1
樂十七○詩樂琴律燕樂教坊雲韶部鈞容直四夷樂
Music 17 — Poetry Music; Qin Pitch Standards; Yan Music; the Teaching Office; the Cloud Sho Music Bureau; the Junrong Direct; Music of the Four Barbarians
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詩樂虞庭言樂，以詩為本。 孔門禮樂之教，自興於《詩》始。 《記》曰：“十有三年學樂、誦詩。 ”詠歌以養其性情，舞蹈以養其血脈，此古之成材所以為易也。 宋朝湖學之興，老師宿儒痛正音之寂寥，嚐擇取《二南》、《小雅》數十篇，寓之塤籥，使學者朝夕詠歌。 自爾聲詩之學，為儒者稍知所尚。 張載嚐慨然思欲講明，作之朝廷，被諸郊廟矣。 朱熹述為詩篇，彙於學禮，將使後之學者學焉。
In the tradition of poetry music, the court of Yu and Shun held that music takes the Odes as its foundation. Confucian instruction in ritual and music first arose with the Book of Odes. The Record of Rites says: "At thirteen one studies music and recites the Odes." "Singing the odes cultivates character; dancing invigorates the body — which is why training accomplished persons was so straightforward in ancient times." When the Lake Academy flourished in the Song, senior masters lamented how orthodox tones had fallen silent; they selected dozens of pieces from the Two Souths and the Minor Odes, set them for xun and yue pipes, and had students sing them morning and evening. From that time onward, the study of sung poetry came to be something Confucian scholars at least knew to value. Zhang Zai once resolved in earnest to expound this practice, introduce it at court, and extend it to the suburban altars and ancestral temples. Zhu Xi set them out as sung poems and collected them in the Study of Ritual, so that later students might learn them.
3
《小雅》歌凡六篇：
Songs from the Minor Odes number six in all:
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朱熹曰：“《傳》曰：‘大學始教，宵雅肄三。 ’謂習《小雅·鹿鳴》、《四牡》、《皇皇者華》之三詩也。 此皆君臣宴勞之詩，始學者習之，所以取其上下相和厚也。 古鄉飲酒及燕禮皆歌此三詩。 及笙入，六笙間歌《魚麗》、《南有嘉魚》、《南山有台》。 六笙詩本無辭，其遺聲亦不復傳矣。 《小雅》為諸侯之樂，《大雅》、《頌》為天子之樂。”
Zhu Xi said: "The Commentary states: 'At the beginning of university instruction, students practice the xiao ya three times.'" This refers to practicing the three Minor Odes "Deer Cry," "Four Steeds," and "Splendid Are the Flowers." These are all odes for banquets and rewards between ruler and ministers; beginning students learn them to absorb their lesson of harmony and mutual regard between superior and inferior. In antiquity, both the district drinking ceremony and the banquet rite featured these three odes. When the sheng entered, the six sheng players alternately sang "Fish Abundant," "Southward the Fine Fish," and "South Mountain Has Its Terrace." The six sheng pieces originally had no texts, and their surviving melodies are no longer handed down. The Minor Odes are music for feudal lords; the Major Odes and the Hymns are music for the Son of Heaven.
5
二南《國風》歌凡六篇：
Songs from the Two Souths in the Airs of the States number six in all:
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朱熹曰：“‘《周南》、《召南》，正始之道，王化之基。 ’‘故用之鄉人焉，用之邦國焉。 ’《鄉飲酒》及《鄉射禮》：‘合樂，《周南》：《關雎》、《葛覃》、《卷耳》； 《召南》：《鵲巢》、《采蘩》、《采蘋》。 ’《燕禮》云：‘遂歌鄉樂。 ’即此六篇也。 合樂，謂歌舞與眾聲皆作。 《周南》、《召南》，古房中之樂歌也。 《關雎》言後妃之誌，《鵲巢》言國君夫人之德，《采蘩》言夫人之不失職，《采蘋》言卿大夫妻能循法度。 夫婦之道，生民之本，王化之端，此六篇者，其教之原也。 故國君與其臣下及四方之賓燕，用之合樂也。”
Zhu Xi said: "'The Zhou South and the Shao South embody the way of the correct beginning and form the foundation of royal civilizing influence.'" Therefore they are used among the people of the district and used among the states of the realm. The District Drinking Rite and the District Archery Rite state: "For combined music — from the Zhou South: 'Ospreys,' 'Kudzu Vine,' and 'Ears of Wolf's-tail';" from the Shao South: 'Magpie's Nest,' 'Gathering White Artemisia,' and 'Gathering Duckweed.' The Banquet Rite says: "Then they sing the district music." These are precisely the six pieces in question. Combined music means that singing, dancing, and all ensemble sounds are performed together. The Zhou South and the Shao South are ancient songs of the inner chamber. "Ospreys" treats the aspirations of the queen consort; "Magpie's Nest" treats the virtue of the ruler's wife; "Gathering White Artemisia" treats a wife who does not fail in her duties; "Gathering Duckweed" treats the wife of a high minister who can follow the standards of propriety. The way of husband and wife is the foundation of the people and the starting point of royal civilizing influence; these six pieces are the source of that teaching. Therefore when a state's ruler feasts with his ministers and guests from the four quarters, these pieces are performed as combined music.
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《小雅》詩譜：《鹿鳴》、《四牡》、《皇皇者華》、《魚麗》、《南有嘉魚》、《南山有台》皆用黃鍾清宮。 〈（俗呼為正宮調。）〉
Musical settings for the Minor Odes — "Deer Cry," "Four Steeds," "Splendid Are the Flowers," "Fish Abundant," "Southward the Fine Fish," and "South Mountain Has Its Terrace" — all employ the Huangzhong clear palace mode. (commonly called the zhenggong mode.)
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二南《國風》詩譜：《關雎》、《葛覃》、《卷耳》、《鵲巢》、《采蘩》、《采蘋》皆用無射清商。 〈（俗呼為越調。）〉
Musical settings for the Two Souths in the Airs of the States — "Ospreys," "Kudzu Vine," "Ears of Wolf's-tail," "Magpie's Nest," "Gathering White Artemisia," and "Gathering Duckweed" — all employ the Wuye clear shang mode. (commonly called the yue mode.)
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朱熹曰：“《大戴禮》言：《雅》二十六篇，其八可歌，其八廢不可歌，本文頗有闕誤。 漢末杜夔傳舊雅樂四曲：一曰《鹿鳴》，二曰《騶虞》，三曰《伐檀》，又加《文王》詩，皆古聲辭。 其後，新辭作而舊曲遂廢。 唐開元鄉飲酒禮，乃有此十二篇之目，而其聲亦莫得聞。 此譜，相傳即開元遺聲也。 古聲亡滅已久，不知當時工師何所考而為此。 竊疑古樂有唱、有歎。 唱者，發歌句也； 和者，繼其聲也。 詩詞之外，應更有疊字、散聲，以歎發其趣。 故漢、晉間舊曲既失其傳，則其詞雖存，而世莫能補。 如此譜直以一聲協一字，則古詩篇篇可歌。 又其以清聲為調，似亦非古法，然古聲既不可考，姑存此以見聲歌之仿佛，俟知樂者考焉。”
Zhu Xi said: "The Elder Dai's Record of Rites states that of the twenty-six Ya pieces, eight can be sung and eight were abandoned as unsingable; the received text contains considerable omissions and errors." At the end of the Han, Du Kui handed down four pieces of old ya music: "Deer Cry," "Zou Yu," "Felling Sandalwood," and the ode "King Wen" added as well — all with ancient vocal texts. Afterward new texts were composed and the old melodies fell out of use. The Tang Kaiyuan district drinking ceremony listed these twelve pieces, yet their sounds could no longer be heard. These scores are traditionally said to preserve sounds from the Kaiyuan era. Ancient sounds have long since perished; it is unclear what sources the craftsmen of that time drew upon in making these. I suspect that ancient music distinguished lead singing from choral response. The lead singer utters the lines of the song; the chorus takes up and continues the sound. Beyond the words of the ode, there should also have been repeated syllables and free vocalizations to draw out its expressive effect. Thus once the old melodies of the Han and Jin periods had lost their transmission, although the texts survived, no one in later ages could restore them. If a score such as this simply matches one note to one character, then every ancient ode could be sung. Moreover, its use of clear tones as the mode seems not to be the ancient method either; yet since ancient sounds can no longer be verified, these scores are provisionally preserved to show an approximation of sung poetry, awaiting examination by those who understand music.
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琴律賾天地之和者莫如樂，暢樂之趣者莫如琴。 八音以絲為君，絲以琴為君。 眾器之中，琴德最優。 《白虎通》曰：“琴者，禁止於邪，以正人心也。 ”宜眾樂皆為琴之臣妾。 然八音之中，金、石、竹、匏、土、木六者，皆有一定之聲：革為燥濕所薄，絲有弦柱緩急不齊，故二者其聲難定。 鼓無當於五聲，此不復論。 惟絲聲備五聲，而其變無窮。 五弦作於虞舜，七弦作於周文、武，此琴製之古者也。 厥後增損不一。 至宋始製二弦之琴，以象天地，謂之兩儀琴，每弦各六柱。 又為十二弦以象十二律，其倍應之聲靡不畢備。 太宗因大樂雅琴加為九弦，按曲轉入大樂十二律，清濁互相合應。 大晟樂府嚐罷一、三、七、九。 惟存五弦，謂其得五音之正，最優於諸琴也。 今復俱用。 太常琴製，其長三尺六寸，三百六十分，象周天之度也。
Nothing stores the harmony of Heaven and earth so fully as music; nothing gives full expression to music's delight so well as the qin. Among the eight sounds, silk is paramount; among silk instruments, the qin is paramount. Among all instruments, the virtue of the qin is supreme. The Comprehensive Meaning of the White Tiger Hall states: "The qin restrains what is depraved and rectifies the human heart." All music ought to be the servants and handmaids of the qin. Yet among the eight sounds, metal, stone, bamboo, gourd, clay, and wood all have fixed pitches; leather is affected by dryness and moisture, and silk has strings and bridges of uneven tension, so the pitches of these two are hard to fix. Drums do not correspond to the five tones; this need not be discussed further. Only silk sounds possess all five tones, and their variations are inexhaustible. The five-string qin was made by Yu-Shun; the seven-string qin by King Wen and King Wu of Zhou — these are the ancient forms of the instrument. Later ages added and reduced strings in various ways. It was only in the Song that a two-string qin was first made to represent Heaven and Earth, called the Two Modes qin, with six bridges on each string. A twelve-string qin was also made to represent the twelve pitch standards, with octave and responding tones all fully provided. Emperor Taizong increased the great music ceremonial qin to nine strings; when pieces were played, they shifted into the twelve pitch standards of great music, with clear and muddy tones mutually matching in response. The Dasheng Music Bureau once abolished the one-, three-, seven-, and nine-string qins. Only the five-string qin was retained, on the grounds that it obtained the true five tones and was superior to all other qins. Now all are used again. The Court of Imperial Sacrifices qin is three feet six inches long, divided into three hundred sixty parts, symbolizing the degrees of the circuit of Heaven.
