1
元豐三年五月，詔秘書監致仕劉幾赴詳定所議樂，以禮部侍郎致仕範鎮與幾參考得失。 而幾亦請命楊傑同議，且請如景祐故事，擇人修製大樂。 詔可。
In the fifth month of the third year of Yuanfeng (1080), the throne ordered the retired palace librarian Liu Ji to attend the music deliberation office, with the retired Vice Minister of Rites Fan Zhen to assist him in judging what should stand and what should change. Liu Ji also asked that Yang Jie be appointed to the same deliberation, and that people be selected to restore the great court music along the lines of the Jingyou precedent. The throne assented.
2
初，言大樂七失：一曰歌不永言，聲不依永，律不和聲。 蓋金聲舂容，失之則重； 石聲溫潤，失之則輕； 土聲函胡，失之則下； 竹聲清越，失之則高； 絲聲纖微，失之則細； 革聲隆大，失之則洪； 匏聲叢聚，失之則長； 木聲無餘，失之則短。 惟人稟中和之氣而有中和之聲，八音、律呂皆以人聲為度，言雖永，不可以逾其聲。 今歌者或詠一言而濫及數律，或章句已闋而樂音未終，所謂歌不永言也。 請節其煩聲，以一聲歌一言。 且詩言人誌，詠以為歌。 五聲隨歌，是謂依詠； 律呂協奏，是謂和聲。 先儒以為依人音而製樂，托樂器以寫音，樂本效人，非人效樂者，此也。 今祭祀樂章並隨月律，聲不依詠，以詠依聲，律不和聲，以聲和律，非古製也。
At first seven faults in the great music were identified. The first was that singing did not sustain the text, the melody did not follow that sustained utterance, and the pitch standards did not accord with the vocal line. Metal tones should be full and dignified; when they fail, they turn ponderous. Stone tones should be rich and smooth; when they fail, they grow thin. Earth tones should be rounded and deep; when they fail, they sink too low. Bamboo tones should be bright and penetrating; when they fail, they rise too high. Silk tones should be delicate and refined; when they fail, they become faint. Hide tones should be powerful and expansive; when they fail, they swell to a roar. Gourd tones should gather in ensemble; when they fail, they drag on too long. Wood tones should be crisp without lingering; when they fail, they cut off too soon. Human beings alone embody the breath of perfect balance and produce balanced sound. The eight categories of instruments and the pitch pipes are all calibrated to the human voice; the text may be drawn out, but it must never outrun the voice that carries it. Today a singer may dwell on a single syllable while wandering across many notes, or the verse may already be finished while the melody still runs on. That is what is meant by singing that does not sustain the words. They asked that redundant notes be trimmed so that each syllable was carried by a single tone. The Book of Songs gives voice to human intention and is sung as lyric. When the five tones follow the lyric, that is what is meant by 'following the chant.' When the pitch pipes join in concert, that is what is meant by 'harmonizing the sound.' The early Confucians taught that music was fashioned from the human voice and that instruments merely notated it. Music takes its model from the person, not the person from the music—and that is the point. At present the sacrificial hymns are all tied to the pitch of the month: melody does not follow the words, but the words are forced to follow the melody; the pipes do not harmonize with the voice, but the voice is bent to the pipes. That is not how the ancients arranged it.
3
二曰八音不諧，鍾磬闕四清聲。 虞樂九成，以簫為主； 商樂和平，以磬為依； 周樂合奏，以金為首。 鍾、磬、簫者，眾樂之所宗，則天子之樂用八，鍾、磬、簫，眾樂之本，乃倍之為十六。 且十二者，律之本聲； 而四者，應聲也。 本聲重大為君父，應聲輕清為臣子，故其四聲曰清聲，或曰子聲也。 李照議樂，始不用四清聲，是有本而無應，八音何從而諧哉？ 今巢笙、和笙，其管十九，以十二管發律呂之本聲，以七管為應聲。 用之已久，而聲至和，則編鍾、磬、簫宜用四子聲以諧八音。
Second, the eight categories of sound were not in harmony because the bells and stone chimes lacked the four 'clear' subsidiary pitches. In the music of Yu, the ninefold performance took the vertical flute as its leading voice. Shang music was serene and even, grounded on the stone chime. Zhou music was ensemble playing led by metal percussion. Bells, stone chimes, and flutes are the models for all music. The Son of Heaven's orchestra therefore used eight of them—bells, chimes, and flutes, the foundation of the ensemble—which were then doubled to sixteen. The twelve standard pitches are the root tones of the scale. The four additional pitches are answering tones. Root tones are grave and commanding like a sovereign and father; answering tones are light and bright like a minister and son. Hence the four are called 'clear' tones, or 'son' tones. When Li Zhao revised the music, he first discarded the four clear pitches, leaving fundamentals without answers. Under those conditions the eight categories of sound could not possibly blend. The nest mouth-organ and the he mouth-organ each have nineteen pipes: twelve give the root pitches of the scale and seven supply the answering tones. Long use has shown them to be perfectly consonant. The serial bells, stone chimes, and flutes should therefore adopt the four son tones to bring the eight categories into harmony.
4
三曰金石奪倫。 樂奏一聲，諸器皆以其聲應，既不可以不及，又不可以有餘。 今琴、瑟、塤、篪、笛、簫、笙、阮、箏、築奏一聲，則鎛鍾、特磬、編磬連擊三聲； 聲煩而掩眾器，遂至奪倫，則鎛鍾、特磬、編鍾、編磬節奏與眾器同，宜勿連擊。
Third, metal and stone instruments overrode the proper order of the ensemble. When the music strikes one note, every instrument should answer with that same note—neither falling short nor exceeding it. Today, when the zither, harp, ocarina, chi, flute, pan-pipe, mouth-organ, ruan, zither-harp, and zhu sound a single note, the great bell, individual stone, and serial chimes strike three times in a row. The clamor drowns the other instruments and so usurps their place. The great bell, single stone, serial bells, and serial chimes should keep the same rhythm as the rest and should not be struck repeatedly.
5
四曰舞不象成。 國朝郊廟之樂，先奏文舞，次奏武舞，而武舞容節六變：一變象六師初舉，所向宜北； 二變象上黨克平，所向宜北； 三變象維揚底定，所向宜東南； 四變象荊湖來歸，所向宜南； 五變象邛蜀納款，所向宜西； 六變象兵還振旅，所向宜北而南。 今舞者發揚蹈厲、進退俯仰，既不足以稱成功盛德，失其所向，而文舞容節尤無法度，則舞不象成也。
Fourth, the dance did not embody the completed forms it was meant to represent. At the state altars the civil dance is performed before the martial dance. The martial dance has six sections: the first depicts the six armies first taking the field, and the dancers should face north. The second depicts the conquest of Shangdang, again facing north. The third depicts the pacification of the Huai region, facing southeast. The fourth depicts the submission of the Jing-Hu region, facing south. The fifth depicts the surrender of Qiong and Shu, facing west. The sixth depicts the army's return and muster, turning from north toward south. Present performers stamp and brandish, advance and retreat, bow and rise, yet these movements no longer match the victories and virtues they are meant to celebrate, and they face the wrong directions. The civil dance in particular has lost all regulated form. That is why the dance no longer 'images completion.'
6
五曰樂失節奏。 樂之始，則翕然如眾羽之合； 縱之，純如也； 節奏明白，如也； 往來條理，繹如也：然後成。 今樂聲不一，混殽無敘，則失於節奏，非所謂成也。
Fifth, the music had lost its rhythmic structure. At the opening of a piece, the sounds should gather the way many wings fold together. As it unfolds, it should flow pure and even. The beat should stand out clear and steady. Passages should move back and forth in orderly lines until the thread runs smooth and unbroken—only then is the performance complete. Today the tones are not unified but jumbled without sequence, so the rhythm collapses and the performance never reaches true completion.
7
六曰祭祀、饗無分樂之序。 蓋金石眾作之謂奏，詠以人聲之謂歌。 陽律必奏，陰呂必歌，陰陽之合也。 順陰陽之合，所以交神明、致精意。 今冬至祀天，不歌大呂； 夏至祭地，不奏太簇； 春饗祖廟，不奏無射； 秋饗後廟，不歌小呂。 而四望山川無專祠用樂之製，則何以讚導宣發陰陽之氣而生成萬物哉？
Sixth, sacrifices and feasts lacked the proper alternation of instrumental and vocal music. Ensemble playing on metal and stone is called zou; singing with the human voice is called ge. Yang pitches must be played, yin pitches must be sung—that is the union of yin and yang. By honoring that yin-yang pairing one communes with the spirits and gathers refined intention. At the winter solstice sacrifice to Heaven, the hymn in Great Lu is no longer sung. At the summer solstice sacrifice to Earth, the Great Cou pitch is no longer played. At the spring ancestral feast, the Wushe pitch is no longer played. At the autumn feast in the rear shrine, the hymn in Lesser Lu is no longer sung. Meanwhile the rites for the four directional mountains and rivers have no fixed music of their own. How then can music praise, guide, and release the breath of yin and yang so that the myriad things may be brought forth?
