1
高宗南渡，經營多難，其於稽古飾治之事，時靡遑暇。 建炎元年，首詔有司曰：“朕承祖宗遺澤，獲托臣民之上，扶顛持危，夙夜痛悼。 況於聞樂以自為樂，實增感於朕心。 ”二年，復下詔曰：“朕方日極憂念，屏遠聲樂，不令過耳。 承平典故，雖實廢名存，亦所不忍，悉從減罷。 ”是歲，始據光武舊禮，以建武二載創立郊祀，乃十一月壬寅祀天配祖，敕東京起奉大樂登歌法物等赴行在所，就維揚江都築壇行事。 凡鹵簿、樂舞之類，率多未備，嚴更警場，至就取中軍金鼓，權一時之用。
After Gaozong fled south, the court faced one crisis after another, and he rarely had time for the scholarly ritual work of looking to antiquity and polishing statecraft. In the first year of Jianyan (1127), he issued his first edict to the ministries: "I have inherited our ancestors' grace and been set above the people; as I struggle to right the realm, I grieve night and day. To hear music and take pleasure in it would only deepen my anguish. " The next year he decreed again: "I am steeped in worry every day; I banish all music and will not let a note reach my ears. Even ceremonial relics of calmer days, though hollow in practice, were more than he could stomach to keep on the books—and he ordered them all cut back or discontinued. That year the court, following Guangwu's precedent from the second year of Jianwu, revived the suburban sacrifice. On ren-yin day of the eleventh month they offered to Heaven with imperial ancestors in attendance. Orders went out to move the great liturgical music, ascent hymns, and ritual paraphernalia from the eastern capital to the temporary seat of government, and an altar was erected at Jiangdu on the Yangtze to perform the ceremony. Processional arrays, dances, and supporting ensembles were still largely missing; for the solemn watch changes at the ritual ground the court even borrowed the central army's bronze drums and gongs as a stopgap.
2
紹興元年，始饗明堂。 時初駐會稽，而渡江舊樂復皆毀散。 太常卿蘇遲等言：“國朝大禮作樂，依儀合於壇殿上設登歌，壇殿下設宮架。 今親祠登歌樂器尚闕，宣和添用籥色，未及頒降，州郡無從可以創製，宜權用望祭禮例，止設登歌，用樂工四十有七人。 ”乃訪舊工，以備其數。
In 1131 the court held its first Bright Hall sacrifice. The court had only recently settled at Kuaiji, and the ritual music brought south had again been lost in the upheaval. Director of Imperial Sacrifices Su Chi and others reported: "For our dynasty's greatest ceremonies, ritual prescribes ascent music on the altar and in the upper hall, with the palace frame ensemble below the altar and hall. The ascent-music instruments for an imperial sacrifice in person are still missing; the extra pipe sections added in the Xuanhe era have not been issued, so the provinces cannot fabricate them. For now we should follow the suburban prospect-sacrifice precedent and use ascent music only, with forty-seven musicians. " The court then searched out veteran musicians to fill the roster.
3
四年，再饗，國子丞王普言：“按《書·舜典》，命夔曰：‘詩言誌，歌永言，聲依永，律和聲。 ’蓋古者既作詩，從而歌之，然後以聲律協和而成曲。 自曆代至於本朝，雅樂皆先製樂章而後成譜。 祟寧以後，乃先製譜，後命詞，於是詞律不相諧協，且與俗樂無異。 乞復用古製。 又按《周禮》奏黃鍾、歌大呂以祀天神。 黃鍾，堂下之樂； 大呂，堂上之樂也。 郊祀之禮，皇帝版位在午階下，故還位之樂當奏黃鍾； 明堂版位在阼階上，則還位當歌大呂。 今明堂禮不下堂，而襲郊祀還位例，並奏黃鍾之樂，於義未當。 ”尋皆如普議。
Four years later, at the second Bright Hall sacrifice, National University Assistant Wang Pu argued: "The Canon of Shun in the Documents records Shun's charge to Kui: 'Poetry voices the mind; song extends the words; tone follows the extension; pitch harmonizes the tone.' ' In antiquity one first composed the poem, then sang it, and only then set pitch and tone to shape a finished piece. From earlier dynasties through our own, court music always began with the hymn text and only then received its score. After the Chongning era the court reversed the order—score first, lyrics later—so text and pitch fell out of step and the result scarcely differed from popular music. I ask that we restore the ancient practice. The Rites of Zhou also prescribe playing the Yellow Bell and singing the Great Clarity when sacrificing to Heaven. Yellow Bell is the music of the lower hall; Great Clarity is the music of the upper hall. At the suburban altar the emperor's tablet stands below the Wu steps, so the return-to-position music should use Yellow Bell; at the Bright Hall the tablet stands on the upper eastern steps, so the return music should sing Great Clarity. Today the Bright Hall rite never takes the emperor below the hall, yet we still follow the suburban return precedent and play only Yellow Bell throughout—which misapplies the rite. " The court soon adopted all of Pu's recommendations.
4
先是，帝嚐以時難備物，禮有從宜，敕戒有司參酌損益，務崇簡儉。 仍權依元年例，令登歌通作宮架，其押樂、舉麾官及樂工器服等，蠲省甚多。 既而國步漸安，始以保境息民為務，而禮樂之事浸以興矣。
Earlier the emperor had ruled that hard times justified simplified rites: ministries should weigh what to cut or keep and favor austerity. They still followed the first-year expedient of letting ascent music double for the palace frame, and slashed supervisors, banner officers, instruments, costumes, and supporting staff. As the realm slowly stabilized, the court turned to securing borders and easing the people, and ritual music began to revive.
5
十年，太常卿蘇攜言：“將來明堂行禮，除登歌大樂已備，見闕宮架、樂舞，諸路州軍先有頒降登歌大樂，乞行搜訪應用。 ”丞周執羔言：“大樂兼用文、武二舞，今殿前司將下任道，係前大晟府二舞色長，深知舞儀，宜令赴寺教習。 ”卿陳桷言：“前期五使，例合按閱，仍詔應侍祠執事朝臣，並作樂教習。 ”禮儀博士周林復言：“神位席地陳設，至尊親行酌獻，堂上下皆地坐作樂，而鍾磬工乃設木小榻，當教習日，使立以考擊，庶革循習簡陋之弊。
In the tenth year Director Su Xi reported: "For the upcoming Bright Hall rite, ascent music and great music are ready, but the palace frame and dances are still missing. Many circuits already hold issued ascent and great music—please search them out for use." " Assistant Director Zhou Zhigao added: "Great music requires both civil and martial dances. Ren Dao of the Palace Front Service, a former chief of the Great Sheng Bureau's dance sections, knows the choreography well—he should be sent to the directorate to train the dancers." " Director Chen Jue urged: "The five preliminary commissioners should inspect rehearsals as usual, and every court official scheduled to serve at the sacrifice should train with the musicians." Ritual Doctor Zhou Linfu noted: "Spirit tablets sit on the floor, the emperor pours the libation in person, and musicians above and below the hall perform seated on the ground—yet bell and stone players use low wooden stools. During rehearsals they should stand to strike, to break the habit of sloppy expedients.
6
初，上居諒闇，臣僚有請罷明堂行禮奏樂、受胙等事，上諭禮官詳定。 太常寺檢照景德、熙、豐親郊典故，除郊廟、景靈宮並合用樂，其鹵簿、鼓吹及樓前宮架、諸軍音樂，皆備而不作。 每處警場，止鳴金鉦、鼓角而已，即無去奏樂、受胙之文。 大饗為民祈福，為上帝、宗廟而作樂，禮不敢以卑廢尊。 《書》“斂五福，錫庶民”，況熙寧禮尤可考，其赦文有曰“六樂備舞，祥祉來臻”是也。 於是詔遵行之。 其後，禮部侍郎施奏：“禮經蕃樂出於荒政，蓋一時以示貶抑。 昨內外暫止用樂，今徽考大事既畢，慈寧又已就養，其時節上壽，理宜舉樂，一如舊制。 ”禮部尋言：“太母還宮，國家大慶，四方來賀。 自今冬至、元正舉行朝賀之禮，依國朝故事，合設大仗及用樂舞等，庶幾明天子之尊，舊典不至廢墜。 ”有詔俟來年舉行。
Early in his mourning seclusion, officials asked to cancel Bright Hall music, sacrificial meat, and related observances; the emperor told the ritual offices to decide carefully. Imperial Sacrifices reviewed Jingde, Xining, and Yuanfeng precedents for imperial suburban rites: music still accompanied suburban altars, ancestral temples, and Jingling Palace, but processions, wind ensembles, tower-frame music, and army bands were set out yet silenced. At each guard post only bronze gongs and horns sounded—nowhere do the precedents abolish ritual music or the sacrificial portion. The great feast blesses the people; music honors Heaven and the ancestors—rite must not let lesser mourning cancel what is supreme. The Documents promises to "gather the five blessings and grant them to the people"; the Xining rites are explicit, and an amnesty of that era declares, "With the six musics and dances complete, auspicious blessings arrive." An edict followed these rulings. Later Vice Minister of Rites Shi argued: "Ritual classics treat foreign music as a product of troubled border rule—a temporary mark of censure. Music was paused throughout the palace during the crisis; now Huizong's funeral rites are complete, the empress dowager has settled at Cining, and her birthday season warrants music as before." The Ministry of Rites added: "The grand empress dowager's return is a national celebration; envoys from every quarter will come to congratulate. From this winter solstice and New Year onward, court congratulations should follow dynastic precedent—grand guard arrays, music, and dance—so the Son of Heaven's dignity is visible and old forms are not lost. The emperor ordered these observances deferred until the next year.
