1
崇寧四年七月，鑄帝鼐、八鼎成。 八月，大司樂劉昺言：“大朝會宮架舊用十二熊羆按，金錞、簫、鼓、觱篥等與大樂合奏。 今所造大樂，遠稽古製，不應雜以鄭、衛。 ”詔罷之。 又依昺改定二舞，各九成，每三成為一變，執籥秉翟，揚戈持盾，威儀之節，以象治功。 庚寅，樂成，列於崇政殿。 有旨，先奏舊樂三闕，曲未終，帝曰：“舊樂如泣聲。 ”揮止之。 既奏新樂，天顏和豫，百僚稱頌。 九月朔，以鼎樂成，帝御大慶殿受賀。 是日，初用新樂，太尉率百僚奉觴稱壽，有數鶴從東北來，飛度黃庭，回翔鳴唳。 乃下詔曰：“禮樂之興，百年於此。 然去聖愈遠，遺聲弗存。 乃者，得隱逸之士於草茅之賤，獲《英莖》之器於受命之邦。 適時之宜，以身為度，鑄鼎以起律，因律以製器，按協於庭，八音克諧。 昔堯有《大章》，舜有《大韶》，三代之王亦各異名。 今追千載而成一代之製，宜賜新樂之名曰《大晟》，朕將薦郊廟、享鬼神、和萬邦，與天下共之。 其舊樂勿用。”
In the seventh month of Chongning 4, the Emperor's great pitch-tripod and the eight ritual cauldrons were cast and finished. In the eighth month, Liu Bing, Director of Music, memorialized: "At great court assemblies the palace stands had long employed the twelve-section bear-and-panda battery, with metal clappers, vertical flutes, drums, double-reed pipes, and similar instruments joining in with the great music." "The great music now being fashioned reaches deep into antiquity; it ought not be adulterated with the sounds of Zheng and Wei." An edict ordered that practice abolished. Bing also revised the two dances so that each had nine segments, three segments per transformation; performers held flutes and feather staffs, raised halberds and carried shields—every gesture in the ceremonial pattern stood for the work of good government. On the day gengyin the music was finished and set out in the Chongzheng Hall. He ordered the old music played first for three movements; before the airs finished, the Emperor said, "This old music sounds like lamentation." He gestured for it to cease. Once the new music had been played, the Emperor's face brightened with ease, and the officials all extolled it. On the first of the ninth month, with the tripod music complete, the Emperor presided in the Daqing Hall to receive felicitations. That day the new music was heard for the first time. The Grand Marshal led the officials in raising the longevity cup, while several cranes flew in from the northeast, passed over the Yellow Court, and wheeled aloft, calling as they went. An edict followed: "The flourishing of ritual and music is an event that comes once in a century. Yet the more distant we grow from the sages, the less their music remains. Of late a hidden scholar emerged from the humblest ranks, and the Yingjing pitch-vessel was recovered in the state that received the Mandate. Fitting the moment, using the body as standard, casting tripods to fix the pitch pipes and shaping instruments from those pipes, all were tuned in the court until the eight sounds were in harmony. Of old Yao had the Great Zhang, Shun the Great Shao, and the kings of the Three Dynasties likewise each bore a distinct name. Now, after a millennium, the music of one age is complete. Let the new music be named the Great Sheng. I shall present it at the suburban altars, offer it to the spirits, harmonize the myriad realms, and share it with the world. The former music must no longer be performed.
2
先是，端州上古銅器，有樂鍾，驗其窾識，乃宋成公時。 帝以端王繼大統，故詔言受命之邦，而隱逸之士謂漢津也。 朝廷舊以禮樂掌於太常，至是專置大晟府，大司樂一員、典樂二員並為長貳，大樂令一員、協律郎四員，又有制撰官，為製甚備，於是禮、樂始分為二。
Earlier, ancient bronzes turned up in Duanzhou, among them a ritual bell; inspection of the inscription showed they dated to Duke Cheng of Song. Since the Emperor had inherited the throne from his tenure as Prince of Duan, the edict spoke of the state that received the Mandate, whereas the hidden scholar meant Wei Hanjin. Ritual and music had long been overseen by the Court of Imperial Sacrifices; now a Great Sheng Prefecture was set up on its own, with one Director of Music and two Superintendents of Music as heads, one Superintendent of Great Music and four Regulation Masters, along with composers—the organization was fully in place, and ritual and music were at last separated.
3
五年九月，詔曰：“樂不作久矣！ 朕承先誌，述而作之，以追先王之緒； 建官分屬，設府庀徒，以成一代之製。 二月，嚐詔省內外冗官，大晟府亦並之禮官。 夫舜命夔典樂，命伯夷典禮，禮樂異道，各分所守，豈可同職？ 其大晟府名可復仍舊。”
In the ninth month of year 5, an edict declared: "Music has not been properly fashioned for ages! Following the intent of my predecessors, I compose anew to recover the legacy of the ancient kings; creating offices, assigning duties, founding a bureau and mustering artisans, thereby completing the music of our age. In the second month an edict had cut superfluous posts throughout the government, and the Great Sheng Prefecture too was folded into the ritual administration. Shun appointed Kui to oversee music and Boyi to oversee ritual; ritual and music are distinct duties, each with its own keeper—how could one man hold both? Let the title Great Sheng Prefecture be reinstated as it was.
4
又詔曰：“樂作已久，方薦之郊廟，施於朝廷，而未及頒之天下。 宜令大晟府議頒新樂，使雅正之聲被於四海，先降三京四輔，次帥府。”
Another edict read: "Our music has been ready for some time and is offered at the altars and performed at court, but it has not yet been sent out to the empire. Let the Great Sheng Prefecture plan the dissemination of the new music so that upright sounds spread across the realm—first to the three capitals and four adjunct districts, then to the commandery seats.
5
大觀二年，詔曰：“自唐以來，正聲全失，無徵角之音，五聲不備，豈足以道和而化俗哉？ 劉詵所上徵聲，可令大晟府同教坊依譜按習，仍增徵、角二譜，候習熟來上。 ”初，進士彭幾進樂書，論五音，言本朝以火德王，而羽音不禁，徵調尚闕。 禮部員外郎吳時善其說，建言乞召幾至樂府，朝廷從之。 至是，詵亦上徵聲，乃降是詔。
In Daguan 2 an edict stated: "From the Tang onward the orthodox scale has been utterly lost: the zhi and jiao pitches are missing and the five tones are incomplete—how can such music guide the Way and reform society?" Let the zhi music that Liu Shen presented be rehearsed at the Great Sheng Prefecture and the Music Office according to the notation; add registers for the zhi and jiao modes, and when training is complete submit them. At first the presented scholar Peng Ji had offered a treatise on the five tones, arguing that since the dynasty holds the Fire Virtue the yu pitch ought to be checked and the zhi mode was still absent. Wu Shi of the Ministry of Rites endorsed the proposal and asked that Ji be called to the music bureau; the court assented. Now Shen also presented zhi music, and hence this edict.
6
三年五月，詔：“今學校所用，不過春秋釋奠，如賜宴辟雍，乃用鄭、衛之音，雜以俳優之戲，非所以示多士。 其自今用雅樂。”
In the fifth month of year 3 an edict said: "Schools nowadays use music only for the seasonal sacrifices to the sage; yet at Imperial Academy feasts they still play Zheng and Wei airs interlaced with comic performances—hardly a model for cultivated gentlemen. Henceforth let proper court music be used.
7
四年四月，議禮局言：“國家崇奉感生帝、神州地祇為大祠，以僖祖、太祖配侑，而有司行事不設宮架、二舞，殊失所以尊祖、侑神作主之意。 乞皆用宮架、二舞。 ”詔可。 六月，詔近選國子生教習二舞，以備祠祀先聖，本《周官》教國子之製。 然士子肄業上庠，頗聞恥於樂舞與樂工為伍、坐作、進退。 蓋今古異時，致於古雖有其跡，施於今未適其宜。 其罷習二舞，願習雅樂者聽。”
In the fourth month of year 4 the Ritual Deliberation Bureau reported: "The state venerates the Regenerative Emperor and the Earth Spirit as major rites, with the Exalted Ancestor and Taizu as co-recipients, yet the officers perform them without palace stands or the two dances—far short of the meaning of honoring forebears and pairing the gods." We request that palace stands and both dances be used throughout. The edict granted the request. In the sixth month an edict directed that newly chosen National University students be trained in the two dances for rites to the sage, following the Zhou practice of educating the royal sons. Yet scholars at the upper academy were said to feel shame at performing dance alongside musicians, sharing their postures of sitting, rising, advancing, and withdrawing. Times have changed: though the ancient trace remains, imposing it now is ill-suited. Discontinue the two-dance training; those who wish to study court music may.
8
八月，帝親製《大晟樂記》，命太中大夫劉昺編修《樂書》，為八論：
In the eighth month the Emperor wrote the Record of Great Sheng Music himself and ordered Liu Bing to edit the Book of Music in eight sections:
9
其一曰：樂由陽來，陽之數極於九，聖人攝其數於九鼎，寓其聲於九成。 陽之數復而為一，則寶鼎之卦為《坎》； 極而為九，則彤鼎之卦為《離》。 《離》，南方之卦也。 聖人以光明盛大之業，如日方中，向明而治，故極九之數則曰景鍾，大樂之名則曰《大晟》。 日王於午，火明於南，乘火德之運。 當豐大之時，恢擴規模，增光前烈，明盛之業，永觀厥成。 樂名《大晟》，不亦宜乎？
The first: Music comes from yang; yang's number reaches its limit at nine. The sage concentrates that number in the nine tripods and embodies its sound in nine segments. When yang's number cycles back to one, the trigram of the precious tripod is Kan; when it reaches nine, the trigram of the red tripod is Li. Li is the southern trigram. The sage's radiant and vast undertaking is like the sun at noon, governing toward the light; hence at the number nine the bell is called the Splendid Bell, and the great music is named the Great Sheng. The sun holds sway at noon, fire blazes in the south—we ride the destiny of Fire. In an age of fullness and magnitude we enlarge the design and brighten past glory, that this splendid achievement may endure. What name could suit better than the Great Sheng?
10
其二曰：後世以黍定律，其失樂之本也遠矣。 以黍定尺，起於西漢，蓋承《六經》散亡之後，聞古人之緒餘而執以為法，聲既未協，乃屢變其法而求之。 此古今之尺所以至於數十等，而至和之聲愈求而不可得也。 《傳》曰：“萬物皆備於我矣，反身而誠，樂莫大焉！ ”黍雲乎哉？
The second: Later generations used millet grains to set the pitch pipes, straying far from music's foundation. Fixing the measure by millet began in Western Han, probably because after the classics were lost men seized on surviving traces of antiquity as standard; when the pitches still failed to agree, they altered the method again and again. Thus measures ancient and modern have multiplied into dozens of variants, while perfect harmony grows ever harder to find. The Analects says: "All things are complete within me; turn inward in sincerity—what greater joy than this! Need we speak of millet?
11
其三曰：焦急之聲不可用於隆盛之世。 昔李照欲下其律，乃曰：“異日聽吾樂，當令人物舒長。 ”照之樂固未足以感動和氣如此，然亦不可謂無其意矣。 自藝祖禦極，和樂之聲高，曆一百五十餘年，而後中正之聲乃定。 蓋奕世修德，和氣薰蒸，一代之樂，理若有待。
The third: Hasty, strained music cannot serve a flourishing age. Once Li Zhao proposed lowering the pitch, saying, "When you hear my music hereafter, you will see men calm and unhurried." Zhao's music could hardly stir harmonious breath to that extent, yet he was not without the idea. Since our founding emperor's accession the pitch of harmonious music had been high; only after more than a century and a half were the true central tones settled. Generation after generation refined virtue until harmonious qi ripened; the music of an era, it seems, must await its moment.
12
其四曰：盛古帝王皆以明堂為先務，後世知為崇配、布政之宮，然要妙之旨，秘而不傳，徒區區於形製之末流，而不知帝王之所以用心也。 且盛德在木，則居青陽，角聲乃作； 盛德在火，則居明堂，徵聲乃作； 盛德在金，則居總章，商聲乃作； 盛德在水，則居玄堂，羽聲乃作； 盛德在土，則居中央，宮聲乃作。 其應時之妙，不可勝言。 一歲之中，兼總五運，凡麗於五行者，以聲召氣，無不總攝。 鼓宮宮動，鼓角角應：彼亦莫知所以使之者。 則永膺壽考，曆數過期，不亦宜乎？
The fourth: Ancient kings all placed the Bright Hall foremost; later men knew it as the hall for matching Heaven and proclaiming policy, yet its subtle core was never handed down—men squabbled over outward form without grasping the sovereign's true concern. When virtue flourishes in wood, one abides in the Green Yang pavilion and the jiao pitch sounds; when virtue flourishes in fire, one abides in the Bright Hall and the zhi pitch sounds; when virtue flourishes in metal, one abides in the Total Manifestation hall and the shang pitch sounds; when virtue flourishes in water, one abides in the Dark Hall and the yu pitch sounds; when virtue flourishes in earth, one abides at the center and the gong pitch sounds. Its attunement to the seasons defies full description. Through the year all five movements are gathered; whatever belongs to the Five Phases is summoned by pitch, and nothing lies outside their embrace. Beat the gong tone and the gong pipes stir; beat the jiao and the jiao pipes answer—yet none can say who moves them. Then enduring life and a mandate without end—would that not be meet?