8
七曰鄭聲亂雅。 然朱紫有色而易別，雅、鄭無象而難知，聖人懼其難知也，故定律呂中正之音，以示萬世。 今古器尚存，律呂悉備，而學士、大夫不講考擊，奏作委之賤工，則雅、鄭不得不雜。 願審調鍾琯用十二律還宮均法，令上下通習，則鄭聲莫能亂雅。
Seventh, popular Zheng music was corrupting the courtly Ya repertoire. Crimson and purple are visible colors and easy to tell apart, but Ya and Zheng leave no outward mark and are hard to recognize. The sages feared that difficulty, and so they fixed the correct pitches of the pipes as a standard for all later ages. The ancient instruments still survive and the full set of pipes remains, yet literati and officials no longer study how to strike and test them, leaving performance to lowly artisans. Under such conditions Ya and Zheng cannot help but mingle. They asked that bell and pipe tuning follow the twelve-pitch 'return to the palace' method and that everyone from the court down be trained in it, so that Zheng music could no longer corrupt Ya.
9
遂為十二均圖，並上之。
He therefore drew a chart of the twelve keys and presented it to the throne.
10
其論以為：“律各有均，有七聲，更相為用。 協本均則樂調，非本均則樂悖。 今黃鍾為宮，則太簇、姑洗、林鍾、南呂、應鍾、蕤賓七聲相應，謂之黃鍾之均。 餘律為宮，同之。 宮為君，商為臣，角為民，徵為事，羽為物。 君者，法度號令之所出，故宮生徵； 法度號令所以授臣而承行之，故徽生商； 君臣一德，以康庶事，則萬物得所，民遂其生，故商生羽，羽生角。 然臣有常職，民有常業，物有常形，而遷則失常，故商、角、羽無變聲。 君總萬化，不可執以一方； 事通萬務，不可滯於一隅：故宮、徵有變聲。 凡律呂之調及其宮、樂章，具著於圖。”
In his argument he wrote: 'Each pitch standard has its own key. There are seven tones that may be used in turn with one another. When performance stays on the fundamental key, the music is true; when it departs from that key, the music turns false. If Yellow Bell serves as the palace tone, then Great Cou, Gu Xian, Forest Bell, Southern Lu, Responding Bell, and Flanking Guest—the seven tones—answer it. That combination is called the Yellow Bell key. The same principle applies when any of the other pitches is taken as palace tone. Palace stands for the ruler, Shang for the minister, Jue for the people, Zhi for affairs, and Yu for things. The ruler is the source of law, measure, and command; therefore palace generates zhi. Law and command are handed to ministers to receive and execute; therefore zhi generates shang. When ruler and minister share one virtue and the myriad affairs are well ordered, the myriad things find their place and the people secure their livelihoods; therefore shang generates yu, and yu generates jue. Ministers have fixed offices, people fixed trades, and things fixed forms; change would mean losing what is constant. Hence shang, jue, and yu have no altered tones. The ruler oversees the myriad transformations and cannot be confined to a single mode. Public business touches every task and cannot be stuck in one corner; therefore palace and zhi admit altered tones. Every pitch tuning, its palace tone, and its musical sections are laid out in full in the chart.
11
帝取所上圖，考其說，乃下鎮、幾參定。 而王樸、阮逸之黃鍾乃當李照之太簇，其編鍾、編磬雖有四清聲，而黃鍾、大呂正聲舛誤； 照之編鍾、編磬雖有黃鍾、大呂，而全闕四清聲，非古製也。 樸之太簇、夾鍾，則聲失之高，歌者莫能追逐，平時設而不用。 聖人作樂以紀中和之聲，所以導中和之氣，清不可太高，重不可太下，必使八音協諧、歌者從容而能永其言。 鎮等因請擇李照編鍾、編磬十二參於律者，增以王樸無射、應鍾及黃鍾、大呂清聲，以為黃鍾、大呂、太簇、夾鍾之四清聲，俾眾樂隨之，歌工詠之，中和之聲庶可以考。 請下樸二律。 就太常鍾磬擇其可用者用之，其不可修者別製之。 而太常以為大樂法度舊器，乞留樸鍾磬，別製新樂，以驗議者之術。 詔以樸樂鍾為清聲，毋得銷毀。
The emperor studied the chart and its argument, then directed Fan Zhen and Liu Ji to settle the matter. Yet the Yellow Bell of Wang Pu and Ruan Yi matched Li Zhao's Great Cou in pitch. Their serial bells and chimes included the four clear tones, but the fundamental Yellow Bell and Great Lu were wrong. Li Zhao's serial bells and chimes had Yellow Bell and Great Lu but omitted the four clear tones entirely—again departing from antiquity. Pu's Great Cou and Flanking Guest ran too high for singers to follow and were kept on hand but never played in regular service. The sages fashioned music to embody balanced sound and thereby to cultivate balanced breath. Clarity must not rise too high, nor weight sink too low; the eight categories of tone must blend, and singers must be able to sustain the text at ease. Fan Zhen and his colleagues therefore proposed taking the twelve of Li Zhao's serial bells and chimes that matched the standard pitches, adding Wang Pu's Wushe and Responding Bell plus the clear variants of Yellow Bell and Great Lu to form the four clear tones of Yellow Bell, Great Lu, Great Cou, and Flanking Guest, so that the whole orchestra and the choristers could follow them and the balanced sound might finally be tested. They asked that Pu's two pitches be taken down. Among the bells and stones already in the Court of Imperial Sacrifices, they should use what could still serve and replace what could not be restored. The Court of Imperial Sacrifices, however, argued that the great music's canonical instruments should be preserved. They asked to keep Pu's bells and stones and build a new set beside them so the reformers' methods could be tried without destroying the old standard. An edict directed that Pu's bells be preserved as clear-tone instruments and not destroyed.
12
幾等謂：“新樂之成，足以薦郊廟，傳萬世。 其明堂、景靈宮降天神之樂六奏：舊用夾鍾之均三奏，謂之夾鍾為宮； 夷則之均一奏，謂之黃鍾為角； 林鍾之均一奏，謂之太簇為徵。 姑洗為羽。 而《大司樂》‘凡樂，圜鍾為宮，黃鍾為角，太簇為徵，姑洗為羽。 ’而‘圜鍾者，夾鍾也’。 用夾鍾均之七聲，以其宮聲為始終，是謂圜鍾為宮； 用黃鍾均之七聲，以其角聲為始終，是謂黃鍾為角； 用太簇均之七聲，以其徵聲為始終，是謂太簇為徵； 用姑洗均之七聲，以其羽聲為始終，是謂姑洗為羽。 今用夷則之均一奏，謂之黃鍾為角，林鍾之均二奏，謂之太簇為徵、姑洗為羽，則祀天之樂無夷則、林鍾而用之，有太簇、姑洗而去之矣。 唐典，祀天以夾鍾宮、黃鍾角、太簇徵、姑洗羽，乃周禮也，宜用夾鍾為宮。 其黃鍾為角，則用黃鍾均，以其角聲為始終； 太簇為徵，則用太簇均，以其徵聲為始終； 姑洗為羽，則用姑洗均，以其羽聲為始終。 祭地祇，享宗廟，皆視此均法以度曲。”
Liu Ji and his colleagues said: 'Once the new music is finished, it will suffice for the suburban sacrifices and endure for ages. The six movements that summon the Heavenly Spirit at the Bright Hall and Jingling Palace formerly used the Flanking Guest key for three sections, called 'Flanking Guest as palace.' One section used the Yize key, called 'Yellow Bell as jue.' One section used the Forest Bell key, called 'Great Cou as zhi.' Gu Xian served as yu. Yet the Grand Music Master says: 'In all music, Round Bell is palace, Yellow Bell is jue, Great Cou is zhi, and Gu Xian is yu.' And 'Round Bell is Flanking Guest.' To use the seven tones of the Flanking Guest key with its palace tone as beginning and end is what is meant by 'Round Bell as palace.' To use the seven tones of the Yellow Bell key with its jue tone as beginning and end is what is meant by 'Yellow Bell as jue.' To use the seven tones of the Great Cou key with its zhi tone as beginning and end is what is meant by 'Great Cou as zhi.' To use the seven tones of the Gu Xian key with its yu tone as beginning and end is what is meant by 'Gu Xian as yu.' But if one section is performed in the Yize key as 'Yellow Bell as jue' and two in the Forest Bell key as 'Great Cou as zhi' and 'Gu Xian as yu,' then the music for Heaven's sacrifice employs Yize and Forest Bell while omitting the very Great Cou and Gu Xian the rites require. The Tang regulations for the sacrifice to Heaven used Flanking Guest as palace, Yellow Bell as jue, Great Cou as zhi, and Gu Xian as yu—the Zhou arrangement—and Flanking Guest should therefore serve as palace. For 'Yellow Bell as jue,' one should use the Yellow Bell key with its jue tone as beginning and end. For 'Great Cou as zhi,' one should use the Great Cou key with its zhi tone as beginning and end. For 'Gu Xian as yu,' one should use the Gu Xian key with its yu tone as beginning and end. Sacrifices to Earth and the ancestral feasts should all set their melodies by this same key method.
