When a major sacrifice falls on the same day as a state mourning anniversary, the responsible officials cite the old rule: rites and music are prepared but not performed. On a mourning anniversary one must grieve; the heart has its proper limit, and to omit music then is fitting. Yet music is what brings down and summons the spirits; it is not meant to gratify private feeling. I respectfully note that in the Kaiyuan era the Ministry of Rites proposed that temple offerings on mourning anniversaries should use music. Pei Kuan established the rule: if the temple outranks the mourning anniversary, perform music; if the mourning anniversary outranks the temple, prepare the music but do not play it. Chief Minister Zhang Yue held Pei Kuan's proposal to be correct. If this holds for the ancestral temple, then the use of music in sacrifices to Heaven and Earth, sun and moon, and the altars of soil and grain is clear. Your servant holds that whenever major sacrifices to Heaven and Earth, sun and moon, or the altars of soil and grain fall on the same day as a mourning anniversary, music should be used; in temple rites, follow Pei Kuan's rule. What is hoped for is to set aside the lesser and preserve the greater, without losing what is proper to each rank. " His memorial was sent down to the ceremonial officials, who deliberated and said: "The Commentary states that in sacrificing to Heaven, burning incense is the beginning of delighting the spirit, and presenting blood is the beginning of setting out the offerings; In sacrificing to Earth, burying is the beginning of delighting the spirit, and presenting blood is the beginning of setting out the offerings. In the ancestral temple, libation is the beginning of delighting the spirit, and presenting raw meat is the beginning of setting out the sacrificial gifts. Thus for Heaven-and-Earth and the ancestral temple alike, music is the beginning of bringing the spirit down. Hence it is said that great sacrifices have three beginnings — this is what is meant. What is empty and unobstructed between Heaven and Earth, invisible to the eye—that is yang. Ghosts and spirits inhabit the realm between Heaven and Earth and cannot be reached by ordinary human means. Sound belongs to yang. Music's tones and voices therefore cry out between Heaven and Earth, in hope that the spirits will hear and descend in response. Sacrifice must therefore begin by appealing to yang. In Shang ritual, music was performed first to summon the spirits—a priority of yang; Next came libation poured on the ground to seek the spirits in yin, reaching down to the deep springs. The Zhou people prized fragrant offerings. In their four seasonal sacrifices, libation on the ground came first—to seek the spirits through yin. It is therefore plain that sacrifices to the Heavenly spirits, Earthly spirits, and ancestral ghosts alike cannot do without music. The seven ancestral temples now share connected halls, making it hard to distinguish precedence among temple anniversaries. We propose to follow Tang practice and our dynasty's established precedent: when a temple sacrifice and a death anniversary fall on the same day, suspend the bells and perform no music; but when the date coincides with a separate-shrine anniversary of an empress, music should be performed; for sacrifices to Heaven and Earth, the Sun and Moon, the Nine Palaces, Grand Unity, and the year-end rite to the hundred spirits, music should be performed in every case; Sacrifices of lower rank than the ancestral temple, such as those at the state altars, need not include music. " Hanlin Academician Wang Gui and others argued: "The state altars are among what the state most honors. When their sacrifice day coincides with a separate-shrine anniversary of an empress, we respectfully ask that music not be omitted either. " The edict approved the proposal.

英宗治平元年六月，太常寺奏，仁宗配饗明堂，奠幣歌《誠安》，酌獻歌《德安》。二年九月，禮官李育上言：“南郊、太廟二舞郎總六十八，文舞罷，舍羽籥，執幹戚，就為武舞。臣謹按舊典，文、武二舞各用八佾，凡祀圜丘、祀宗廟，太樂令率工人以入，就位，文舞入，陳於架北，武舞立於架南。又文舞出，武舞入，有送迎之曲，名曰《舒和》，亦曰《同和》，凡三十一章，止用一曲。是進退同時，行綴先定，步武容體，各應樂節。夫《玄德升聞之舞》象揖讓，《天下大定之舞》象征伐，柔毅舒急不侔，而所法所習亦異，不當中易也。竊惟天神皆降，地祇皆出，八音克諧，祖考來格，天子親執珪幣，‘相維辟公’，‘嚴恭寅畏’，可謂極矣。而舞者紛然縱橫於下，進退取舍，蹙迫如是，豈明有德、象有功之誼哉？國家三年而躬一郊，同殿而享八室，而舞者闕如，名曰二舞，實一舞也。且如大朝會所以宴臣下，而舞者備其數；郊廟所以事天地、祖考，而舞者減其半：殊未為稱。事有近而不可邇，禮有繁而不可省，所係者大，而有司之職不敢廢也。伏請南郊、太廟文武二舞各用六十四人，以備帝王之禮樂，以明祖宗之功德。 ”奏可。