7
十有三年，郊祀，詔以祐陵深弓劍之藏，長樂遂晨昏之養，昭答神天，就臨安行在所修建圓壇。 於是有司言：“大禮排設備樂，宮架樂辦一料外，登歌樂依在京夏祭例，合用兩料。 其樂器，登歌則用編鍾、磬各一架，、二，搏拊、鼓二，琴五色，自一、三、五、七至九糸玄各二，瑟四，笛四，塤、篪、簫並二，巢笙、和笙各四； 並七星、九曜、閏餘匏笙各一，麾幡一。 宮架則用編鍾、編磬各十二架，、二，琴五色，各十，瑟二十六； 巢笙及簫並一十四，七星、九曜、閏餘匏笙各一，竽笙十，塤一十二，篪一十八，笛二十，晉鼓一，建鼓四，麾幡一。 ”乃從太常下之兩浙、江南、福建州郡，又下之廣東西、荊湖南北，括取舊管大樂，上於行都，有闕則下軍器所製造，增修雅飾，而樂器浸備矣。 其樂工，詔依太常寺所請，選擇行止畏謹之人，合登歌、宮架凡用四百四十人，同日分詣太社、太稷、九宮貴神。 每祭各用樂正二人，執色樂工、掌事、掌器三十六人，三祭共一百一十四人，文舞、武舞計用一百二十八人，就以文舞番充。 其二舞引頭二十四人，皆召募補之。 樂工、舞師照在京例，分三等廩給。 其樂正、掌事、掌器，自六月一日教習； 引舞、色長、文武舞頭、舞師及諸樂工等，自八月一日教習。 於是樂工漸集。
In the thirteenth year, for the suburban sacrifice, the court proclaimed that with Huizong laid to rest and the empress dowager cared for day and night, Heaven and Earth should be answered properly—and a round altar was built at the Lin'an temporary capital. The responsible offices reported: "For the great rite we need a full music establishment: one palace-frame set plus two ascent-music sets, following the capital's summer-sacrifice precedent." Ascent music requires one rack of bells and one of chimes; sounding blocks and hand drums, two each; colored zithers (one-, three-, five-, seven-, and nine-string black), two of each; four se, four flutes, two each of xun, chi, and xiao; four nest-sheng and four he-sheng; plus one each of the Seven Stars, Nine Luminaries, and intercalary gourd-sheng pipes, and one command banner. The palace frame needs twelve bell racks and twelve chime racks; sounding blocks and hand drums, two each; ten zithers in each of the five colors; twenty-six se; fourteen nest-sheng and xiao combined; one each of the Seven Stars, Nine Luminaries, and intercalary gourd-sheng; ten yu-sheng; twelve xun; eighteen chi; twenty flutes; one Jin drum; four establishment drums; and one command banner. Imperial Sacrifices ordered Liang-Zhe, Jiangnan, Fujian, Lingnan, and Jing-Hu circuits to send stored great music to the capital; gaps were filled by the Armory Workshop, instruments were refurbished, and the ensemble slowly became complete. Musicians, as Imperial Sacrifices requested, were chosen for prudent conduct: 440 for ascent and palace-frame music, dispatched the same day to the altars of Soil and Grain and the Nine Palaces of the Noble Spirits. Each sacrifice employed two music directors, thirty-six color-musicians, stewards, and instrument keepers (114 across three rites), and 128 dancers for civil and martial pieces—the civil dance rotations supplied the shortfall. Twenty-four dance leaders for the two dances were recruited to fill the ranks. Musicians and dance masters received grain stipends in three grades, following the capital precedent. Music directors, stewards, and instrument keepers began rehearsals on the first day of the sixth month; dance leaders, color chiefs, civil and martial dance captains, dance masters, and the remaining musicians began on the first day of the eighth month. Musicians gradually gathered.
8
十四年，太常寺言：“將來大禮，見闕玉磬十六枚。 其所定聲律，係於玉分厚薄，取聲高下。 正聲凡十有二，黃鍾厚八分，進而為大呂、太簇、夾鍾、姑洗、仲呂、蕤賓、林鍾、夷則、南呂、無射、應鍾，每律增一分，至應鍾一寸九分而止。 清聲夾鍾厚二寸三分，退而為太簇、大呂、黃鍾，共四清聲，各減一分，至黃鍾二寸而止。 ”乃下之四川茶馬司，寬數增分，市易以供用。 太常博士張晟又言：“大樂所用武舞之飾，以幹配刀，《周禮·司兵》‘祭祀，授舞者兵’，先儒謂‘授以朱幹、玉戚’，《郊特牲》‘朱幹、玉戚，冕而舞大武’。 ”乃從所請，仿《三禮圖》，令造玉戚，以配舞幹。
In the fourteenth year Imperial Sacrifices reported: "Sixteen jade chime-stones are still missing for the great rite." Their pitches depend on the thickness of each jade slice, which sets the tone high or low. The twelve standard tones begin with Yellow Bell at eight fen thick; each successive pitch—Great Clarity through Responding Bell—adds one fen, ending at one cun nine fen for Responding Bell. The four clear tones start with Pinched Bell at two cun three fen; stepping back through Great Cluster, Great Clarity, and Yellow Bell, each loses one fen until Yellow Bell reaches two cun. Orders went to the Sichuan Tea-and-Horse Commission to procure extra stone with generous tolerances for thickness. Ritual Doctor Zhang Sheng added: "Martial dance regalia pairs shield with blade. The Rites of Zhou's Director of Arms says sacrifices arm the dancers; earlier commentators specify vermilion shields and jade axes, as the Record of Suburban Sacrifice describes for the Great Martial dance." The court agreed and, following the Illustrations of the Three Rites, ordered jade axes made to accompany the dance shields.
9
是歲，始上徽宗徽號，特製《顯安之樂》。 至於奉皇太后冊、寶於慈寧宮，樂用《聖安》； 皇后受冊、寶於穆清殿，樂用《坤安》，亦皆先後參次而舉。 《顯安》以無射、夾鍾為宮，《周大司樂》饗先王，奏無射而歌夾鍾，“夾鍾之六五，上生無射之上九。 夾鍾，卯之氣，二月建焉，而辰在降婁； 無射，戌之氣，九月建焉，而辰在大火。 ”無射，陽律之終，夾鍾實為之合，蓋取其相親合而萃祖考之精神於假廟也。 《聖安》純用大呂，《坤安》純用中呂。 大呂，陰律之首，崇母儀也； 中呂，陰律之次，明婦順也。
That year, when Huizong's honorific title was first presented, the court composed the hymn "Manifest Peace." When the empress dowager's patent and seal were presented at Cining Palace, the music was "Sagely Peace"; when the empress received hers at Muqing Hall, the music was "Earthly Peace"—each performed in proper sequence. "Manifest Peace" uses Tireless Shot and Pinched Bell as its tonal center. The Zhou Grand Director of Music plays Tireless Shot and sings Pinched Bell when feasting former kings: "Pinched Bell's six-fifths generates Tireless Shot's upper ninth." Pinched Bell belongs to mao's qi, the second month, with the chronogram in Descending Harvest; Tireless Shot belongs to xu's qi, the ninth month, with the chronogram in Great Fire. Tireless Shot ends the yang pitches; Pinched Bell pairs with it—drawing their affinity to gather ancestral spirits in the temporary temple. "Sagely Peace" uses only Great Clarity; "Earthly Peace" uses only Middle Clarity. Great Clarity heads the yin pitches, honoring the mother; Middle Clarity is second among yin pitches, marking the wife's proper deference.
10
明年正旦朝會，始陳樂舞，公卿奉觴獻壽。 據元豐朝會樂：第一爵，登歌奏《和安之曲》，堂上之樂隨歌而發； 第二爵，笙入，乃奏瑞曲，惟吹笙而餘樂不作； 第三爵，奏瑞曲，堂上歌，堂下笙，一歌一吹相間； 第四爵，合樂仍奏瑞曲，而上下之樂交作。 今悉仿舊典，首奏《和安》，次奏《嘉木成文》、《滄海澄清》、《瑞粟呈祥》三曲，其樂專以太簇為宮。 太簇之律，生氣湊達萬物，於三統為人正，於四時為孟春，故元會用之。
The next New Year's court assembly restored music and dance; ministers presented cups and offered longevity wishes. Following Yuanfeng court-assembly music: at the first round, ascent music plays "Harmonious Peace," with upper-hall instruments following the vocal line; at the second round, sheng enter and auspicious tunes sound—sheng alone, all else silent; at the third round, auspicious tunes alternate—vocal above, sheng below, song and pipe answering each other; at the fourth round, full ensemble plays the auspicious tunes, upper and lower music together. The court followed the old canon: first "Harmonious Peace," then "Fine Timber Forms Pattern," "Blue Sea Clears," and "Auspicious Grain Shows Blessing," all centered on Great Cluster. Great Cluster gathers the generative qi of all things; in the three cosmic systems it marks humanity's standard, in the seasons early spring—hence its use at the grand New Year assembly.