13
幾等又以太常磬三等，王樸磬厚，李照磬薄，惟阮逸、胡瑗磬形製精密而聲太高，以磬氏之法摩其旁，輕重與律呂相應。 鍾三等，王樸鍾所謂“聲疾而短聞”者也，阮逸、胡瑗鍾所謂“聲舒而遠聞”者也，惟李照鍾有旋蟲之製。 鍾磬皆三十有六架，架各十有六，則正律相應，清聲自足。 其堂上堂下篪、笛率從新製，而調琴、瑟、阮、築、塤諸器，隨所下律。 詔悉從之。 乃緝新器用，徙置太常，辟屋以貯藏之。 考選樂工，汰其椎鈍癃老，而優募能者補其闕員，立為程度，以時習焉。
Liu Ji and his colleagues also compared the Court's three grades of stone chimes: Wang Pu's were thick, Li Zhao's thin, while only Ruan Yi and Hu Yuan's were finely shaped yet pitched too high. They filed the sides by the chime-makers' method until weight and pitch matched the standard pipes. The bells likewise fell into three types: Wang Pu's were said to sound quick and fade soon; Ruan Yi and Hu Yuan's sounded slow and carried far; only Li Zhao's bells bore the adjustable worm mechanism. Bells and stones were set on thirty-six frames of sixteen pieces each, so the root pitches answered one another and the clear subsidiary tones were complete. Hall and courtyard chi and flutes were largely remade to the new standard, while zithers, harps, ruan, zhu, and ocarinas were tuned to the newly fixed pitches. The throne approved all of it. They then assembled the new instruments, transferred them to the Court of Imperial Sacrifices, and set aside storehouses for them. Musicians were examined, the dull and aged dismissed, skilled recruits enlisted to fill gaps, and regular training schedules established.
14
初，皇祐中，益州進士房庶論尺律之法，以為嚐得古本《漢書》，言在《律曆志》。 範鎮以其說為然，請依法作為尺律，然後別求古樂參考。 於是庶奉詔造律管二，尺、量、龠各一，而殿中丞胡瑗以為非。 詔鎮與幾等定樂，鎮曰：“定樂當先正律。 ”帝然之。 鎮作律、尺等，欲圖上之。 而幾之議律主於人聲，不以尺度求合。 其樂大抵即李照之舊而加四清聲，遂奏樂成。 第加恩賚，而鎮謝曰：“此劉幾樂也，臣何預焉！ ”乃復上奏曰：“太常鎛鍾皆有大小、輕重之法，非三代莫能為者。 禁中又出李照、胡瑗所鑄銅律及尺付太常，按照黃鍾律合王樸太簇律，仲呂律合王樸黃鍾律，比樸樂才下半律，外有損益而內無損益，鍾聲鬱而不發，無足議者。 照之律雖是，然與其樂校，三格自相違戾。 且以太簇為黃鍾，則是商為宮也。
Earlier, during Huangyou, the Yizhou graduate Fang Shu argued for a method of pitch pipes and measures, claiming he had found an old Han shu passage in the Treatise on Pitch Pipes and the Calendar. Fan Zhen accepted Fang Shu's account and asked that pipes and measures be cast by that method before ancient music was sought for comparison. Fang Shu was ordered to make two pitch pipes plus a ruler, a measure, and a yue vessel, while Palace Aide Hu Yuan objected that the method was wrong. When Fan Zhen and Liu Ji were charged with fixing the music, Zhen said, 'Music cannot be settled until the pitch standards are corrected.' The emperor agreed. Fan Zhen fashioned pipes, measures, and related tools and prepared to present diagrams of them. Liu Ji, however, grounded pitch on the human voice and refused to force it to match physical measures. His music was essentially Li Zhao's old arrangement with the four clear tones restored, and he reported the work finished. When rewards were offered, Fan Zhen declined: 'This is Liu Ji's music. What part had I in it?' He then memorialized again: 'The Court's great bells follow rules of size and weight that only the Three Dynasties could truly execute.' The palace also sent Li Zhao and Hu Yuan's bronze pipes and measures to the Court. Yellow Bell under their system matched Wang Pu's Great Cou, and Zhonglu matched Wang Pu's Yellow Bell—only half a pitch below Pu's scale. Outwardly the numbers shifted, inwardly they did not; the bells sounded choked and were not worth debating. Li Zhao's pipes might be right in theory, yet compared with his music the three modes contradicted one another. Moreover, to call Great Cou Yellow Bell is to make Shang the palace tone.
15
方劉幾奏上時，臣初無所預。 臣頃造律，內外有損益，其聲和，又與古樂合。 今若將臣所造尺律依大小編次太常鎛鍾，可以成一代大典。 又太常無雷鼓、靈鼓、路鼓，而以散鼓代之。 開元中，有以畫圖獻者，一鼓而為八面、六面、四面，明皇用之。 國朝郊廟或考或不考，宮架中惟以散鼓，不應經義。 又八音無匏、土二音：笙、竽以木鬥攢竹而以匏裹之，是無匏音也； 塤器以木為之，是無土音也。 八音不具，以為備樂，安可得哉！ ”不報。
When Liu Ji first presented his music, I had no hand in it. The pipes I have lately made adjust inner and outer dimensions, yet sound harmoniously and accord with ancient music. If my pipes and measures were used to rank the Court's great bells by size, the dynasty could possess a true canonical music. The Court also lacks the thunder, spirit, and road drums, substituting ordinary hand drums. In Kaiyuan someone offered a painted diagram of drums with eight, six, or four faces, and Emperor Xuanzong adopted it. Our suburban and temple rites sometimes follow that practice and sometimes do not; the palace orchestra relies solely on the loose drum, which the classics do not sanction. The eight categories also lack true gourd and earth tones: sheng and yu bind bamboo in wooden frames wrapped with gourd, so no true gourd tone remains. The ocarina is made of wood, so there is no true earth tone either. With the eight tones incomplete, how can this count as full ritual music? The court gave no reply.
16
四年十一月，詳定所言：“‘搏拊、琴、瑟以詠’，則堂上之樂，以象朝廷之治； ‘下管、鞀鼓’，‘合止敔’，‘笙、鏞以間’，則堂下之樂，以象萬物之治。 後世有司失其傳，歌者在堂，兼設鍾磬； 宮架在庭，兼設琴瑟； 堂下匏竹，寘之於床：並非其序。 請親祠宗廟及有司攝事，歌者在堂，不設鍾磬； 宮架在庭，不設琴瑟； 堂下匏竹，不寘於床。 其郊壇上下之樂，亦以此為正，而有司攝事如之。 ”又言：“以《小胥》宮縣推之，則天子鍾、磬、鎛十二虡為宮縣明矣。 故或以為配十二辰，或以為配十二次，則虡無過十二。 先王之製廢，學者不能考其數。 隋、唐以來，有謂宮縣當二十虡，甚者又以為三十六虡。 方唐之盛日，有司攝事，樂並用宮縣。 至德後，太常聲音之工散亡，凡郊廟有登歌而無宮縣，後世因仍不改。 請郊廟有司攝事，改用宮架十二虡。 ”太常以謂用宮架十二虡，則律呂均聲不足，不能成均。 請如禮：宮架四面如辰位，設鎛鍾十二虡，而甲、丙、庚、壬設鍾，乙、丁、辛、癸設磬，位各一虡。 四隅植建鼓，以象二十四氣。 宗廟、郊丘如之。
In the eleventh month of the fourth year of Yuanfeng, the deliberation office wrote: 'The line about clappers, zithers, and harps for chanting describes hall music imaging court governance.' 'Lower pipes and hand drums,' 'uniting and closing with the clapper,' and 'sheng and yong interspersed' describe courtyard music imaging the ordering of the myriad things. Later officials lost the tradition: singers stand in the hall while bells and chimes are placed there as well. The palace orchestra stands in the courtyard while zithers and harps are set up there too. Gourd and bamboo instruments below the hall are set on platforms—all out of proper order. They asked that at the emperor's own temple sacrifices and at proxy rites, singers remain in the hall without bells or chimes. The palace orchestra should stay in the courtyard without zithers or harps. Gourd and bamboo below the hall should not be placed on platforms. Suburban altar music above and below should follow the same rule, as should proxy rites. They also argued from the Small Steward's account of the palace orchestra that the Son of Heaven's bells, stones, and great bells in twelve frames were clearly defined. Some therefore paired them with the twelve chronograms or the twelve lunar lodges, so frames should not exceed twelve. Once the ancient system fell away, scholars could no longer recover the numbers. From Sui and Tang some claimed twenty frames for the palace orchestra, and others as many as thirty-six. At Tang's height, proxy sacrifices still employed the full palace orchestra. After Zhide, Court musicians dispersed; suburban and temple rites retained ascending song but lost the palace orchestra, and later ages never restored it. They asked that proxy suburban and temple rites again use the twelve-frame palace orchestra. The Court objected that twelve frames would leave the pitch pipes' full scale incomplete. They proposed instead the ritual layout: orchestra on four sides like the chronogram stations, twelve frames of great bells, bells on jia, bing, geng, and ren and chimes on yi, ding, xin, and gui, one frame each. Mounted drums at the four corners would image the twenty-four seasonal nodes. Temple and suburban rites would follow the same plan.