In the sixth month of Zhiping 1, during Emperor Yingzong's reign, the Court of Imperial Sacrifices reported that at Emperor Renzong's paired enshrinement at the Bright Hall, the silk-offering hymn was "Cheng'an" and the libation hymn was "De'an." In the ninth month of the second year, ritual official Li Yu memorialized: "At the Southern Suburb and Imperial Ancestral Temple, the two dance officers total sixty-eight. When the civil dance ends, they discard feather and flute, take up shield and axe, and become the military dance. Your subject respectfully notes the old canon: civil and military dances each employ eight rows of dancers. Whenever sacrificing at the Round Altar or the ancestral temple, the Director of Grand Music leads the musicians in; once in position, the civil dancers enter and array themselves north of the frame, and the military dancers stand south of the frame. When the civil dancers withdraw and the military dancers enter, there is a welcoming and escorting piece called "Shuhe," also called "Tonghe." Though there are thirty-one chapters in all, only one melody is used. Advance and retreat were simultaneous, ranks and positions fixed in advance, and steps, bearing, and form each matched the musical beats. The Dance of Mystic Virtue Ascending to Heaven represents yielding and deference; the Dance of Great Peace Under Heaven represents conquest and battle. Softness and firmness, ease and urgency are not alike, and what they embody and what dancers are trained in also differ—they should not be swapped midway. Consider the occasion: the spirits of Heaven descend, the spirits of Earth emerge, the eight categories of sound fall into harmony, and the ancestors arrive. The Son of Heaven personally holds jade and silk—"The ministers assist, O Lord"; "solemn, reverent, diligent, and fearful." The ritual could scarcely be carried further. Yet below, the dancers rush about in every direction, advancing, retreating, choosing, and discarding in such cramped fashion—how does this express virtue made clear and merit made manifest? The state performs the suburban sacrifice in person once every three years, serving eight chambers in one hall, yet the dancers are insufficient in number—they are called two dances but are in fact one dance. At great court assemblies meant to feast the ministers below, the dancers are fully manned; yet at suburban and temple rites meant to serve Heaven and Earth and the ancestors, the dancers are cut by half—this is hardly fitting. Some matters seem close at hand yet must not be approached lightly; some rites seem elaborate yet must not be simplified. What is at stake is great, and the officials in charge dare not neglect their duty. We respectfully ask that at the Southern Suburb and Imperial Ancestral Temple the civil and military dances each employ sixty-four dancers, to complete the ritual music befitting an emperor and to manifest the merit and virtue of the ancestral house. " The memorial was approved.

四年八月，學士院建言：“國朝宗廟之樂，各以功德名舞。洪惟英宗，繼天遵業，欽明勤儉，不自暇逸。踐祚未幾，而恩行威立，固已超軼百王之上。今厚陵復土，祔廟有期，而樂名未立，亡以詔萬世。請上樂章及名廟所用舞曰《大英》之舞。自後禮官、御史有所建明，而詳定朝會及郊廟禮文官於樂節有議論，率以時考正之。”

In the eighth month of the fourth year, the Academy of Hanlin Scholars proposed: "Our dynasty's ancestral temple music names each dance after merit and virtue. Great indeed was Emperor Yingzong, who succeeded Heaven's mandate and followed the inherited enterprise—reverent, clear-sighted, diligent, and frugal, never granting himself leisure. He had not long ascended the throne before kindness was practiced and authority established, already surpassing the hundred kings of old. Work on the thick mound has now been completed and enshrinement in the ancestral temple is at hand, yet no dance name has been established—there is no means to proclaim this to ten thousand generations. We ask that musical movements be submitted and that the dance used at the temple be named the Dance of Great Brilliance. Thereafter, whenever ritual officials or censorial officials made proposals, and the officers who fixed court assembly and suburban-temple ritual texts raised questions about musical procedure, these were generally examined and corrected in a timely manner.