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薑夔《樂議》分琴為三準：自一暉至四暉謂之上準，四寸半，以象黃鍾之半律； 自四暉至七暉謂之中準，中準九寸，以象黃鍾之正律； 自七暉至龍齦謂之下準，下準一尺八寸，以象黃鍾之倍律。 三準各具十二律聲，按弦附木而取。 然須轉弦合本律所用之字，若不轉弦，則誤觸散聲，落別律矣。 每一弦各具三十六聲，皆自然也。 分五、七、九弦琴，各述轉弦合調圖：
Jiang Kui's Discussion of Music divides the qin into three standards: from the first hui to the fourth hui is the upper standard, four and a half inches, symbolizing the semitone of Huangzhong; from the fourth hui to the seventh hui is the middle standard, nine inches, symbolizing the fundamental pitch of Huangzhong; from the seventh hui to the dragon gum is the lower standard, one foot eight inches, symbolizing the octave of Huangzhong. Each of the three standards fully possesses the sounds of the twelve pitch standards, obtained by pressing the string against the wood. Yet the strings must be retuned to match the notes used in the fundamental pitch standard; if they are not retuned, one mistakenly touches open sounds and falls into another pitch standard. Each string in itself possesses thirty-six sounds — all according with nature. For the five-, seven-, and nine-string qins, diagrams of string retuning and mode matching are set forth separately:
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《五弦琴圖說》曰：“琴為古樂，所用者皆宮、商、角、徵、羽正音，故以五弦散聲配之。 其二變之聲，惟用古清商，謂之側弄，不入雅樂。”
The Illustrated Explanation of the Five-String Qin states: "The qin is ancient music; it uses only the correct tones gong, shang, jue, zhi, and yu, and therefore the five open-string sounds are matched to them." Its two variant tones use only the ancient clear shang, called side pieces, and do not enter ceremonial music.
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《七弦琴圖說》曰：七弦散而扣之，則間一弦於第十暉取應聲。 假如宮調，五弦十暉應七弦散聲，四弦十暉應六弦散聲，二弦十暉應四弦散聲，大弦十暉應三弦散聲，惟三弦獨退一暉，於十一暉應五弦散聲，古今無知之者。 竊謂黃鍾、大呂並用慢角調，故於大弦十一暉應三弦散聲； 太簇、夾鍾並用清商調，故於二弦方十二暉應四弦散聲； 姑洗、仲呂、蕤賓並用宮調，故於三弦十一暉應五弦散聲； 林鍾、夷則並用慢宮調，故於四弦十一暉應六弦散聲； 南呂、無射、應鍾並用蕤賓調，故於五弦十一暉應七弦散聲。 以律長短配弦大小，各有其序。”
The Illustrated Explanation of the Seven-String Qin states: When the seven open strings are plucked, one skips a string and takes the responding sound at the tenth hui. For example, in the gong mode: the fifth string's tenth hui responds to the seventh string's open sound; the fourth string's tenth hui to the sixth; the second string's tenth hui to the fourth; the great string's tenth hui to the third — only the third string alone retreats one hui, responding at the eleventh hui to the fifth string's open sound — a matter unknown in antiquity and the present alike. I hold that Huangzhong and Dalü both use the slow jue mode, and therefore at the great string's eleventh hui one responds to the third string's open sound; Taicu and Jiazhong both use the clear shang mode, and therefore at the second string's twelfth hui one responds to the fourth string's open sound; Guxian, Zhonglü, and Ruibin all use the gong mode, and therefore at the third string's eleventh hui one responds to the fifth string's open sound; Linzhong and Yize both use the slow gong mode, and therefore at the fourth string's eleventh hui one responds to the sixth string's open sound; Nanlü, Wuye, and Yingzhong all use the ruibin mode, and therefore at the fifth string's eleventh hui one responds to the seventh string's open sound. Pitch standards of long and short are matched to strings large and small, each in its proper order.
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《九弦琴圖說》曰：“弦有七、有九，實即五弦。 七弦倍其二，九弦倍其四，所用者五音，亦不以二變為散聲也。 或欲以七弦配五音二變，以餘兩弦為倍，若七弦分配七音，則是今之十四弦也。 《聲律訣》云：‘琴瑟齪四者，律法上下相生也。 ’若加二變，則於律法不諧矣。 或曰：‘如此則琴無二變之聲乎？ ’曰：‘附木取之，二變之聲固在也。 ’合五、七、九弦琴，總述取應聲法，分十二律十二均，每聲取弦暉之應，皆以次列按。
The Illustrated Explanation of the Nine-String Qin states: "There are seven strings and there are nine, but in reality these are simply five strings." The seven-string qin doubles them by two; the nine-string qin doubles them by four; what is used are the five tones, and the two variants are likewise not taken as open sounds. Some wish to match the seven strings to the five tones and two variants, taking the remaining two strings as octaves; if seven strings were assigned to seven tones, that would be today's fourteen-string qin. The Secrets of Sound and Pitch Standards state: "The four strings of qin and se — pitch standards generate one another from above to below." If the two variants are added, they will not harmonize with the pitch standards. Someone asked: "If so, does the qin then have no sounds of the two variants?" The answer was: "Take them by pressing against the wood — the sounds of the two variants are certainly there." For the five-, seven-, and nine-string qins together, the method of taking responding sounds is summarized: divided into twelve pitch standards and twelve keys, for each sound the corresponding string and hui are listed in order for pressing.
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古者大琴則有大瑟，中琴則有中瑟，有雅琴、頌琴，則雅瑟、頌瑟，實為之合。 夔乃定瑟之製：桐為背，梓為腹，長九尺九寸，首尾各九寸，隱間八尺一寸，廣尺有八寸，嶽崇寸有八分。 中施九梁，皆象黃鍾之數。 梁下相連，使其聲衝融； 首尾之下為兩穴，使其聲條達，是《傳》所謂“大瑟達越”也。 四隅刻雲以緣其武，象其出於雲和。 漆其壁與首、尾、腹，取椅、桐、梓漆之。 全設二十五弦，弦一柱，崇二寸七分。 別以五色，五五相次，蒼為上，朱次之，黃次之，素與黔又次之，使肄習者便於擇弦。 弦八十一絲而朱之，是謂朱弦。 其尺則用漢尺。 凡瑟弦具五聲，五聲為均，凡五均，其二變之聲，則柱後抑角、羽而取之，五均凡三十五聲。 十二律、六十均、四百二十聲，瑟之能事畢矣。 夔於琴、瑟之議，其詳如此。
In antiquity, where there was a great qin there was a great se; where there was a middle qin there was a middle se; where there were ceremonial and hymn qins, there were ceremonial and hymn ses — in reality they were paired together. Kui then fixed the se's form: paulownia for the back, catalpa for the belly; nine feet nine inches long, nine inches at head and tail, the sounding span eight feet one inch, one foot eight inches wide, bridges one inch eight fen high. Nine beams were set within, all symbolizing the number of Huangzhong. Below the beams they were joined together so that the sound would blend harmoniously; below head and tail were made two holes so that the sound would flow freely — this is what the Commentary calls "the great se's penetrating yue." At the four corners clouds were carved along its border strip, symbolizing that the instrument came from Yunhe. Its walls, head, tail, and belly were lacquered with varnish from yi, paulownia, and catalpa. Twenty-five strings were installed in all, one bridge per string, each bridge two inches and seven fen high. They were marked in five colors, five and five in succession—blue-green first, then vermilion, then yellow, then white and black—so students could easily choose strings. Each string had eighty-one strands dyed vermilion; this is what is called the vermilion string. Measurements used the Han foot-rule. The se strings possess all five tones; five tones form a key, and there are five keys in all. The two variant tones are taken by pressing behind the bridges to depress jue and yu—thirty-five sounds across the five keys. Twelve pitch standards, sixty keys, and four hundred twenty sounds—the se's full capacity is complete. Kui's discussion of the qin and se was as detailed as this.
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朱熹嚐與學者共講琴法，其定律之法：十二律並用太史公九分寸法為準，損益相生，分十二律及五聲，位置各定。 按古人以吹管聲傳於琴上，如吹管起黃鍾，則以琴之黃鍾聲合之； 聲合無差，然後以次遍合諸聲，則五聲皆正。 唐人紀琴，先以管色合字定宮弦，乃以宮弦下生徵，徵上生商，上下相生，終於少商。 下生者隔二弦、上生者隔一弦取之。 凡絲聲皆當如此。 今人苟簡，不復以管定聲，其高下出於臨時，非古法也。
Zhu Xi once lectured on qin technique together with his students. His method of fixing pitch standards used Sima Qian's nine-fen-cun method for all twelve pitch standards, diminishing and augmenting to generate one another, with twelve pitch standards and five tones each assigned a fixed position. The ancients transmitted the sound of the blown pipe onto the qin: if the pipe began on Huangzhong, the qin's Huangzhong tone was matched to it; When the sounds matched without discrepancy, the remaining tones were matched in sequence until all five tones were correct. Tang accounts of the qin first used pipe color to match notes and fix the gong string, then generated zhi below the gong string and shang above it, generating upward and downward until reaching the lesser shang. Downward generation skips two strings; upward generation skips one string. All silk sounds ought to follow this method. People today are careless and no longer use the pipe to fix pitch; high and low are decided on the spot, which is not the ancient method.