13
其五曰：魏漢津以太極元氣，函三為一，九寸之律，三數退藏，故八寸七分為中聲。 正聲得正氣則用之，中聲得中氣則用之。 宮架環列，以應十二辰； 中正之聲，以應二十四氣； 加四清聲，以應二十八宿。 氣不頓進，八音乃諧。 若立春在歲元之後，則迎其氣而用之，餘悉隨氣用律，使無過不及之差，則所以感召陰陽之和，其法不亦密乎？
The fifth: Wei Hanjin held that the Great Ultimate's primordial breath unites three into one; the nine-inch pipe, with three numbers withdrawn and stored, gives eight and seven-tenths inches as the central pitch. Proper pitch employs proper breath; the median pitch employs median breath. Palace stands ring the hall to answer the twelve earthly branches; the true central pitches answer the twenty-four seasonal nodes; four clear tones are added to match the twenty-eight lodges. If breath does not leap ahead abruptly, the eight sounds harmonize. When Beginning of Spring comes after the year's start, greet that breath and apply it; all else follows the seasonal breath in choosing pipes, neither overshooting nor falling short—is not this a subtle way to call forth the harmony of yin and yang?
14
其六曰：乾坤交於亥，而子生於黃鍾之宮，故稟於乾，交於亥，任於壬，生於子。 自乾至子凡四位，而清聲具焉。 漢津以四清為至陽之氣，在二十八宿為虛、昴、星、房，四者居四方之正位，以統十二律。 每清聲皆有三統：申、子、辰屬於虛而統於子，巳、酉、醜屬於昴而統於醜，寅、午、戌屬於星而統於寅，亥、卯、未屬於房而統於卯。 中正之聲分為二十四宿，統於四清焉。
The sixth: Qian and Kun join at hai, and zi is born in the Yellow Bell palace—endowed from Qian, meeting at hai, operating at ren, born at zi. From Qian to zi span four stations, and within them the clear tones are complete. Hanjin regarded the four clear tones as supreme yang breath; among the twenty-eight lodges they are Void, Pleiades, Star, and Room—each at a cardinal point governing the twelve pipes. Each clear tone commands three groups: shen-zi-chen fall under Void and are ruled by zi; si-you-chou under Pleiades by chou; yin-wu-xu under Star by yin; hai-mao-wei under Room by mao. The true central pitches are apportioned to the twenty-four lodges and ruled by the four clear tones.
15
其七曰：昔人以樂之器有時而弊，故律失則求之於鍾，鍾失則求之於鼎，得一鼎之龠，則權衡度量可考而知。 故鼎以全渾淪之體，律呂以達陰陽之情，天地之間，無不統攝，機緘運用，萬物振作，則樂之感人，豈無所自而然耶？
The seventh: Ancients believed instruments decay with time; when pipes failed they turned to bells, when bells failed to tripods—one tripod tube yielded measurable weights and lengths. The tripod holds the undivided whole, pipes voice yin and yang—nothing under heaven lies outside their sway; as the mechanism turns and all things quicken, how could music touch the heart without origin?
16
其八曰：聖上稽帝王之製而成一代之樂，以謂帝舜之樂以教胄子，乃頒之於宗學。 成周之樂，掌於成均，乃頒之府學、辟雍、太學； 而三京藩邸，凡祭祀之用樂者皆賜之，於是中正之聲被天下矣。 漢施鄭聲於朝廷，唐升夷部於堂上，至於房中之樂，唯恐淫哇之聲變態之不新也。 聖上樂聞平淡之音，而特詔有司製為宮架，施之於禁庭，房中用雅樂，自今朝始雲。
The eighth: Our sovereign reviewed the kings' models to finish the music of the age, judging that Shun's music educated the royal heirs—so it was sent to the clan academies. Zhou's perfected music resided at the Chengjun and was issued to prefectural schools, the Imperial Academy, and the National University; the three capitals and princely residences, and every place that used music in sacrifice—all received it, until upright tones filled the world. The Han brought Zheng music into court, the Tang raised foreign suites to the hall; even private chamber music they dreaded might not grow fresh in wanton novelty. Our sovereign loves plain, tranquil sounds and commanded palace stands for the inner court; proper music now serves the private apartments—beginning with this reign.
17
又為圖十二：一曰五聲，二曰八音，三曰十二律應二十八宿，四曰七均應二十八宿，五曰八十四調，六曰十二律所生，七曰十二律應二十四氣，八曰十二律鍾正聲，九曰堂上樂，十曰金鍾玉磬，十一曰宮架，十二曰二舞。 圖雖不能具載，觀其所序，亦可以知其旨意矣：
He also commissioned twelve charts: the five tones; the eight sounds; twelve pipes against the twenty-eight lodges; seven scales against the lodges; eighty-four modes; generations of the twelve pipes; pipes against the twenty-four qi; pipes and bell orthodox pitches; hall music; gold bells and jade stones; palace stands; and the two dances. The charts cannot all be reproduced here, yet from their order one may discern the design:
18
天地相合，五數乃備，不動者為五位，常動者為五行，五行發而為五聲。 律呂相生，五聲乃備，布於十二律之間，猶五緯往還於十有二次，五運斡旋於十有二時。 其圖五聲以此。
Heaven and Earth unite and the number five is whole: the static are the five positions, the active the Five Phases; from the Five Phases arise the five tones. Pipes generate one another until the five tones are full, set among the twelve pitches as the five luminaries wheel through twelve stations, the Five Movements revolving through twelve hours. Thus the chart for the five tones.
19
兩儀既判，八卦肇分。 氣盈而動，八風行焉。 顓帝乃令飛龍效八風之音，命之曰《承雲》。 方是時，金、石、絲、竹、匏、土、革、木之音未備，後聖有作，以八方之物全五聲者，製而為八音，以聲召氣，八風從律。 其圖八音以此。
When the Two Principles were set apart, the Eight Trigrams first took shape. When breath brimmed full it stirred, and the eight winds began to blow. Emperor Zhuanxu had Feilong imitate the eight winds and named the piece "Receiving the Clouds." In that age the tones of metal, stone, silk, bamboo, gourd, clay, hide, and wood were not yet whole; later sages took materials from the eight quarters to fill out the five tones, fashioned the eight sounds, and by pitch summoned breath until the eight winds answered the pipes. Thus the chart for the eight sounds.
20
上象著明器形，而下以聲召氣，吻合元精。 其圖十二律應二十八宿以此。
Above, it shows the bright forms of the instruments; below, pitch summons breath and joins the primordial essence. Thus the chart of the twelve pipes against the twenty-eight lodges.
21
鬥在天中，周製四方，猶宮聲處中為四聲之綱。 二十八舍列在四方，用之於合樂者，蓋樂方七角屬木，南方七徵屬火，西方七商屬金，北方七羽屬水。 四方之宿各有所屬，而每方之中，七均備足。 中央七宮管攝四氣。 故二十八舍應中正之聲者，製器之法也； 二十八舍應七均之聲者，和聲之術也。 其圖七均應二十八宿以此。
The Dipper stands at heaven's center and wheels the four quarters, as the gong pitch at the center guides the other four tones. The twenty-eight lodges stand in the four quarters; in ensemble music the eastern seven jiao appertain to wood, the southern seven zhi to fire, the western seven shang to metal, and the northern seven yu to water. Every lodge in each quarter has its proper assignment, and within each quarter all seven scale degrees are complete. The seven gong at the center oversee the four seasonal breaths. Hence matching the twenty-eight lodges to the true central pitches is the art of fashioning instruments; matching them to the seven scale degrees is the art of blending tones. Thus the chart of the seven scales against the twenty-eight lodges.
22
合陰陽之聲而文之以五聲，則九六相交，均聲乃備。 黃鍾為宮，是謂天統； 林鍾為徵，是謂地統； 太簇為商，是謂人統。 南呂為羽，於時屬秋； 姑洗為角，於時屬春； 應鍾為變宮，於時屬冬； 蕤賓為變徵，於時屬夏。 旋相為宮，而每律皆具七聲，而八十四調備焉。 其圖八十四調以此。
Join yin and yang pitches and adorn them with the five tones—nine and six cross, and the scale degrees are whole. Yellow Bell for gong—that is the heavenly succession; Forest Bell for zhi—that is the earthly succession; Great Cluster for shang—that is the human succession. Southern Lu for yu, belonging to autumn; Maiden Wash for jiao, belonging to spring; Responding Bell as altered gong, belonging to winter; Luxuriant Guest as altered zhi, belonging to summer. Each pipe in turn serves as gong; every pitch holds all seven tones, and eighty-four modes are made complete. Thus the chart for the eighty-four modes.
23
自黃鍾至仲呂，則陽數極而為乾，故其位在左； 蕤賓至應鍾，則陰數極而為坤，故其位在右。 陰窮則歸本，故應鍾自生陰律； 陽窮則歸本，故仲呂自歸陽位。 律呂相生，起於《復》而成於《乾》，終始皆本於陽，故曰“樂由陽來”，六呂則同之而已。 相生之位，分則為《乾》、《坤》之爻，合則為《既濟》、《未濟》之卦。 自黃鍾至仲呂為《既濟》，故屬陽而居左； 自蕤賓至應鍾為《未濟》，故屬陰而居右。 《易》始於《乾》、《坤》而終於《既濟》、《未濟》，天地辨位而水火之氣交際於其中，造化之原皆自此出。 其圖十二律所生以此。
From Yellow Bell to Matured Lu the yang count peaks in Qian, so these stand on the left; From Luxuriant Guest to Responding Bell the yin count peaks in Kun, so these stand on the right. When yin is spent it returns to origin, so Responding Bell itself begets the yin pipes; when yang is spent it returns to origin, so Matured Lu itself reverts to the yang place. Pipes generate one another from the hexagram "Return" to "The Creative"; start and finish both spring from yang, hence "music arises from yang"—the six yin pipes merely follow suit. The generating positions, split apart, are the lines of Qian and Kun; joined together, they form the hexagrams Already Fording and Not Yet Fording. Yellow Bell through Matured Lu is Already Fording, so it is yang and stands left; Luxuriant Guest through Responding Bell is Not Yet Fording, so it is yin and stands right. The Changes opens with Qian and Kun and closes with Already Fording and Not Yet Fording; heaven and earth are set apart while water and fire mingle between—the wellspring of creation flows from here. Thus the chart of the twelve pipes' generation.
24
二十四氣差之毫厘，則或先天而太過，或後天而不及。 在律為聲，在曆為氣。 若氣方得節，乃用中聲； 氣已及中，猶用正律。 其圖十二律應二十四氣以此。
Err by a hair in the twenty-four seasons and pitch may run ahead of heaven and overshoot, or lag behind and fall short. Among pipes it is pitch; in the calendar it is breath. When breath has only just reached a node, employ the central pitch; once breath has reached the midpoint, still use the orthodox pipes. Thus the chart of the twelve pipes against the twenty-four qi.
25
漢津曰：“黃帝、夏禹之法，簡捷徑直，得於自然，故善作樂者以聲為本。 若得其聲，則形數、制度當自我出。 今以帝指為律，正聲之律十二，中聲之律十二，清聲凡四，共二十有八”雲。 其圖十二律鍾正聲以此。
Wei Hanjin said: "The Yellow Emperor and Yu of Xia worked by methods plain and direct, drawn from nature; hence the skilled composer takes pitch as root. Gain the pitch, and form, measure, and regulation will flow from you alone. Today the sovereign's finger-width sets the standard: twelve orthodox pipes, twelve central pipes, and four clear tones—twenty-eight in all," he concluded. Thus the chart of the twelve pipes, bells, and orthodox pitches.
26
堂上之樂，以人聲為貴，歌鍾居左，歌磬居右。 近世之樂，曲不協律，歌不擇人，有先製譜而後命辭。 奉常舊工，村野癃老者斥之。 升歌之工，選擇惟艱，故堂上之樂鏗然特異焉。 其圖堂上樂以此。
In hall music the human voice is paramount; song bells stand left, song chimes right. Modern music often mismatches melody and pitch, picks singers without care, and sometimes sets the score before the words. Veterans of the Court of Imperial Sacrifices and withered old men from the countryside were turned away. Ascending-song singers were chosen with exceptional rigor, so hall music resounded with a distinctive clarity. Thus the chart for hall music.
27
金玉之精，稟氣於乾，故堂上之樂，鍾必以金，磬必以玉。 《曆代樂儀》曰：“歌磬次歌鍾之西，以節登歌之句。 ”即《周官》頌磬也，神考肇造玉磬，聖上紹述先誌，而堂上之樂方備，非聖智兼全、金聲而玉振之者，安能與於天道哉？ 其圖金鍾玉磬以此。
Metal and jade distill breath from Qian; in hall music bells are cast of gold and chimes carved of jade. The Music Rituals of Successive Ages records: "The song chime follows the song bell to the west, beating time for the ascending song. This is the praise chime of the Zhou officers. Shenzong first created jade chimes; our sovereign carried forward that intent, and hall music at last stood complete. Only one in whom sagely wisdom is whole—whose metal sounds and jade answers—could share in Heaven's Way. Thus the chart for gold bells and jade stones.