11
時給事中段拂等討論景鍾制度，按《大晟樂書》：“黃鍾者，樂所自出，而景鍾又黃鍾之本，故為樂之祖，惟天子郊祀上帝則用之，自齋宮詣壇則擊之，以召至陽之氣。 既至，聲闋，眾樂乃作。 祀事既畢，升輦，又擊之。 蓋天者，群物之祖，今以樂之祖感之，則天之百神可得而禮。 音韻清越，拱以九龍，立於宮架之中，以為君圍； 環以四清聲鍾、磬、鎛鍾、特磬，以為臣圍； 編鍾、編磬以為民圍。 內設寶鍾球玉，外為龍虡鳳琴。 景鍾之高九尺，其數九九，實高八尺一寸。 垂則為鍾，仰則為鼎。 鼎之大，中於九斛，退藏實八斛有一焉。 ”內出皇祐大樂中黍尺，參以太常舊藏黃鍾律編鍾，高適九寸，正相吻合，遂遵用黍尺製造。
Supervising Secretary Duan Fu and others then debated the Spectacular Bell. The Great Sheng Music Book states: "Yellow Bell is music's source; the Spectacular Bell is Yellow Bell's root—the ancestor of music. Only the Son of Heaven uses it when sacrificing to Heaven at the suburban altar; it is struck leaving the fasting palace to summon the fullest yang qi." When the altar is reached the bell falls silent and the full ensemble begins. After the rite, as the emperor mounts his palanquin, it is struck again. Heaven is ancestor to all things; striking music's ancestor moves Heaven, and its myriad spirits may be properly honored. Its tone is clear and far-reaching; nine dragons arch over it as it stands at the palace frame's center—the sovereign's ring; ringed by the four clear-tone bells, chimes, bo bells, and special chimes as the ministers' ring; racked bells and chimes form the people's ring. Inside sit precious bells, spheres, and jade; outside dragon, tiger, and phoenix adorn it. The Spectacular Bell's nominal height is nine chi—the number nine-nine—but its actual height is eight chi one cun. Hanging down it is a bell; inverted it becomes a cauldron. Its cauldron capacity is nominally nine hu; measured inward, it holds eight hu and one sheng. The court produced the Huangyou-era millet measure; compared with Imperial Sacrifices' stored Yellow Bell bell rack, nine cun matched exactly, and manufacture followed the millet measure.
12
鍾成，命左仆射秦檜為之銘。 其文曰：“皇宋紹興十六年，中興天子以好生大德，既定寰宇，乃作樂以暢天地之化，以和神人。 維茲景鍾，首出眾樂，天子專用禋祀，謹拜手稽首而獻銘。 其銘曰：德純懿兮舜、文繼。 躋壽域兮孰內外？ 薦上帝兮偉茲器。 聲氣應兮同久視。 貽子孫兮彌萬世。 ”旋又命禮局造鎛鍾四十有八、編磬一百八十七、特磬四十八及添製編鍾等，命軍器所造建鼓八、雷鼓二、晉鼓一、雷鞀二、敔各四。 尋製金鍾、玉磬二架。
When the bell was finished, Left Vice Director Qin Hui was commissioned to inscribe it. The inscription reads: "Great Song, Shaoxing year 16—the Restoring Son of Heaven, cherishing life, having settled the realm, made music to extend Heaven and Earth's transformation and harmonize spirits and humanity. This Spectacular Bell leads all music; the Son of Heaven alone uses it in pure sacrifice to Heaven—I bow and present this inscription." The verse reads: Pure, excellent virtue—succession from Shun and King Wen. Who within or without does not enter the realm of longevity? Offered to the Supreme Lord—how grand this vessel! Sound and breath respond—long may he reign! Bestowed on sons and grandsons—for ten thousand generations! The court then ordered the Ritual Bureau to cast forty-eight bo bells, 187 rack chimes, 48 special chimes, and supplemental bell racks; the Armory Workshop made eight establishment drums, two thunder drums, one Jin drum, two thunder nao, and four sounding-blocks apiece. Soon two racks of gold bells and jade chimes followed.
13
初，元豐本虞庭鳴球及晉賀循采玉造磬之義，命榮谘道肇造玉磬。 元祐親祠，嚐一用之，久藏樂府。 至政和加以磨礲，俾協音律，並造金鍾，專用於明堂。 蓋堂上之樂，歌鍾居左，歌磬居右。 金玉稟氣於乾，純精至貴，故鍾必以金，磬必以玉，始備金聲玉振之全，此中興所以繼作也。 於是帝諭輔臣，以鍾磬音律，其餘皆和，惟黃鍾、大呂猶未應律，宜熟加考究。 詔禮官以鑄造鎛鍾，更須詳審，令聲和而律應，乃可奉祀。 命太常前期按閱，仍用皇祐進呈雅樂禮例。 皇帝御射殿，召宰執、侍從、台諫、寺監、館閣及武臣刺史以上，閱視新造景鍾及禮器。 皇帝即御坐，撞景鍾，用正旦朝會三曲，奏宮架之樂，其製造官推恩有差。 添置景鍾樂正一、鎛鍾樂工十有二，特磬樂工亦如之。 次降下古製銅錞一，增造其二； 古銅鐃一，增造其六。 改造登歌夷則律玉磬，降到長笛二十有四，並付太常寺掌之，專俟大禮施用。
Under Yuanfeng, invoking the Hall of Yu's sounding spheres and Jin He Xun's jade-chime precedent, Rong Zidao was commissioned to begin the jade chimes. They were used once at Yuanyou's imperial sacrifice, then stored long in the Music Office. In Zhenghe they were polished to match the pitch standards; gold bells were cast for exclusive Bright Hall use. In upper-hall music, song-bells stand left and song-chimes right. Gold and jade draw qi from Qian; as the purest essences, bells must be gold and chimes jade to achieve the full pairing of golden tone and jade resonance—the reason the Restoration revived them. The emperor told his chief ministers that bell and chime pitches were nearly aligned, but Yellow Bell and Great Clarity still missed the standard and needed thorough study. Ritual officials were ordered to cast the bo bells with extra care so tone and pitch matched before they could serve in sacrifice. Imperial Sacrifices was to inspect rehearsals beforehand, following the Huangyou elegant-music precedent. At the Archery Hall the emperor summoned grand councilors, attendants, censors, supervisory officials, academicians, and prefect-rank military officers to inspect the new Spectacular Bell and ritual vessels. The emperor took his seat, struck the Spectacular Bell, played the three New Year court tunes with palace-frame music, and rewarded the craftsmen in graded ranks. The court added one Spectacular Bell director, twelve bo-bell musicians, and a matching staff for special chimes. Next one ancient-pattern bronze chun was issued, with two more added; one ancient bronze nao, with six more added. Ascent-music jade chimes in Levelizing Rule pitch were refitted; twenty-four long flutes were issued—all held by Imperial Sacrifices for the great ceremony alone.
14
既而刑部郎官許興古奏：“比歲休祥協應，靈芝產於廟楹，瑞麥秀於留都。 昔乾德六年，嚐詔和見作《瑞木》、《馴象》及《玉烏》、《皓雀》四瑞樂章，以備登歌。 願依典故，製為樂章，登諸郊廟。 ”詔從其請，命學士沈虛中作歌曲，以薦於太廟、圜丘、明堂。 尋又內出御製郊祀大禮天地、宗廟樂章，及詔宰執、學士院、兩省官刪修郊祀大禮樂章，付太常肄習。
Soon Xu Xinggu of the Ministry of Justice reported: "Auspicious omens have multiplied—lingzhi on temple pillars, auspicious wheat at the retained capital. In Qiande year 6 the court once ordered He Jian to compose four auspicious hymns—"Auspicious Timber," "Tamed Elephant," "Jade Crow," and "White Sparrow"—for ascent music. I ask that new hymns be composed by precedent and entered into suburban and temple rites." The court agreed and commissioned Academician Shen Xuzhong to write songs for the Imperial Temple, Round Mound, and Bright Hall. The emperor soon issued his own suburban-sacrifice hymns for Heaven, Earth, and the ancestral temples, ordered councilors, Hanlin academicians, and secretariat officials to revise them, and handed them to Imperial Sacrifices for rehearsal.