神宗熙寧九年，禮官以宗廟樂節而有請者三：

In Xining 9, during Emperor Shenzong's reign, ritual officials made three requests regarding ancestral temple musical procedure:

其一、今祠太廟《興安之曲》，舉而聲已過，舉而聲不止，則始終之節未明。請祠祭用樂，一奏將終，則戛而聲少止，擊則樂復作，以盡合止之義。

First: in the present ancestral temple rite, for the melody "Xing'an," sometimes the clapper is raised after the sound has already ended, and sometimes while the sound still continues—thus the beginning and ending beats are unclear. We ask that when music is used in temple sacrifice, as each movement nears its end, the clapper should strike and the sound briefly cease; then with another strike the music should resume—to fulfill the meaning of harmonized cessation.

其二、大樂降神之樂，均聲未齊，短長不協，故舞行疾徐亦不能一。請以一曲為一變，六變用六，九變用九，則樂舞始終莫不應節。

Second: in the great music for descending spirits, the balanced tones are not uniform and long and short do not accord; therefore the pace of the dance likewise cannot be uniform. We ask that one melody serve as one change: six changes use six melodies, nine changes use nine—then music and dance from beginning to end will none fail to match the beats.

其三、周人尚臭，蓋先灌而後作樂；本朝宗廟之禮多從周，請先灌而後作樂。元豐二年，詳定所以朝會樂而有請者十：

Third: the Zhou people prized fragrant offerings; they generally poured libation first and then performed music; Our dynasty's ancestral temple rites largely follow the Zhou; we ask to pour libation first and then perform music. In the second year of Yuanfeng, the office for fixing court assembly music made ten requests:

其一、唐元正、冬至大朝會，迎送王公用《舒和》，《開元禮》以初入門《舒和之樂》作，至位，樂止。蓋作樂所以待王公，今中書、門下、親王、使相先於丹墀上東西立，皇帝升御坐，乃奏樂引三品以上官，未為得禮。請侍從及應赴官先就立位，中書、門下、親王、使相、諸司三品、尚書省四品及宗室、將軍以上，班分東西入，《正安之樂》作，至位，樂止。

First: at Tang New Year's and winter solstice great court assemblies, welcoming and escorting princes and dukes used "Shuhe." The Kaiyuan Rites prescribed that upon first entering the gate, the Music of Shuhe should begin; upon reaching one's position, the music stopped. Music was performed to receive princes and dukes. Now the Central Secretariat, Chancellery, imperial princes, and frontier commissioners stand east and west on the red steps before the emperor ascends the throne; only then is music played to lead in officials of third rank and above—this is not proper ritual. We ask that attendants and officials required to attend take their positions first; then the Central Secretariat, Chancellery, imperial princes, frontier commissioners, department heads of third rank, fourth-rank officials of the Department of State Affairs, and imperial clansmen and generals and above should enter in east-west ranks while the Music of Zheng'an is performed; upon reaching position, the music stops.

其二、今朝會儀：舉第一爵，宮縣奏《和安之曲》，第二、第三、第四，登歌作《慶雲》、《嘉禾》、《靈芝之曲》。則是合樂在前、登歌在後，有違古義。請第一爵，登歌奏《和安之曲》，堂上之樂隨歌而發；第二爵，笙入奏《慶雲》之曲，止吹笙，餘樂不作；第三爵，堂上歌《嘉禾之曲》，堂下吹笙，《瑞木成文之曲》，一歌一吹相間；第四爵，合樂奏《靈芝之曲》，堂上下之樂交作。

Second: under present court assembly rites, at the first cup the palace ensemble plays "He'an"; at the second, third, and fourth cups, ascent singing performs "Qingyun," "Jiahe," and "Lingzhi." Thus the ensemble music comes first and ascent singing comes after—contrary to ancient meaning. We ask that at the first cup, ascent singing perform "He'an," with the hall music following the song; at the second cup, sheng enter and perform "Qingyun," playing only the sheng while the remaining music is not performed; at the third cup, the hall sings "Jiahe" while below the hall the sheng plays "Ruimu Chengwen," song and sheng alternating; at the fourth cup, the combined ensemble performs "Lingzhi," with music above and below the hall performing together.