28
《大晟》之製，天子親祀圓丘，則用景鍾為君圍，鎛鍾、特磬為臣圍，編鍾、編磬為民圍，非親祀則不用君圍。 漢津以謂：“宮架總攝四方之氣，故《大晟》之製，羽在上而以四方之禽，虡在下而以四方之獸，以象鳳儀、獸舞之狀。 龍簨崇牙，製作華煥。 ”其圖宮架以此。
In the Great Sheng system, when the emperor himself offers at the Round Mound, the Splendid Bell forms the lord circle, great bells and single chimes the minister circle, and serial bells and stones the people's circle—the lord circle is used only at personal sacrifice. Wei Hanjin argued: "The palace stand gathers breath from the four quarters; in the Great Sheng design the yu pipes rise above with birds of each direction, while below the frames bear beasts of the four quarters, evoking phoenix ceremony and beast dance. Dragon streamers and raised finials, wrought in splendid splendor. " Thus the chart for the palace stand.
29
新樂肇興，法夏籥九成之數：文舞九成，終於垂衣拱手，無為而治； 武舞九成，終於偃武修文，投戈講藝。 每成進退疾徐，抑揚顧揖，皆各象方今之勳烈。 文武八佾，左執籥，右秉翟。 蓋籥為聲之中，翟為文之華，秉中聲而昌文德。 武舞八佾，執幹戈而進，以金鼓為節。 其圖二舞以此。
As the new music arose, it followed the Xia flute's ninefold measure: the civil dance's nine segments ended in robes flowing, hands folded, governance without exertion; the martial dance's nine ended in sheathing arms for civil rule, casting spears aside to teach the arts. Each segment's advance and retreat, tempo and pause, rise and bow all mirrored the glorious deeds of the age. Eight rows for civil and martial dance: flute in the left hand, pheasant plumes in the right. The flute holds the middle of sound, the plume the bloom of culture—bearing central pitch to exalt civil virtue. The martial eight rows advance with shield and spear, metal and drum marking time. Thus the chart for the two dances.
30
又列八音之器，金部有七：曰景鍾，曰鎛鍾，曰編鍾，曰金錞，曰金鐲，曰金鐃，曰金鐸。 其說以謂：
The eight sounds were catalogued further: seven in the metal class—Splendid Bell, great bell, serial bells, metal chun, metal wrist-rings, metal cymbals, and metal clappers. The account runs thus:
31
景鍾乃樂之祖，而非常用之樂也。 黃帝五鍾，一曰景鍾。 景，大也。 鍾，四方之聲，以象厥成。 惟功大者其鍾大，世莫識其義久矣。 其聲則黃鍾之正，而律呂由是生焉。 平時弗考，風至則鳴，鎛鍾形聲宏大，各司其辰，以管攝四方之氣。 編鍾隨月用律，雜比成文，聲韻清越。 錞、鐲、鐃、鐸，古謂之四金。 鼓屬乎陽，金屬乎陰。 陽造始而為之倡，故以金鎛和鼓陽動而不知已，故以金鐲節鼓。 陽之用事，有時而終，故以金鐃止鼓。 時止則止，時行則行，天之道也，故以金鐸通鼓。 金乃《兌》音，《兌》為口舌，故金之屬皆象之。
The Splendid Bell is music's progenitor, not an instrument for daily performance. Of the Yellow Emperor's five bells, the first is the Splendid Bell. Jing means "great." The bell is the sound of the four quarters, imaging their fulfillment. Only great merit warrants a great bell—yet for ages none have understood this. Its pitch is orthodox Yellow Bell, and from it the pipes are born. It is not sounded in daily use; when wind arrives it rings. Great bells are grand in shape and tone, each ruling its hour and gathering breath from the four quarters. Serial bells follow the monthly pipes, woven into patterned phrases, their tone clear and ringing. Chun, wrist-rings, cymbals, and clappers—the ancients named these the four metals. Drums appertain to yang; metal to yin. Yang begins and leads, so metal chun answer the drum; yang acts without knowing rest, so metal wrist-rings set the drum's pace. When yang's task reaches its term, metal cymbals halt the drum. Stop when the season stops, move when it moves—that is Heaven's way; hence metal clappers signal the drum. Metal is the pitch of Dui; Dui is mouth and tongue—hence every metal instrument images that.
32
石部有二：曰特磬，曰編磬。 其說以謂：“依我磬聲”，以石有一定之聲，眾樂依焉，則鍾磬未嚐不相須也。 往者，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，若已升祔後廟，遂置而不用。 如此，則金石之聲小大不侔。 《大晟》之製，金石並用，以諧陰陽。 漢津之法，以聲為主，必用泗濱之石，故《禹貢》必曰“浮磬”者，遠土而近於水，取之實難。 昔奉常所用，乃以白石為之，其聲沉下，製作簡質，理宜改造焉。
The stone class has two: the single chime and the serial chimes. The account says: "Follow my chime's tone"—stone holds a fixed pitch on which all music depends; bells and chimes have never stood apart. In earlier reigns, at sacrifices to heaven and earth, the ancestral shrines, and great court assemblies, the palace stand held only great bells; single chimes appeared only at the rear temple, and once a ruler was enshrined there, they were laid aside unused. Thus the tones of metal and stone, large and small, were ill matched. In the Great Sheng system, metal and stone are employed together to harmonize yin and yang. Hanjin's method puts pitch first and insists on stone from the Si River's bank; hence the Tribute of Yu speaks of "floating chimes"—far land, close water, and hard to obtain. The Court of Imperial Sacrifices had used white stone; the tone sank low and the craft was spare—remaking was plainly in order.
33
絲部有五：曰一弦琴，曰三弦琴，曰五弦琴，曰七弦琴，曰九弦琴，曰瑟。 其說以謂：漢津誦其師之說曰：“古者，聖人作五等之琴，琴主陽，一、三、五、七、九，生成之數也。 師延拊一弦之琴，昔人作三弦琴，蓋陽之數成於三。 伏羲作琴有五弦，神農氏為琴七弦，琴書以九弦象九星。 五等之琴，額長二寸四分，以象二十四氣； 嶽闊三分，以象三才； 嶽內取聲三尺六寸，以象期三百六十日：龍齗及折勢四分，以象四時：共長三尺九寸一分，成於三，極於九。 九者，究也，復變而為一之義也。 《大晟》之瑟長七尺二寸，陰爻之數二十有四，極三才之陰數而七十有二，以象一歲之候。 既罷箏、築、阮，絲聲稍下，乃增瑟之數為六十有四，則八八之數法乎陰，琴之數則九十有九而法乎陽。”
The silk class lists five types: the one-, three-, five-, seven-, and nine-string zithers, and the se. The account runs: Wei Hanjin quoted his teacher: "Ancient sages fashioned five grades of zither; the zither belongs to yang, and one, three, five, seven, and nine are generative numbers. Shi Yan strummed the one-string zither; ancients made the three-string zither because yang's count completes itself in three. Fuxi gave the zither five strings; Shennong seven; zither lore sets nine strings to image the nine stars. On the five grades of zither, the forehead measures two and four-tenths inches, imaging the twenty-four seasons; the bridge spans three tenths, imaging the Three Powers; inside the bridge the sounding length is three feet six inches, imaging three hundred sixty days; the dragon's gums and the bent contour four tenths, imaging the four seasons—altogether three feet nine inches and one tenth, completing in three and peaking in nine. Nine is completion—the sense of turning through change back into one. The Great Sheng se measures seven feet two inches; twenty-four yin lines, summing the yin count of the Three Powers to seventy-two, image the seasons of a year. After the zheng, zhu, and ruan were retired and silk tones were lowered, the se were increased to sixty-four—the eight-by-eight count following yin—while zithers number ninety-nine and follow yang.
34
竹部有三：曰長笛，曰篪，曰簫。 其說以謂：笛以一管而兼律呂，眾樂由焉。 三竅成籥，三才之和寓焉。 六竅為笛，六律之聲備焉。 篪之製，采竹竅厚均者，用兩節，開六孔，以備十二律之聲，則篪之樂生於律。 樂始於律而成於簫。 律準鳳鳴，以一管為一聲。 簫集眾律，編而為器：參差其管，以象鳳翼，簫然清亮，以象鳳鳴。
The bamboo class has three: the long flute, the chi, and the xiao. The account runs: a single tube on the flute spans both yin and yang pipes—from it all music takes its course. Three holes make the yue—the concord of Heaven, Earth, and Man dwells within it. Six holes form the transverse flute, and the tones of the six pitch standards are fully present. The chi is fashioned from bamboo of even wall thickness and two nodes, pierced with six holes to supply the twelve pitch tones; thus chi music arises from the pitch standard. Music takes its start in the pitch pipes and finds completion in the xiao. The pitch pipes take the phoenix's cry as their standard, one tube yielding one pitch. The xiao assembles the many pitch pipes into a single instrument, its tubes set at varying lengths to evoke phoenix wings—pure and ringing, evoking the phoenix's song.
35
匏部有六：曰竽笙，曰巢笙，曰和笙，曰閏餘匏，曰九星匏，曰七星匏。 其說以謂：列其管為簫，聚其管為笙。 鳳凰於飛，簫則象之； 鳳凰戾止，笙則象之。 故內皆用簧，皆施匏於下。 前古以三十六簧為竽，十九簧為巢，十三簧為和，皆用十九數，而以管之長短、聲之大小為別。 八音之中，匏音廢絕久矣。 後世以木代匏，乃更其製，下皆用匏，而並造十三簧者，以象閏餘。 十者，土之成數； 三者，木之生數，木得土而能生也。 九簧者，以象九星。 物得陽而生，九者，陽數之極也。 七簧者，以象七星。 笙之形若鳥斂翼，鳥，火禽，火數七也。
The gourd class lists six types: the yu sheng, nest sheng, harmony sheng, intercalary-surplus gourd, nine-star gourd, and seven-star gourd. The account runs: spread the tubes apart and you have a xiao; cluster them together and you have a sheng. When the phoenix soars, the xiao represents it; when the phoenix settles and perches, the sheng represents it. Hence both employ reeds inside and mount gourds beneath. Ancient practice set thirty-six reeds for the yu, nineteen for the nest, and thirteen for the harmony—all keyed to the number nineteen, with tube length and pitch volume as the distinguishing marks. Of the eight categories of sound, the gourd voice had been extinct for ages. Later generations substituted wood for gourd and revised the form—all kept gourds at the base, while instruments built with thirteen reeds together symbolized the intercalary remainder. Ten is earth's number of completion; three is wood's generative number, since wood gains life through earth. The nine-reed instrument symbolizes the nine stars. Life comes through yang; nine is the yang number at its limit. The seven-reed instrument symbolizes the seven stars. The sheng resembles a bird with folded wings; birds belong to fire, and fire's number is seven.
36
土部有一：曰塤。 其說以謂：釋《詩》者以塤、篪異器而同聲，然八音孰不同聲，必以塤、篪為況？ 嚐博詢其旨，蓋八音取聲相同者，惟塤、篪為然。 塤、篪皆六孔而以五竅取聲。 十二律始於黃鍾，終於應鍾。 二者，其竅盡合則為黃鍾，其竅盡開則為應鍾，餘樂不然。 故惟塤、篪相應。
The earth class has one instrument: the xun. The account runs: Odes commentators cite the xun and chi as distinct vessels sharing one tone—yet which of the eight tones does not share tones? Why hold up xun and chi alone? On broad inquiry into the matter, only the xun and chi among the eight tones genuinely share identical pitch. Both xun and chi have six holes but produce pitch through five openings. The twelve standard pipes run from Yellow Bell to Responding Bell. With these two alone, every hole closed yields Yellow Bell and every hole open yields Responding Bell; no other instrument behaves this way. Hence only the xun and chi answer one another.
37
革部十有二：曰晉鼓，曰建鼓，曰鞀鼓，曰雷鼓，曰雷鞀，曰靈鼓，曰路鞀，曰路鼓，曰路鞀，曰雅鼓，曰相鼓，曰搏拊。 其說以謂：凡言樂者，必曰鍾鼓，蓋鍾為秋分之音而屬陰，鼓為春分之音而屬陽。 金奏待鼓而後進者，雷發聲而後群物皆鳴也； 鼓復用金以節樂者，雷收聲而後蟄蟲坯戶也。 《周官》以晉鼓鼓金奏，陽為陰唱也。 建鼓，少昊氏所造，以節眾樂。 夏加四足，謂之足鼓； 商貫之以柱，謂之楹鼓； 周縣而擊之，謂之縣鼓。 鞀者，鼓之兆也。 天子錫諸侯樂，以將之； 賜伯、子、男樂，以鞀將之。 先眾樂，鞀則先鼓而已。 以雷鼓鼓天神，因天聲以祀天也； 以靈鼓鼓社祭，以天為神，則地為靈也； 以路鼓鼓鬼享，人道之大也。 以舞者迅疾，以雅節之，故曰雅鼓。 相所以輔相於樂，今用節舞者之步，故曰相鼓。 登歌今奏擊拊，以革為之，實之以糠，升歌之鼓節也。
The leather class lists twelve: the Jin drum, mounted drum, tao drum, thunder drum, thunder tao, spirit drum, road tao, road drum, road tao, ya drum, xiang drum, and bofu. The account runs: music is always spoken of as bells and drums—the bell belongs to the autumn equinox and yin, the drum to the spring equinox and yang. Metal music waits upon the drum before proceeding, as thunder breaks and every creature answers with sound; and the drum then employs metal to regulate the music, as thunder falls silent and dormant insects close their burrows. The Offices of Zhou has the Jin drum strike for metal music—yang voicing for yin. Shaohao invented the mounted drum to keep time for the full ensemble. Under Xia four legs were added, making the foot drum; Shang drove a pillar through it, making the pillar drum; Zhou hung it up to be struck, making the suspended drum. The tao is the drum's herald. When the emperor granted music to feudal lords, a mounted drum led the procession; for earls, viscounts, and barons the gift was music led by the tao. Ahead of the whole orchestra, the tao simply strikes first. The thunder drum serves heaven's spirit, using heaven's voice in sacrifice to heaven; the spirit drum serves the earth altar—where heaven is spirit, earth is the numinous power; the road drum serves offerings to the dead—the highest expression of human rite. Dancers move with quick steps, and the ya drum sets their pace—hence its name. The xiang supports the ensemble; now it keeps the dancers' footfall—hence the xiang drum. In present ascending-song rites the bofu is played—a leather frame stuffed with chaff, beating time for the raised hymn.