17
調弦之法：散聲隔四而得二聲； 中暉亦如之而得四聲； 八暉隔三而得六聲； 九暉按上者隔二而得四聲，按下者隔一而得五聲； 十暉按上者隔一而得五聲，按下者隔二而得四聲。 每疑七弦隔一調之，六弦皆應於第十暉，而第三弦獨於第十一暉調之乃應。 及思而得之，七弦散聲為五聲之正，而大弦十二律之位，又眾弦散聲之所取正也。 故逐弦之五聲皆自東而西，相為次第。 其六弦會於十暉，則一與三者，角與散角應也； 二與四者，徵與散徵應也； 四與六者，宮與散少宮應也； 五與七者，商與散少商應也； 其第三、第五弦會於十一暉，則羽與散羽應也。 義各有當，初不相須，故不同會於一暉也。
The method of tuning strings: on open strings, skipping four positions yields two sounds; at the middle hui likewise, yielding four sounds; at the eighth hui, skipping three yields six sounds; at the ninth hui, pressing above skips two to obtain four sounds, pressing below skips one to obtain five sounds; at the tenth hui, pressing above skips one to obtain five sounds, pressing below skips two to obtain four sounds. I long doubted why on the seven-string qin one tunes by skipping one string so that six strings respond at the tenth hui, yet the third string alone must be tuned at the eleventh hui to respond. On reflection I understood: the seven open strings embody the true five tones, and the great string's positions for the twelve pitch standards are also what all strings' open sounds take as their standard. Therefore the five tones of each string all proceed from east to west in mutual sequence. Where six strings meet at the tenth hui, the first and third are jue responding to open jue; the second and fourth are zhi responding to open zhi; the fourth and sixth are gong responding to open lesser gong; the fifth and seventh are shang responding to open lesser shang; the third and fifth strings meet at the eleventh hui, where yu responds to open yu. Each pairing has its proper rationale and does not depend on the others, so they do not all meet at a single hui.
18
旋宮諸調之法：旋宮古有“隨月用律”之說，今乃謂不必轉軫促弦，但依旋宮之法而抑按之，恐難如此泛論。 當每宮指定，各以何聲取何弦為唱，各以何弦取何律為均，乃見詳實。 又以《禮運正義》推之，則每律各為一宮，每宮各有五調，而其每調用律取聲，亦各有法。 此為琴之綱領，而說者罕及，乃闕典也。 當為一圖，以宮統調，以調統聲，令其次第、賓主各有條理。 仍先作三圖：一、各具琴之形體、暉弦、尺寸、散聲之位； 二、附按聲聲律之位； 三、附泛聲聲律之位，列於宮調圖前，則覽者曉然，可為萬世法矣。
The method of rotating keys: antiquity had the saying "use pitch standards according to the month"; today some say one need not turn pegs or hasten strings but only press according to the rotating-key method—I fear such a broad claim is hard to sustain. Each palace tone should specify which sound takes which string as lead and which string takes which pitch standard as key—only then will the account be detailed and solid. Further, deducing from the Correct Meaning of the Record of Rites, each pitch standard forms one palace, each palace has five modes, and for each mode the use of pitch standards and taking of sounds each has its method. This is the backbone of the qin, yet expositors rarely reach it—a lacuna in the canon. One should make a diagram with palace governing mode and mode governing sound, so that sequence and principal-subordinate relations each have order. First make three diagrams: first, each showing the qin's form, hui, strings, dimensions, and positions of open sounds; second, appended with positions of pressed sounds and pitch standards; third, appended with positions of harmonic sounds and pitch standards, arrayed before the palace-mode diagram, so viewers will understand clearly and it may serve as law for ten thousand generations.
19
觀熹之言，其於琴法本融末粲，至疏達而至縝密，蓋所謂識其大者歟！
Considering Xi's words, his grasp of qin method from root to branch is lucid yet reaches minute detail—perhaps what is called knowing the larger pattern!
20
燕樂古者，燕樂自周以來用之。 唐貞觀增隋九部為十部，以張文收所製歌名燕樂，而被之管弦。 厥後至坐部伎琵琶曲，盛流於時，匪直漢氏上林樂府、縵樂不應經法而已。 宋初置教坊，得江南樂，已汰其坐部不用。 自後因舊曲創新聲，轉加流麗。 政和間，詔以大晟雅樂施於燕饗，禦殿按試，補徵、角二調，播之教坊，頒之天下。 然當時樂府奏言：樂之諸宮調多不正，皆俚俗所傳。 及命劉昺輯《燕樂新書》，亦惟以八十四調為宗，非復雅音，而曲燕昵狎，至有援“君臣相說之樂”以藉口者。 末俗漸靡之弊，愈不容言矣。 紹興中，始蠲省教坊樂，凡燕禮，屏坐伎。 乾道繼誌述事，間用雜攢以充教坊之號，取具臨時，而廷紳祝頌，務在嚴恭，亦明以更不用女樂，頒旨子孫守之，以為家法。 於是中興燕樂，比前代猶簡，而有關乎君德者良多。
Yan music: in antiquity, banquet music has been used since the Zhou. In the Tang Zhenguan reign the Sui nine sections were increased to ten; Zhang Wenshou's composed songs were named Yan music and fitted to strings and winds. Later, down to the seated-section pipa pieces, they flourished in the age—not merely that the Han Shanglin Music Office and slow music failed to accord with canonical method. At the beginning of the Song the Music Office was established and obtained Jiangnan music, already discarding the seated section. Afterward, on the basis of old melodies new sounds were created, growing ever more ornate. In the Zhenghe era an edict ordered Dasheng ceremonial music applied to banquet entertainment; tested in the imperial hall, the variant zhi and jue modes were supplemented and disseminated to the Music Office and promulgated throughout the realm. Yet at the time the Music Office reported that many palace modes of the music were incorrect, all transmitted by vulgar custom. When Liu Bing was ordered to compile the New Book of Yan Music, he likewise took only the eighty-four modes as the standard, no longer restoring ceremonial tones; banquet music grew intimate and familiar, even citing "music by which ruler and minister delight in one another" as a pretext. The corruption of declining custom grew ever less tolerable to speak of. In the Shaoxing era Music Office music was first abolished; for all banquet rites the seated performers were dismissed. In the Qiandao reign, continuing the prior administration, miscellaneous ensembles were occasionally used to fill the name of the Music Office on a provisional basis; yet at court the nobles' blessings and praises aimed at solemn reverence—it was also made clear that female musicians would no longer be used, with an edict for descendants to keep as family law. Thus the restored banquet music of the Zhongxing era was simpler than in prior ages, yet much concerned the ruler's virtue.
21
蔡元定嚐為《燕樂》一書，證俗失以存古義，今采其略附於下：
Cai Yuanding once wrote a book on Yan Music, verifying vulgar errors to preserve ancient meaning; its essentials are excerpted below:
22
黃鍾用“合”字，大呂、太簇用“四”字，夾鍾、姑洗用“一”字，夷則、南呂用“工”字，無射、應鍾用“凡”字，各以上、下分為清濁。 其中呂、蕤賓、林鍾不可以上、下分，中呂用“上”字，蕤賓用“勾”字，林鍾用“尺”字。 其黃鍾清用“六”字，大呂、太簇、夾鍾清各用“五”字，而以下、上、緊別之。 緊“五”者，夾鍾清聲，俗樂以為宮。 此其取律寸、律數、用字紀聲之略也。
Huangzhong uses the note "he," Dalü and Taicu use "si," Jiazhong and Guxian use "yi," Yize and Nanlü use "gong," Wuye and Yingzhong use "fan," each divided into clear and muddy by upper and lower. Zhonglü, Ruibin, and Linzhong cannot be divided by upper and lower: Zhonglü uses "shang," Ruibin uses "gou," Linzhong uses "chi." Clear Huangzhong uses "liu," clear Dalü, Taicu, and Jiazhong each use "wu," distinguished by lower, upper, and tight. "Tight wu" is the clear sound of Jiazhong; vulgar music takes it as gong. This is the summary of taking pitch-standard inches, pitch-standard numbers, and using characters to record sounds.
23
一宮、二商、三角、四變為宮，五徵、六羽、七閏為角。 五聲之號與雅樂同，惟變徵以於十二律中陰陽易位，故謂之變。 變宮以七聲所不及，取閏餘之義，故謂之閏。 四變居宮聲之對，故為宮。 俗樂以閏為正聲，以閏加變，故閏為角而實非正角。 此其七聲高下之略也。
First gong, second shang, third jue, fourth variant as gong, fifth zhi, sixth yu, seventh intercalary as jue. The names of the five tones are the same as in ceremonial music; only variant zhi shifts yin and yang positions among the twelve pitch standards, hence called "variant." Variant gong takes what the seven tones do not reach, borrowing the meaning of the intercalary remainder, hence called "intercalary." The fourth variant stands opposite gong, therefore it counts as gong. Vulgar music takes intercalary as a correct tone; adding variant to intercalary, intercalary becomes jue though in reality it is not true jue. This is the summary of the seven tones' high and low.
24
聲由陽來，陽生於子、終於午。 燕樂以夾鍾收四聲：曰宮、曰商、曰羽、曰閏。 閏為角，其正角聲、變聲、徵聲皆不收，而獨用夾鍾為律本。 此其夾鍾收四聲之略也。
Sound comes from yang; yang is born at zi and ends at wu. Yan music takes Jiazhong to gather four sounds: called gong, shang, yu, and intercalary. Intercalary serves as jue; true jue, variant sound, and zhi sound are all not gathered, and Jiazhong alone is taken as the pitch-standard root. This is the summary of Jiazhong gathering four sounds.