15
天子親祀南郊，圜鍾為宮，三奏，樂凡六成，歌《景安》，用《文德武功》之舞； 饗明堂，夾鍾為宮，三奏，樂凡九成，歌《誠安》，用《佑文化俗》、《威功睿德之舞》。 前二日，朝獻景靈宮，圜鍾為宮，三奏，凡六成，所奏樂與南郊同，歌《興安》，用《發祥流慶》、《降真觀德之舞》。 前一日，朝饗太廟，黃鍾為宮，三奏，樂凡九成，歌《興安》，所用文、武二舞與南郊同。 僖祖廟用《基命之樂舞》，翼祖廟用《大順之樂舞》，宣祖廟用《天元之樂舞》，太祖廟用《皇武之樂舞》，太宗廟用《大定之樂舞》。 真宗、仁宗廟樂舞曰《熙文》、曰《美成》，英宗、神宗廟樂舞曰《治隆》、曰《大明》，哲宗、徽宗、欽宗廟樂舞曰《重光》、曰《承元》、曰《端慶》，皆以無射宮奏之。
At the emperor's southern suburban sacrifice, Round Bell served as tonal center with three performances and six musical sections; they sang "Manifest Peace" and danced "Civil Virtue" and "Martial Achievement"; at the Bright Hall feast, Pinched Bell was tonal center with three performances and nine sections; they sang "Sincere Peace" and danced "Aid Culture and Transform Custom" and "Majestic Merit and Sagely Virtue." Two days earlier, at the Jingling Palace morning offering, Round Bell served as tonal center—three performances, six sections, the same music as the southern suburb; they sang "Rising Peace" and danced "Sending Blessings and Flowing Celebration" and "Descending Truth and Observing Virtue." The day before, at the Imperial Temple morning feast, Yellow Bell was tonal center—three performances, nine sections; they sang "Rising Peace" with the same civil and martial dances as the southern suburb. The Remote Ancestor's temple used "Foundation Mandate"; the Soaring Ancestor's, "Great Accord"; the Proclaiming Ancestor's, "Heaven's Origin"; Taizu's, "Imperial Martial"; Taizong's, "Great Settlement." Zhenzong and Renzong used "Glorious Pattern" and "Beautiful Completion"; Yingzong and Shenzong, "Ordered Ascent" and "Great Brightness"; Zhezong, Huizong, and Qinzong, "Double Radiance," "Receiving Origin," and "Upright Celebration"—all in the Tireless Shot tonal center.
16
每歲祀昊天上帝者凡四：正月上辛祈穀，孟夏雩祀，季秋饗明堂，冬至祀圜丘是也。 圜鍾為宮，樂奏六成，與南郊同，乃用《景安之歌》、《帝臨嘉至》、《神矣錫羨之舞》。 祀地祗者二：夏至祀皇地祗，樂奏八成，乃用《寧安之歌》、《儲靈錫慶》、《嚴恭將事之舞》； 立冬後祀神州地祗，樂奏八成，歌《寧安》，與祀皇地祗同名而異曲，用《廣生儲祐》、《厚載凝福之舞》。 孟春上辛祀感生帝，其歌《大安》，其樂舞則與歲祀昊天同。 三年一袷及時饗太廟，九成之樂、《興安之歌》，與大禮前事朝饗同，而用《孝熙昭德》、《禮洽儲祥之舞》。 太社、太稷用《寧安》，八成之樂，與歲祀地祗同。 至於親製讚宣聖及七十二弟子，以廣崇儒右文之聲； 親視學，行酌獻，定釋奠為大祀，用《凝安》，九成之樂。 郡邑行事，則樂止三成。 他如親饗先農、親祀高禖，則敞壇壝、奏樂舞，按習於同文館、法惠寺。 親耕籍田，則據宣和舊制，陳設大樂，而引呈耒耜、護衛耕根車、儀仗鼓吹至以二千人為率。 先農樂用《靜安》； 高禖樂用《景安》； 皇帝親行三推禮，樂用《乾安》。 其補苴軼典、蒐講彌文者至矣。 先朝凡雅樂皆以‘安’名，中興一遵用之。
Heaven was worshipped four times yearly: the first-month xin day for grain, mid-summer rain prayer, autumn Bright Hall feast, and winter solstice at the Round Mound. Round Bell served as tonal center with six sections, as at the southern suburb; they sang "Manifest Peace" and danced "The Emperor Approaches in Auspicious Arrival" and "The Spirits Have Bestowed Blessings." Earth spirits were worshipped twice: at the summer solstice for the Imperial Earth Spirit, with eight sections, the song "Tranquil Peace," and dances "Stored Spirits Bestow Celebration" and "Solemn Respect in Performing the Rite"; after Start of Winter for the Divine Land Earth Spirit, eight sections, the same hymn title "Tranquil Peace" but a different tune, with dances "Broad Generation and Stored Blessing" and "Thick Bearing and Gathered Fortune." On early spring's upper xin day they worshipped the Spirit of Felt Generation with "Great Peace," using the same music and dance as the annual Heaven sacrifice. The triennial collective feast and regular temple feast used nine sections and "Rising Peace," as before the great ceremony, with dances "Filial Splendor and Manifest Virtue" and "Rites Harmonized and Blessings Stored." The Grand Altars of Soil and Grain used "Tranquil Peace" in eight sections, as in the annual earth-spirit rites. The emperor also composed hymns praising Confucius and the seventy-two disciples, amplifying the court's esteem for learning; personally inspected the schools, poured the libation, elevated the libation sacrifice to a great rite with "Gathered Peace" in nine sections. Prefectures and districts used only three sections. For personal feasts to the Former Farmer or sacrifices to the High Matron, open altars and full music and dance were rehearsed at Tongwen Hall and Fahui Temple. For the emperor's sacred-field plowing, following Xuanhe precedent, great music was arrayed with plows presented, the plowing-root carriage escorted, and ceremonial guards and wind ensembles—some two thousand men in all. The Former Farmer rite used "Still Peace"; the High Matron rite used "Manifest Peace"; when the emperor performed the three-push plowing himself, the music was "Qian Peace." In restoring lost precedents and elaborating ritual texts, the court had gone as far as could be. Earlier courts named all elegant music with "Peace"; the Restoration followed suit.
17
南郊樂，其宮圜鍾； 明堂樂，其宮夾鍾。 圜鍾即夾鍾也。 夾鍾生於房、心之氣，實為天帝之堂，故為天宮。 祭地祇，其宮函鍾，即林鍾也。 林鍾生於未之氣，未為坤位，而天社、地神實在東井、輿鬼之外，故為地宮。 饗宗廟，其宮用黃鍾。 黃鍾生於虛、危之氣，虛、危為宗廟，故為人宮。 此三者，各用其聲類求之。 然天宮取律之相次：圜鍾為陰聲第五，陰將極而陽生，故取黃鍾為角。 黃鍾，陽聲之首也。 太簇，陽聲之第二，故太簇為徵。 姑洗，陽聲之第三，故姑洗為羽。 天道有自然之秩序，乃取其相次者以為聲。 地宮取律之相生：函鍾上生太簇，故太簇為角； 太簇下生南呂，南呂上生姑洗，故南呂為徵，姑洗為羽。 地道資生而不窮，乃取其相生者以為聲。 人宮取律之相合：黃鍾子，大呂醜，故黃鍾為宮、大呂為角，子合醜也； 太簇寅，應鍾亥，故太簇為徵、應鍾為羽，寅合亥也。 人道以合而相親，乃取其合者以為聲。 周之降天神、出地示、禮人鬼，樂之綱要實在於此。 獨商聲置而不用，蓋商聲剛而主殺，實鬼神之所畏也。 樂奏六成者，即仿周之六變，八成、九成亦如之。
Southern-suburb music used Round Bell as tonal center; Bright Hall music used Pinched Bell. Round Bell is Pinched Bell. Pinched Bell draws qi from Fang and Xin—the Heavenly Emperor's hall—hence the Heaven palace. Earth-spirit sacrifice used Enveloping Bell—Forest Bell—as tonal center. Forest Bell draws wei's qi; wei is Kun's position, and the altars of soil lie beyond Well and Ghost Carriage—hence the Earth palace. Ancestral temple feasts used Yellow Bell. Yellow Bell draws Xu and Wei's qi—the ancestral temples—hence the Human palace. Each of the three derives its pitches from its own sound category. The Heaven palace follows successive pitches: Round Bell is the fifth yin pitch; as yin nears its limit yang arises—so Yellow Bell serves as horn. Yellow Bell heads the yang pitches. Great Cluster is second among yang pitches—hence the trigger. Maiden Wash is third—hence the feather. Heaven's Way has natural order; successive pitches shape its sound. The Earth palace uses generating pitches: Enveloping Bell generates Great Cluster above—Great Cluster as horn; Great Cluster generates Southern Clarity below; Southern Clarity generates Maiden Wash above—Southern Clarity as trigger, Maiden Wash as feather. Earth's Way endlessly nurtures life; generating pitches shape its sound. The Human palace uses paired pitches: Yellow Bell is zi, Great Clarity chou—Yellow Bell as palace tone, Great Clarity as horn; zi pairs with chou; Great Cluster is yin, Responding Bell hai—Great Cluster as trigger, Responding Bell as feather; yin pairs with hai. Humanity draws kin through pairing; paired pitches shape its sound. The Zhou rites of sending down Heaven's spirits, issuing Earth's manifestations, and honoring human ghosts—the music's guiding principles lie here. Only the Shang pitch was omitted—hard and governing killing, what spirits fear. Six musical sections imitate the Zhou six transformations; eight and nine sections follow likewise.