17
五年正月，開封布衣葉防上書論樂器、律曲不應古法，復下楊傑議。 傑論防增編鍾、編磬二十有四為簨製，管簫視鍾磬數，登歌用玉磬，去樂曲之近清聲者，舞不立表，皆非是。 其言均律差互，與劉幾同。 請以晉鼓節金奏。 考經、禮，製簨虡教國子、宗子舞，用之郊廟，為何所取？ 而範鎮亦言：“自唐以來至國朝，三大祀樂譜並依《周禮》，然其說有黃鍾為角、黃鍾之角。 黃鍾為角者，夷則為宮； 黃鍾之角者，姑洗為角。 十二律之於五聲，皆如此率。 而世俗之說，乃去‘之’字，謂太簇曰黃鍾商，姑洗曰黃鍾角，林鍾曰黃鍾徵，南呂曰黃鍾羽。 今葉防但通世俗夷部之說，而不見《周禮》正文，所以稱本寺均差互，其說難行。 ”帝以樂律絕學，防草萊中習之尤難，乃補防為樂正。
In the first month of the fifth year of Yuanfeng, the Kaifeng commoner Ye Fang memorialized that instruments and melodies no longer matched antiquity, and Yang Jie was again ordered to respond. Yang Jie rejected Fang's plan to raise serial bells and chimes to twenty-four in casket frames, match flutes to bell counts, use jade chimes for ascending song, drop near-clear tones, and abolish dance markers. Fang's complaints about conflicting pitch standards echoed Liu Ji. He asked that the Jin drum mark the metal percussion. By what classical warrant were bamboo frames to train princes and clansmen in dance, then used at suburban and temple rites? Fan Zhen added: 'From Tang through our dynasty the three great sacrifices followed the Zhou Rites, yet commentators speak of both Yellow Bell as jue and Yellow Bell's jue.' 'Yellow Bell as jue' means Yize serves as palace. 'Yellow Bell's jue' means Gu Xian is jue. The same principle governs all twelve pipes against the five tones. Popular usage drops the possessive and calls Great Cou 'Yellow Bell shang,' Gu Xian 'Yellow Bell jue,' Forest Bell 'Yellow Bell zhi,' and Southern Lu 'Yellow Bell yu.' Ye Fang follows only popular Yize-key formulas and ignores the Zhou Rites themselves, which is why he finds the Court's keys contradictory and his plan unworkable. Because pitch theory had nearly vanished, the emperor admired that a farmer had mastered it and appointed Ye Fang Director of Music.
18
六年春正月，禦大慶殿，初用新樂。 二月，太常言：“郊廟樂虡，若遇雨雪，望祭即設於殿上。 ”三月，禮部言：“有司攝事，祀昊天舞名。 請初獻曰《帝臨嘉至》，亞、終獻曰《神矣錫羨》； 太廟初獻曰《孝熙昭德》，亞、終獻曰《禮洽儲祥》。 ”詔可。 九月，禮部言：“《周禮》，凡大祭祀，王出入則奏《王夏》，明入廟門已用樂矣。 今既移祼在作樂之前，皇帝詣罍洗奏《乾安》，則入門亦當奏《乾安》，庶合古製。 其入景靈宮及南郊壝門，乞如之。”
In the first month of the sixth year of Yuanfeng the emperor entered the Great Celebration Hall and performed with the new music for the first time. In the second month the Court reported that when rain or snow fell, suburban music frames could be set up in the hall for the observance sacrifice. In the third month the Ministry of Rites proposed dance titles for proxy sacrifices to Heaven. The first offering dance should be called 'The Emperor Approaches in Blessing,' the second and final 'The Spirit Bestows Favor.' For the Imperial Ancestral Temple: first offering 'Filial Splendor and Bright Virtue,' second and final 'Rites Harmonize and Store Blessings.' The throne assented. In the ninth month the Ministry cited the Zhou Rites: at great sacrifices the king's entry and exit were accompanied by 'Wang Xia,' showing music began at the temple gate. Because libation now precedes the main music, 'Qian An' plays at the libation ewer; they asked that 'Qian An' also play at the gate to match antiquity. The same should apply on entering Jingling Palace and the southern suburban mound gate.
19
七年正月，詔從協律郎榮谘道請，於奉宸庫選玉造磬，令太常審定音律。 六月，禮部言：“親郊之歲，夏至祀皇地祇於方丘，遣塚宰攝事，禮容樂舞謂宜加於常祀。 而其樂虡二十、樂工百五十有二、舞者六十有四，與常歲南北郊上公攝事無異，未足以稱欽崇之意。 乞自今準親祠用三十六虡，工人三百有六，舞人百二十有四。 ”詔可。
In the first month of the seventh year of Yuanfeng the throne approved Pitch-Matching Officer Rong Zidao's request to choose jade from the Imperial Treasury for chimes and have the Court fix the pitch. In the sixth month the Ministry noted that in years of the emperor's personal suburban sacrifice, the summer solstice Earth rite at the square mound, though performed by the chief minister as proxy, should exceed ordinary proxy rites in ritual and music. Yet it still used only twenty frames, 152 musicians, and 64 dancers—the same as an ordinary chief-minister proxy sacrifice—too meager to express full reverence. They asked that henceforth it follow the imperial standard: thirty-six frames, 306 musicians, and 124 dancers. The throne assented.
20
元祐元年，谘道又言：“先帝詔臣製造玉磬，將用於廟堂之上，依舊同編鍾以登歌。 今年親祠明堂，請用之，以章明盛典。 ”從之。 三年，範鎮樂成，上其所製樂章三、鑄律十二、編鍾十二、鎛鍾一、衡一、尺一、斛一，響石為編磬十二、特磬一，簫、笛、塤、篪、巢笙、和笙各二，並書及圖法。 帝與太皇太后禦延和殿，詔執政、侍從、台閣、講讀官皆往觀焉。 賜鎮詔曰：“朕惟春秋之後，禮樂先亡； 秦、漢以來，《韶》、《武》僅在。 散樂工於河、海之上，往而不還； 聘先生於齊、魯之間，有莫能致。 魏、晉以下，曹、鄶無譏。 豈徒鄭、衛之音，已雜華、戎之器。 間有作者，猶存典刑。 然銖、黍之一差，或宮、商之易位。 惟我四朝之老，獨知五降之非。 審聲知音，以律生尺。 覽詩書之來上，閱簨虡之在廷。 君臣同觀，父老太息。 方詔學士、大夫論其法，工師、有司考其聲。 上追先帝移風易俗之心，下慰老臣愛君憂國之誌。 究觀所作，嘉歎不忘。”
In Yuanyou 1, Zidao again reported that the late emperor had ordered him to make jade chimes for the temple hall, paired with serial bells for ascending song as of old. He asked to use them at this year's personal Bright Hall sacrifice to honor the grand rite. The request was granted. In Yuanyou 3 Fan Zhen finished his music and presented three hymn sections, twelve pitch pipes, twelve serial bells, one great bell, steelyard, ruler, and hu measure, twelve serial chimes plus one special chime, and two each of flute, vertical flute, ocarina, chi, nest-sheng, and he-sheng, with treatises and diagrams. The emperor and Grand Empress Dowager watched from Yanhe Hall and summoned ministers, attendants, palace officers, and lecturers to hear. The edict to Fan Zhen began: 'We reflect that after the Spring and Autumn era ritual and music were the first to perish.' From Qin and Han only the names of Shao and Wu remained. Musicians were scattered to the rivers and seas and never returned. Masters were invited from Qi and Lu, yet none could be obtained. From Wei and Jin onward the music of Cao and Zheng passed without reproach. It was not only Zheng and Wei melodies that had mingled with foreign instruments. Occasionally a reformer still preserved canonical form. Yet a millet-grain error in pitch, or an easy slip between palace and shang, could undo all. Only you, elder statesman of four reigns, truly knew the error of the five descents. You examined sound, mastered tone, and derived measure from pitch. You brought the Odes and Documents before us and set frames and stands in the court. Ruler and ministers watched together while elders sighed with emotion. We shall have scholars debate the method and craftsmen test the sound. This fulfills the late emperor's wish to reform customs above and comforts your loyal concern for the realm below. We have examined your work with admiration and hold it in lasting esteem.
21
鎮為《樂論》，其自敘曰：“臣昔為禮官，從諸儒難問樂之差謬，凡十餘事。 厥初未習，不能不小牴牾。 後考《周官》、《王製》、司馬遷《書》、班氏《志》，得其法，流通貫穿，悉取舊書，去其牴牾。 掇其要，作為八論。 ”其《論律》、《論黍》、《論尺》、《論量》、《論聲器》，言在《律曆志》。
Fan Zhen wrote a Discourse on Music, explaining: 'When I served as a ritual official I joined other scholars in questioning errors in the music—more than ten points in all.' At first, being inexperienced, I could not avoid some inconsistencies. Later I studied the Offices of Zhou, the Royal Regulations, Sima Qian's Records, and the Han treatises, mastered their methods, reconciled the texts, and removed their contradictions. From their essentials I composed eight treatises. His treatises on pitch pipes, millet grain, measure, capacity, and sounding vessels appear in the Treatise on Pitch Pipes and the Calendar.