38
木部有二：曰，曰。 其說以謂：之作樂。 之止樂，漢津嚐問於李良，良曰：“聖人製作之旨，皆在《易》中。 《易》曰：‘《震》，起也。 《艮》，止也。 ’、之義，如斯而已。 以木為底，下實而上虛。 《震》一陽在二陰之下，象其卦之形也。 擊其中，聲出虛，為眾樂倡。 《震》為雷，雷出地奮，為春分之音，故為眾樂之倡，而外飾以山林物生之狀。 《艮》位寅，為虎，虎伏則以象止樂。 背有二十七刻，三九陽數之窮。 戛之以竹，裂而為十，古或用十寸，或裂而為十二，陰數。 十二者，二六之數，陽窮而以陰止之。”
The wood class has two instruments: the zhu and the yu. The account runs: the zhu begins the music. The yu ends the music. Wei Hanjin once questioned Li Liang, who replied: "The purpose of the sages' craftsmanship lies entirely in the Changes. The Changes reads: 'Zhen means to begin. Gen means to stop. ' So much for the meaning of the zhu and the yu. Wood forms the base, solid at the bottom and hollow on top. Zhen places one yang beneath two yin, mirroring the hexagram's shape. Struck at the center, sound rises from the void, and it leads the whole orchestra. Zhen stands for thunder, thunder leaping from the earth—the spring-equinox tone—so it leads all music, its exterior decorated with images of woodland growth. Gen sits at yin and is the tiger; the crouching tiger images the music's end. Its back bears twenty-seven marks—three nines, yang's number spent. Bamboo strikes it, split into ten segments; ancients sometimes used ten inches, or divided it into twelve—a yin count. Twelve is twice six: yang spent, yin brings halt.
39
又有度、量、權、衡四法，候氣、運律、教樂、運譜四議，與律曆、運氣或相表裏，甚精微矣，茲獨采其言樂事顯明者。 幾為書二十卷。 說者以謂蔡京使昺為緣飾之，以布告天下雲。
The work also treated measures, capacity, weights, and balances, and deliberations on awaiting qi, tuning pipes, teaching music, and managing notation—topics intertwined with calendrics and circulating qi, and exceedingly refined; only the passages on music that speak plainly are excerpted here. The compilation ran to nearly twenty scrolls. Some said Cai Jing had Bing adorn the text to broadcast it throughout the realm.
40
政和二年，賜貢士聞喜宴於辟雍，仍用雅樂，罷瓊林苑宴。 兵部侍郎劉煥言：“州郡歲貢士，例有宴設，名曰‘鹿鳴’，乞於斯時許用雅樂，易去倡優淫哇之聲。 ”八月，太常言：“宗廟、太社、太稷並為大祠，今太社、太稷登歌而不設宮架樂舞，獨為未備，請迎神、送神、詣罍洗、歸復位、奉俎、退文舞、迎武舞、亞終獻、望燎樂曲，並用宮架樂，設於北墉之北。 ”詔皆從之。
In Zhenghe 2 the Wenxi banquet for new graduates was held at the Imperial Academy with court music, and the Qionglin Garden feast was discontinued. Liu Huan, Vice Minister of War, memorialized: "Prefectures yearly banquet their presented scholars in the 'Deer Call' feast; I ask that court music be allowed on that occasion and the voices of actors and licentious airs be banished. " In the eighth month the Court of Imperial Sacrifices reported: "The ancestral temple, Grand Altar of Soil, and Grand Altar of Grain are all major rites; yet at the soil and grain altars ascending song is performed without palace-stand music and dance—an omission alone. We ask that music for spirit-welcoming, spirit-escort, libation, return to station, offering presentation, civil-dance withdrawal, martial-dance entry, secondary and final offerings, and fire-gazing all use palace-stand music placed north of the outer north wall. " Edicts approved every item.
41
三年四月，議禮局上親祠登歌之製 〈（大朝會同）〉：
In the fourth month of year three the Rites Deliberation Bureau presented the layout for ascending song at the emperor's own sacrifice for grand court assembly, the same arrangement applies)
42
金鍾一，在東； 玉磬一，在西：俱北向。 一，在金鍾北，稍西； 一，在玉磬北，稍東。 搏拊二：一在北，一在北，東西相向。 一弦、三弦、五弦、七弦、九弦琴各一，瑟四，在金鍾之南，西上； 玉磬之南亦如之，東上。 又於午階之東 〈（太廟則於泰階之東，宗祀則於東階之西，大朝會則於丹墀香案之東）〉 ，設笛二、篪一、巢笙二、和笙三，為一列，西上 〈（大朝會，和笙在笛南）〉。 塤一，在笛南 〈（大朝會在篪南）〉。 閏餘匏一，簫一，各在巢笙南。 又於午階之西 〈（太廟則於泰階之西，宗祀則於西階之東，大朝會則於丹墀香案之西）〉 ，設笛二、篪一、巢笙二、和笙二，為一列，東上。 塤一，在笛南。 七星匏一、九星匏一，在巢笙南。 簫一，在九星匏西。 鍾、磬、敔、博拊、琴、瑟工各坐於壇上 〈（太廟、宗祀、大朝會則於殿上）〉 ，塤、篪、笙、笛、簫、匏工並立於午階之東西 〈（太廟則於泰階之東西，宗祀則於兩階之間，大朝會則於丹墀香案之東西）〉。 樂正二人在鍾、磬南，歌工四人在東，俱東西相向。 執麾挾仗色掌事一名，在樂虡之西，東向。 樂正紫公服 〈（大朝會服絳朝服，方心曲領、緋白大帶、金銅革帶、烏皮履）〉 ，樂工黑介幘，執麾人平巾幘：並緋繡鸞衫、白絹夾褲、抹帶。 〈（大朝會同。）〉
One metal bell, placed to the east; one jade chime, placed to the west—both facing north. One zhu, north of the metal bell, a little to the west; One yu, north of the jade chime, a little to the east. Two bofu: one north of the zhu and one north of the yu, set east and west and facing each other. One each of the one-, three-, five-, seven-, and nine-string zithers, plus four se, south of the metal bell, ranked westward; south of the jade chime the same, ranked eastward. Also to the east of the noon steps at the ancestral temple, east of the Grand Steps; at the imperial ancestral rite, west of the east steps; at a grand court assembly, east of the censer table on the red courtyard) , place two flutes, one chi, two nest sheng, and three harmony sheng in a single row, ranked westward for grand court assembly, the harmony sheng stands south of the flute) One xun, south of the flute for grand court assembly, south of the chi) One intercalary-surplus gourd and one xiao, each placed south of the nest sheng. Also to the west of the noon steps at the ancestral temple, west of the Grand Steps; at the imperial ancestral rite, east of the west steps; at a grand court assembly, west of the censer table on the red courtyard) , place two flutes, one chi, two nest sheng, and two harmony sheng in a single row, ranked eastward. One xun, south of the flute. One seven-star gourd and one nine-star gourd, placed south of the nest sheng. One xiao, west of the nine-star gourd. Players of bell, chime, yu, bofu, zither, and se each sit upon the altar at the Ancestral Temple, at imperial ancestral rites, and at grand court assemblies, upon the hall floor) , xun, chi, sheng, flute, xiao, and gourd players stand flanking the noon steps east and west at the Ancestral Temple, to either side of the Grand Steps; at imperial ancestral rites, between the upper and lower flights; at a grand court assembly, flanking the censer table in the red courtyard) Two music masters south of the bells and chime-stones; four lead singers east of the yu, all arrayed to face one another east and west. One commander bearing the banner and regalia, posted west of the music frame and facing east. Music masters wore purple court robes for grand court assembly, scarlet court robes with square heart-curve collar, scarlet-white great belt, gilt-copper leather belt, and black leather boots) , musicians in black zez caps and banner-bearers in plain zez: all wore scarlet phoenix-embroidered jackets, white silk lined trousers, and waist sashes. for grand court assembly, the same dress applies.)
43
又上親祠宮架之製 〈（景靈宮、宣德門、大朝會附）〉：
The bureau next presented the layout for palace-stand music at the emperor's own sacrifice with provisions for Jingling Palace, Xuande Gate, and grand court assembly appended)
44
四方各設編鍾三、編磬三。 東方，編鍾起北，編磬間之，東向。 西方，編磬起北，編鍾間之，西向。 南方，編磬起西，編鍾間之； 北方，編鍾起西，編磬間之：俱北向。 設十二鎛鍾、特磬於編架內，各依月律。 四方各鎛鍾三、特磬三。 東方，鎛鍾起北，特磬間之，東向。 西方，特磬起北，鎛鍾間之。 西向。 南方，特磬起西，鎛鍾間之； 北方，鎛鍾起西，特磬間之，皆北向 〈（景靈宮、天興殿鎛鍾、編鍾、編磬如每歲大祠宮架陳設）〉。
Each cardinal side received three ranks of serial bells and three of serial chimes. Eastward: serial bells began in the north, serial chimes woven between them, all facing east. Westward: serial chimes began in the north, serial bells woven between them, all facing west. Southward: serial chimes began in the west, serial bells woven between them; northward: serial bells began in the west, serial chimes woven between them—all facing north. Within each serial frame stood twelve bofu bells and individual chime-stones, one set per monthly pitch. Each side had three bofu bells and three individual chime-stones. Eastward: bofu bells began in the north, individual chimes woven between them, facing east. Westward: individual chimes began in the north, bofu bells woven between them. All faced west. Southward: individual chimes began in the west, bofu bells woven between them; northward: bofu bells began in the west, individual chimes woven between them—all facing north for Jingling Palace and the Hall of Celestial Ascent, bofu bells, serial bells, and serial chimes match the yearly great-sacrifice palace-stand setup)
45
植建鼓、鞞鼓、應鼓於四隅，建鼓在中，鞞鼓在左，應鼓在右。 設、於北架內：一，在道東； 一，在道西。 設瑟五十二 〈（朝會五十六。 宣德門五十四）〉 ，列為四行：二行在東，二行在西。 次，一弦琴七，左四右三。 次三弦琴一十有八； 〈（宣德門二十。）〉 次五弦琴一十有八 〈（宣德門二十）〉。 並分左右。 次七弦琴二十有三，次九弦琴二十有三，並左各十有二，右各十有一 〈（宣德門七弦、九弦各二十五，並左十有三，右十有二）〉。 次巢笙二十有八，分左右 〈（宣德門三十二）〉。 次匏笙三，在巢笙之間，左二、右一。 次簫二十有八 〈（宣德門、大朝會三十）〉。 次竽二十，次篪二十有八 〈（宣德門三十六。 朝會笛三十三：左十有七，右十有六）〉。 次塤一十有八 〈（宣德門、朝會二十）〉。 次笛二十有八，並分左右 〈（宣德門笛三十六：朝會三十三，左十有七，右十有六）〉。 雷鼓、雷鞀各一，在左； 又雷鼓、雷鞀各一，在右 〈（地祇：靈鼓、靈鞀各二。 太廟：路鼓、路鞀各二。 大朝會晉鼓二。 宣德門不設）〉。 並在三弦、五弦琴之間，東西相向，晉鼓一，在匏笙間，少南北向。
Foundation, side, and answering drums stood at the four corners—the foundation drum at center, the side drum left, the answering drum right. Within the northern frame were placed the zhu and yu: one zhu east of the central aisle; one yu west of the aisle. Fifty-two se were deployed for court assembly, fifty-six; at Xuande Gate, fifty-four) , ranked in four rows—two east and two west. Next came seven one-string zithers: four left, three right. Then eighteen three-string zithers; at Xuande Gate, twenty.) Then eighteen five-string zithers at Xuande Gate, twenty) All were split between left and right ranks. Then twenty-three seven-string and twenty-three nine-string zithers, twelve left and eleven right of each at Xuande Gate, twenty-five of each seven- and nine-string zither, thirteen left and twelve right) Next, twenty-eight nest sheng, split left and right at Xuande Gate, thirty-two) Three gourd sheng stood among the nest sheng—two left, one right. Then twenty-eight xiao at Xuande Gate and grand court assembly, thirty) Then twenty yu, then twenty-eight chi at Xuande Gate, thirty-six; for court assembly, thirty-three flutes—seventeen left and sixteen right) Then eighteen xun at Xuande Gate and court assembly, twenty) Then twenty-eight flutes, likewise split left and right at Xuande Gate, thirty-six flutes; for court assembly thirty-three, seventeen left and sixteen right) On the left, one thunder drum and one thunder rattle; and on the right another thunder drum and thunder rattle for rites to Earth Spirits: two spirit drums and two spirit rattles each; for the Ancestral Temple: two road drums and two road rattles each; for grand court assembly: two Jin drums; at Xuande Gate, none were installed) They stood between the three- and five-string zithers, facing east and west; a single Jin drum sat among the gourd sheng, angled slightly north-south.