18
文、武二舞皆用八佾。 國初，始改《崇德之舞》曰《文德》，改《象成》之舞曰《武功》。 其《發祥流慶》、《降真觀德》則祥符所製，以薦獻聖祖； 其《佑文化俗》、《威功睿德》則皇祐所製，以奉明禋。 其祀帝，有司行事，以《帝臨嘉至》、《神矣錫羨》，與夫獻太廟以《孝熙昭德》、《禮洽儲祥》，則製於元豐。 其《廣生儲祐》、《厚載凝福》以祀方澤，則製於宣和。 至紹興祀皇地祇，易以《儲靈錫慶》、《嚴恭將事》，而用宣和所製舞以分祀神州地祗，轉相緝熙，樂舞浸備。 至中興而賡續裁定，實集其成。 中祀而下，多有樂而無舞，則在《禮》“凡小祭祀不興舞”之義也。
Both civil and martial dances used eight rows of dancers. Early in the dynasty "Honoring Virtue" became "Civil Virtue" and "Elephant Completion" became "Martial Achievement." "Sending Blessings and Flowing Celebration" and "Descending Truth and Observing Virtue" were composed in Xiangfu for the Sagely Ancestor; "Aid Culture and Transform Custom" and "Majestic Merit and Sagely Virtue" were composed in Huangyou for the suburban sacrifice. Official sacrifices to Heaven used "The Emperor Approaches in Auspicious Arrival" and "The Spirits Have Bestowed Blessings"; temple offerings used "Filial Splendor and Manifest Virtue" and "Rites Harmonized and Blessings Stored"—both from Yuanfeng. "Broad Generation and Stored Blessing" and "Thick Bearing and Gathered Fortune" for the square marsh-altar dated from Xuanhe. Under Shaoxing, worship of the Imperial Earth Spirit switched to "Stored Spirits Bestow Celebration" and "Solemn Respect in Performing the Rite," while Xuanhe dances served the separate Divine Land rite—music and dance slowly reached completion. The Restoration continued and finalized the system, bringing it to completion. Medium and lesser rites often had music without dance, following the Rites' rule that minor sacrifices do not raise dance.
19
紹興三十一年，有詔：教坊日下蠲罷，各令自便。 蓋建炎以來，畏天敬祖，虔恭祀事，雖禮樂煥然一新，然其始終常以天下為憂，而未嚐以位為樂，有足稱者。
In Shaoxing year 31 an edict abolished the Music Bureau and released its members. From Jianyan onward Gaozong revered Heaven and ancestors and restored ritual music, yet he always worried for the realm rather than reveling in power—worth commendation.
20
孝宗初踐大位，立班設仗於紫宸殿，備陳雅樂。 禮官尋請車駕親行朝饗，用登歌、金玉大樂及彩繪宮架、樂舞； 仗內鼓吹，以欽宗喪製不用。 迨安穆皇后祔廟，禮部侍郎黃中首言：“國朝故事，神主升祔，係用鼓吹導引，前至太廟，乃用樂舞行事。 宗廟薦享雖可用樂，鼓吹施於道路，情所未安，請備而不作。 ”續下給、舍詳議，謂：“薦享宗廟，為祖宗也，故以大包小，則別廟不嫌於用樂。 今祔廟之禮為安穆而行，豈可與薦享同日語？ 將來祔禮，謁祖宗諸室，當用樂舞； 至別廟奉安，宜停而不用。 蓋用樂於前殿，是不以欽宗而廢祖宗之禮； 停樂於別廟，是安穆為欽宗喪禮而屈也。 如此，則於禮順，於義允。 ”遂俞其請。 既而右正言周操上言：“祖宗前殿，尊無二上，其於用樂，無復有嫌。 然用之享廟行禮之日則可，而用於今日之祔則不可。 蓋祔禮為安穆而設，則其所用樂是為安穆而用，雖曰停於別廟，而為祔後用樂之名猶在也。 孰若前後殿樂俱不作為無可議哉？ ”詔從之。
When Xiaozong first took the throne, he formed court ranks and guards at the Purple Bright Hall with full elegant music. Ritual officials soon asked the emperor to conduct the morning feast in person with ascent music, gold and jade great music, painted palace frame, and dance; Guard wind ensembles were omitted under Qinzong's mourning. When Empress Anmu was enshrined, Vice Minister Huang Zhong argued first: "Dynastic precedent uses wind ensembles to escort a spirit tablet to the Imperial Temple, then music and dance for the rite itself. Temple offerings may use music, but wind ensembles on the road feel wrong—I ask they be prepared but not played." Secretariat drafters replied: "Temple offerings honor the ancestors; the greater encompasses the lesser, so separate temples need not avoid music. Today's enshrinement is for Anmu—how can it be equated with regular offerings? Future enshrinements should use music and dance when visiting the ancestors' chambers; but at the separate installation temple, music should stop. Music in the front hall preserves the ancestors' rites despite Qinzong's mourning; silence at the separate temple shows Anmu yielding to Qinzong's mourning. This satisfies both ritual order and principle. The court approved. Remonstrance Official Zhou Cao then argued: "In the ancestors' front hall, honor admits no rival—music should raise no scruple. It may be used on regular temple feast days, but not for today's enshrinement. Enshrinement is for Anmu—any music serves her; stopping it at the separate temple still leaves the name of post-enshrinement music. Better to silence both halls entirely—then nothing remains to dispute. " The emperor agreed.
21
乾道改元，始郊見天地。 太常洪適奏：“聖上踐阼，務崇乾德，郊丘講禮，專以誠意交於神明。 竊謂古今不相沿樂，金石八音不入俗耳，通國鮮習其藝，而聽之則倦且寐，獨以古樂嚐用之郊廟爾。 昔者，竽工、鼓員不應經法，孔光、何武嚐奏罷於漢代，前史是之。 今樂工為數甚夥，其鹵簿六引、前後鼓吹，有司已奏明，詔三分減一，惟是肄習尚逾三月之淹。 夫驅遊手之人振金擊石，安能盡中音律，使鳳儀而獸舞？ 而日給虛耗，總為緡錢近二钜萬。 若從裁酌，用一月教習，自可應聲合節，不至闕事。 ”於是詔郊祀樂工，令肄習一月。
When the Qiandao era began, Xiaozong first sacrificed to Heaven and Earth at the suburbs. Director Hong Shi reported: "Your Majesty, newly enthroned, exalts Qian's virtue and approaches the spirits with sincerity at the suburban altars. Ancient and modern music do not follow one another; metal and stone tones weary popular ears—the realm scarcely practices them, and listeners grow drowsy. Ancient music is reserved for suburban altars and temples alone. Yu players and drum officers once violated canonical law; Kong Guang and He Wu memorialized to abolish them in Han, and historians approved. Musicians now number in the thousands; for banner escorts, six-fold led processions, and front and rear processional bands, the ministries have already reported, and the court ordered a one-third reduction—yet rehearsal still drags on past three months. How can idle hands striking bells and stones ever hit every pitch and move phoenixes and beasts to dance? Daily pay drains the treasury to nearly twenty thousand strings of cash. With prudent cuts, one month of training would match pitch and rhythm without disrupting the rites. An edict then limited suburban-sacrifice musicians to one month of practice.
22
太常寺復言：“郊祀合用節奏樂工、登歌宮架樂工、引舞舞工，其分詣社稷及別廟，並番輪應奉，更不添置。 ”尋以禮官裁減壇下宮架二百七人，省十之一； 琴二十人，瑟十二人，各省其半； 笙、簫、笛可省者十有八人； 篪、塤可省者十人。 其分詣給祠凡一百十四，止用八十人。 鍾、磬凡四十八架，止設三十有二人，其宮架鍾、磬仍舊。 排殿閑慢樂色量省人數，悉報如章。
The Court of Imperial Sacrifices added: "Suburban rites need cadence bands, ascent-song and palace-frame players, and lead dancers; those posted to the soil-and-grain altars and branch temples already rotate on roster—no new hires are needed. Ritual officers soon cut the altar's lower palace-frame staff from 207 by one-tenth; zithers from twenty to ten, se from twelve to six; eighteen fewer on sheng, xiao, and flute; ten fewer on chi and xun. Postings for branch sacrifices dropped from 114 to 80. Bell and chime frames, forty-eight in all, were manned by thirty-two players; the palace-frame bells and chimes were left unchanged. Slow hall music was also trimmed, and everything was filed as proposed.
23
禮部郎官蕭國梁又言：“議禮者嚐援紹興指揮，時饗亞獻既入太室，即引終獻行事，雖便於有司侍祠，免至跛倚，而其流將至於簡。 宗廟用之郊饗尤為非宜。 蓋有獻必有樂，卒爵而後樂闋。 今亞、終獻樂舞雖同，而其作有始，其成有終，不可亂也。 若使之相繼行事，雜然於酌獻之間，則其為樂舞者，不知亞獻之樂耶，終獻之樂耶？ ”詔從其請訂定。
Rites official Xiao Guoliang objected: "Liturgists cite a Shaoxing order that, at seasonal feasts, once the subordinate offering enters the Grand Chamber, the final offering follows at once—convenient for attendants and avoiding awkward gaps, but it trends toward oversimplification. It is especially wrong for ancestral temples and suburban feasts. Every offering demands its music; music ends only when the cup is drained. Subordinate and final offerings may share the same dances, but each performance has its own beginning and end and must not be scrambled. If they run back-to-back amid the libations, the dancers will not know whether they dance for the subordinate or the final offering. The emperor accepted his plea and fixed the order.