25
宮聲七調：曰正宮、曰高宮、曰中呂宮、曰道宮、曰南呂宮、曰仙呂宮、曰黃鍾宮，皆生於黃鍾。 商聲七調：曰大食調、曰高大食調、曰雙調、曰小食調、曰歇指調、曰商調、曰越調，皆生於太簇。 羽聲七調：曰般涉調、曰高般涉調、曰中呂調、曰正平調、曰南呂調、曰仙呂調、曰黃鍾調，皆生於南呂。 角聲七調：曰大食角、曰高大食角、曰雙角、曰小食角、曰歇指角、曰商角、曰越角、皆生於應鍾。 此其四聲二十八調之略也。
Gong-tone seven modes: Zhenggong, Gaogong, Zhonglü palace, Daodiao palace, Nanlü palace, Xianlü palace, Huangzhong palace—all generated from Huangzhong. Shang-tone seven modes: Dashi mode, Gaodashi mode, Shuang mode, Xiaoshi mode, Xiezhi mode, Shang mode, Yue mode—all generated from Taicu. Yu-tone seven modes: Banshe mode, Gaobanshe mode, Zhonglü mode, Zhengping mode, Nanlü mode, Xianlü mode, Huangzhong mode—all generated from Nanlü. Jue-tone seven modes: Dashi jue, Gaodashi jue, Shuang jue, Xiaoshi jue, Xiezhi jue, Shang jue, Yue jue—all generated from Yingzhong. This is the summary of the four sounds' twenty-eight modes.
26
竊考元定言燕樂大要，其律本出夾鍾，以十二律兼四清為十六聲，而夾鍾為最清，此所謂靡靡之聲也。 觀其律本，則其樂可知。 變宮、變徵既非正聲，而以變徵為宮，以變宮為角，反紊亂正聲。 若此夾鍾宮謂之中呂宮、林鍾宮謂之南呂宮者，燕樂聲高，實以夾鍾為黃鍾也。 所收二十八調，本萬寶常所謂非治世之音，俗又於七角調各加一聲，流蕩忘反，而祖調亦不復存矣。 聲之感人，如風偃草，宜風俗之日衰也！ 夫奸聲亂色，不留聰明； 淫樂慝禮，不接心術。 使心知百體，皆由順正以行其義，此正古君子所以為治天下之本也。 紹興、乾道教坊迄弛不復置雲。
On examination, Yuanding's account of yan music in essence takes Jiazhong as the pitch-standard root, using twelve pitch standards together with four clear tones as sixteen sounds, with Jiazhong the clearest—this is what is called decadent sound. Observing its pitch-standard root, its music may be known. Variant gong and variant zhi are not correct tones; yet taking variant zhi as gong and variant gong as jue reverses and disorders the correct tones. Where Jiazhong palace is called Zhonglü palace and Linzhong palace is called Nanlü palace, yan music's pitch is high—in reality Jiazhong serves as Huangzhong. The twenty-eight modes gathered were originally what Wan Baochang called sounds not of an age of good government; vulgar custom again added one sound to each of the seven jue modes, flowing and forgetting to return, and the ancestral modes no longer survived. Sound's moving of people is like wind laying grass low—fitting that custom daily declines! Depraved sound and disorderly color do not lodge in clear hearing; licentious music and perverse rite do not connect with the heart's art. Let the mind know that the hundred parts all proceed by rectifying correctness to enact their principles—this is why the ancient gentleman made governing the world his foundation. From Shaoxing and Qiandao onward the Music Office was abolished and never re-established.
27
教坊自唐武德以來，置署在禁門內。 開元後，其人浸多，凡祭祀、大朝會則用太常雅樂，歲時宴享則用教坊諸部樂。 前代有宴樂、清樂、散樂，本隸太常，後稍歸教坊，有立、坐二部。 宋初循舊制，置教坊，凡四部。 其後平荊南，得樂工三十二人； 平西川，得一百三十九人； 平江南，得十六人； 平太原，得十九人； 餘藩臣所貢者八十三人； 又太宗藩邸有七十一人。 由是，四方執藝之精者皆在籍中。
The Music Office, since the Tang Wude era, was established within the forbidden gate. After the Kaiyuan reign its personnel gradually increased; for sacrifices and great court assemblies the Court of Imperial Sacrifices ceremonial music was used, and for seasonal banquets the Music Office's various section music. Prior ages had banquet music, pure music, and scattered music, originally subordinate to the Court of Imperial Sacrifices; later they gradually passed to the Music Office, with standing and seated two sections. At the beginning of the Song the old system was followed and the Music Office established—four sections in all. Later, pacifying Jingnan, thirty-two musicians were obtained; pacifying Xichuan, one hundred thirty-nine; pacifying Jiangnan, sixteen; pacifying Taiyuan, nineteen; further musicians presented by remaining feudatory ministers, eighty-three; and from Taizong's princely residence, seventy-one. Thus the finest performers from the four quarters were all on the register.
28
每春秋聖節三大宴：其第一、皇帝升坐，宰相進酒，庭中吹觱栗，以眾樂和之； 賜群臣酒，皆就坐，宰相飲，作《傾杯樂》； 百官飲，作《三台》。 第二、皇帝再舉酒，群臣立於席後，樂以歌起。 第三、皇帝舉酒，如第二之製，以次進食。 第四、百戲皆作。 第五、皇帝舉酒，如第二之製。 第六、樂工致辭，繼以詩一章，謂之“口號”，皆述德美及中外蹈詠之情。 初致辭，群臣皆起，聽辭畢，再拜。 第七、合奏大曲。 第八、皇帝舉酒，殿上獨彈琵琶。 第九、小兒隊舞，亦致辭以述德美。 第十、雜劇。 罷，皇帝起更衣。 第十一、皇帝再坐，舉酒，殿上獨吹笙。 第十二、蹴踘。 第十三、皇帝舉酒，殿上獨彈箏。 第十四、女弟子隊舞，亦致辭如小兒隊。 第十五、雜劇。 第十六、皇帝舉酒，如第二之製。 第十七、奏鼓吹曲，或用法曲，或用《龜茲》。 第十八、皇帝舉酒，如第二之製，食罷。 第十九、用角，宴畢。
Each spring and autumn, on the three great festival days of the sage's birthday: first, the emperor ascends and sits, the chief minister presents wine, and in the courtyard the bili pipe is blown with all music harmonizing; wine is granted to the ministers, all taking their seats; when the chief minister drinks, "Tipping Cup Music" is performed; when the hundred officials drink, "Three Platforms" is performed. Second: the emperor raises wine again; the ministers stand behind their mats and music begins with song. Third: the emperor raises wine as in the second item, and food is brought in succession. Fourth: the hundred entertainments are all performed. Fifth: the emperor raises wine as in the second item. Sixth: the musicians deliver a formal address, then a single poem called a kouhao—an oral proclamation—all praising imperial virtue and the joy with which those at court and abroad alike tread the measure and sing in celebration. At the opening of the address all ministers rise; when it is finished they bow twice. Seventh: a grand suite is performed in ensemble. Eighth: the emperor raises his cup while a solo pipa is played upon the dais. Ninth: the boys' dance troupe performs, likewise delivering an address in praise of virtue. Tenth: variety skits. When they are finished, the emperor rises to change his robes. Eleventh: the emperor sits again and raises his cup while a solo sheng is played upon the dais. Twelfth: cuju kickball. Thirteenth: the emperor raises his cup while a solo zheng is played upon the dais. Fourteenth: the female disciples' dance troupe performs, delivering an address in the same manner as the boys' troupe. Fifteenth: variety skits. Sixteenth: the emperor raises his cup according to the procedure of the second item. Seventeenth: wind-and-drum suites are performed, either fayue court suites or the "Kuche" suite. Eighteenth: the emperor raises his cup according to the procedure of the second item, and the meal concludes. Nineteenth: juedi performances are presented, and the great feast ends.
29
其禦樓賜酺同大宴。 崇德殿宴契丹使，惟無後場雜劇及女弟子舞隊。 每上元觀燈，樓前設露台，台上奏教坊樂、舞小兒隊。 台南設燈山，燈山前陳百戲，山棚上用散樂、女弟子舞。 餘曲宴會、賞花、習射、觀稼，凡遊幸但奏樂行酒，惟慶節上壽及將相入辭賜酒，則止奏樂。 〈（都知、色長二人攝太官令，升殿對立，逡巡周，大宴則酒、唱遍，曲宴宰相雖各舉酒，通用慢曲而舞《三台》。）〉
Libations bestowed from the imperial tower follow the same program as the great feast. When entertaining Khitan envoys in the Chongde Hall, only the rear-court variety skits and the female disciples' dance troupe were omitted. Each year at the Lantern Festival, when lamps are displayed, a terrace stage is erected before the tower; upon it the Music Office plays and the boys' troupe dances. South of the stage stands a lamp mountain; before it a hundred acts are staged, while on the mountain scaffold scattered music and the female disciples' dance are performed. At other informal banquets, flower-viewing, archery, and crop inspections, and on all imperial excursions, music accompanies the serving of wine alone; only on felicitous holidays, birthday celebrations, and when chief ministers take leave and receive granted wine is music performed without the full feast program. (Two directors and lead performers of the Music Office act as Grand Stewards pro tempore, ascend the hall and stand opposite one another, and pace the circuit. At the great feast wine is served and the suite is sung through to completion; at informal banquets for chief ministers, though each raises wine in turn, they uniformly use slow suites and dance "Three Platforms.")