其三、定文舞、武舞各為四表，表距四步為酂綴，各六十四。文舞者服進賢冠，左執籥，右秉翟，分八佾，二工執纛引前，衣冠同之。舞者進蹈安徐，進一步則兩兩相顧揖，三步三揖，四步為三辭之容，是為一成。餘成如之。自南第一表至第二表為第一成，至第三表為再成，至北第一表為三成，覆身卻行至第三表為四成，至第二表為五成，復至南第一表為六成，而武舞入。今文舞所秉翟羽，則集雉尾置於髹漆之柄，求之古製，實無所本。聶崇義圖，羽舞所執類羽葆幢，析羽四重，以結綬係於柄，此纛翳之謂也。請按圖以翟羽為之。

Third: fix the civil and martial dances each at four markers; four paces between markers make one cadence step, sixty-four each. Civil dancers wear the advancing-worthies cap, hold a yue flute in the left hand and dai pheasant-feather streamers in the right, divided into eight rows; two workers carry banner canopies to lead the way, dressed alike. The dancers advance with calm, measured steps; with each step forward, pairs turn toward each other and bow; three steps, three bows; four steps form the bearing of three declinations—this constitutes one completion. The remaining completions follow the same pattern. From the southern first marker to the second is the first completion; to the third is the second; to the northern first is the third; turning about and retreating to the third marker is the fourth; to the second is the fifth; returning once more to the southern first is the sixth, and then the martial dance enters. Today the dai feathers used in civil dance are simply gathered pheasant tails fixed to lacquered handles—when checked against ancient regulations, they have no genuine precedent. In Nie Chongyi's diagram, the feather dance holds something resembling a plume pennant: feathers layered fourfold and bound to the handle with knotted cords—this is what is meant by the banner canopy. We ask that they be made of dai feathers according to the diagram.

其四、武舞服平巾幘，左執幹，右執戈。二工執旌居前；執鞀、執鐸各二工；金錞二，四工舉；二工執鐲、執鐃；執相在左，執雅在右，亦各二工；夾引舞者，衣冠同之。分八佾於南表前，先振鐸以通鼓，乃擊鼓以警戒，舞工聞鼓聲，則各依酂綴總幹正立定位，堂上長歌以詠歎之。於是播鞀以導舞，舞者進步，自南而北，至最南表，以見舞漸。然後左右夾振鐸，次擊鼓，以金錞和之，以金鐲節之，以相而輔樂，以雅而陔步。舞者發揚蹈厲，為猛賁趫速之狀。每步一進，則兩兩以戈盾相向，一擊一刺為一伐，四伐為一成，成謂之變。至第二表為一變；至第三表為二變；至北第一表為三變；舞者覆身向堂，卻行而南，至第三表為四變；乃擊刺而前，至第二表回易行列，舂、雅節步分左右而跪，以右膝至地，左足仰起，象以文止武為五變；舞蹈而進，為兵還振旅之狀，振鐸、搖鞀、擊鼓，和以金錞，廢鐲鳴鐃，復至南第一表為六變而舞畢。古者，人君自舞《大武》，故服冕執幹戚。若用八佾而為擊刺之容，則舞者執幹戈。說者謂武舞戰象樂六奏，每一奏之中，率以戈矛四擊刺。戈則擊兵，矛則刺兵，玉戚非可施於擊刺，今舞執幹戚，蓋沿襲之誤。請左執幹，右執戈。