24
淳熙六年，始舉明堂禋禮，命五使按雅樂並嚴更、警場於貢院，奉詔將樂器依堂上、堂下儀製排設，五使及應赴官僚從旁立觀按閱，仍聽往來察視。 時大禮使趙雄言：“前例，閱樂至皇帝詣飲福位一曲，即五使以下皆立，而每閱奠玉幣及酌獻等樂，皆坐自如，於禮未盡，不當襲用前例。 ”故有是詔。 既而禮官討論，自紹興以來，凡五饗明堂，禮畢還輦，並未經用樂，即無作樂節次可考。 乃參酌禮例，成禮稱賀及肆赦用樂導駕，並用皇祐大饗典故施行。 其南郊、明堂儀注，實述紹興成憲，又命有司兼酌元豐、大觀舊典，為後世法程。 其用樂作止之節，粲然可觀：
In 1179, the court first held the Bright Hall rite. Five commissioners rehearsed elegant music and tightened watches and the warning ground at the tribute academy, lining instruments above and below the hall per statute while officials watched—and could move about to inspect. Grand Ritual Commissioner Zhao Xiong said: "In past rehearsals, when music reached the emperor's approach to the fortune-drinking station, the five commissioners and below all stood—but for music for jade, silk, and libation offerings they remained seated. That falls short of ritual decorum and should not be copied. Hence the new order. Ritual officers then noted that, since Shaoxing, none of five Bright Hall feasts had used music on the return procession—so no precedents existed for when music should start or stop. They drew on precedent: music for felicitations and amnesty escorting the imperial carriage followed the Huangyou Grand Feast regulations. The Southern Suburb and Bright Hall manuals chiefly codified Shaoxing practice while also drawing on Yuanfeng and Daguan canon as a model for posterity. When music began and ceased was now lucid throughout:
25
前三日，太常設登歌樂於壇上，稍南，北向，設宮架於壇南內壝之外，立舞表於酂綴之間 〈（明堂登歌設於堂上前楹間，宮架設於庭中）〉。 前一日，設協律郎位二：一於壇上樂虡西北，一於宮架西北。 押樂官位二：太常丞於登歌樂虡北，太常卿於宮架北。 省牲之夕，押樂太常卿及丞入行樂架，協律郎展視樂器。
Three days before, the Court set ascent music on the altar, slightly south and facing north; placed the palace frame beyond the inner moat on the altar's south side; and set dance markers among the fringe tassels At the Bright Hall, ascent music stands between the front hall pillars; the palace frame stands in the courtyard.) On the eve, two pitch-pipe officers were posted—one northwest of the ascent-music stand on the altar, one northwest of the palace frame. Two supervising musicians stood north of the ascent stand and north of the palace frame—the vice director and director of imperial sacrifices. On the victim-inspection evening, the director and vice director entered the frame and the pitch-pipe officer examined every instrument.
26
祀之日，樂正帥工人、二舞以次入。 皇帝乘輿，自青城齋殿出，樂正撞景鍾，降輿入大次，景鍾止 〈（明堂不用景鍾）〉。 服大裘袞冕，自正門入，協律郎跪，俯伏，舉麾，興。 工鼓，宮架《乾安之樂》作，凡升降、行止皆奏之 〈（明堂奏《儀安》）〉。 至午階版位，西向立，協律郎偃麾戛，樂止 〈（明堂至阼階下，樂止）〉。 凡樂，皆協律郎舉麾而後作，偃麾而後止。 禮儀使奏請行事，宮架作《景安之樂》。 〈（明堂作《誠安》。）〉
On the sacrifice day, the chief musician led the orchestra and both dances in, each in turn. As the emperor's carriage left the Qingcheng fasting hall, the chief musician struck the Splendor Bell; the emperor descended into the great pavilion and the bell fell silent The Bright Hall does not use the Splendor Bell.) In great fur robe and full regalia he entered the main gate; the pitch-pipe officer knelt, bowed, raised his baton, and rose. Musicians struck up; the palace frame played "Peace to Qian" for every ascent, descent, and step At the Bright Hall they play "Peace to Rite.") He reached the southern stair platform and stood facing west; the pitch-pipe officer lowered his baton and the music stopped At the Bright Hall, music stops below the eastern stairs.) No music began until the pitch-pipe officer raised his baton, and none ceased until he lowered it. The ritual commissioner requested commencement; the palace frame played "Peace to Splendor." At the Bright Hall they play "Peace to Sincerity.")
27
文舞進，左丞相等升，詣神位前，樂作，六成止。 皇帝執大圭再拜，內侍進禦匜帨，宮架樂作，帨手畢，樂止。 禮儀使前導升壇，宮架樂作，至壇下，樂止。 升自午階， 〈（明堂並升自阼階。）〉 登歌樂作，至壇上，樂止。 登歌《嘉安之樂》作 〈（明堂至堂上作《鎮安》）〉。 奠鎮圭、奠玉幣於上帝，樂止。 詣皇地祇、太祖、太宗神位前，如上儀。 禮儀使導還版位，登歌樂作，降階，樂止 〈（明堂降自阼階）〉。 宮架樂作，至版位，樂止。 奉俎官入正門，宮架《豐安之樂》作 〈（明堂作《禧安》）〉。 跪，奠俎訖，樂止。 內侍以禦匜帨進，宮架樂作，帨手拭爵，樂止。 禮儀使導升壇，宮架樂作，至午階，樂止。 升自午階，登歌樂作，至壇上，樂止 〈（明堂無升壇）〉。 登歌《禧安之樂》作 〈（明堂作《慶安》）〉 ，詣神位前，三祭酒，少立，樂止。 讀冊，皇帝再拜。 每詣神位並如之。 禮儀使導還版位，登歌樂作，降階，樂止。 宮架樂作，至版位，樂止。 奏請還小次，宮架樂作，入小次，樂止。
The civil dance advanced; the left chancellor and others ascended to the deity and music ran six movements, then stopped. The emperor bowed twice with the great scepter; attendants brought the imperial ewer and towel; palace music played until the cleansing was done, then stopped. The ritual commissioner led him up the altar to music that ceased at the altar's foot. He climbed the south stair, At the Bright Hall, both ascend from the east stair.) Ascent music played until he stood on the altar, then ceased. Ascent music played "Peace to Excellence" At the Bright Hall, on entering the upper hall they play "Peace to Suppress.") He presented the territorial scepter and jade and silk to High God, and the music stopped. He repeated the rite at the seats of Earth, Taizu, and Taizong. The ritual commissioner led him back; ascent music played as he descended, then ceased At the Bright Hall he descends the east stair.) Palace-frame music played until he reached his station, then stopped. The tray bearer entered the main gate to the palace frame's "Peace to Abundance" At the Bright Hall they play "Peace to Fortune.") He knelt, the offering was set, and the music stopped. Attendants brought the ewer and towel; music played while he wiped the cup, then ceased. The ritual commissioner led him back up the altar; music ceased at the south stair. He climbed the south stair to ascent music that ceased on the altar At the Bright Hall there is no altar ascent.) Ascent music played "Peace to Fortune" At the Bright Hall they play "Peace to Celebration.") ; he advanced to the deity, poured three libations, paused briefly, and the music stopped. The text was read; the emperor bowed twice. At every deity he followed the same order. The ritual commissioner led him back; ascent music played as he descended, then ceased. Palace-frame music played until he reached his station, then stopped. He was asked to return to the small pavilion; music played until he entered, then stopped.
28
武舞進，宮架《正安之樂》作 〈（明堂作《穆安》）〉。 舞者立定，樂止。 亞獻，升，詣酌尊所，西向立，宮架《正安之樂》作 〈（明堂皇太子為亞獻，作《穆安》）〉。 三祭酒，以次酌獻如上儀，樂止。 終獻亦如之。 奏請詣飲福位，宮架樂作，至午階，樂止。 升自午階，登歌樂作，將至位，樂止。 登歌《禧安之樂》作 〈（明堂作《胙安》）〉。 飲福，禮畢，樂止。 禮儀使導還版位，登歌樂作，降階，樂止。 宮架樂作，至版位，樂止 〈（明堂不降階）〉。 徹豆，登歌《熙安之樂》作 〈（明堂作《歆安》）〉。 送神，宮架《景安之樂》作，一成止 〈（明堂作《誠安》）〉。 詣望燎、望瘞位，宮架樂作，至位，樂止 〈（明堂有燎無瘞）〉。 燎、瘞畢，還大次，宮架《乾安之樂》作 〈（明堂作《憩安》）〉。 至大次，樂止。 皇帝乘大輦出大次，樂正撞景鍾 〈（明堂不用景鍾）〉 ，鼓吹振作，降輦還齋殿，景鍾止。 百官、宗室班賀於端誠殿，奏請聖駕進發，軍樂導引，至麗正門，大樂正令奏《采茨之樂》，入門，樂止 〈（明堂就賀於紫宸殿，不奏《采茨》）〉。
The martial dance advanced; the palace frame played "Peace to Rectitude" At the Bright Hall they play "Peace to Solemnity.") The dancers held their positions; the music stopped. For the subordinate offering he ascended to the libation stand, faced west, and the palace frame played "Peace to Rectitude" At the Bright Hall the heir apparent is subordinate offering and they play "Peace to Solemnity.") He poured three libations and offered wine at each seat in the same order; the music stopped. The final offering followed the same pattern. He was asked to advance to the fortune-drinking station; palace-frame music played until he reached the south stair, then stopped. He climbed the south stair to ascent music that ceased as he neared his station. Ascent music played "Peace to Fortune" At the Bright Hall they play "Peace to Sacrificial Portion.") He took the fortune cup; when the rite was finished, the music stopped. The ritual commissioner led him back; ascent music played as he descended, then ceased. Palace-frame music played until he reached his station, then stopped At the Bright Hall he does not descend the stairs.) As the offering vessels were cleared, ascent music played "Peace to Splendor" At the Bright Hall they play "Peace to Delight.") As the spirits were escorted out, the palace frame played "Peace to Splendor," one movement, then stopped At the Bright Hall they play "Peace to Sincerity.") He went to the pyre and burial outlooks to music that ceased on arrival At the Bright Hall there is burning but no burial.) When burning and burial were done, he returned to the great pavilion to the palace frame's "Peace to Qian" At the Bright Hall they play "Peace to Rest.") Music ceased when he reached the great pavilion. The emperor left the great pavilion in the grand imperial carriage as the music director sounded the Splendor Bell At the Bright Hall the Splendor Bell is not used.) ; the wind and percussion ensemble struck up; he alighted and returned to the fasting hall, and the Splendor Bell fell silent. Officials and clansmen offered congratulations at Duancheng Hall; the emperor was asked to depart; military music escorted him to Lizheng Gate, where the chief music director played "Gathering Thistles" until he entered and the music stopped At the Bright Hall congratulations are held in Zichen Hall and "Gathering Thistles" is not played.)