30
所奏凡十八調、四十大曲：一曰正宮調，其曲三，曰《梁州》、《瀛府》、《齊天樂》； 二曰中呂宮，其曲二，曰《萬年歡》、《劍器》； 三曰道調宮，其曲三，曰《梁州》、《薄媚》、《大聖樂》； 四曰南呂宮，其曲二，曰《瀛府》、《薄媚》； 五曰仙呂宮，其曲三，曰《梁州》、《保金枝》、《延壽樂》； 六曰黃鍾宮，其曲三，曰《梁州》、《中和樂》、《劍器》； 七曰越調，其曲二，曰《伊州》、《石州》； 八曰大石調，其曲二，曰《清平樂》、《大明樂》； 九曰雙調，其曲三，曰《降聖樂》、《新水調》、《采蓮》； 十曰小石調，其曲二，曰《胡渭州》、《嘉慶樂》； 十一曰歇指調，其曲三，曰《伊州》、《君臣相遇樂》、《慶雲樂》； 十二曰林鍾商，其曲三，曰《賀皇恩》、《泛清波》、《胡渭州》； 十三曰中呂調，其曲二，曰《綠腰》、《道人歡》； 十四曰南呂調，其曲二，曰《綠腰》《罷金鉦》； 十五曰仙呂調，其曲二，曰《綠腰》、《采雲歸》； 十六曰黃鍾羽，其曲一，曰《千春樂》； 十七曰般涉調，其曲二，曰《長壽仙》、《滿宮春》； 十八曰正平調，無大曲，小曲無定數。 不用者有十調：一曰高宮，二曰高大石，三曰高般涉，四曰越角，五曰大石角，六曰高大石角，七曰雙角，八曰小石角，九曰歇指角，十曰林鍾角。 樂用琵琶、箜篌、五弦琴、箏、笙、觱栗、笛、方響、羯鼓、杖鼓、拍板。
In all, eighteen modes and forty grand suites were performed. First, Zhenggong mode, with three suites: "Liangzhou," "Yingfu," and "Qitian Le"; second, Zhonglü palace mode, with two suites: "Wannian Huan" and "Jianqi"; third, Daodiao palace mode, with three suites: "Liangzhou," "Bomei," and "Dasheng Le"; fourth, Nanlü palace mode, with two suites: "Yingfu" and "Bomei"; fifth, Xianlü palace mode, with three suites: "Liangzhou," "Baojin Zhi," and "Yanshou Le"; sixth, Huangzhong palace mode, with three suites: "Liangzhou," "Zhonghe Le," and "Jianqi"; seventh, Yue mode, with two suites: "Yizhou" and "Shizhou"; eighth, Dashi mode, with two suites: "Qingping Le" and "Daming Le"; ninth, Shuang mode, with three suites: "Jiangsheng Le," "Xin Shuidiao," and "Cailian"; tenth, Xiaoshi mode, with two suites: "Hu Weizhou" and "Jiaqing Le"; eleventh, Xiezhi mode, with three suites: "Yizhou," "Junchen Xiangyu Le," and "Qingyun Le"; twelfth, Linzhong shang mode, with three suites: "He Huang'en," "Fan Qingbo," and "Hu Weizhou"; thirteenth, Zhonglü mode, with two suites: "Lüyao" and "Daoren Huan"; fourteenth, Nanlü mode, with two suites: "Lüyao" and "Ba Jin Zheng"; fifteenth, Xianlü mode, with two suites: "Lüyao" and "Caiyun Gui"; sixteenth, Huangzhong yu mode, with one suite: "Qianchun Le"; seventeenth, Banshe mode, with two suites: "Changshou Xian" and "Man Gongchun"; eighteenth, Zhengping mode, which had no grand suite; the number of small suites was not fixed. Ten modes were not used: Gaogong, Gaodashi, Gaobanshe, Yuejiao, Dashi jiao, Gaodashi jiao, Shuangjiao, Xiaoshi jiao, Xiezhi jiao, and Linzhong jiao. The ensemble used pipa, konghou, five-string zither, zheng, sheng, bili pipe, flute, fangxiang metallophone, jie drum, staff drum, and clappers.
31
法曲部，其曲二，一曰道調宮《望瀛》，二曰小石調《獻仙音》。 樂用琵琶、箜篌、五弦、箏、笙、觱栗、方響、拍板。 龜茲部，其曲二，皆雙調，一曰《宇宙清》，二曰《感皇恩》。 樂用觱栗、笛、羯鼓、腰鼓、揩鼓、雞樓鼓、鞀鼓、拍板。 鼓笛部，樂用三色笛、杖鼓、拍板。
The fayue section had two suites: Daodiao palace mode, "Wangying"; and Xiaoshi mode, "Xianxian Yin." Its instruments were pipa, konghou, five-string zither, zheng, sheng, bili pipe, fangxiang, and clappers. The Kuche section had two suites, both in Shuang mode: "Yuzhou Qing" and "Gan Huang'en." Its instruments were bili pipe, flute, jie drum, waist drum, kai drum, chicken-tower drum, taogu, and clappers. The drum-and-flute section used three-color flutes, staff drum, and clappers.
32
隊舞之製，其名各十。 小兒隊凡七十二人：一曰柘枝隊，衣五色繡羅寬袍，戴胡帽，係銀帶； 二曰劍器隊，衣五色繡羅襦，裹交腳襆頭，紅羅繡抹額，帶器仗； 三曰婆羅門隊，紫羅僧衣，緋掛子，執錫鐶拄杖； 四曰醉胡騰隊，衣紅錦襦，係銀舌鞢，戴氈帽； 五曰諢臣萬歲樂隊，衣紫緋綠羅寬衫，諢裹簇花襆頭； 六曰兒童感聖樂隊，衣青羅生色衫，係勒帛，總兩角； 七曰玉兔渾脫隊，四色繡羅襦，係銀帶，冠玉兔冠； 八曰異域朝天隊，衣錦襖，係銀束帶，冠夷冠，執寶盤； 九曰兒童解紅隊，衣紫緋繡襦，係銀帶，冠花砌鳳冠，綬帶； 十曰射雕回鶻隊，衣盤雕錦襦，係銀舌鞢，射雕盤。
The system of troupe dance comprised ten names for each category. The boys' troupe comprised seventy-two dancers in all. First, the Zhezhi troupe, in five-colored embroidered silk wide robes, foreign caps, and silver belts; second, the Jianqi troupe, in five-colored embroidered silk jackets, cross-legged turbans, red silk embroidered forehead bands, and bearing weapons; third, the Brahmana troupe, in purple silk monastic robes and scarlet hanging panels, bearing tin-ringed staffs; fourth, the Drunken Huteng troupe, in red brocade jackets, silver-trimmed boots, and felt caps; fifth, the Jester-Minister Wansui Le troupe, in purple, scarlet, and green silk wide shirts and jest-wrapped clustered-flower turbans; sixth, the Children's Gansheng Le troupe, in blue silk shirts of raw dye, with restraining silks and hair bound in two topknots; seventh, the Jade Rabbit Huntuo troupe, in four-colored embroidered silk jackets, silver belts, and jade-rabbit crowns; eighth, the Foreign Lands Paying Court troupe, in brocade jackets, silver girdles, barbarian caps, bearing treasure trays; ninth, the Children's Jiehong troupe, in purple and scarlet embroidered jackets, silver belts, flower-inlaid phoenix crowns, and ribbon sashes; tenth, the Eagle-Shooting Uighur troupe, in brocade jackets patterned with circling eagles, silver-trimmed boots, and eagle-shooting trays.
33
女弟子隊凡一百五十三人：一曰菩薩蠻隊，衣緋生色窄砌衣，冠卷雲冠； 二曰感化樂隊，衣青羅生色通衣，背梳髻，係綬帶； 三曰拋球樂隊，衣四色繡羅寬衫，係銀帶，奉繡球； 四曰佳人剪牲丹隊，衣紅生色砌衣，戴金冠，剪牲丹花； 五曰拂霓裳隊，衣紅仙砌衣，碧霞帔，戴仙冠，紅繡抹額； 六曰采蓮隊，衣紅羅生色綽子，係暈裙，戴雲鬟髻，乘彩船，執蓮花； 七曰鳳迎樂隊，衣紅仙砌衣，戴雲鬟鳳髻； 八曰菩薩獻香花隊，衣生色窄砌衣，戴寶冠，執香花盤； 九曰彩雲仙隊，衣黃生色道衣，紫霞帔，冠仙冠，執旌節、鶴扇； 十曰打球樂隊，衣四色窄繡羅襦，係銀帶，裹順風腳簇花襆頭，執球杖。 大抵若此，而復從宜變易。
The female disciples' troupe comprised one hundred fifty-three dancers in all. First, the Bodhisattva Barbarian troupe, in scarlet raw-dye narrow-inlaid garments and rolling-cloud crowns; second, the Ganhua Le troupe, in blue silk raw-dye full-length garments, back-combed chignons, and ribbon sashes; third, the Tossing-Ball Le troupe, in four-colored embroidered silk wide shirts and silver belts, bearing embroidered balls; fourth, the Fair Maidens Trimming Peonies troupe, in red raw-dye inlaid garments and gold crowns, trimming peony blossoms; fifth, the Brushing Rainbow Skirts troupe, in red immortal-inlaid garments and jade-azure stoles, immortal crowns, and red embroidered forehead bands; sixth, the Gathering Lotus troupe, in red silk raw-dye petticoats and halo skirts, cloud-bun chignons, riding painted boats and holding lotus flowers; seventh, the Phoenix Welcoming Le troupe, in red immortal-inlaid garments and cloud-bun phoenix chignons; eighth, the Bodhisattvas Presenting Incense and Flowers troupe, in raw-dye narrow-inlaid garments and treasure crowns, bearing incense-and-flower trays; ninth, the Colored Cloud Immortals troupe, in yellow raw-dye Daoist robes and purple-azure stoles, immortal crowns, bearing banners of authority and crane fans; tenth, the Ball-Striking Le troupe, in four-colored narrow embroidered silk jackets, silver belts, downwind clustered-flower turbans, and ball-sticks. Broadly speaking the costumes were as described, though they were altered as circumstances required.
34
百戲有蹴球、踏蹻、藏擫、雜旋、獅子、弄槍、鈴瓶、茶碗、氈齪、碎劍、踏索、上竿、筋鬥、擎戴、拗腰、透劍門、打彈丸之類。 〈（錫慶院宴會，諸王賜食及宰相筵設時賜樂者，第四部充。）〉
The hundred entertainments included kickball, stilt-walking, hidden-grasp tricks, mixed acrobatics, lion dances, spear play, bell bottles, tea bowls, felt treading, sword breaking, rope walking, pole climbing, tumbling, shoulder bearing, waist bending, passing the sword gate, pellet shooting, and the like. (At banquets in the Xiqing Courtyard, when princes were granted food and when music was granted at chief ministers' banquets, the fourth section of the Music Office supplied it.)