22
《論鍾》曰：
The Discourse on Bells reads:
23
夫鍾之製，《周官·鳧氏》言之甚詳，而訓解者其誤有三：若云：“帶，所以介，其名也介，在於、鼓、鉦、舞、甬、衡之間。 ”介於、鼓、鉦、舞之間則然，非在甬、衡之上，其誤一也。 又云：“舞，上下促，以橫為修，從為廣，舞廣四分。 ”今亦去徑之二分以為之間，則舞間之方常居銑之四也。 舞間方四，則鼓間六亦其方也。 鼓六、鉦六、舞四，即言鼓間與舞佾相應，則鼓與舞皆六，所雲“鉦六、舞四”，其誤二也。 又云：“鼓外二，鉦外一。 ”彼既以鉦、鼓皆六，無厚薄之差，故從而穿鑿，以遷就其說，其誤三也。
Bell-making is described in detail in the Offices of Zhou, yet commentators err in three ways. One says the girdle 'separates' and lies between the yu, drum, zheng, dance, stem, and crossbeam. It is true between the yu, drum, zheng, and dance, but not above stem and crossbeam—that is the first error. A second comment says the dance section is shortened top and bottom, with horizontal length and vertical width each four parts. If two parts of the diameter are taken for the interval, the dance interval's square always occupies four parts of the bell mouth. With the dance interval a square of four, the drum interval of six is likewise squared. Drum six, zheng six, dance four: if drum interval matches dance rows, drum and dance should both be six. To say 'zheng six, dance four' is the second error. A third comment says 'two outside the drum, one outside the zheng.' Having fixed zheng and drum at six with no thickness difference, they forced the text to fit their theory—the third error.
24
今臣所鑄編鍾十二，皆從其律之長，故鍾口十者，其長十六以為鍾之身。 鉦者，正也，居鍾之中，上下皆八，下去二以為之鼓，上去二以為之舞，則鉦居四而鼓與舞皆六。 是故於、鼓、鉦、舞、篆、景、欒、隧、甬、衡、旋蟲，鍾之文也，著於外者也； 廣、長、空徑、厚、薄、大、小，鍾之數也，起於內者也。 若夫金錫之齊與鑄金之狀率按諸《經》，差之毫厘則聲有高下，不可不審。 其鎛鍾亦以此法而四倍之。
The twelve serial bells I cast follow each pipe's length: a mouth of ten parts yields a body sixteen parts long. The zheng, meaning 'correct,' sits at the bell's center with eight parts above and below; two are removed below for the drum and two above for the dance, so zheng is four and drum and dance are six each. The yu, drum, zheng, dance, seal, image, luan, tunnel, stem, crossbeam, and worm pattern are the bell's outward ornament. Width, length, hollow diameter, thickness, and size are the bell's inner measurements. Gold-tin alloy and casting must follow the classics exactly; a hair's breadth changes pitch and cannot be neglected. Great bells follow the same method at four times the scale.
25
今太常鍾無大小、無厚薄、無金齊，一以黃鍾為率，而磨以取律之合，故黃鍾最薄而輕。 自大呂以降，迭加重厚，是以卑陵尊，以小加大，其可乎？ 且清聲者不見於《經》，惟《小胥》注云：“鍾磬者，編次之，二八十六枚而在一虡謂之堵。 ”至唐又有十二清聲，其聲愈高，尤為非是。 國朝舊有四清聲，置而弗用，至劉幾用之，與鄭、衛無異。
Today's Court bells have no regulated size, thickness, or alloy but are all filed to Yellow Bell, making Yellow Bell thinnest and lightest. From Great Lu down they grow heavier and thicker, so lower tones overwhelm higher and smaller bells outweigh larger—can that be right? Clear subsidiary tones are not in the classics; only the Small Steward commentary says bells and chimes are arranged sixteen to a frame called a 'wall.' Tang added twelve clear tones pitched even higher—especially wrong. Our dynasty once had four clear tones that were set aside; when Liu Ji revived them they resembled Zheng and Wei music.
26
《論磬》曰：
The Discourse on Chime-Stones reads:
27
臣所造編磬，皆以《周官·磬氏》為法，若黃鍾股之博四寸五分，股九寸，鼓一尺三寸五分； 鼓之博三寸，而其厚一寸，其弦一尺三寸五分。 十二磬各以其律之長而三分損益之，如此其率也。 今之十二磬，長短、厚薄皆不以律，而欲求其聲，不亦遠乎？ 鍾有齊也，磬，石也，天成之物也。 以其律為之長短、厚薄，而其聲和，此出於自然，而聖人者能知之，取以為法，後世其可不考正乎？ 考正而非是，則不足為法矣。
My arranged chimes follow the Offices of Zhou Chime-Stone Maker: Yellow Bell's thigh is four inches five parts wide, nine inches long, with a drum one foot three inches five parts. The drum is three inches wide, one inch thick, with a string of one foot three inches five parts. Each of the twelve stones is sized by its pitch pipe through the rule of thirds increase and decrease. Today's twelve stones vary in length and thickness without following the pipes, yet we expect correct pitch—how far is that from the mark? Bells require regulated alloy; chimes are stone, a product of nature. Sizing them by pitch until they sound in harmony is natural; the sages knew this and made it law. Should later ages not verify it? If verification fails, the method is no true standard.
28
特磬則四倍其法而為之。 國朝祀天地、宗廟及大朝會，宮架內止設鎛鍾，惟後廟乃用特磬，非也。 今已升祔後廟，特磬遂為無用之樂。 臣欲乞凡宮架內於鎛鍾後各加特磬，貴乎金石之聲小大相應。
The special chime is made at four times this scale. In sacrifices to Heaven, Earth, the ancestors, and great court assemblies, the palace orchestra sets only great bells; only the rear temple used a special chime—incorrect. Now that the rear temple has been elevated, the special chime has become obsolete. I ask that each palace orchestra add a special chime after its great bells so metal and stone tones of different scales answer one another.
29
《論八音》曰：
The Discourse on the Eight Tones reads:
30
匏、土、革、木、金、石、絲、竹，是八物者，在天地間，其體性不同而至相戾之物也。 聖人製為八器，命之商則商，命之宮則宮，無一物不同者。 能使天地之間至相戾之物無不同，此樂所以為和而八音所以為樂也。
Gourd, earth, hide, wood, metal, stone, silk, and bamboo are eight materials between Heaven and Earth whose natures differ and even oppose one another. The sage fashioned eight instruments so that when commanded as Shang they sounded Shang and when as palace they sounded palace—none failed to match. To reconcile such opposing materials into one harmony is why music is called harmonious and the eight tones constitute true music.
31
樂下太常，而楊傑上言：“元豐中，詔範鎮、劉幾與臣詳議郊廟大樂，既成而奏，稱其和協。 今鎮新定樂法，頗與樂局所議不同。 且樂經仁宗命作，神考睿斷，奏之郊廟、朝廷，蓋已久矣，豈可用鎮一說而遽改之？ ”遂著《元祐樂議》以破鎮說。 其《議樂章》曰：
When the music reached the Court of Imperial Sacrifices, Yang Jie memorialized: 'During Yuanfeng Fan Zhen, Liu Ji, and I deliberated suburban and temple music; when it was presented it was judged harmonious.' Fan Zhen's new methods differ greatly from what the Music Bureau had settled. That music was commissioned by Emperor Renzong and ratified by Emperor Shenzong; it has long been performed at altars and court. How can Fan Zhen's single theory overturn it overnight? He therefore wrote the Yuanyou Music Discourse to refute Fan Zhen. Its section on hymn titles reads:
32
國朝大樂所立曲名，各有成憲，不相淆雜，所以重正名也。 故廟室之樂皆以“大”名之，如《大善》、《大仁》、《大英》之類是也。 今鎮以《文明之曲》獻祖廟，以《大成之曲》進皇帝，以《萬歲之曲》進太皇太后，其名未正，難以施於宗廟、朝廷。
Our great music's tune names each follow fixed statutes without confusion, honoring correct naming. Temple hymns therefore take Great in their titles, as in 'Great Goodness,' 'Great Benevolence,' and 'Great Excellence.' Fan Zhen offers 'Tune of Civilized Brilliance' to the ancestral temple, 'Tune of Great Completion' to the emperor, and 'Tune of Ten Thousand Years' to the Grand Empress Dowager—titles improper for temple and court.
33
《議宮架加磬》曰：
The section on adding chimes to the palace orchestra reads:
34
鎮言：“國朝祀天地、宗廟及大朝會，宮架內止設鎛鍾，惟後廟乃用特磬，非也。 今已升後廟，特磬遂為無用之樂，欲乞凡宮架內於鎛鍾後各加特磬，貴乎金石之聲小大相應。 ”按《唐六典》：天子宮架之樂，鎛鍾十二、編鍾十二、編磬十二，凡三十有六虡，宗廟與殿庭同。 凡中宮之樂，則以大磬代鍾，餘如宮架之製。 今以鎛鍾、特磬並設之，則為四十八架，於古無法。 皇帝將出，宮架撞黃鍾之鍾，右五鍾皆應； 皇帝興，宮架撞蕤賓之鍾，左五鍾皆應。 未聞皇帝出入，以特磬為節。
Fan Zhen said: 'In sacrifices to Heaven, Earth, the ancestors, and great assemblies the orchestra sets only great bells; only the rear temple used a special chime—wrong.' Now that the rear temple is elevated, the special chime is obsolete; he asks to add a special chime after each orchestra's great bells so metal and stone answer in scale. The Tang Six Canon records the Son of Heaven's orchestra as twelve great bells, twelve serial bells, and twelve serial chimes—thirty-six frames—for temple and palace alike. Inner-palace music used a great chime in place of bells, with the rest as in the palace orchestra. Setting both great bells and special chimes together would make forty-eight frames, for which antiquity offers no precedent. When the emperor is about to depart, the orchestra strikes Yellow Bell and the five bells to the right answer. When the emperor rises, it strikes Flanking Guest and the five bells to the left answer. Nowhere is the emperor's entry and exit marked by a special chime.