29
乃禦麗正門肆赦。 前期，太常設宮架樂於門之前，設鉦鼓於其西，皇帝升門至禦閣，大樂正令撞黃鍾之鍾，右五鍾皆應，《乾安之樂》作，升御坐，樂止。 金雞立，太常擊鼓，囚集，鼓聲止。 宣製畢，大樂正令撞蕤賓之鍾，左五鍾皆應，皇帝還禦幄，樂止。 乘輦降門，作樂，導引至文德殿，降輦，樂止。
He then went to Lizheng Gate to proclaim a general amnesty. Beforehand the Court of Imperial Sacrifices set palace-frame music before the gate and gongs and drums west of it. The emperor climbed to the imperial pavilion; the chief music director struck the Yellow Bell and the five bells to the right answered; "Peace to Qian" played until he took the throne, then stopped. The golden cock was raised; the Court of Imperial Sacrifices beat the drum until the prisoners were assembled, then silence. When the amnesty text had been read, the chief director struck the Flaming Guest bell; the five bells to the left answered; the emperor withdrew to the canopy and the music stopped. He rode down from the gate to music that escorted him to Wende Hall; on alighting, the music ceased.
30
按大禮用樂，凡三十有四色：歌色一，笛色二，塤色三，篪色四，笙色五，簫色六，編鍾七，編磬八，鎛鍾九，特磬十，琴十一，瑟十二，、十三，搏拊十四，晉鼓十五，建鼓十六，鞞、應鼓十七，雷鼓 〈（祀天神用）〉。 十八，雷鞀鼓 〈（同上）〉 一十九，靈鼓 〈（祭地祗用）〉 二十，靈鞀鼓 〈（同上）〉 二十一，露鼓 〈（饗宗廟用）〉 二十二，露鞀鼓 〈（同上）〉 二十三，雅鼓二十四，相鼓二十五，單鞀鼓二十六，旌纛二十七，金鉦二十八，金錞二十九，單鐸三十，雙鐸三十一，鐃鐸三十二，奏坐三十三，麾幡三十四。 此國樂之用尤大者，故具載於篇。
The great ceremonies employ thirty-four timbre-colors: voice, flute, xun, chi, sheng, xiao, tuned bell racks, tuned chime racks, bo-bells, special chimes, zithers, se, zhu, hand-clappers, Jin drums, establishment drums, leather and response drums, and thunder drums (Used in sacrifices to the Heavenly Spirit.) Eighteenth, thunder nao-drums (As above.) Nineteenth, spirit drums (Used in sacrifices to earthly deities.) Twentieth, spirit nao-drums (As above.) Twenty-first, dew drums (Used in ancestral temple feasts.) Twenty-second, dew nao-drums (As above.) Twenty-third, ya-drums; twenty-fourth, xiang-drums; twenty-fifth, single nao-drums; twenty-sixth, banner standards; twenty-seventh, golden gongs; twenty-eighth, golden chimes; twenty-ninth, single bo; thirtieth, paired bo; thirty-first, cymbal-bo; thirty-second, seated performance; thirty-third, command banners; thirty-fourth, command pennants. These instruments matter most in state music, and are therefore recorded here in full.
31
初，紹興崇建皇儲，詔有司備禮冊命，然在欽宗恤製，未及製樂。 乾道初元，詔立皇太子，命禮部、太常寺討論舊禮以聞。 受冊日，陳黃麾仗於大慶殿，設宮架樂於殿庭，皇帝升御坐，作《乾安之樂》，升，用黃鍾宮，降，用蕤賓宮。 皇太子入殿門，作《明安之樂》，受冊出殿門亦如之，皆用應鍾宮。 至七年，易應鍾而奏以姑洗。 古者，太子生則太師吹管以度其聲，觀所協之律。 有虞典樂教胄子，自天子之元子皆以樂為教，所以養其性情之正，蕩滌邪穢，消融查滓而和順於道德，則陳金石雅奏，以重元良。 冊拜宜仿古誼，式昭盛禮。 由唐季世，儲貳罕定，國家益多故而禮廢樂闕。 至於建隆定樂，雖詔皇太子出入奏《良安》，至道始冊皇太子，有司言：“太子受冊，宜奏《正安之樂》。 百年曠典，至是舉行，中外胥悅。 至天禧冊命，禮儀院復奏改《正安之樂》。 乾道之用《明安》，實祖述天禧，而以姑洗為宮，則唐東宮軒垂奏樂舊貫雲。
Early in Shaoxing the court formally named an heir and ordered the bureaus to prepare the investiture rites, but Qinzong's mourning still held and no music could yet be composed. In the first year of Qiandao an edict named the crown prince and charged the Ministry of Rites and the Court of Imperial Sacrifices to review past precedents and report. On investiture day the yellow-banner guard was arrayed in Daqing Hall and palace-frame music set in the courtyard. As the emperor took the throne, "Peace to Qian" played—Yellow Bell mode for ascent, Flaming Guest for descent. When the crown prince entered the hall gate, "Peace to Clarity" played; the same on receiving the patent and leaving—all in Responding Bell mode. By the seventh year they switched from Responding Bell to Maiden Wash mode. In antiquity, when a prince was born the Grand Tutor sounded a pipe to measure his voice and see which pitch it matched. In antiquity music trained the imperial sons: even the emperor's eldest was raised on it to straighten his nature, scour away vice, and settle his heart in virtue—then bronze and stone were set out in stately performance to honor the heir. The investiture should follow ancient precedent to display the full solemnity of the rite. From the late Tang onward heirs were rarely settled; troubles multiplied and ritual music fell away. When music was fixed under Jianlong, heirs still entered and left to "Good Peace"; only in Zhidao was a crown prince first formally invested, and the bureaus said, "At investiture the crown prince should hear 'Peace to Rectitude.'" A century-old rite neglected was at last performed, to universal joy within and without. At the Tianxi investiture the Institute of Ritual Protocol again petitioned to change the music to "Peace to Rectitude." Qiandao's "Peace to Clarity" truly followed Tianxi's precedent, while making Maiden Wash the tonal center—as was the old Tang practice of music at the Eastern Palace's Xuanwei Hall.
32
孝宗素恭儉，每賀正使赴宴作樂，多遇上辛齋禁，有司條治平用樂典故以進。 及生辰使上壽，適親郊散齋，樞密副使陳俊卿請以禮諭北使，毋用樂。 不得已，則上壽之日設樂，而宣旨罷之，及宴使人，然後用之，庶存事天之誠。 上可其奏，且曰：“宴殿雖進禦酒，亦勿用。 ”宰相葉顒、魏杞方主用樂之議，以為樂奏於紫宸，乃使客之禮。 俊卿獨奏曰：“適奉詔旨，仰見聖學高明，過古帝王遠甚。 彼初未嚐必欲用樂，而我乃望風希意，自為失禮以徇之，他日輕侮，何所不至？ ”尋詔：“垂拱上壽止樂，正殿猶為北使權用。 ”後三年，賀使當朝辭，復值散齋，上乃諭館伴以決意去樂及議所以處之者，如使人必以作樂為言，則移茶酒就驛管領，遂有更不用樂之詔。
Xiaozong was respectful and frugal by nature; whenever New Year envoys came to court banquets with music, the day often fell under Shangxin fasting rules, and the bureaus laid out Zhiping-era precedents on ritual music for his review. When birthday envoys came to offer congratulations, the court was in pre-suburban fasting; Vice Military Commissioner Chen Junqing urged using ritual to tell the Jin envoys to forgo music. If there was no choice, music would be arranged for the longevity rite but an edict would cancel it; only at the envoy's feast would it be used—to preserve sincerity toward Heaven. The emperor approved and said, "Even when the banquet hall serves imperial wine, do not use music." Chief ministers Ye Yong and Wei Qi were then arguing for music, maintaining that performance in Zichen Hall was proper etiquette toward envoys. Junqing alone memorialized: "Having just received Your edict, I see Your sage-learning surpasses the ancient emperors and kings by far. They had not initially insisted on music, yet we would guess their wishes and break ritual to please them—what insult would not follow?" Soon an edict ran: "Stop music for longevity rites in Shuigong; the main hall may still provisionally use it for the Jin envoys." Three years later, when envoys came to take leave, fasting coincided again; the emperor told the reception officers of his resolve to drop music and how to handle it—if envoys insisted, tea and wine would be served at the relay station—and a new edict abolished music altogether.