46
副樂正二人，在、之前，北向。 歌工三十有二 〈（宣德門四十。 朝會三十有六）〉。 次、，東西相向，列為四行，左右各二行。 樂師四人，在歌工之南北，東西相向。 運譜二人，在晉鼓之左右，北向。 執麾挾仗色掌事一名，在樂虡之右，東向。 副樂正同樂正服 〈（大朝會同樂正朝服）〉 ，樂師緋公服，運譜緣公服 〈（大朝會介幘、絳韝衣、白絹抹帶）〉 ，樂工執麾人並同登歌執麾人服 〈（朝會同）〉。
Two deputy music masters stood before the zhu and yu, facing north. Thirty-two lead singers at Xuande Gate, forty; for court assembly, thirty-six) Next came the zhu and yu, east and west facing, in four rows—two left and two right. Four music instructors flanked the singers north and south, facing east and west. Two officers bearing the score stood to either side of the Jin drum, facing north. One banner commander stood east of the music frame, facing east. Deputy music masters wore the same robes as the music masters for grand court assembly, the same court dress as the music masters) , music instructors in scarlet court robes and score-bearers in bordered court robes for grand court assembly, zez cap, scarlet arm-guard jacket, and white silk waist sash) , palace-stand musicians and banner commanders wore the same dress as ascent-music banner-bearers for court assembly, the same dress applies)
47
又上親祠二舞之製 〈（大朝會同）〉：
The bureau next presented the protocol for civil and martial dance at the emperor's own sacrifice for grand court assembly, the same provisions apply)
48
文舞六十四人，執籥翟； 武舞六十四人，執幹戚，俱為八佾。 文舞分立於表之左右，各四佾。 引文舞二人，執纛在前，東西相向。 舞色長二人，在執纛之前，分東西 〈（若武舞則在執旌之前）〉。 引武舞，執旌二人，鞀二人，雙鐸二人，單鐸二人，鐃二人，持金錞四人，奏金錞二人，鉦二人，相二人，雅二人，各立於宮架之東西，北向，北上，武舞在其後。 舞色長襆頭、抹額、紫繡袍。 引二舞頭及二舞郎，並紫平冕、皂繡鸞衫、金銅革帶、烏皮履 〈（大朝會引文舞頭及文舞郎並進賢冠、黃鸞衫、銀褐裙、綠衤盍襠、革帶、烏皮履； 引武舞頭及武舞郎並平巾幘、緋鸞衫、黃畫甲身，紫衤盍襠、豹文大口褲、起梁帶，烏皮鞲。）〉 引武舞人，武弁、緋繡鸞衫、抹額、紅錦臂韝、白絹褲、金銅革帶、烏皮履 〈（大朝會同）〉。
Sixty-four civil dancers with yue flutes and pheasant plumes; sixty-four martial dancers with shield and battle-axe—altogether eight rows. The civil dancers flanked the court marker, four rows to each side. Two civil-dance guides marched ahead bearing streamers, facing east and west. Two dance-color captains stood before the streamer-bearers, one east and one west for martial dance, before the pennant-bearers instead) For the martial dance: two pennant-bearers, paired hand-drums, twin and single clappers, nao, four gold-chun bearers, two who sounded the gold chun, and zheng, xiang, and ya players—all posted east and west of the palace stand, north-facing and ranked from the north, with the martial dancers behind them. Dance-color captains wore wrapped caps, forehead bands, and purple embroidered robes. Guides for both dances and their officers all wore purple flat crowns, black phoenix-embroidered jackets, gilt-copper belts, and black leather boots for grand court assembly, civil-dance leaders and officers wore advancement caps, yellow phoenix jackets, silver-brown skirts, green cross-collar undershirts, leather belts, and black leather boots; martial-dance leaders and officers wore plain zez caps, scarlet phoenix jackets, yellow-painted armor vests, purple cross-collar undershirts, leopard-spotted wide trousers, ridged belts, and black leather gauntlets.) Martial dancers wore martial caps, scarlet phoenix-embroidered jackets, forehead bands, red brocade arm-guards, white silk trousers, gilt-copper belts, and black leather boots for grand court assembly, the same dress applies)
49
又上大祠、中祠登歌之製：
The bureau next presented the ascent-music layout for major and medium sacrifices:
50
編鍾一，在東； 編磬一，在西：俱北向。 一，在編鍾之北，稍西； 一，在編磬之北，稍東。 搏拊二：一在北，一在北，俱東西相向。 一弦、三弦、五弦、七弦、九弦琴各一，瑟一，在編鍾之南，西上。 編磬之南亦如之，東上。 壇下午階之東 〈（太廟、別廟則於殿下泰階之東，明堂、祠廟則於東階之西）〉 ，設笛一、篪一、塤一，為一列，西上。 和笙一，在笛南； 巢笙一，在篪南； 簫一，在塤南。 午階之西亦如之，東上 〈（太廟、別廟則於泰階之西，明堂、祠廟則於西階之東）〉。 鍾、磬、、、搏拊、琴、瑟工各坐於壇上 〈（明堂、太廟、別廟於殿上，祠廟於堂上）〉 ，塤、篪、笙、笛、簫工並立於午階東西 〈（太廟、別廟於太階之東西，明堂、祠廟於兩階之間，若不用宮架，即登歌工人並坐）〉。 樂正二人在鍾、磬南，歌工四人在東，俱東西相向。 執麾挾仗色掌事一名，在樂虡之西，東向。 樂正公服，執麾挾仗色掌事平巾幘，樂工黑介幘，並緋繡鸞衫、白絹抹帶 〈（三京帥府等每歲祭社稷，祀風師、雨師、雷神，釋奠文宣王，用登歌樂，陳設樂器並同，每歲大、中祠登歌）〉。
One rank of serial bells, placed to the east; one rank of serial chimes to the west—both facing north. One zhu north of the serial bells, a little to the west; One yu north of the serial chimes, a little to the east. Two bofu: one north of the zhu and one north of the yu, set east and west and facing each other. One each of the one-, three-, five-, seven-, and nine-string zithers, plus one se, south of the serial bells, ranked westward. South of the serial chimes the same, ranked eastward. East of the noon steps below the altar platform at the Ancestral Temple and branch temples, east of the Grand Steps below the hall; at the Bright Hall and temple shrines, west of the east steps) , place one flute, one chi, and one xun in a single row, ranked westward. One harmony sheng, south of the flute; one nest sheng, south of the chi; one xiao, south of the xun. The west side of the noon steps mirrored this, ranked eastward at the Ancestral Temple and branch temples, west of the Grand Steps; at the Bright Hall and temple shrines, east of the west steps) Players of bell, chime, zhu, yu, bofu, zither, and se sat upon the altar at the Bright Hall, Ancestral Temple, and branch temples, upon the hall floor; at temple shrines, upon the hall platform) , xun, chi, sheng, flute, and xiao players stood flanking the noon steps east and west at the Ancestral Temple and branch temples, to either side of the Grand Steps; at the Bright Hall and temple shrines, between the upper and lower flights; if no palace stand was used, all ascent-music players sat) Two music masters south of the bells and chime-stones; four lead singers to the east, all arrayed to face one another east and west. One commander bearing the banner and regalia, posted west of the music frame and facing east. Music masters wore court robes; the banner commander wore a plain zez cap; musicians wore black zez caps—all in scarlet phoenix-embroidered jackets with white silk waist sashes at the three capitals, military commission seats, and the like, in annual rites to the altars of soil and grain, the wind, rain, and thunder spirits, and the Confucian offering to the Cultural King, ascent music was used with the same instrument layout as for yearly major and medium-sacrifice ascent music)
51
又上太祠宮架、二舞之製：
The bureau next presented the palace-stand music and two-dance protocol for major sacrifices:
52
四方各設鎛鍾三，各依月律。 編鍾一，編磬一。 北方，應鍾起西，編鍾次之，黃鍾次之，編磬次之，大呂次之，皆北向。 東方，太簇起北，編鍾次之，夾鍾次之，編磬次之，姑洗次之，皆東向。 南方，仲呂起東，編鍾次之，蕤賓次之，編磬次之，林鍾次之，皆北向。 西方，夷則起南，編鍾次之，南呂次之，編磬次之，無射次之，皆西向。 設十二特磬，各在鎛鍾之內。
Each cardinal side received three bofu bells, tuned to the monthly pitches. One rank of serial bells and one of serial chimes. Northward: Yingzhong began in the west, followed by serial bells, Huangzhong, serial chimes, and Dalü—all facing north. Eastward: Taicu began in the north, followed by serial bells, Jiazhong, serial chimes, and Guxian—all facing east. Southward: Zhonglü began in the east, followed by serial bells, Ruibin, serial chimes, and Linzhong—all facing north. Westward: Yize began in the south, followed by serial bells, Nanlü, serial chimes, and Wushe—all facing west. Twelve individual chime-stones were placed, each within its bofu bell.
53
植建鼓、鞞鼓、應鼓於四隅。 設、於北架內，在左，在右。 雷鼓、雷鞀各二 〈（地祇以靈鼓，靈鞀，太廟、別廟以路鼓、路鞀）〉。 分東西，在歌工之側。 瑟二，在東。 次，一弦、三弦、五弦、七弦、九弦琴各二，各為一列。 西亦如之。 巢笙、簫、竽、篪、塤、笛各四，為四列，在雷鼓之後 〈（若地祇即在靈鼓後，太廟、別廟在路鼓後）〉。 晉鼓一，在笛之後：俱北向。 副樂正二人在、之北。 歌工八人，左右各四，在、之南，東西相向。 執麾挾仗色掌事一名，在宮架西，北向。 副樂正本色公服，執麾挾仗色掌事及樂正平巾幘，服同登歌樂工 〈（凡軒架之樂三面，其製，宮架之南機； 判架之樂二面，其製，又去軒架之北面； 特架之樂一面）〉。 文武二舞並同親祠，惟二舞郎並紫平冕、皂繡袍、銀褐裙、白絹抹帶，與親祠稍異。
Foundation, side, and answering drums stood at the four corners. Within the northern frame stood the zhu and yu: the zhu to the left, the yu to the right. Two thunder drums and two thunder rattles each for rites to Earth Spirits, spirit drums and spirit rattles; for the Ancestral Temple and branch temples, road drums and road rattles) They stood east and west, flanking the singers. Two se, placed to the east. Next came two each of the one-, three-, five-, seven-, and nine-string zithers, each in its own row. The west side mirrored this. Four each of nest sheng, xiao, yu sheng, chi, xun, and flute in four rows, behind the thunder drums for Earth Spirits, behind the spirit drums; for the Ancestral Temple and branch temples, behind the road drums) One Jin drum behind the flutes—all facing north. Two deputy music masters north of the zhu and yu. Eight lead singers—four to each side—south of the zhu and yu, arrayed to face one another east and west. One banner commander west of the palace stand, facing north. Deputy music masters wore their regular court robes; the banner commander and music masters wore plain zez caps, dressed like ascent-music musicians For elevated-stand music on three sides, the layout follows the palace stand's southern frame; Half-stand music on two sides drops the north wing of the elevated stand; special-stand music on a single side) Civil and martial dance followed the personal-sacrifice protocol, but dance officers wore purple flat crowns, black embroidered robes, silver-brown skirts, and white silk waist sashes—a slight variation from the personal sacrifice.
54
詔並頒行。
An edict directed that all these regulations be issued.