35
《議十六鍾磬》曰：
The section on sixteen bells and chimes reads:
36
鎮謂：“清聲不見於《經》，惟《小胥》注雲‘鍾磬者，編次之，十六枚而在一虡謂之堵。 ’至唐又有十二清聲，其聲愈高，尤為非是。 國朝舊有四清聲，置而弗用，至劉幾用之，與鄭、衛無異。 ”按編鍾、編磬十六，其來遠矣，豈徒見於《周禮·小胥》之注哉？ 漢成帝時，犍為郡於水濱得古磬十六枚，帝因是陳禮樂、《雅》《頌》之聲，以風化天下。 其事載於《禮樂志》，不為不詳，豈因劉幾然後用哉？ 且漢承秦，秦未嚐製作禮樂，其稱古磬十六者，乃二帝、三王之遺法也。 其王樸樂內編鍾、編磬，以其聲律太高，歌者難逐，故四清聲置而弗用。 及神宗朝下三律，則四清聲皆用而諧協矣。 《周禮》曰：“鳧氏為鍾，薄厚之所震動，清濁之所由出。 ”則清聲豈不見於《經》哉？ 今鎮以簫、笛、塤、篪、巢笙、和笙獻於朝廷，簫必十六管，是四清聲在其間矣。 自古無十二管之簫，豈《簫韶》九成之樂已有鄭、衛之聲乎？
Fan Zhen said clear tones are not in the classics and cited only the Small Steward note on sixteen bells or chimes per frame. He added that Tang's twelve clear tones were even higher and especially wrong. He repeated that our four clear tones, unused until Liu Ji revived them, resembled Zheng and Wei. Yet sixteen bells or chimes are ancient; they are not found only in the Small Steward commentary. Under Emperor Cheng of Han, Qianwei recovered sixteen ancient chimes from a riverbank, and the emperor used them to display ritual music and the Odes to transform the realm. This is recorded fully in the Treatise on Ritual and Music. Did Liu Ji invent their use? Han succeeded Qin, which never made ritual music; those sixteen stones were the legacy of the sage kings. Wang Pu's serial bells and chimes were too high for singers, so the four clear tones were set aside. When Emperor Shenzong lowered the scale by three pitches, the four clear tones worked in harmony. The Offices of Zhou says: 'The Bell Maker makes bells; from thick and thin vibration come clear and muddy tones.' Are clear tones not in the classics after all? Yet Fan Zhen presents flutes, ocarinas, chi, and mouth-organs to court, and his pan-pipe has sixteen tubes—so the four clear tones are already there. Antiquity knew no twelve-tube pan-pipe. Did the nine movements of Shaoyao already contain Zheng and Wei?
37
禮部、太常亦言“鎮樂法自係一家之學，難以參用”，而樂如舊制。 四年十二月，始命大樂正葉防撰朝會二舞儀。 武舞曰《威加四海之舞》：
The Ministry of Rites and the Court also held that Fan Zhen's methods were a private school of thought unfit for official use, and music remained on the old system. In the twelfth month of Yuanyou 4, Great Director of Music Ye Fang was ordered to draft protocols for the two court assembly dances. The martial dance was titled 'Might Spreading over the Four Seas:'
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第一變：舞人去南表三步，總幹而立，聽舉樂，三鼓，前行三步，及表而蹲； 再鼓，皆舞，進一步，正立； 再鼓，皆持幹荷戈，相顧作猛賁速趫之狀； 再鼓，皆轉身向裏，以幹戈相擊刺，足不動； 再鼓，皆回身向外，擊刺如前； 再鼓，皆正立舉手，蹲； 再鼓，皆舞，進一步轉麵相向立。 幹戈各置腰； 再鼓，各前進，以左足在前，右足在後，左手執幹當前，右手執戈在腰為進旅； 再鼓，各相擊刺； 再鼓，各退身復位，整其幹為退旅； 再鼓，皆正立，蹲； 再鼓，皆舞，進一步正立； 再鼓，各轉麵相向，秉幹持戈坐作； 再鼓，各相擊刺； 再鼓，皆起，收其幹戈為克捷之象； 再鼓，皆正立，遇節樂則蹲。
First section: dancers leave the southern marker three paces, grasp their staffs, and stand; at three drumbeats they advance three paces to the marker and crouch. At the second drumbeat all dance forward one pace and stand upright. At the second drumbeat all hold staffs and halberds and face one another in the posture of fierce warriors charging swiftly. At the second drumbeat all turn inward and strike and thrust with staff and halberd without moving the feet. At the second drumbeat all turn outward and strike and thrust as before. At the second drumbeat all stand upright, raise the hands, and crouch. At the second drumbeat all dance forward one pace and turn to face one another. Staff and halberd are each placed at the waist. At the second drumbeat each advances with left foot forward, right foot back, left hand holding the staff before the body and right hand the halberd at the waist in the advancing formation. At the second drumbeat each strikes and thrusts at the other. At the second drumbeat each retreats to position and straightens the staff in the withdrawing formation. At the second drumbeat all stand upright and crouch. At the second drumbeat all dance forward one pace and stand upright. At the second drumbeat each turns to face the other, holding staff and halberd in a seated posture. At the second drumbeat each strikes and thrusts at the other. At the second drumbeat all rise and gather staff and halberd in the gesture of victory. At the second drumbeat all stand upright; at sectional music they crouch.
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第二變：聽舉樂，依前蹲； 再鼓，皆舞，進一步正立； 再鼓，皆正麵，作猛賁趫速之狀； 再鼓，皆轉身向裏相擊刺，足不動； 再鼓，各轉身向外擊刺如前； 再鼓，皆正立，蹲； 再鼓，皆舞，進一步，陳其幹戈，左右相顧為猛賁趫速之狀； 再鼓，皆並入行，以八為四； 再鼓，皆兩兩對相擊刺； 再鼓，皆回，易行列，左在右，右在左，再鼓，皆舉手，蹲； 再鼓，皆舞，進一步正立； 再鼓，各分左右； 再鼓，各揚其幹戈； 再鼓，交相擊刺； 再鼓，皆總幹正立，遇節樂則蹲。
Second section: at the music's opening crouch as before. At the second drumbeat all dance forward one pace and stand upright. At the second drumbeat all face forward in the posture of fierce warriors charging swiftly. At the second drumbeat all turn inward and strike and thrust without moving the feet. At the second drumbeat each turns outward and strikes and thrusts as before. At the second drumbeat all stand upright and crouch. At the second drumbeat all dance forward one pace, brandish staffs and halberds, and glance left and right in the posture of fierce warriors charging swiftly. At the second drumbeat all march in together, dividing eight into four ranks. At the second drumbeat pairs face one another and strike and thrust. At the second drumbeat all turn about and exchange ranks; at the next second drumbeat all raise the hands and crouch. At the second drumbeat all dance forward one pace and stand upright. At the second drumbeat each divides to left and right. At the second drumbeat each brandishes staff and halberd. At the second drumbeat they strike and thrust at one another. At the second drumbeat all grasp their staffs, stand upright, and crouch at sectional music.
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第三變：聽舉樂則蹲； 再鼓，皆舞，進一步轉而相向，再鼓，整幹戈以象登台講武； 再鼓，皆擊刺於東南； 再鼓，皆按盾舉戈，東南向而望，以象漳、泉奉土； 再鼓，皆擊刺於正南； 再鼓，皆按盾舉戈，南向而望，以象杭、越來朝，再鼓，皆舞，進一步正立； 再鼓，皆擊刺於西北； 再鼓，皆按盾舉戈，西北向而望，以象克殄並、汾； 再鼓，皆擊刺於正西； 再鼓，皆按盾舉戈，西向而望，以象肅清銀、夏； 再鼓，皆舞，進一步正跪，右膝至地，左足微起； 再鼓，皆置幹戈於地，各拱其手，象其不用； 再鼓，皆左右舞蹈，象以文止武之意； 再鼓，皆就拜，收其幹戈，起而躬立； 再鼓，皆舞，退，鼓盡即止，以象兵還振旅。
Third section: at the music's opening they crouch. At the second drumbeat all dance forward and turn to face one another; at the next they straighten staff and halberd to depict mounting the platform to lecture on warfare. At the second drumbeat all strike and thrust toward the southeast. At the second drumbeat all press shield and raise halberd, gazing southeast to depict Zhang and Quan presenting territory. At the second drumbeat all strike and thrust due south. At the second drumbeat all press shield and raise halberd, gazing south to depict Hang and Yue coming to court; at the next all dance forward one pace and stand upright. At the second drumbeat all strike and thrust toward the northwest. At the second drumbeat all press shield and raise halberd, gazing northwest to depict the destruction of Bing and Fen. At the second drumbeat all strike and thrust due west. At the second drumbeat all press shield and raise halberd, gazing west to depict the pacification of Yin and Xia. At the second drumbeat all dance forward and kneel with the right knee to the ground and the left foot slightly raised. At the second drumbeat all set staff and halberd on the ground and cup the hands to show they are no longer used. At the second drumbeat all dance left and right to depict civil rule ending martial force. At the second drumbeat all bow, gather staff and halberd, rise, and stand with bowed bodies. At the second drumbeat all dance and withdraw; when the drums cease they stop, depicting the army's return and muster.