33
其後因雨澤愆期，分禱天地、宗廟，精修雩祀。 按禮，大雩，帝用盛樂。 而唐開元祈雨雩壇，謂之特祀，乃不以樂薦。 於是太常朱時敏言：“《通典》載雩禮用舞僮歌《雲漢》，晉蔡謨議謂：‘《雲漢》之詩，興於宣王，歌之者取其修德禳災，以和陰陽之義。 ’乞用舞僮六十四人，衣玄衣，歌《雲漢》之詩。 ”詔亟從之。
Later, when rains were overdue, the court prayed separately to Heaven, Earth, and the ancestral temples and carefully conducted the rain rite. The rites prescribed full music for the great rain prayer. Yet under Tang Kaiyuan the rain altar was treated as a special sacrifice and offered without music. Director Zhu Shimin of the Court of Imperial Sacrifices said: "The Comprehensive Institutions records rain rites performed by dancing boys singing 'Vast Galaxy.' Cai Mo of Jin argued that the poem arose under King Xuan and that singers drew on its theme of cultivating virtue to ward off disaster and harmonize yin and yang." He requested sixty-four dancing boys in black robes to sing the "Vast Galaxy" ode. An edict approved it at once.
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淳熙二年，詔以上皇加上尊號，立春日行慶壽禮。 有司尋言：“乾道加尊號，用宮架三十六，樂工共一百一十三人。 今來加號慶壽，事體尤重，合依大禮例，用四十八架，樂正、樂工用一百八十八人，庶得禮樂明備。 ”仍令分就太常寺、貢院前五日教習。 前期，太常設宮架之樂於大慶殿，協律郎位於宮架西北，東向； 押樂太常卿位於宮架之北，北向； 皇太子及文武百僚，並位於宮架之北，東西相向，又設宮架於德壽殿門外，協律郎、太常卿位如之。 及發冊寶日，儀仗、鼓吹列於大慶殿門，樂正、師二人以次入。 讚者引押樂太常卿、協律郎入，就位，奏中嚴外辦訖，禮儀使奏請皇帝恭行發冊寶之禮，太常卿導冊寶，《正安之樂》作。 中書令奉寶、侍中奉冊進行，《禮安之樂》作。 發寶冊畢，鼓吹振作，儀衛等以次從行。 皇帝自祥曦殿輦至德壽宮行禮，冊寶入殿門，作《正安之樂》。 上皇出宮，作《乾安之樂》； 升御坐，奉上冊寶，作《聖安之樂》； 降御坐，作《乾安》之樂。 太后冊寶進行，用《正安》； 出閣升坐，用《坤安》； 降坐入閣，復作《坤安之樂》。 禮部尚書趙雄等言：“國朝舊制，車駕出，奏樂。 今慶典之行，亙古未有，自非禮儀祥備，無以副中外歡愉之心。 請慶壽行禮日，聖駕往還並用樂及簪花。 ”詔從之。 既而太常又言：“郊禋禮成，宜進胙慈闈，行上壽飲酒禮。 所有上壽合辦仙樓仍用樂，某樂人照天申節禮例。 ”凡上詣德壽宮，或恭請上皇遊幸，或至南內，或上皇命同宴遊，或時序賞適、過宮侍宴，或聖節張樂、珥花、奉玉卮為上皇壽，率從容竟日，隆重養至樂，備極情文。
In Chunxi 2 an edict added honorific titles for the retired emperor and scheduled a longevity celebration for Establishment of Spring. The bureaus soon reported: "At the Qiandao honorific ceremony thirty-six palace-frame racks were used with 113 musicians. This celebration is weightier still; by great-rite precedent forty-eight racks and 188 directors and musicians are needed so ritual and music may be fully equipped." They were to rehearse separately at the Court of Imperial Sacrifices and the examination yard five days beforehand. Beforehand the Court set palace-frame music in Daqing Hall; the pitch-pipe officer stood northwest of the frame, facing east; the supervising director of the Court of Imperial Sacrifices stood north of the frame, facing north; the crown prince and civil and military officials stood north of the frame facing one another east and west; a second frame was set outside Deshou Palace gate with the same placements. On the day the patent and seals were issued, guards and wind music lined the Daqing Hall gate; two music directors entered in turn. An announcer led in the supervising director and pitch-pipe officer to their stations; inner and outer readiness was reported complete; the ritual commissioner asked the emperor to perform the issuance rite; the director of sacrifices guided in the patent and seals to "Peace to Rectitude." The chief counselor bore the seal and the palace attendant the patent in procession while "Ritual Peace" was played. Once the seal and patent had been issued, wind ensembles struck up and the guard retinue followed in order. The emperor rode from Xiangxi Hall to the Virtue-and-Longevity Palace; when the patent and seal passed the hall gate, "Correct Peace" sounded. When the retired emperor left the palace, "Qian Peace" was played; as he took the throne and presented the patent and seal, "Sagely Peace" was played; and when he stepped down, "Qian Peace" sounded again. The empress dowager's patent and seal procession used "Correct Peace"; leaving the side chamber to take her seat, "Earthly Peace"; and returning to the side chamber, "Earthly Peace" again. Minister of Rites Zhao Xiong and others argued: "Dynastic precedent requires music whenever the imperial carriage goes abroad. This celebration is unprecedented; unless the rites are fully splendid, they cannot satisfy the joy of court and realm. We ask that on the longevity rite the emperor's going and returning both use music and floral pins." " The court agreed. Imperial Sacrifices added: "After the suburban sacrifice, sacrificial meat should be brought to Cining and the longevity toast performed. The Immortal Tower arrangements should still include music, with musicians following the Tian Shen festival precedent." Whether visiting the Virtue-and-Longevity Palace, inviting the retired emperor on tours, entering the Southern Inner Palace, sharing banquets at his command, passing the palace for seasonal feasts, or on sacred festivals spreading music, wearing flowers, and offering jade cups for his longevity—the emperor was unhurried all day, honoring him with music and every courtesy of feeling and form.
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及高宗之喪，孝宗力行三年之製，有司雖未嚐別設樂禁，而過期不忍聞樂。 金使以會慶節來賀，稽之舊典，引對使人或許上壽，惟輟樂不舉。 孝宗斷以禮典，卻其書幣，就館遣行。 次年再至，始用紹興故事，移宴於館而不作樂。 高宗升祔，太常言：“祔饗行禮，當設登歌、宮架、樂舞，晨祼饋食，其用樂如朝饗之製。 ”於是，高宗廟昉奏《大德之樂》舞。 禮部言：“今虞祔之行，純用古禮，導引神主，自有衛仗及太常鼓吹，而雜用道、釋，於禮非經，乞行蠲免。 ”詔從其請。
After Gaozong's death Xiaozong observed three years of mourning; though no formal music ban was issued, he could not bear music even after the mourning term. When Jin envoys came for the Assembly Celebration, precedent allowed the longevity toast in audience but not music. Xiaozong ruled by ritual canon, refused their letters and gifts, and dismissed them from the lodge. The next year the court followed Shaoxing precedent: the feast moved to the lodge without music. When Gaozong was collectively enshrined, Imperial Sacrifices urged ascent music, palace frame, and dance for the enshrinement feast, with morning libation music as at the morning feast. " Gaozong's temple then first performed the "Great Virtue" dance. The Ministry of Rites argued: "Yu Di's enshrinement follows pure ancient rite—escorting the tablet already has guards and Imperial Sacrifices wind music—so Daoist and Buddhist additions are uncanonical; please remove them." " The court agreed.
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即而大享明堂，起居舍人鄭僑奏：“祭祀於事為大，禮樂於用為急，然先王處此，有常變之不同，各務當其禮而已。 昔舜居堯喪，三載遏密，後世既用漢文以日易月之文，又用漢儒越紼行事之製，循習既久，不特用禮而又用樂，去古愈遠。 聖主躬服通喪，有司請舉大禮，屈意從之。 且大饗之禮，祭天地也，聖主身親行之，行禮作樂，似不可廢。 其他官分獻與夫先期奏告例用樂者，權宜蠲寢，不亦可乎？ 今若因明堂損益而裁定之，亦足為將來法。 ”乃命太常討論，始詔除降神、奠玉幣、奉俎、酌獻、換舞、徹豆、送神依曲禮作樂外，所有皇帝及獻官盥洗、登降等樂皆備而不作雲。
At the great Bright Hall feast, Attendant Gentleman Zheng Qiao argued: "Sacrifice is supreme among affairs and ritual music urgent—yet former kings balanced constant practice and change, each suiting the rite at hand. Shun mourned Yao three years in silence; later ages adopted Han Wendi's day-for-month mourning and Han scholars' stepping the mourning hem—habit so long entrenched that rites and music both persisted, ever farther from antiquity. The sage ruler wore full mourning himself; when offices urged the great ceremony, he yielded. The great feast sacrifices to Heaven and Earth and the ruler performs it in person—rite and music there seem indispensable. Could officials' separate offerings and advance announcements that use music by precedent be suspended instead? Settling this through Bright Hall adjustments would serve as law for the future. " Imperial Sacrifices was ordered to deliberate; the court decreed music only for sending down the spirit, offering jade and silks, presenting the stand, libations, dance changes, removing beans, and sending off the spirit per the Rites of Zhou—while music for the emperor's and officials' washing and ascent was set out but silenced.