35
建隆中，教坊都知李德升作《長春樂曲》； 乾德元年，又作《萬歲升平樂曲》。 明年，教坊高班都知郭延美又作《紫雲長壽樂》鼓吹曲，以奏禦焉。 太宗洞曉音律，前後親製大小曲及因舊曲創新聲者，總三百九十。 凡製大曲十八：
During the Jianlong era, Music Office director Li Desheng composed the suite "Changchun Lequ"; in the first year of Qiande he also composed "Wansui Shengping Lequ." The following year, senior-rank Music Office director Guo Yanmei composed the wind-and-drum suite "Ziyun Changshou Le" and presented it before the throne. Emperor Taizong was thoroughly versed in pitch and mode; over time he personally composed large and small suites and fashioned new sounds from old melodies—three hundred ninety in all. He composed eighteen grand suites:
36
正宮《平戎破陣樂》，南呂宮《平晉普天樂》，中呂宮《大宋朝歡樂》，黃鍾宮《宇宙荷皇恩》，道調宮《垂衣定八方》，仙呂宮《甘露降龍庭》，小石調《金枝玉葉春》，林鍾商《大惠帝恩寬》，歇指調《大定寰中樂》，雙調《惠化樂堯風》，越調《萬國朝天樂》，大石調《嘉禾生九穗》，南呂調《文興禮樂歡》，仙呂調《齊天長壽樂》，般涉調《君臣宴會樂》，中呂調《一斛夜明珠》，黃鍾羽《降聖萬年春》，平調《金觴祝壽春》。
Zhenggong, "Pingrong Pozhen Le"; Nanlü palace, "Pingjin Putian Le"; Zhonglü palace, "Great Song Dynasty Huan Le"; Huangzhong palace, "Yuzhou He Huang'en"; Daodiao palace, "Chuiyi Ding Bafang"; Xianlü palace, "Ganlu Jiang Longting"; Xiaoshi mode, "Jinzhi Yuye Chun"; Linzhong shang, "Dahui Di'en Kuan"; Xiezhi mode, "Dading Huanzhong Le"; Shuang mode, "Huihua Le Yao Feng"; Yue mode, "Wanguo Chaotian Le"; Dashi mode, "Jiahe Sheng Jiusui"; Nanlü mode, "Wenxing Liyue Huan"; Xianlü mode, "Qitian Changshou Le"; Banshe mode, "Junchen Yanhui Le"; Zhonglü mode, "Yihu Ye Mingzhu"; Huangzhong yu, "Jiangsheng Wansui Chun"; Ping mode, "Jin Shang Zhu Shou Chun."
37
曲破二十九：
Twenty-nine suite breakdowns:
38
正宮《宴鈞台》，南呂宮《七盤樂》，仙呂宮《王母桃》，高宮《靜三邊》，黃鍾宮《采蓮回》，中呂宮《杏園春》、《獻玉杯》，道調宮《折枝花》，林鍾商《宴朝簪》，歇指調《九穗禾》，高大石調《囀春鶯》，小石調《舞霓裳》，越調《九霞觴》，雙調《朝八蠻》，大石調《清夜遊》，林鍾角《慶雲見》，越角《露如珠》，小石角《龍池柳》，高角《陽台雲》，歇指角《金步搖》，大石角《念邊功》，雙角《宴新春》，南呂調《鳳城春》，仙呂調《夢鈞天》，中呂調《采明珠》，平調《萬年枝》，黃鍾羽《賀回鸞》，般涉調《鬱金香》，高般涉調《會天仙》。
Zhenggong, "Yan Juntai"; Nanlü palace, "Qipan Le"; Xianlü palace, "Wangmu Tao"; Gaogong, "Jing Sanbian"; Huangzhong palace, "Cailian Hui"; Zhonglü palace, "Xingyuan Chun" and "Xian Yubei"; Daodiao palace, "Zhezhi Hua"; Linzhong shang, "Yan Chao Zan"; Xiezhi mode, "Jiusui He"; Gaodashi mode, "Zhuan Chunying"; Xiaoshi mode, "Wu Nichang"; Yue mode, "Jiuxia Shang"; Shuang mode, "Chao Ba Man"; Dashi mode, "Qingye You"; Linzhong jiao, "Qingyun Jian"; Yue jiao, "Lu Ru Zhu"; Xiaoshi jiao, "Longchi Liu"; Gao jiao, "Yangtai Yun"; Xiezhi jiao, "Jin Buyao"; Dashi jiao, "Nian Biangong"; Shuang jiao, "Yan Xinchun"; Nanlü mode, "Fengcheng Chun"; Xianlü mode, "Meng Juntian"; Zhonglü mode, "Cai Mingzhu"; Ping mode, "Wannian Zhi"; Huangzhong yu, "He Huiluan"; Banshe mode, "Yujin Xiang"; Gaobanshe mode, "Hui Tianxian."
39
琵琶獨彈曲破十五：
Fifteen pipa solo suite breakdowns:
40
鳳鸞商《慶成功》，應鍾調《九曲清》，金石角《鳳來儀》，芙蓉調《蕊宮春》，蕤賓調《連理枝》，正仙呂調《朝天樂》，蘭陵角《奉宸歡》，孤雁調《賀昌時》，大石調《寰海清》，玉仙商《玉芙蓉》，林鍾角《泛仙槎》，無射宮調《帝台春》，龍仙羽《宴蓬萊》，聖德商《美時清》，仙呂調《壽星見》。
Fengluan shang, "Qing Chenggong"; Yingzhong mode, "Jiuzhou Qing"; Jinshi jiao, "Feng Laiyi"; Furong mode, "Ruigong Chun"; Ruibin mode, "Lianli Zhi"; Zheng Xianlü mode, "Chaotian Le"; Lanling jiao, "Feng Chenhuan"; Guyun mode, "He Changshi"; Dashi mode, "Huanhai Qing"; Yuxian shang, "Yu Furong"; Linzhong jiao, "Fan Xiancha"; Wushe palace mode, "Ditai Chun"; Longxian yu, "Yan Penglai"; Shengde shang, "Mei Shiqing"; Xianlü mode, "Shouxing Jian."
41
小曲二百七十：
Two hundred seventy small suites:
42
正宮十：《一陽生》、《玉窗寒》、《念邊戍》、《玉如意》、《瓊樹枝》、《鷫鸘裘》、《塞鴻飛》、《漏丁丁》、《息鼙鼓》、《勸流霞》。
Zhenggong, ten: "Yiyang Sheng," "Yuchuang Han," "Nian Bianshu," "Yuruyi," "Qiong Shuzhi," "Susou Qiu," "Saihong Fei," "Lou Dingding," "Xi Pigu," "Quan Liuxia."
43
南呂宮十一：《仙盤露》、《冰盤果》、《芙蓉園》、《林下風》、《風雨調》、《開月幌》、《鳳來賓》、《落梁塵》、《望陽台》、《慶年豐》、《青驄馬》。
Nanlü palace, eleven: "Xianpan Lu," "Bingpan Guo," "Furong Yuan," "Lin Xiafeng," "Fengyu Diao," "Kai Yuehuang," "Feng Lai Bin," "Luo Liangchen," "Wang Yangtai," "Qing Nianfeng," "Qing Congma."
44
中呂宮十三：《上林春》、《春波綠》、《百樹花》、《壽無疆》、《萬年春》、《擊珊瑚》、《柳垂絲》、《醉紅樓》、《折紅杏》、《一園花》、《花下醉》、《遊春歸》、《千樹柳》。
Zhonglü palace, thirteen: "Shanglin Chun," "Chunbo Lü," "Bai Shuhua," "Shou Wujiang," "Wannian Chun," "Ji Shanhu," "Liu Chuisi," "Zui Honglou," "Zhe Hongxing," "Yi Yuan Hua," "Hua Xia Zui," "You Chun Gui," "Qian Shu Liu."
45
仙呂宮九：《折紅蕖》、《鵲度河》、《紫蘭香》、《喜堯時》、《猗蘭殿》、《步瑤階》、《千秋樂》、《百和香》、《佩珊珊》。
Xianlü palace, nine: "Zhe Hongqu," "Que Du He," "Zi Lanxiang," "Xi Yao Shi," "Yi Landian," "Bu Yao Jie," "Qianqiu Le," "Bai Hexiang," "Pei Shan Shan."
46
黃鍾宮十二：《菊花杯》、《翠幕新》、《四塞清》、《滿簾霜》、《畫屏風》、《折茱萸》、《望春雲》、《苑中鶴》、《賜征袍》、《望回戈》、《稻稼成》、《泛金英》。
Huangzhong palace, twelve: "Juhua Bei," "Cui Mu Xin," "Si Sai Qing," "Man Lian Shuang," "Hua Pingfeng," "Zhe Zhuyu," "Wang Chunyun," "Yuan Zhong He," "Ci Zheng Pao," "Wang Hui Ge," "Dao Jia Cheng," "Fan Jin Ying."
47
高宮九：《嘉順成》、《安邊塞》、《獵騎還》、《遊兔園》、《錦步帳》、《博山爐》、《暖寒杯》、《雲紛紜》、《待春來》。
Gaogong, nine: "Jiashun Cheng," "An Biansai," "Lieqi Huan," "You Tutuan," "Jin Buzhang," "Boshan Lu," "Nuan Han Bei," "Yun Fenfen," "Dai Chunlai."
48
道調宮九：《會夔龍》、《泛仙杯》、《披風襟》、《孔雀扇》、《百尺樓》、《金尊滿》、《奏明庭》、《拾落花》、《聲聲好》。
Daodiao palace, nine: "Hui Kuilong," "Fan Xianbei," "Pi Fengjin," "Kongque Shan," "Bai Chi Lou," "Jin Zun Man," "Zou Mingting," "Shi Luohua," "Sheng Sheng Hao."
49
越調八：《翡翠帷》、《玉照台》、《香旖旎》、《紅樓夜》、《珠頂鶴》、《得賢臣》、《蘭堂燭》、《金鏑流》。
Yue mode, eight: "Feicui Wei," "Yuzhao Tai," "Xiang Yini," "Honglou Ye," "Zhu Ding He," "De Xian Chen," "Lantang Zhu," "Jin Die Liu."