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文舞曰《化成天下之舞》：
The civil dance was titled 'Transforming and Completing the World:'
42
第一變：舞人立南表之南，聽舉樂則蹲； 再鼓，皆舞，進一步正立； 再鼓，皆稍前而正揖，合手自下而上； 再鼓，皆左顧左揖； 再鼓，皆右顧右揖； 再鼓，皆開手，蹲； 再鼓，皆舞，進一步正立； 再鼓，皆少卻身，初辭，合手自上而下； 再鼓，皆右顧，以右手在前、左手推後為再辭； 再鼓，皆左顧，以左手在前，右手推出為固辭； 再鼓，皆合手，蹲； 再鼓，皆舞，進一步正立； 再鼓，皆俯身相顧，初謙，合手當胸； 再鼓，皆右側身、左垂手為再謙； 再鼓，皆左側身、右垂手為三謙； 再鼓，皆躬而授之，遇節樂則蹲。
First section: dancers stand south of the southern marker and crouch at the music's opening. At the second drumbeat all dance forward one pace and stand upright. At the second drumbeat all step slightly forward and bow upright, joining the hands from below upward. At the second drumbeat all look left and bow to the left. At the second drumbeat all look right and bow to the right. At the second drumbeat all open the hands and crouch. At the second drumbeat all dance forward one pace and stand upright. At the second drumbeat all step slightly back in the first declination, joining hands from above downward. At the second drumbeat all look right, right hand forward and left hand back in the second declination. At the second drumbeat all look left, left hand forward and right hand out in the firm declination. At the second drumbeat all join hands and crouch. At the second drumbeat all dance forward one pace and stand upright. At the second drumbeat all bend and face one another in the first modesty, hands joined at the chest. At the second drumbeat all turn right with the left hand hanging down in the second modesty. At the second drumbeat all turn left with the right hand hanging down in the third modesty. At the second drumbeat all bow the body in presentation; at sectional music they crouch.
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第二變：聽舉樂則蹲； 再鼓，皆舞，進一步轉麵相向； 再鼓，皆稍前相揖； 再鼓，皆左顧左揖； 再鼓，開手，蹲，正立； 再鼓，皆舞，進一步，復相向； 再鼓，皆卻身為初辭； 再鼓，皆舞，辭如上儀； 再鼓，皆再辭； 再鼓，皆固辭； 再鼓，皆合手，蹲，正立； 再鼓，皆舞，進一步； 再鼓，相向； 再鼓，皆顧為初謙； 再鼓，皆再謙； 再鼓，皆三謙； 再鼓，皆躬而授之，正立，遇節樂則蹲。
Second section: at the music's opening they crouch. At the second drumbeat all dance forward one pace and turn to face one another. At the second drumbeat all step slightly forward and bow to one another. At the second drumbeat all look left and bow left. At the second drumbeat all open the hands, crouch, and stand upright. At the second drumbeat all dance forward one pace and again face one another. At the second drumbeat all withdraw in the first declination. At the second drumbeat all dance the declinations as in the protocol above. At the second drumbeat all perform the second declination. At the second drumbeat all perform the firm declination. At the second drumbeat all join hands, crouch, and stand upright. At the second drumbeat all dance forward one pace. At the second drumbeat they face one another. At the second drumbeat all look about in the first modesty. At the second drumbeat all perform the second modesty. At the second drumbeat all perform the third modesty. At the second drumbeat all bow in presentation and stand upright; at sectional music they crouch.
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第三變：聽舉樂則蹲； 再鼓，皆舞，進一步兩兩相向； 再鼓，皆相趨揖； 再鼓，皆左揖如上； 再鼓，皆右揖； 再鼓，皆開手，蹲，正立； 再鼓，皆舞，進一步，復相向； 再鼓，皆卻身初辭； 再鼓，皆再辭； 再鼓，皆固辭； 再鼓，皆合手，蹲，正立； 再鼓，皆舞，進一步兩兩相向； 再鼓，皆相顧初謙； 再鼓，皆再謙； 再鼓，皆三謙，躬而授之，正立，節樂則蹲。
Third section: at the music's opening they crouch. At the second drumbeat all dance forward one pace in pairs facing one another. At the second drumbeat all move toward one another and bow. At the second drumbeat all bow left as before. At the second drumbeat all bow right. At the second drumbeat all open the hands, crouch, and stand upright. At the second drumbeat all dance forward one pace and again face one another. At the second drumbeat all withdraw in the first declination. At the second drumbeat all perform the second declination. At the second drumbeat all perform the firm declination. At the second drumbeat all join hands, crouch, and stand upright. At the second drumbeat all dance forward one pace in pairs facing one another. At the second drumbeat all face one another in the first modesty. At the second drumbeat all perform the second modesty. At the second drumbeat all perform the third modesty, bow in presentation, and stand upright; at sectional music they crouch.
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凡二舞綴表器及引舞振作，並與大祭祀之舞同。 協律郎陳沂按閱，以謂節奏詳備，自是朝會則用之。
For both dances the markers, instruments, and lead dancers' movements matched those of the great sacrificial dances. Pitch-Matching Officer Chen Yi reviewed them, judged the rhythm complete, and thereafter they were used at court assemblies.
46
八年，太常博士孫諤言：“臣嚐奉社稷之祠，親睹陳設，初疑其闕略而不備，退而考元祐祀儀，乃與所親見者合焉。 其登歌之樂，雖有鍾、磬、簨虡、搏拊、敔之屬，獨陳太社壇上，而太稷闕焉。 夫宮架不備，非所以重社稷也。 《周官》製祭祀之法，則有靈鼓以鼓之，有幬犮舞以舞之，有太簇、應鍾、《鹹池》以極其歌舞之節，此樂文之備也。 唐社稷用二十架，至於開元，亦循三代之遺法，於壇之北，宮架備陳，別異天神，中建靈鼓，歌鍾、歌虡各設二壇，下舞上歌，何其盛也！ 臣稽考典禮，凡祭太社、太稷，宜仿《周官》及《開元禮》文，於壇之北備設宮架，鍾、匏、竹各列二壇，南架之內，更植靈鼓。 ”於是集侍從、禮官議增稷壇樂，而添用宮架之說不行。
In Yuanyou 8, Sacrifices Doctor Sun E reported: 'I once attended the altars of soil and grain and at first thought the arrangements incomplete, but the Yuanyou protocols match what I saw.' Ascending song had bells, chimes, frames, clappers, and beaters, but they stood only on the Great Soil altar while the Great Grain altar had none. An incomplete palace orchestra does not properly honor soil and grain. The Offices of Zhou prescribed spirit drums, shield dances, and hymns such as Great Cou, Responding Bell, and the Xian Pool to complete the music of these sacrifices. Tang used twenty frames for soil and grain; Kaiyuan followed the Three Dynasties with a full palace orchestra north of the altar, a central spirit drum, and separate song altars for bells and frames—dance below, song above—in magnificent array. I propose that sacrifices to Great Soil and Great Grain follow the Offices of Zhou and Kaiyuan by setting a full palace orchestra north of the altar, with bells, gourd, and bamboo on two altars each and a spirit drum within the southern frames. Officials met to discuss expanding the grain altar music, but the proposal to add the palace orchestra was not adopted.
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元符元年十一月，詔登歌、鍾、磬並依元豐詔旨，復先帝樂製也。
In the eleventh month of Yuanfu 1 an edict restored ascending song, bells, and chimes to the Yuanfeng system of the late Emperor Shenzong.
48
二年正月，詔前信州司法參軍吳良輔按協音律，改造琴瑟，教習登歌，以太常少卿張商英薦其知樂故也。 初，良輔在元豐中上《樂書》五卷，其書分為四類，以謂：“天地兆分，氣數爰定。 律厥氣數，通之以聲。 於是撰《釋律》。 律為經，聲為緯。 律以聲為文，聲以律為質。 旋相為宮，七音運生。 於是撰《釋聲》。 聲生於日，律生於辰，故經之以六律，緯之以五聲。 聲律相協，和而無乖。 播之八音，八音以生。 於是撰《釋音》。 四物兼采，八器以成。 度數施設，象隱於形。 考器論義，道德以明。 於是撰《釋器》。 ”類各有條，凡四十四篇，大抵考之經傳，精以講思，頗益於樂理，文多，故弗著焉。
In the second month of Yuanfu 2 the former Xinzhou judicial assistant Wu Liangfu was ordered to harmonize pitch and remake zithers and harps for ascending song, on the recommendation of Vice Minister Zhang Shangying. During Yuanfeng, Liangfu had submitted five volumes of his Book of Music in four parts, arguing that 'Heaven and Earth first divided and breath-numbers were fixed.' Pitch pipes embody those breath-numbers and communicate through sound. Hence he wrote Explication of Pitch Pipes. Pitch is warp and sound is woof. Pitch takes sound as its pattern and sound takes pitch as its substance. Rotating keys generate palace, and the seven tones proceed from one another. Hence he wrote Explication of Sound. Sound arises from the day and pitch from the chronogram; the six pipes are warp and the five tones woof. Sound and pitch coordinate in harmony without contradiction. Spread to the eight tones, from which the eight categories arise. Hence he wrote Explication of Tones. Four classes of material are gathered and eight instruments thereby completed. Measures are applied and images hidden in form. Examining instruments clarifies the Way and virtue. Hence he wrote Explication of Instruments. Each part had its sections, forty-four in all, drawn from the classics and refined by reflection—useful to music theory, but too lengthy to reproduce here.