Fourth: martial dancers wear the flat-cloth headwrap, with a shield in the left hand and a halberd in the right. Two workers carry pennants at the front; two workers each carry the handheld drum and the bell-clapper; two bronze chun bells, raised by four workers; two workers carry the bronze cymbals and the nao bells; those carrying the wooden clapper on the left and the ya clapper on the right, also two workers each; Flanking and leading the dancers, they are dressed alike. They divide into eight rows before the southern marker; first the bell-clapper is struck to signal the drum, then the drum is beaten as a warning; when the dancers hear the drum, each takes position by cadence step with shield held upright; above the hall, the long song chants in praise. Then the handheld drum is sounded to lead the dance; the dancers advance from south to north, reaching the southernmost marker, showing the dance gradually unfold. Then the bell-clapper is struck on both sides; next the drum is beaten; the bronze chun harmonizes, the bronze cymbals mark the beat, the wooden clapper supports the music, and the ya clapper marks the pacing steps. The dancers display vigor and tread with martial force, embodying ferocious charge and swift advance. With each step forward, pairs face each other with halberd and shield; one strike and one thrust constitute one battalion action; four such actions make one completion, and each completion is called a change. Reaching the second marker is the first change; reaching the third marker is the second change; reaching the northern first marker is the third change; the dancers turn toward the hall and retreat southward; reaching the third marker is the fourth change; then they strike and thrust forward; reaching the second marker, they turn and rearrange ranks; the xiang and ya mark the steps as left and right kneel separately—right knee to the ground, left foot raised—symbolizing the restraint of martial force by civil refinement as the fifth change; Dancing as they advance, they show troops returning and regrouping; the bell-clapper is struck, the handheld drum shaken, the drum beaten, the bronze chun harmonized, the cymbals set aside and the nao bells sounded; returning once more to the southern first marker as the sixth change, the dance is complete. In antiquity the ruler himself danced "Dawu," and therefore wore the ceremonial cap and held shield and axe. If eight rows are used to perform striking and thrusting movements, the dancers should hold shield and halberd. Commentators hold that the martial dance embodies the martial image in music's six performances; within each performance there are generally four strike-and-thrust actions with halberd and spear. The halberd is the striking weapon, the spear the thrusting weapon; the jade axe cannot be used for striking and thrusting—today's dancers holding shield and axe is likely an error inherited through long imitation. We ask that the left hand hold the shield and the right hand the halberd.

其五、古之鄉射禮，三笙一和而成聲，謂三人吹笙，一人吹和。今朝會作樂，丹墀之上，巢笙、和笙各二人，其數相敵，非也。蓋鄉射乃列國大夫、士之禮，請增倍為八人，丹墀東西各三巢一和。

Fifth: in the ancient village archery rite, three sheng and one harmony pipe complete the sound—three players on sheng and one on the harmony pipe. In today's court assembly music, on the red steps there are two nest-sheng players and two harmony-sheng players—the numbers are equal, and this is wrong. The village archery rite was the ceremony of feudal grandees and gentlemen; we ask to double the number to eight—east and west of the red steps, three nest-sheng and one harmony pipe each.

其六、今宮縣四隅雖有建鼓、鞞、應，相傳不擊。乾德中，詔四建鼓並左右鞞、應合十有二，依李照所奏，以月建為均，與鎛鍾相應。鞞、應在建鼓旁，是亦朔鼙、應鼙之類。請將作樂之時，先擊鼙，次擊應，然後擊建鼓。

Sixth: today at the four corners of the palace ensemble there are established drums, side drums, and response drums, but by tradition they are not struck. In the Qiande era, an edict prescribed four established drums plus left and right side and response drums, twelve in all, following Li Zhao's memorial, using the monthly establishment as the standard tone to match the suspended bells. The side and response drums stand beside the established drums—they belong to the same class as new-moon drums and response drums. We ask that when music is about to be performed, the military drum be struck first, then the response drum, and then the established drum.

其七、今樂縣四隅設建鼓，不擊，別施散鼓於樂縣內代之。乾德中，尹拙奏宜去散鼓，詔可，而樂工積習亦不能廢。李照議作晉鼓，以為樂節。請樂縣內去散鼓，設晉鼓以鼓金奏。

Seventh: today established drums are set at the four corners of the music ensemble but not struck; loose drums are placed within the ensemble instead. In Qiande, Yin Zhuo memorialized that the loose drums should be removed; the edict approved, yet the musicians' long-established practice could not be set aside. Li Zhao proposed making Jin drums to serve as beat markers for the music. We ask to remove the loose drums from within the music ensemble and set up Jin drums to beat the metal performance.

其八、古者，瞽蒙、氐瞭皆掌播鞀，所以節一唱之終。請宮縣設鞀，以為樂節。

Eighth: in antiquity blind musicians and their sighted attendants all managed the handheld drum, marking the end of each phrase of song. We ask that handheld drums be set up in the palace ensemble to serve as beat markers.