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雙調十六：《宴瓊林》、《泛龍舟》、《汀洲綠》、《登高樓》、《麥隴雉》、《柳如煙》、《楊花飛》、《玉澤新》、《玳瑁簪》、《玉階曉》、《喜清和》、《人歡樂》、《征戍回》、《一院香》、《一片雲》、《千萬年》。
Shuang mode, sixteen: "Yan Qionglin," "Fan Longzhou," "Tingzhou Lü," "Deng Gaolou," "Mai Long Zhi," "Liu Ru Yan," "Yanghua Fei," "Yu Ze Xin," "Daimao Zan," "Yu Jie Xiao," "Xi Qinghe," "Ren Huanle," "Zhengshu Hui," "Yi Yuan Xiang," "Yi Pian Yun," "Qian Wannian."
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小石調七：《滿庭香》、《七寶冠》、《玉唾盂》、《辟塵犀》、《喜新晴》、《慶雲飛》、《太平時》。
Xiaoshi mode, seven: "Man Tingxiang," "Qibao Guan," "Yu Tuoyu," "Bichen Xi," "Xi Xinqing," "Qingyun Fei," "Taiping Shi."
52
林鍾商十：《采秋蘭》、《紫絲囊》、《留征騎》、《塞鴻度》、《回鶻朝》、《汀洲雁》、《風入鬆》、《蓼花紅》、《曳珠佩》、《遵渚鴻》。
Linzhong shang, ten: "Cai Qiulan," "Zi Si Nang," "Liu Zhengqi," "Saihong Du," "Huihu Chao," "Tingzhou Yan," "Feng Ru Song," "Liaohua Hong," "Ye Zhu Pei," "Zun Zhu Hong."
53
歇指調九：《榆塞清》、《聽秋風》、《紫玉簫》、《碧池魚》、《鶴盤旋》、《湛恩新》、《聽秋蟬》、《月中歸》、《千家月》。
Xiezhi mode, nine: "Yusai Qing," "Ting Qiufeng," "Zi Yu Xiao," "Bi Chi Yu," "He Panxuan," "Zhan Enxin," "Ting Qiuchan," "Yue Zhong Gui," "Qianjia Yue."
54
高大石調九：《花下宴》、《甘雨足》、《畫秋千》、《夾竹桃》、《攀露桃》、《燕初來》、《踏青回》、《拋繡球》、《潑火雨》。
Gaodashi mode, nine: "Hua Xia Yan," "Ganyu Zu," "Hua Qiuchien," "Jiazhu Tao," "Pan Lu Tao," "Yan Chulai," "Ta Qing Hui," "Pao Xiuqiu," "Pohuo Yu."
55
大石調八：《賀元正》、《待花開》、《采紅蓮》、《出穀鶯》、《遊月宮》、《望回車》、《塞雲平》、《秉燭遊》。
Dashi mode, eight: "He Yuanzheng," "Dai Hua Kai," "Cai Honglian," "Chu Gu Ying," "You Yuegong," "Wang Hui Che," "Saiyun Ping," "Bingzhu You."
56
小石角九：《月宮春》、《折仙枝》、《春日遲》、《綺筵春》、《登春台》、《紫桃花》、《一林紅》、《喜春雨》、《泛春池》。
Xiaoshi jiao, nine: "Yuegong Chun," "Zhe Xianzhi," "Chunri Chi," "Qiyan Chun," "Deng Chuntai," "Zi Taohua," "Yi Lin Hong," "Xi Chunyu," "Fan Chunchi."
57
雙角九：《鳳樓燈》、《九門開》、《落梅香》、《春冰拆》、《萬年安》、《催花發》、《降真香》、《迎新春》、《望蓬島》。
Shuang jiao, nine: "Fenglou Deng," "Jiumen Kai," "Luomei Xiang," "Chunbing Chai," "Wannian An," "Cuihua Fa," "Jiangzhen Xiang," "Ying Xinchun," "Wang Pengdao."
58
高角九：《日南至》、《帝道昌》、《文風盛》、《琥珀杯》、《雪花飛》、《皂貂裘》、《征馬嘶》、《射飛雁》、《雪飄颻》。
Gaojiao, nine: "Ri Nan Zhi," "Didao Chang," "Wenfeng Sheng," "Hupo Bei," "Xuehua Fei," "Zao Diaoqiu," "Zhengma Si," "She Feiyan," "Xue Piao Yao."
59
大石角九：《紅爐火》、《翠雲裘》、《慶成功》、《冬夜長》、《金鸚鵡》、《玉樓寒》、《鳳戲雛》、《一爐香》、《雲中雁》。
Dashi jiao, nine: "Hong Luhuo," "Cui Yunqiu," "Qing Chenggong," "Dongye Chang," "Jin Yingwu," "Yu Lou Han," "Feng Xi Chu," "Yi Lu Xiang," "Yun Zhong Yan."
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歇指角九：《玉壺冰》、《卷珠箔》、《隨風簾》、《樹青蔥》、《紫桂叢》、《五色雲》、《玉樓宴》、《蘭堂宴》、《千千歲》。
Xiezhi jiao, nine: "Yu Hu Bing," "Juan Zhu Bo," "Sui Feng Lian," "Shu Qingcong," "Zi Gui Cong," "Wuse Yun," "Yu Lou Yan," "Lan Tang Yan," "Qian Qian Sui."
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越角九：《望明堂》、《華池露》、《貯香囊》、《秋氣清》、《照秋池》、《曉風度》、《靖邊塵》、《聞新雁》、《吟風蟬》。
Yue jiao, nine: "Wang Mingtang," "Hua Chi Lu," "Zhu Xiangnang," "Qiuqi Qing," "Zhao Qiu Chi," "Xiao Feng Du," "Jing Bian Chen," "Wen Xin Yan," "Yin Feng Chan."
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林鍾角九：《慶時康》、《上林果》、《畫簾垂》、《水精簟》、《夏木繁》、《暑氣清》、《風中琴》、《轉輕車》、《清風來》。
Linzhong jiao, nine: "Qing Shi Kang," "Shanglin Guo," "Hua Lian Chui," "Shuijing Dian," "Xia Mu Fan," "Shuqi Qing," "Feng Zhong Qin," "Zhuan Qing Che," "Qing Feng Lai."
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仙呂調十五：《喜清和》、《芰荷新》、《清世歡》、《玉鉤欄》、《金步搖》、《金錯落》、《燕引雛》、《草芊芊》、《步玉砌》、《整華裾》、《海山青》、《旋絮綿》、《風中帆》、《青絲騎》、《喜聞聲》。
Xianlü diao, fifteen: "Xi Qinghe," "Ji He Xin," "Qingshi Huan," "Yu Gou Lan," "Jin Bu Yao," "Jin Cuo Luo," "Yan Yin Chu," "Cao Qianqian," "Bu Yu Qi," "Zheng Hua Ju," "Hai Shan Qing," "Xuan Xu Mian," "Feng Zhong Fan," "Qing Si Qi," "Xi Wen Sheng."
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南呂調七：《春景麗》、《牡丹開》、《展芳茵》、《紅桃露》、《囀林鶯》、《滿林花》、《風飛花》。
Nanlü diao, seven: "Chunjing Li," "Mudan Kai," "Zhan Fang Yin," "Hong Tao Lu," "Zhuan Lin Ying," "Man Lin Hua," "Feng Fei Hua."
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中呂調九：《宴嘉賓》、《會群仙》、《集百祥》、《憑朱欄》、《香煙細》、《仙洞開》、《上馬杯》、《拂長袂》、《羽觴飛》。
Zhonglü diao, nine: "Yan Jiabin," "Hui Qunxian," "Ji Baixiang," "Ping Zhu Lan," "Xiangyan Xi," "Xian Dong Kai," "Shang Ma Bei," "Fu Chang Mei," "Yu Shang Fei."
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高般涉調九：《喜秋成》、《戲馬台》、《泛秋菊》、《芝殿樂》、《鸂鶒杯》、《玉芙蓉》、《偃幹戈》、《聽秋砧》、《秋雲飛》。
Gaobanshe diao, nine: "Xi Qiucheng," "Xi Ma Tai," "Fan Qiuju," "Zhi Dian Le," "Xichi Bei," "Yu Furong," "Yan Gange," "Ting Qiuzhen," "Qiu Yun Fei."
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般涉調十：《玉樹花》、《望星鬥》、《金錢花》、《玉窗深》、《萬民康》、《瑤林風》、《隨陽雁》、《倒金罍》、《雁來賓》、《看秋月》。
Banshe diao, ten: "Yushu Hua," "Wang Xing Dou," "Jin Qian Hua," "Yu Chuang Shen," "Wanmin Kang," "Yao Lin Feng," "Sui Yang Yan," "Dao Jin Lei," "Yan Lai Bin," "Kan Qiuyue."
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黃鍾羽七：《宴鄒枚》、《雲中樹》、《燎金爐》、《澗底鬆》、《嶺頭梅》、《玉爐香》、《瑞雪飛》。
Huangzhong yu, seven: "Yan Zoumei," "Yun Zhong Shu," "Liao Jin Lu," "Jian Di Song," "Ling Tou Mei," "Yu Lu Xiang," "Ruixue Fei."