55
五月，帝御崇政殿，親按宴樂，召侍從以上侍立。 詔曰：“《大晟之樂》已薦之郊廟，而未施於宴饗。 比詔有司，以《大晟》樂播之教坊，試於殿庭，五聲既具，無惉懘焦急之聲，嘉與天下共之，可以所進樂頒之天下，其舊樂悉禁。 ”於是令尚書省立法，新徵、角二調曲譜已經按試者，並令大晟府刊行，後續有譜，依此。 其宮、商、羽調曲譜自從舊，新樂器五聲、八音方全。 塤、篪、匏、笙、石磬之類已經按試者，大晟府畫圖疏說頒行，教坊、鈞容直、開封府各頒降二副。 開封府用所頒樂器，明示依式造粥，教坊、鈞容直及中外不得違。 今輒高下其聲，或別為他聲，或移改增損樂器，舊來淫哇之聲，如打斷、哨笛、呀鼓、十般舞、小鼓腔、小笛之類與其曲名，悉行禁止，違者與聽者悉坐罪。
In the fifth month the Emperor went to Chongzheng Hall, personally rehearsed the banquet music, and had all court attendants from Attendant-in-Ordinary upward stand by. The edict read: "The Great Sheng music has already been presented at the suburban altars and ancestral temples, yet it has not been extended to banquets and feasts. Recently We ordered the responsible offices to broadcast the Great Sheng music through the Music Office and test it in the palace courtyard. The five tones are now complete, without discord or harshness. We rejoice to share this with the world. Let the submitted music be issued throughout the realm, and let all old music be forbidden. The Secretariat was then ordered to codify the rule: newly tested score-registers for the zhi and jiao modes were to be published by the Great Sheng Prefecture, with later scores to follow the same procedure. Registers for the gong, shang, and yu modes remained under the old practice; with the new instruments, the five tones and eight sound categories were now complete. For xun, chi, gourd, sheng, stone chimes, and the like already tested, the Great Sheng Prefecture was to issue illustrated explanations; the Music Office, Palace Guard Music Corps, and Kaifeng Prefecture each received two sets. Kaifeng Prefecture was to use the issued instruments and require manufacture strictly according to the prescribed specifications; the Music Office, Palace Guard Music Corps, and all within and beyond the court were forbidden to deviate. Henceforth anyone who arbitrarily altered pitch, substituted other tones, or rearranged, added to, or reduced instruments, together with the old licentious repertoire—daduan, whistle-flute, ya-drum, tenfold dance, small-drum cavity, small-flute, and the like, with their tune titles—was wholly forbidden; violators and listeners alike would be punished.
56
八月，大晟府奏，以雅樂中聲播於宴樂，舊闕徵、角二調，及無土、石、匏三音，今樂並已增入。 詔頒降天下。 九月，詔：“《大晟樂》頒於太學、辟雍，諸生習學，所服冠以弁，袍以素紗、皂緣，紳帶，佩玉。 ”從劉昺製也。
In the eighth month the Great Sheng Prefecture reported that the central tones of ceremonial music would be extended to banquet music. The zhi and jiao modes had long been absent, as had the earth, stone, and gourd voices of the eight sounds; all were now incorporated into the new repertoire. An edict directed that it be promulgated throughout the realm. In the ninth month an edict declared: "The Great Sheng music shall be distributed to the Imperial Academy and Imperial College for student instruction. Students shall wear the bian cap, robes of plain gauze with black edging, sash belts, and jade pendants." "—following regulations devised by Liu Bing.
57
昺又上言曰：“五行之氣，有生有克，四時之禁，不可不頒示天下。 盛德在木，角聲乃作，得羽而生，以徵為相； 若用商則刑，用宮則戰，故春禁宮、商。 盛德在火，徵聲乃作，得角而生，以宮為相； 若用羽則刑，用商則戰，故夏禁商、羽。 盛德在土，宮聲乃作，得徵而生，以商為相； 若用角則刑，用羽則戰，故季夏土王，宜禁角、羽。 盛德在金，商聲乃作，得宮而生，以羽為相； 若用徵則刑，用角則戰，故秋禁徵、角。 盛德在水，羽聲乃作，得商而生，以角為相； 若用宮則刑，用徵則戰，故冬禁宮、徵。 此三代之所共行，《月令》所載，深切著明者也。 作樂本以導和，用失其宜，則反傷和氣。 夫淫哇殽雜，幹犯四時之氣久矣。 陛下親灑宸翰，發為詔旨，淫哇之聲轉為雅正，四時之禁亦右所頒，協氣則粹美，繹如以成。 ”詔令大晟府置圖頒降。
Bing further memorialized: "The qi of the Five Phases both generates and restrains; the seasonal prohibitions on music cannot go unannounced to the realm." When flourishing virtue rests in Wood, the jiao tone arises; it draws life from yu and takes zhi as its ally; if shang is employed punishments follow, if gong is employed warfare follows—therefore in spring gong and shang are forbidden. When flourishing virtue rests in Fire, the zhi tone arises; it draws life from jiao and takes gong as its ally; if yu is employed punishments follow, if shang is employed warfare follows—therefore in summer shang and yu are forbidden. When flourishing virtue rests in Earth, the gong tone arises; it draws life from zhi and takes shang as its ally; if jiao is employed punishments follow, if yu is employed warfare follows—therefore in late summer, when Earth holds sway, jiao and yu should be forbidden. When flourishing virtue rests in Metal, the shang tone arises; it draws life from gong and takes yu as its ally; if zhi is employed punishments follow, if jiao is employed warfare follows—therefore in autumn zhi and jiao are forbidden. When flourishing virtue rests in Water, the yu tone arises; it draws life from shang and takes jiao as its ally; if gong is employed punishments follow, if zhi is employed warfare follows—therefore in winter gong and zhi are forbidden. This practice was shared by the Three Dynasties and recorded in the Monthly Ordinances—plain, forceful, and unmistakable in meaning. Music was created to lead all things toward harmony; used at the wrong season, it damages the harmonious qi instead. Licentious and vulgar music has long transgressed against the qi of the four seasons. Your Majesty has personally taken up the imperial brush and issued edicts; licentious sounds are being turned to orthodox refinement, and the seasonal prohibitions have likewise been promulgated. When the qi aligns, purity and beauty follow, flowing on until the work is complete. An edict directed the Great Sheng Prefecture to prepare illustrated charts and distribute them.
58
四年正月，大晟府言：“宴樂諸宮調多不正，如以無射為黃鍾宮，以夾鍾為中呂宮，以夷則為仙呂宮之類。 又加越調、雙調、大食、小食，皆俚俗所傳，今依月律改定。 ”詔可。
In the first month of the fourth year the Great Sheng Prefecture reported: "Many banquet modes are wrongly assigned—for example, treating Wuyi as the Huangzhong gong, Jiazhong as the Zhonglü gong, Yize as the Xianlü gong, and the like." Yuediao, Shuangdiao, Dashi, and Xiaoshi were also added—all popular traditions—and are now to be corrected according to the monthly pitch standards. The edict approved.
59
六年，詔：“先帝嚐命儒臣肇造玉磬，藏之樂府，久不施用，其令略加磨礱，俾與律合。 並造金鍾，專用於明堂。 ”又詔：“《大晟》雅樂，頃歲已命儒臣著樂書，獨宴樂未有紀述。 其令大晟府編集八十四調並圖譜，令劉昺撰以為《宴樂新書》。 ”十月，臣僚乞以崇寧、大觀、政和所得珍瑞名數，分命儒臣作為頌詩，協以新律，薦之郊廟，以告成功。 詔送禮製局。
In the sixth year an edict declared: "The late Emperor once commanded Confucian scholars to cast jade chime-stones and store them in the Music Repository. They have long lain unused; let them be lightly polished and adjusted so they accord with the pitch pipes." Golden bells shall also be cast, for exclusive use at the Bright Hall. Another edict read: "For Great Sheng ceremonial music, Confucian scholars were already ordered in recent years to compile a music treatise, but banquet music alone has never been documented." Let the Great Sheng Prefecture compile all eighty-four modes with diagrams and score-registers, and have Liu Bing compose them into the New Book of Banquet Music. In the tenth month officials requested that the rare omens recorded during Chongning, Daguan, and Zhenghe, item by item, be assigned to Confucian scholars to compose encomiastic poems set to the new pitch standards and offered at the suburban altars and ancestral temples to proclaim the achievement. An edict referred the matter to the Bureau for Ritual Regulations.
60
七年二月，典樂裴宗元言：“乞按習《虞書》賡載之歌，夏《五子之歌》，商之《那》，周之《關雎》、《麟趾》、《騶虞》、《鵲巢》、《鹿鳴》、《文王》、《清廟》之詩。 ”詔可。 中書省言：“高麗，賜雅樂，乞習教聲律、大晟府撰樂譜辭。 ”詔許教習，仍賜樂譜。
In the second month of the seventh year Pei Zongyuan, Director of Music, memorialized: "We request that the following be rehearsed: the responsive song from the Book of Yu, the Xia 'Song of the Five Sons,' the Shang 'Na,' and the Zhou poems 'Guanju,' 'Linzhi,' 'Zouyu,' 'Quechao,' 'Luming,' 'Wenwang,' and 'Qingmiao.'" The edict approved. The Secretariat reported: "Goryeo, having received ceremonial music as a gift, requests instruction in pitch and mode. The Great Sheng Prefecture should compile musical scores and texts." An edict authorized instruction and additionally granted musical scores.
61
三月，議禮局言：“先王之製，舞有小大：文舞之大，用羽、籥； 文舞之小，則有羽無籥，謂之羽舞。 武舞之大，用幹、戚； 武舞之小，則有幹無戚，謂之幹舞。 武又有戈舞焉，而戈不用於大舞。 近世武舞以戈配幹，未嚐用戚。 乞武舞以戚配幹，置戈不用，庶協古製。”
In the third month the Bureau for Discussion of Rites reported: "The ancient kings distinguished great and small dances. The great civil dance used feathers and yue flutes; the small civil dance had feathers but no yue flutes and was called the feather dance. The great martial dance used shield-staffs and battle-axes; the small martial dance had shield-staffs but no battle-axes and was called the staff dance. Martial dance also included the halberd dance, but halberds were not used in the great dance. In recent times the martial dance paired halberds with shield-staffs and never employed battle-axes. We request that the martial dance pair battle-axes with shield-staffs and set halberds aside, so as to accord with ancient practice.
62
又言：“伶州鳩曰：‘大鈞有鎛無鍾，鳴其細也； 細鈞有鍾無鎛，昭其大也。 ’然則鍾，大器也； 鎛，小鍾也。 以宮、商為鈞，則謂之大鈞，其聲大，故用鎛以鳴其細，而不用鍾； 以角、徵、羽為鈞，則謂之小鈞，其聲細，故用鍾以昭其大，而不用鎛。 然後細大不逾，聲應相保，和平出焉。 是鎛、鍾兩器，其用不同，故周人各立其官。 後世之鎛鍾，非特不分大小，又混為一器，復於樂架編鍾、編磬之外，設鎛鍾十二，配十二辰，皆非是。 蓋鎛鍾猶之特磬，與編鍾、編磬相須為用者也。 編鍾、編磬，其陽聲六，以應律； 其陰聲六，以應呂。 既應十二辰矣，復為鎛鍾十二以配之，則於義生復。 乞宮架樂去十二鎛鍾，止設一大鍾為鍾、一小鍾為鎛、一大磬為特磬，以為眾聲所依。 ”詔可。
They also submitted: "Ling Zhoujiu said: 'The great pitch-set has bell-chimes but no bells, to give voice to the finer tones; the fine pitch-set has bells but no bell-chimes, to proclaim the greater tones.'" 'Thus bells are great instruments; bell-chimes are small bells.' When gong and shang form the pitch-set, it is called the great pitch-set. Its sound is great, so bell-chimes are used to sound the finer tones and bells are not used; when jiao, zhi, and yu form the pitch-set, it is called the fine pitch-set. Its sound is fine, so bells are used to proclaim the greater tones and bell-chimes are not used. Only then do fine and great remain within bounds, sounds answer and sustain one another, and harmony emerges. Bell-chimes and bells are two instruments with distinct uses; that is why the Zhou established separate offices for each. Later 'bell-chime bells' not only failed to distinguish great from small but conflated them into one instrument. Beyond the set bells and set chimes on the music frame, twelve 'bell-chime bells' were also installed to match the twelve branches—all of which is wrong. Bell-chimes are like the single chime stone: they are meant to work in concert with set bells and set chimes. Set bells and set chimes have six yang tones to answer the pitch pipes; their six yin tones to answer the pitch standards. Since they already answer the twelve branches, adding twelve bell-chime bells to match them is redundant in principle. We request that palace-frame music remove the twelve bell-chime bells and install only one great bell as the bell, one small bell as the bell-chime, and one great chime as the single chime stone—the foundation on which all other sounds depend. The edict approved.
63
四月，禮製局言：“尊祖配天者，郊祀也； 嚴父配天者，明堂也。 所以來天神而禮之，其義一也。 則明堂宜同郊祀，用禮天神六變之樂，其宮架赤紫，用雷鼓、雷鞀。 又圜丘方澤，各有大樂宮架，自來明堂就用大慶殿大朝會宮架。 今明堂肇建，欲行創置。”
In the fourth month the Bureau for Ritual Regulations reported: "Honoring the ancestor and pairing him with Heaven is the suburban sacrifice; venerating the father and pairing him with Heaven is the Bright Hall. Both rites summon the celestial gods to receive worship, and their meaning is one. The Bright Hall should therefore follow the suburban sacrifice, using the six-transformations music for honoring the celestial gods. Its palace frame should be red and purple, with thunder drums and thunder tambourines. The Round Mound and Square Pond each have their own great-music palace frames, whereas the Bright Hall has from the first used the grand court-assembly palace frame of Dafeng Hall. Now that the Bright Hall is newly erected, we wish to establish a proper frame of its own.