49
漢津至是年九十餘矣，本剩員兵士，自雲居西蜀，師事唐仙人李良，授鼎樂之法。 皇祐中，漢津與房庶以善樂被薦，既至，黍律已成，阮逸始非其說，漢津不得伸其所學。 後逸之樂不用，乃退與漢津議指尺，作書二篇，敘述指法。 漢津嚐陳於太常，樂工憚改作，皆不主其說。 或謂漢津舊嚐執役於範鎮，見其製作，略取之，蔡京神其說而托於李良。
By then Wei Hanjin was over ninety. A surplus soldier from western Shu, he claimed to have studied under the Tang immortal Li Liang and learned the method of tripod music. During Huangyou, Hanjin and Fang Shu were recommended for musical skill, but millet-grain pitch pipes were already fixed and Ruan Yi rejected their views, so Hanjin could not advance his learning. When Yi's music was abandoned, he withdrew and with Hanjin worked out finger measurements, writing two books on fingering technique. Hanjin once presented this to the Court, but musicians feared remaking instruments and none supported him. Some said Hanjin had served Fan Zhen, borrowed from his work, and that Cai Jing sanctified the theory by attributing it to Li Liang.
50
二年九月，禮部員外郎陳暘上所撰《樂書》二百卷，命禮部尚書何執中看詳，以謂暘欲考定音律，以正中聲，願送講議司，令知音律者參驗行之。 暘之論曰：“漢津論樂，用京房二變、四清。 蓋五聲十二律，樂之正也； 二變、四清，樂之蠹也。 二變以變宮為君，四清以黃鍾清為君。 事以時作，固可變也，而君不可變； 太簇、大呂、夾鍾，或可分也，而黃鍾不可分。 豈古人所謂尊無二上之旨哉？ ”壬辰，詔曰：“朕惟隆禮作樂，實治內修外之先務，損益述作，其敢後乎？ 其令講議司官詳求曆代禮樂沿革，酌古今之宜，修為典訓，以貽永世，致安上治民之至德，著移風易俗之美化，乃稱朕谘諏之意焉。”
In the ninth month of Yuanfu 2, Chen Yang of the Ministry of Rites submitted his two-hundred-volume Book of Music. Minister He Zhizhong was ordered to review it and proposed sending it to the Deliberation Office for experts to test Yang's plan to fix the central pitch. Chen Yang wrote: 'Wei Hanjin's music theory uses Jing Fang's two altered tones and four clear tones.' The five tones and twelve pitch pipes are the true music. The two altered tones and four clear tones are its corruption. The altered tones make altered palace the ruler; the clear tones make clear Yellow Bell the ruler. Affairs may change with the times, but the ruler cannot. Great Cou, Great Lu, and Flanking Guest might be subdivided, but Yellow Bell cannot. Does this not violate the ancient principle that honor admits no second sovereign? On renchen day an edict declared: 'Exalting ritual and making music is the first task of inner governance and outer cultivation. How dare We delay reform?' Let the Deliberation Office trace ritual and music through the dynasties, weigh ancient and modern practice, and compile canonical standards for all time—securing the realm, governing the people, and shifting customs as We intend.'
51
三年正月，漢津言曰：“臣聞黃帝以三寸之器名為《鹹池》，其樂曰《大卷》，三三而九，乃為黃鍾之律。 禹效黃帝之法，以聲為律，以身為度，用左手中指三節三寸，謂之君指，裁為宮聲之管； 又用第四指三節三寸，謂之臣指，裁為商聲之管； 又用第五指三節三寸，謂之物指，裁為羽聲之管。 第二指為民、為角，大指為事、為徵，民與事，君臣治之，以物養之，故不用為裁管之法。 得三指合之為九寸，即黃鍾之律定矣。 黃鍾定，餘律從而生焉。 臣今欲請帝中指、第四指、第五指各三節，先鑄九鼎，次鑄帝坐大鍾，次鑄四韻清聲鍾，次鑄二十四氣鍾，然後均弦裁管，為一代之樂製。”
In the first month of Yuanfu 3, Hanjin reported: 'I have heard that the Yellow Emperor named a three-inch vessel the Xian Pool and its music the Great Roll; three times three is nine, and that fixes Yellow Bell.' Yu followed the Yellow Emperor, taking sound as pitch and the body as measure: the left middle finger's three joints of three inches, called the ruler finger, cut the palace pipe. The fourth finger's three joints of three inches, the minister finger, cut the shang pipe. The fifth finger's three joints of three inches, the things finger, cut the yu pipe. The second finger stands for people and jue, the thumb for affairs and zhi; people and affairs are governed by ruler and minister and nourished by things, so they were not used to cut pipes. The three fingers together make nine inches, and Yellow Bell is fixed. Once Yellow Bell is fixed, the remaining pitches follow. I now ask to take three joints each from the emperor's middle, fourth, and fifth fingers, first cast the nine tripods, then the Imperial Seat great bell, then the four-rhyme clear bells, then the twenty-four seasonal bells, and thereafter tune strings and cut pipes for the music of the age.'
52
其後十三年，帝一日忽夢人言：“樂成而鳳凰不至乎！ 蓋非帝指也。 ”帝寤，大悔歎，謂：“崇寧初作樂，請吾指寸，而內侍黃經臣執謂‘帝指不可示外人’，但引吾手略比度之，曰：‘此是也。 ’蓋非人所知。 今神告朕如此，且奈何？ ”於是再出中指寸付蔡京，密命劉昺試之。 時昺終匿漢津初說，但以其前議為度，作一長笛上之。 帝指寸既長於舊，而長笛殆不可易，以動人觀聽，於是遂止。 蓋京之子絛雲。
Thirteen years later the emperor dreamed a voice saying: 'The music is finished, yet the phoenix has not come!' 'It was not the emperor's finger.' Awakening, he sighed with deep regret: 'When Chongning music was made they asked for my finger, but the eunuch Huang Jingchen said the emperor's finger must not be shown outsiders. He only drew my hand and said, "This will do."' 'That was not what people know.' 'Now the spirit tells me this. What can be done?' He therefore produced his middle finger again, gave the measure to Cai Jing, and secretly ordered Liu Bing to test it. Bing hid Hanjin's original teaching and, using the earlier standard, made a long flute and submitted it. Because the emperor's finger was longer than the old measure and changing the long flute would disturb public performance, the matter was dropped. This was probably spread by Cai Jing's son Tiao.
53
秋七月，景鍾成。 景鍾者，黃鍾之所自出也。 垂則為鍾，仰則為鼎。 鼎之大，終於九斛，中聲所極。 製煉玉屑，入於銅齊，精純之至，音韻清越。 其高九尺，拱以九龍，惟天子親郊乃用之。 立於宮架之中，以為君圍。 於是命翰林學士承旨張康國為之銘。 其文曰：“天造我宋，於穆不已。 四方來和，十有二紀。 樂象厥成，維其時矣。 迪惟有夏，度自禹起。 我龍受之，天地一指。 於論景鍾，中聲所止。 有作於斯，無襲於彼。 九九以生，律呂根柢。 維此景鍾，非弇非侈。 在宋之庭，屹然中峙。 天子萬年，既多受祉。 維此景鍾，上帝命爾。 其承伊何，以燕翼子。 永言寶之，宋樂之始。”
In the seventh month the Image Bell was completed. The Image Bell was the source from which Yellow Bell proceeded. Hanging down it served as a bell; turned up it became a tripod. The tripod's capacity reached nine hu, the limit of the central tone. Refined jade dust was mixed into the copper until the tone rang clear and bright. Nine feet high and arched with nine dragons, it was used only when the Son of Heaven performed the suburban sacrifice in person. It stood at the center of the palace orchestra as the sovereign's enclosure. Hanlin Academician Zhang Kangguo was ordered to inscribe it. The inscription read: 'Heaven made our Song, grand and unceasing.' 'The four quarters come in harmony through twelve chronograms.' 'Music images its completion—this is its season.' 'Following Xia, measures began with Yu.' 'Our dragon received them; Heaven and Earth share one measure.' 'In the Image Bell the central sound finds its rest.' 'Made in this age, not copied from another.' 'Nine nines generate—the root of pitch pipes.' 'This Image Bell is neither muffled nor extravagant.' 'In the Song court it towers at the center.' 'May the Son of Heaven live ten thousand years and receive many blessings.' 'This Image Bell—High God commands you.' 'What does it continue? Peace for descendants.' 'Treasure it forever—the beginning of Song music.'