其九、以天子禮求之，凡樂事播鞀，擊頌磬、笙磬，以鍾鼓奏《九夏》，是皆在庭之樂；戛擊則敔，球則玉磬，搏拊所以節樂，琴瑟所以詠詩，皆堂上樂也。磬本在堂下，尊玉磬，故進之使在上，若擊石拊石，則當在庭。後世不原於此，以春秋鄭人賂晉俟歌鍾二肆，遂於堂上設歌鍾、歌磬，蓋歌鍾則堂上歌之，堂下以鼓應之耳。歌必金奏相和，名曰歌鍾，則以節歌是已，豈堂上有鍾邪？歌磬之名，本無所出，晉賀循奏置登歌簨虡，采玉造小磬，蓋取舜廟鳴球之製。後周登歌，備錄鍾磬，隋、唐迄今，因襲行之，皆不應禮。請正、至朝會，堂上之樂不設鍾磬。

Ninth: judged by the Son of Heaven's rites, all music affairs—sounding the handheld drum, striking the ode and sheng chime-stones, performing the "Nine Summers" with bells and drums—belong to the music of the courtyard; The scraper-strike is the wooden tiger-rattle; the sphere is the jade chime-stone; the clapping frames mark the beat; zither and lute recite the ode—all are hall music. Chime-stones originally stood below the hall; to honor the jade chime-stones, they were moved above—whereas striking stone and clapping stone belongs in the courtyard. Later ages did not trace this to its source; because in the Spring and Autumn Annals the people of Zheng bribed the Jin marquis with two sets of song-bells, song-bells and song chime-stones were thereafter set up in the hall—yet for song-bells, one sings above the hall while drums below respond; that is all. Song requires metal performance to harmonize with it—the so-called song-bells merely mark the song; how could there be bells above the hall? The name "song chime-stones" has no genuine origin; Jin's He Xun memorialized to set up ascent-singing frames and gather jade to make small chime-stones, probably taking the design from the sounding sphere in Shun's temple. The Later Zhou's ascent singing fully included bells and chime-stones; from Sui and Tang to the present this has been inherited and carried out—all contrary to ritual. We ask that at New Year's and winter solstice court assemblies, bells and chime-stones not be set up among the hall music.

其十、古者歌工之數：大射工六人，四瑟，則是諸侯鼓瑟以四人，歌以二人；天子八人，則瑟與歌皆四人矣。魏、晉以來，登歌五人，隋、唐四人，本朝因之，是循用周製也。《禮》“登歌下管”，貴人聲也，故《儀禮》瑟與歌工皆席於西階上。隋、唐相承，庭中磬虡之下，係以偶歌琴瑟，非所謂升歌貴人聲之義。今堂上琴瑟，比之周製，不啻倍蓰，而歌工止四人，音高下不相權。蓋樂有八音，所以行八風，是以舞佾與鍾磬俱用八為數。請罷庭中歌者，堂上歌為八，琴瑟之數放此，其箏、阮、築悉廢。

Tenth: in antiquity the number of song workers—at the great archery rite six workers and four se lutes—meaning feudal lords had four se players and two singers; For the Son of Heaven, eight workers—then se and song were four each. From Wei and Jin onward ascent singing had five performers, Sui and Tang four, and our dynasty follows this—claiming to follow the Zhou system. The Rites say "ascent singing, descent pipes," honoring the human voice; therefore in the Ceremonies and Rites, se and song workers all sit on the western steps above. Sui and Tang inherited this practice—below the chime frames in the courtyard, paired singing with zither and se was attached—not the meaning of ascent singing honoring the human voice. Today the hall zithers and se, compared with the Zhou system, are more than doubled, yet song workers number only four—the high and low tones do not balance. Music has eight tones to carry the eight winds—therefore dance rows, bells, and chime-stones all use eight as their number. We ask to abolish singers in the courtyard, set hall singers at eight, match the number of zithers and se to this, and abolish the zheng, ruan, and zhu entirely.

太常以謂：“堂上鍾磬去之，則歌聲與宮縣遠。漢、唐以來，宮室之製浸廣，堂上益遠庭中，其上下樂節苟不相應，則繁亂而無序。況朝會之禮，起於西漢，則後世難以純用三代之製。其堂上鍾磬、庭中歌工與箏、築之器，從舊儀便。 ”遂如太常議。

The Director of the Imperial Sacrifices said: "If bells and chime-stones above the hall are removed, the singing voice will be far from the palace ensemble. From Han and Tang onward palace halls have gradually expanded, and the hall grows ever farther from the courtyard; if the beats above and below do not correspond, the result is chaos and disorder. Moreover court assembly rites originated in the Western Han, so later ages can hardly adopt the Three Dynasties' system in pure form. As for hall bells and chime-stones, courtyard song workers, and zheng and zhu instruments, let the old rites stand for convenience. It was done as the Director of Imperial Sacrifices proposed.

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