64
十月，皇帝御明堂平朔左個，始以天運政治頒於天下。 是月也，凡樂之聲，以應鍾為宮、南呂為商、林鍾為角、仲呂為閏徵、姑洗為徵、太簇為羽、黃鍾為閏宮。 既而中書省言：“五聲、六律、十二管還相為宮，若以左旋取之，如十月以應鍾為宮，則南呂為商、林鍾為角、仲呂為閏徵、姑洗為徵、太簇為羽、黃鍾為閏宮； 若以右旋七均之法，如十月以應鍾為宮，則當用大呂為商、夾鍾為角、仲呂為閏徵、蕤賓為徵、夷則為羽、無射為閏宮。 明堂頒朔，用左旋取之，非是。 欲以本月律為宮，右旋取七均之法。 ”從之，仍改正詔書行下。
In the tenth month the Emperor took his seat at the Ping Shuo left bay of the Bright Hall and for the first time promulgated the calendar of Heaven's revolutions and governance throughout the realm. That month, for all music Yingzhong served as gong, Nanlü as shang, Linzhong as jiao, Zhonglü as intercalary zhi, Guxian as zhi, Taicu as yu, and Huangzhong as intercalary gong. Thereupon the Secretariat reported: "The five tones, six pitch standards, and twelve pipes rotate as gong-tonics. By left rotation—for example, in the tenth month with Yingzhong as gong—Nanlü is shang, Linzhong jiao, Zhonglü intercalary zhi, Guxian zhi, Taicu yu, and Huangzhong intercalary gong; by the right-rotation seven-scale method—for example, in the tenth month with Yingzhong as gong—Dalü should be shang, Jiazhong jiao, Zhonglü intercalary zhi, Ruibin zhi, Yize yu, and Wuyi intercalary gong. The Bright Hall calendar promulgation used left rotation, which is incorrect. We propose to take this month's pitch standard as gong and apply the right-rotation seven-scale method. The proposal was accepted, and a corrected edict was issued.
65
自是而後，樂律隨月右旋。
From that point forward, musical pitch standards rotated rightward with the month.
66
仲冬之月，皇帝御明堂，南面以朝百辟，退，坐於平朔，授民時。 樂以黃鍾為宮、太簇為商、姑洗為角、蕤賓為閏徵、林鍾為徵、南呂為羽、應鍾為閏宮。 調以羽，使氣適平。
In mid-winter the Emperor presided at the Bright Hall, facing south to receive the hundred officials. Retiring afterward, he sat at Ping Shuo and granted the people their seasons. Music used Huangzhong as gong, Taicu as shang, Guxian as jiao, Ruibin as intercalary zhi, Linzhong as zhi, Nanlü as yu, and Yingzhong as intercalary gong. The mode was tuned to yu so the qi would settle into balance.
67
季冬之月，禦明堂平朔右個。 樂以大呂為宮、夾鍾為商、仲呂為角、林鍾為閏徵、夷則為徽、無射為羽、黃鍾為閏宮。 客氣少陰火，調以羽，尚羽而抑徵。
In late winter the Emperor presided at the Ping Shuo right bay of the Bright Hall. Music used Dalü as gong, Jiazhong as shang, Zhonglü as jiao, Linzhong as intercalary zhi, Yize as zhi, Wuyi as yu, and Huangzhong as intercalary gong. Guest qi of lesser yin fire: the mode was tuned to yu, emphasizing yu and suppressing zhi.
68
孟春之月，禦明堂青陽左個。 樂以太簇為宮、姑洗為商、蕤賓為角、夷則為閏徵、南呂為徵、應鍾為羽、大呂為閏宮。 客氣少陽相火，與歲運同，火氣太過，調宜羽，致其和。
In early spring the Emperor presided at the Qingyang left bay of the Bright Hall. Music used Taicu as gong, Guxian as shang, Ruibin as jiao, Yize as intercalary zhi, Nanlü as zhi, Yingzhong as yu, and Dalü as intercalary gong. Guest qi of lesser yang minister fire coincided with the year's dominant qi; fire was excessive, so the mode was tuned to yu to restore harmony.
69
仲春之月，禦明堂青陽。 樂以夾鍾為宮、仲呂為商、林鍾為角、南呂為閏徵、無射為徵、黃鍾為羽、太簇為閏宮。 調以羽。
In mid-spring the Emperor presided at the Qingyang hall of the Bright Hall. Music used Jiazhong as gong, Zhonglü as shang, Linzhong as jiao, Nanlü as intercalary zhi, Wuyi as zhi, Huangzhong as yu, and Taicu as intercalary gong. The mode was tuned to yu.
70
季春之月，禦明堂青陽右個。 樂以姑洗為宮、蕤賓為商、夷則為角、無射為閏徵、應鍾為徵、大呂為羽、夾鍾為閏宮。 客氣陽明，尚徵以抑金。
In late spring the Emperor presided at the Qingyang right bay of the Bright Hall. Music used Guxian as gong, Ruibin as shang, Yize as jiao, Wuyi as intercalary zhi, Yingzhong as zhi, Dalü as yu, and Jiazhong as intercalary gong. Guest qi of yang brilliance: zhi was emphasized to restrain Metal.
71
孟夏之月，禦明堂左個。 樂以仲呂為宮、林鍾為商、南呂為角、應鍾為閏徵、黃鍾為徵、太簇為羽、姑洗為閏宮。 調宜尚徵。
In early summer the Emperor presided at the left bay of the Bright Hall. Music used Zhonglü as gong, Linzhong as shang, Nanlü as jiao, Yingzhong as intercalary zhi, Huangzhong as zhi, Taicu as yu, and Guxian as intercalary gong. The mode should emphasize zhi.
72
仲夏之月，禦明堂。 樂以蕤賓為宮、夷則為商、無射為角、黃鍾為閏徵、大呂為徵、夾鍾為羽、仲呂為閏宮。 客氣寒水，調宜尚宮以抑之。
In mid-summer the Emperor presided at the Bright Hall. Music used Ruibin as gong, Yize as shang, Wuyi as jiao, Huangzhong as intercalary zhi, Dalü as zhi, Jiazhong as yu, and Zhonglü as intercalary gong. Guest qi of cold water: the mode should emphasize gong to restrain it.
73
季夏之月，禦明堂右個。 樂以林鍾為宮、南呂為商、應鍾為角、大呂為閏徵、太簇為徵、姑洗為羽、蕤賓為閏宮。 調宜尚宮，以致其和。
In late summer the Emperor presided at the right bay of the Bright Hall. Music used Linzhong as gong, Nanlü as shang, Yingzhong as jiao, Dalü as intercalary zhi, Taicu as zhi, Guxian as yu, and Ruibin as intercalary gong. The mode should emphasize gong to restore harmony.
74
孟秋之月，禦明堂總章左個。 樂以夷則為宮、無射為商、黃鍾為角、太簇為閏徵、夾鍾為徵、仲呂為羽、林鍾為閏宮。 調宜尚商。
In early autumn the Emperor presided at the Zongzhang left bay of the Bright Hall. Music used Yize as gong, Wuyi as shang, Huangzhong as jiao, Taicu as intercalary zhi, Jiazhong as zhi, Zhonglü as yu, and Linzhong as intercalary gong. The mode should emphasize shang.
75
仲秋之月，禦明堂總章。 樂以南呂為宮、應鍾為商、大呂為角、夾鍾為閏徵、姑洗為徵、蕤賓為羽、夷則為閏宮。 調宜尚商。
In mid-autumn the Emperor presided at the Zongzhang hall of the Bright Hall. Music used Nanlü as gong, Yingzhong as shang, Dalü as jiao, Jiazhong as intercalary zhi, Guxian as zhi, Ruibin as yu, and Yize as intercalary gong. The mode should emphasize shang.
76
季秋之月，禦明堂總章右個。 樂以無射為宮、黃鍾為商、太簇為角、姑洗為閏徵、仲呂為徵、林鍾為羽、南呂為閏宮。 調宜尚羽，以致其平。 閏月，禦明堂，闔左扉。 樂以其月之律。
In late autumn the Emperor presided at the Zongzhang right bay of the Bright Hall. Music used Wuyi as gong, Huangzhong as shang, Taicu as jiao, Guxian as intercalary zhi, Zhonglü as zhi, Linzhong as yu, and Nanlü as intercalary gong. The mode should emphasize yu to restore balance. In an intercalary month the Emperor presided at the Bright Hall with the left door closed. The music followed that month's pitch pipes.
77
十一月，知永興軍席旦言：“太學、辟雍士人作樂，皆服士服，而外路諸生尚衣衤蘭襆，望下有司考議，為圖式以頒外郡。”
In the eleventh month Xi Dan, commissioner of Yongxing Army, memorialized: "Imperial Academy and Imperial College scholars all wear proper scholar dress when performing music, but students in the outer circuits still wear caps and orchid headwraps. We ask that the appropriate offices study the matter, establish a standard design, and issue it to the outer prefectures.
78
八年八月，宣和殿大學士蔡攸言：“九月二日，皇帝躬祀明堂，合用大樂。 按《樂書》：‘正聲得正氣則用之，中聲得中氣則用之。 ’自八月二十八日，已得秋分中氣，大饗之日當用中聲樂。 今看詳古之神瞽考中聲以定律，中聲謂黃鍾也，黃鍾即中聲，非別有一中氣之中聲也。 考閱前古，初無中、正兩樂。 若以一黃鍾為正聲，又以一黃鍾為中聲，則黃鍾君聲，不當有二。 況帝指起律。 均法一定，大呂居黃鍾之次，陰呂也，臣聲也。 今減黃鍾三分，則入大呂律矣。 易其名為黃鍾中聲，不唯紛更帝律，又以陰呂臣聲僭竊黃鍾之名。 若依《樂書》‘正聲得正氣則用之，中聲得中氣則用之’，是冬至祀天、夏至祭地，常不用正聲而用中聲也。 以黃鍾為正聲，易大呂為中聲之黃鍾，是帝律所起，黃鍾常不用而大呂常用也。 抑陽扶陰，退律進呂，為害斯大，無甚於此。 今來宗祀明堂，緣八月中氣未過，而用中聲樂南呂為宮，則本律正聲皆不得預。 欲乞廢中聲之樂，一遵帝律，止用正聲，協和天人，刊正訛謬，著於《樂書》。 ”詔可。 攸又乞取已頒中聲樂在天下者。
In the eighth month of the eighth year Cai You, Grand Academician of the Xuanhe Hall, said: "On the second day of the ninth month the Emperor will personally sacrifice at the Bright Hall, and the great music ought to be employed. According to the Music Treatise: 'When correct tones match the proper qi, use them; when central tones match the central qi, use them. ' Since the autumn equinox's central qi had already arrived on the twenty-eighth day of the eighth month, the day of the grand feast ought to use central-tone music. On careful review, the ancient blind music masters fixed pitch by the central tone, and the central tone is Huangzhong. Huangzhong is the central tone; there is no other central tone apart from the central qi. Examination of antiquity shows there were originally no two separate musics of central and correct tones. If one Huangzhong is made the correct tone and another Huangzhong the central tone, then Huangzhong—the sovereign tone—ought not to be duplicated. Moreover, pitch is established from the Emperor's finger. Once the equalization method is fixed, Dalü follows Huangzhong; it is a yin pitch and a ministerial tone. If Huangzhong is reduced by one-third, it enters the pitch of Dalü. Renaming it 'Huangzhong central tone' not only confounds the Emperor's pitch system, but also lets a yin pitch and ministerial tone usurp Huangzhong's name. If one follows the Music Treatise—'When correct tones match the proper qi, use them; when central tones match the central qi, use them'—then at the winter solstice sacrifice to Heaven and the summer solstice sacrifice to Earth, correct tones would regularly go unused while central tones were used. Taking Huangzhong as the correct tone and substituting Dalü for a Huangzhong of central tone means that Huangzhong—the pitch from which the Emperor's system begins—is regularly unused while Dalü is regularly used. Suppressing yang and supporting yin, retreating from pitch pipes and advancing yin tones—the harm is immense, and nothing exceeds this. Now, for the ancestral sacrifice at the Bright Hall, because the eighth month's central qi has not yet passed, central-tone music is used with Nanlü as gong, and the fundamental correct tones cannot participate. We beg to abolish central-tone music, follow the Emperor's pitch system in full, use only correct tones, harmonize Heaven and man, correct the errors, and record this in the Music Treatise. " The edict approved it. You also requested that all central-tone music already distributed throughout the realm be recalled.
79
宣和元年四月，攸上書：
In the fourth month of the first year of Xuanhe, You submitted a memorial:
80
奉詔製造太、少二音登歌宮架，用於明堂，漸見就緒，乞報大晟府者凡八條：
By imperial order, great and small registers for the ascending song and palace orchestral stands, to be used at the Bright Hall, are gradually nearing completion. The eight items reported to the Great Sheng Prefecture are as follows:
81
一，太、正、少鍾三等。 舊制，編鍾、編磬各一十六枚，應鍾之外，增黃鍾、大呂、太簇、夾鍾四清聲。 今既分太、少，則四清聲不當兼用，止以十二律正聲各為一架。
First, great, standard, and small bells in three grades. Under the old system, the chime bells and chime stones each had sixteen pieces; beyond Yingzhong, four clear tones were added—Huangzhong, Dalü, Taicu, and Jiazhong. Now that great and small grades are separated, the four clear tones should not be used together; only the twelve correct tones of the pitch pipes, each forming one stand, should be used.
82
其二，太、正、少琴三等。 舊制、一、三、五、七、九弦凡五等。 今來討論，並依《律書》所載，止用五弦。 弦大者為宮而居中央，君也。 商張右傍，其餘大小相次，不失其序，以為太、正、少之製，而十二律舉無遺音。 其一、三、五、七、九弦，太、少樂內更不製造。 其三，太、正、少籥三等。 謹按《周官》籥章之職，龡以迎寒暑。 王安石曰：“籥，三孔，律呂於是乎生，而其器不行於世久矣。 近得古籥，嚐以頒行。 ”今如《爾雅》所載，製造太、正、少三等，用為樂本，設於眾管之前。
Second, great, standard, and small zithers in three grades. Under the old system there were five grades of one, three, five, seven, and nine strings. After discussion, all are to follow what is recorded in the Pitch Treatise, using only five strings. The largest string is gong and occupies the center—it is the sovereign. Shang extends to the right; the rest vary in size in proper order without losing sequence, forming the great, standard, and small design, so that none of the twelve pitch pipes lacks a note. The one-, three-, five-, seven-, and nine-string zithers are no longer to be made within great and small music. Third, great, standard, and small yue flutes in three grades. Respectfully according to the office of the Yue Master in the Rites of Zhou, who blew to welcome cold and heat. Wang Anshi said: "The yue has three holes; pitch pipes and yin-yang tones were born from it, yet the instrument has long ceased to be used in the world. Recently an ancient yue was obtained and was once distributed for use. " Now, as recorded in the Erya, great, standard, and small grades are to be made, used as the foundation of music, and placed before the multitude of pipes.
83
其四，太正少笛、塤、篪、簫各三等。 舊制，簫一十六管，如鍾磬之製，有四清聲。 今既分太、少，其四清聲亦不合兼用，止用十二管。
Fourth, great, standard, and small transverse flutes, ocarinas, chi flutes, and xiao pipes, each in three grades. Under the old system, the xiao had sixteen pipes, like the chime-bell and chime-stone design, with four clear tones. Now that great and small grades are separated, the four clear tones likewise should not be used together; only twelve pipes are to be used.
84
其五，大晟匏有三色：一曰七星，二曰九星，三曰閏餘，莫見古製。 匏備八音，不可闕數，今已各分太、正、少三等，而閏餘尤無經見，唯《大晟樂書》稱“匏造十三簧者，以象閏餘。 十者，土之成數； 三者，木之生數； 木得土而能生也。 ”故獨用黃鍾一清聲。 黃鍾清聲，無應閏之理，今去閏餘一匏，止用兩色，仍改避七星、九星之名，止曰七管、九管。
Fifth, the Great Sheng gourd pipes had three types: one called Seven Stars, one called Nine Stars, and one called Intercalary Remainder—none of which appear in ancient institutions. The gourd completes the eight tones and cannot lack a number; now that each has been divided into great, standard, and small grades, Intercalary Remainder especially lacks any classical precedent. Only the Great Sheng Music Treatise says, "When a gourd pipe is made with thirteen reeds, it symbolizes the intercalary remainder. Ten is the completed number of Earth; three is the generating number of Wood; Wood obtaining Earth can then generate." Therefore only the one clear tone of Huangzhong is used. The clear tone of Huangzhong has no reason to correspond to an intercalary month; now the Intercalary Remainder gourd pipe is removed, only two types are used, and the names Seven Stars and Nine Stars are changed—they are simply called seven-pipe and nine-pipe.
85
其六，舊制有巢笙、竽笙、和笙。 巢笙自黃鍾而下十九管，非古制度。 其竽笙、和笙並以正律林鍾為宮，三笙合奏，曲用兩調，和笙奏黃鍾曲，則巢笙奏林鍾曲以應之，宮、徵相雜。 器本宴樂，今依鍾磬法，裁十二管以應十二律，為太、正、少三等，其舊笙更不用。
Sixth, under the old system there were nest sheng, yu sheng, and he sheng. The nest sheng had nineteen pipes from Huangzhong downward—not an ancient institution. The yu sheng and he sheng both took the correct pitch Linzhong as gong; the three sheng played together, and a piece used two modes—the he sheng played a Huangzhong piece while the nest sheng played a Linzhong piece in response, mixing gong and zhi. The instruments were originally for banquet music; now, following the chime-bell and chime-stone method, they are trimmed to twelve pipes corresponding to the twelve pitch pipes, in great, standard, and small grades, and the old sheng are no longer used.
86
其七，、、晉鼓、鎛鍾、特磬，雖無太、少，係作止和樂，合行備設。
Seventh, the zhu, yu, Jin drum, bo bell, and special stone chime—though without great and small grades—are instruments that mark the beginning and harmonization of music and should all be fully provided.
87
其八，登歌宮架有搏拊二器，按《虞書》：“戛擊鳴球，搏拊琴瑟。 ”王安石解曰：“或戛或擊，或搏或拊。 ”與《虞書》所載乖戾。 今欲乞罷而不用。
Eighth, the ascending song and palace orchestral stands have two bofu clappers. According to the Book of Yu: "Strike and tap the sounding spheres; clap the zithers and lutes. Wang Anshi explained: "Some are struck, some are tapped; some are clapped, some are patted. " This contradicts what the Book of Yu records. We now beg to abolish them and not use them.
88
詔悉從之。 攸之弟絛曰：
An edict fully approved all of this. You's younger brother Tiao said:
89
初，漢津獻說，請帝三指之三寸，三合而為九，為黃鍾之律。 又以中指之徑圍為容盛，度量權衡皆自是而出。 又謂：“有太聲、有少聲。 太者，清聲，陽也，天道也； 少者，濁聲，陰也，地道也； 中聲，其間，人道也。 合三才之道，備陰陽之奇偶，然後四序可得而調，萬物可得而理。 ”當時以為迂怪。
At first, when Hanjin presented his theory, he asked the Emperor for three finger joints of three inches each; three combined made nine, forming the pitch of Huangzhong. He also took the diameter and circumference of the middle finger as the standard of capacity, and measures, weights, and balances all derived from this. He also said: "There is a great tone and there is a small tone. The great is the clear tone—it is yang, the Way of Heaven; the small is the muddy tone—it is yin, the Way of Earth; the central tone lies between them—it is the Way of Man. Combining the Way of the Three Powers and completing the odd and even of yin and yang, only then can the four seasons be tuned and the myriad things be ordered." At the time this was thought abstruse and strange.
90
劉昺之兄煒以嘵樂律進，未幾而卒。 昺始主樂事，乃建白謂：太、少不合儒書。 以太史公《書》黃鍾八寸七分琯為中聲，奏之於初氣； 班固《書》黃鍾九寸琯為正聲，奏之於中氣。 因請帝指時止用中指，又不得徑圍為容盛，故後凡製器，不能成劑量，工人但隨律調之，大率有非漢津之本說者。
Liu Bing's elder brother Wei advanced by discoursing on music theory, and died not long after. When Bing first took charge of music affairs, he memorialized saying that the great and small tones did not accord with the Confucian classics. Taking Grand Historian Sima Qian's account of an eight-inch, seven-part Huangzhong pipe as the central tone, to be played at the initial qi; and Ban Gu's account of a nine-inch Huangzhong pipe as the correct tone, to be played at the central qi. He therefore asked that only the middle finger be used to establish pitch, and that the diameter and circumference not serve as the standard of capacity; hence afterward, whenever instruments were made, they could not achieve proper measure, and craftsmen simply tuned them according to pitch—generally diverging from Hanjin's original theory.
91
及政和末，明堂成，議欲為布政調燮事，乃召武臣前知憲州任宗堯換朝奉大夫，為大晟府典樂。 宗堯至，則言：太、少之說本出於古人，雖王樸猶知之，而劉昺不用。 乃自創黃鍾為兩律。 黃鍾，君也，不宜有兩。
By the end of the Zhenghe era, when the Bright Hall was completed, deliberations turned to distributing governance and harmonizing affairs; Ren Zongyao, a former military official who had served as prefect of Xianzhou, was summoned and transferred to Court Gentleman for Meritorious Service as Director of Music of the Great Sheng Prefecture. When Zongyao arrived, he said that the theory of great and small tones originally came from the ancients—even Wang Pu still knew it, yet Liu Bing did not use it. He then created Huangzhong as two pitch pipes on his own. Huangzhong is the sovereign and ought not to exist in duplicate.
92
蔡攸方提舉大晟府，不喜佗人預樂。 有士人田為者，善琵琶，無行，攸乃奏為大晟府典樂，遂不用中聲八寸七分琯，而但用九寸琯。 又為一律長尺有八寸，曰太聲； 一律長四寸有半，曰少聲：是為三黃鍾律矣。 律與容盛又不翅數倍。 黃鍾既四寸有半，則圜鍾幾不及二寸。 諸器大小皆隨律，蓋但以器大者為太，小者為少。 樂始成，試之於政事堂，執政心知其非，然不敢言，因用之於明堂布政，望鶴愈不至。
Cai You was then supervising the Great Sheng Prefecture and disliked others interfering in music. There was a scholar named Tian Wei who was skilled at the pipa but without proper conduct; You memorialized to make him Director of Music of the Great Sheng Prefecture, and then the central-tone eight-inch, seven-part pipe was not used—only the nine-inch pipe was used. He also made one pitch pipe one foot and eight inches long, called the great tone; and one pitch pipe four and a half inches long, called the small tone: thus there were three Huangzhong pitch pipes. The pitch pipes and the standard of capacity differed by more than several times. Since Huangzhong was four and a half inches, the round bell was scarcely two inches. The sizes of all instruments followed the pitch pipes; essentially, whichever instrument was larger was called great and whichever was smaller was called small. When the music was first completed, it was tested in the Hall of Administrative Affairs; the chief ministers knew in their hearts that it was wrong, yet dared not speak. It was therefore used for distributing governance at the Bright Hall, and the hoped-for cranes still did not come.
93
絛又曰：“宴樂本雜用唐聲調，樂器多夷部，亦唐律。 徵、角二調，其均自隋、唐間已亡。 政和初，命大晟府改用大晟律，其聲下唐樂已兩律。 然劉昺止用所謂中聲八寸七分琯為之，又作匏、笙、塤、篪，皆入夷部。 至於《徵招》、《角招》，終不得其本均，大率皆假之以見徵音。 然其曲譜頗和美，故一時盛行於天下，然教坊樂工嫉之如仇。 其後，蔡攸復與教坊用事樂工附會，又上唐譜徵、角二聲，遂再命教坊製曲譜，既成，亦不克行而止。 然政和《徵招》、《角招》遂傳於世矣。”
Tiao also said: "Banquet music originally mixed Tang modes; the instruments were mostly from foreign departments and also followed Tang pitch standards. The zhi and jiao modes—their proper scales had already been lost since the Sui and Tang. At the beginning of Zhenghe, the Great Sheng Prefecture was ordered to change to Great Sheng pitch standards; its tones were already two pitch pipes lower than Tang music. Yet Liu Bing used only the so-called central-tone eight-inch, seven-part pipe to make them, and also made gourd pipes, sheng, ocarinas, and chi flutes—all entering foreign departments. As for "Zhi Invitation" and "Jiao Invitation," they never obtained their original scales; for the most part they merely borrowed tones to display zhi notes. Yet their scores were quite harmonious and beautiful, and so for a time they flourished throughout the realm—though the Music Office musicians hated them like mortal enemies. Later, Cai You again colluded with the Music Office musicians in power, submitted Tang scores for the zhi and jiao tones, and again ordered the Music Office to compose scores; once completed, they still could not be implemented and were abandoned. Yet the Zhenghe "Zhi Invitation" and "Jiao Invitation" were transmitted to the world.
94
二年八月，罷大晟府製造所並協律官。 四年十月，洪州奏豐城縣民鋤地得古鍾，大小九具，狀製奇異，各有篆文。 驗之《考工記》，其製正與古合。 令樂工擊之，其聲中律之無射。 繪圖以聞。 七年十二月，金人敗盟，分兵兩道入，詔革弊事，廢諸局，於是大晟府及教樂所、教坊額外人並罷。 靖康二年，金人取汴，凡大樂軒架、樂舞圖、舜文二琴、教坊樂器、樂書、樂章、明堂布政閏月體式、景陽鍾並虡、九鼎皆亡矣。
In the eighth month of the second year, the Great Sheng Prefecture manufacturing office and the masters of temperament were abolished. In the tenth month of the fourth year, Hongzhou reported that when the people of Fengcheng County were hoeing fields they unearthed ancient bells—nine pieces large and small, of strange design, each bearing seal-script inscriptions. Checked against the Records of Craftsmen, their design exactly matched the ancient model. Musicians were ordered to strike them, and their tones matched the pitch pipe Wuyi. Illustrations were drawn up and reported to the court. In the twelfth month of year seven the Jin broke the alliance and invaded in two columns. An edict swept away corrupt practices and shut down numerous offices; the Great Sheng Prefecture, the music-teaching bureau, and extra posts at the Music Office were all abolished. In Jingkang 2 the Jin seized Bian. Gone were the great-music frames, dance charts, Shun's two ceremonial zithers, Music Office instruments, treatises, hymnody, the Bright Hall's intercalary-month ritual forms, the Splendid Yang bell and its racks, and the Nine Tripods.