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平調十：《萬國朝》、《獻春盤》、《魚上冰》、《紅梅花》、《洞中春》、《春雪飛》、《翻羅袖》、《落梅花》、《夜遊樂》、《鬥春雞》。 因舊曲造新聲者五十八：
Ping diao, ten: "Wanguo Chao," "Xian Chunpan," "Yu Shang Bing," "Hong Meihua," "Dong Zhong Chun," "Chunxue Fei," "Fan Luo Xiu," "Luo Meihua," "Ye You Le," "Dou Chun Ji." Fifty-eight pieces fashioned new sounds from old suites:
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正宮、南呂宮、道調宮、越調、南呂調，並《傾杯樂》、《三台》； 仙呂宮、高宮、小石調、大石調、高大石調、小石角、雙角、高角、大石角、歇指角、林鍾角、越角、高般涉調、黃鍾羽、平調，並《傾杯樂》、中呂宮《傾杯樂》、《劍器》、《感皇化》、《三台》； 黃鍾宮《傾杯樂》、《朝中措》、《三台》； 雙調《傾杯樂》、《攤破拋球樂》、《醉花間》、《小重山》、《三台》； 林鍾商《傾杯樂》、《洞中仙》、《望行宮》、《三台》； 歇指調《傾杯樂》、《洞仙歌》、《三台》； 仙呂調《傾杯樂》、《月宮仙》、《戴仙花》、《三台》； 中呂調《傾杯樂》、《菩薩蠻》、《瑞鷓鴣》、《三台》； 般涉調《傾杯樂》、《望征人》、《嘉宴樂》、《引駕回》、《拜新月》、《三台》。
Zhenggong, Nanlü palace, Daodiao palace, Yue mode, and Nanlü diao, each with "Qingbei Le" and "San Tai"; Xianlü palace, Gaogong, Xiaoshi mode, Dashi mode, Gaodashi mode, Xiaoshi jiao, Shuang jiao, Gaojiao, Dashi jiao, Xiezhi jiao, Linzhong jiao, Yue jiao, Gaobanshe diao, Huangzhong yu, and Ping diao, each with "Qingbei Le"; Zhonglü palace with "Qingbei Le," "Jianqi," "Gan Huanghua," and "San Tai"; Huangzhong palace with "Qingbei Le," "Chaozhong Cuo," and "San Tai"; Shuang mode with "Qingbei Le," "Tanpo Paoqiu Le," "Zui Hua Jian," "Xiao Chongshan," and "San Tai"; Linzhong shang with "Qingbei Le," "Dong Zhong Xian," "Wang Xinggong," and "San Tai"; Xiezhi mode with "Qingbei Le," "Dongxian Ge," and "San Tai"; Xianlü diao with "Qingbei Le," "Yuegong Xian," "Dai Xianhua," and "San Tai"; Zhonglü diao with "Qingbei Le," "Pusa Man," "Rui Zhegu," and "San Tai"; Banshe diao with "Qingbei Le," "Wang Zhengren," "Jiayan Le," "Yin Jia Hui," "Bai Xinyue," and "San Tai."
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若《宇宙賀皇恩》、《降聖萬年春》之類，皆藩邸作，以述太祖美德，諸曲多秘。 而《平晉普天樂》者，平河東回所製，《萬國朝天樂》者，又明年所製，每宴享常用之。 然帝勤求治道，未嚐自逸，故舉樂有度。 雍熙初，教坊使郭守中求外任，止賜束帛。
Such pieces as "Yuzhou He Huang'en" and "Jiangsheng Wansui Chun" were composed in the princely residence to celebrate Taizu's virtues; most of these melodies were kept secret. "Ping Jin Putian Le" was composed upon the return from pacifying Hedong, and "Wanguo Chaotian Le" the year after; both were staples at every banquet. Yet the emperor diligently pursued good governance and never indulged in ease, so performances were kept within measure. In the first year of Yongxi, Music Office commissioner Guo Shouzhong sought an outside appointment and received only bolts of silk.
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真宗不喜鄭聲，而或為雜詞，未嚐宣布於外。 太平興國中，伶官蔚茂多侍大宴，聞雞唱，殿前都虞候崔翰問之曰：“此可被管弦乎？ ”茂多即法其聲，製曲曰《雞叫子》。 又民間作新聲者甚眾，而教坊不用也。 太宗所製曲，乾興以來通用之，凡新奏十七調，總四十八曲：黃鍾、道調、仙呂、中呂、南呂、正宮、小石、歇指、高平、般涉、大石、中呂、仙呂、雙越調，黃鍾羽。 其急慢諸曲幾千數。 又法曲、《龜茲》、鼓笛三部，凡二十有四曲。
Emperor Zhenzong disliked decadent Zheng music; though he sometimes composed miscellaneous lyrics, he never released them publicly. During the Taiping Xingguo era the performer Wei Maoduo often attended great banquets. Hearing a cock crow, Palace Front commander Cui Han asked him, "Could this be set for strings and pipes? " Wei Maoduo immediately took the sound as his model and composed the suite "Jijiaozi." Meanwhile the common people composed new sounds in great profusion, but the Music Office did not adopt them. Taizong's compositions had been in general use since the Qianxing era; seventeen modes were newly submitted in all, forty-eight melodies in total: Huangzhong, Daodiao, Xianlü, Zhonglü, Nanlü, Zhenggong, Xiaoshi, Xiezhi, Gaoping, Banshe, Dashi, Zhonglü, Xianlü, Shuang-Yue mode, and Huangzhong yu. Fast and slow suites together numbered nearly several thousand. In addition, fayue suites, the "Kuche" suite, and the wind-and-drum section together comprised twenty-four pieces.
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仁宗洞曉音律，每禁中度曲，以賜教坊，或命教坊使撰進，凡五十四曲，朝廷多用之，天聖中，帝嚐問輔臣以古今樂之異同，王曾對曰：“古樂祀天地、宗廟、社稷、山川、鬼神，而聽者莫不和悅。 今樂則不然，徒虞人耳目而蕩人心誌。 自昔人君流連荒亡者，莫不由此。 ”帝曰：“朕於聲技固未嚐留意，內外宴遊皆勉強耳。 ”張知白曰：“陛下盛德，外人豈知之，願備書時政記。”
Emperor Renzong was thoroughly versed in pitch and mode. He often composed within the forbidden pitch standard and bestowed the pieces upon the Music Office, or ordered the Music Office commissioner to draft and submit them—fifty-four suites in all, widely used at court. In the Tiansheng era the emperor once asked his chief ministers how ancient and modern music differed. Wang Zeng replied, "Ancient music sacrificed to Heaven and Earth, the ancestral temples, the altars of soil and grain, mountains, rivers, and spirits, and all who heard it were harmonious and pleased. Music today is not so—it merely gratifies the ear and unsettles the heart and will. From antiquity, every ruler who lingered in dissipation until ruin did so through this. The emperor said, "As for vocal arts and performance, I have never paid them heed; inner and outer banquets and excursions are all undertaken reluctantly. " Zhang Zhibai said, "Your Majesty's abundant virtue—how could outsiders know it? I beg that it be fully recorded in the Court Diary."
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世號太常為雅樂，而未嚐施於宴享，豈以正聲為不美聽哉！ 夫樂者，樂也，其道雖微妙難知，至於奏之而使人悅豫和平，則不待知音而後能也。 今太常樂縣鍾、磬、塤、篪、搏拊之器，與夫舞綴羽、籥、幹、戚之製，類皆仿古，逮振作之，則聽者不知為樂而觀者厭焉，古樂豈真若此哉！ 孔子曰“惡鄭聲”，恐其亂雅。 亂之雲者，似是而非也。 孟子亦曰“今樂猶古樂”，而太常乃與教坊殊絕，何哉？ 昔李照、胡瑗、阮逸改鑄鍾磬，處士徐復笑之曰：“聖人寓器以聲，不先求其聲而更其器，其可用乎！ ”照、瑗、逸製作久之，卒無所成。 蜀人房庶亦深訂其非是，因著書論古樂與今樂本末不遠，其大略以謂：“上古世質，器與聲樸，後世稍變焉。 金石，鍾磬也，後世易之為方響； 絲竹，琴簫也，後世變之為箏笛。 匏，笙也，攢之以鬥； 塤，土也，變而為甌； 革，麻料也，擊而為鼓； 木，敔也，貫之為板。 此八音者，於世甚便，而不達者指廟樂鎛鍾、鎛磬、宮軒為正聲，而概謂夷部、鹵部為淫聲。 殊不知大輅起於椎輪，龍艘生於落葉，其變則然也。 古者食以俎豆，後世易以杯盂； 簟席以為安，後世更以榻桉。 使聖人復生，不能舍杯盂、榻桉，而復俎豆、簟席之質也。 八音之器，豈異此哉！ 孔子曰‘鄭聲淫’者，豈以其器不若古哉！ 亦疾其聲之變爾。 試使知樂者，由今之器，寄古之聲，去惉懘靡曼而歸之中和雅正，則感人心、導和氣，不曰治世之音乎！ 然則世所謂雅樂者，未必如古，而教坊所奏，豈盡為淫聲哉！ ”當數子紛紛銳意改製之後，庶之論指意獨如此，故存其語，以俟知者。
The age calls the Court of Imperial Sacrifices "elegant music," yet it has never been used at banquets—is correct tone deemed unpleasant to the ear? Music is joy; though its Way is subtle and hard to know, when performed it makes men pleased, at ease, and harmonious—no connoisseur is needed to perceive that. Today the Court of Imperial Sacrifices arrays bells, chime-stones, ocarinas, bamboo pipes, and clappers, with dance regalia of pheasant feathers, flutes, shields, and axes—all broadly antiquarian. When they are struck up, listeners do not recognize it as music and spectators grow weary. Was ancient music truly like this? Confucius said, "I hate Zheng music," fearing it would disorder the elegant. By "disorder" he meant seeming to be what one is not. Mencius also said, "Present music is still like ancient music," yet the Court of Imperial Sacrifices and the Music Office stand utterly apart—why? In former days Li Zhao, Hu Yuan, and Ruan Yi recast bells and chime-stones. The reclusive gentleman Xu Fu laughed at them, saying, "The sages lodged sound in vessels—they did not first seek the sound and then change the vessels. How could that avail? " Zhao, Yuan, and Yi labored at their manufacture for a long time and ultimately achieved nothing. The Shu scholar Fang Shu also deeply criticized their error and wrote a book arguing that ancient and present music in root and branch are not far apart. His general purport was that in high antiquity the age was plain and instruments and sounds were simple; in later ages they changed somewhat. Metal and stone—bells and chime-stones—in later ages were replaced by the fangxiang; silk and bamboo—qin and xiao—in later ages gave way to zheng and di. The gourd—the sheng—was gathered into the dou cluster; clay—the xun—was changed into the ou; hide—drumheads—was struck to make drums; wood—the yu clapper—was strung to make boards. These eight kinds of sound are very convenient in the world, yet the uncomprehending point to temple music's great bells, great chime-stones, and palace galleries as correct tone, and broadly dismiss the Yi and Lu sections as decadent music. They do not know that the great carriage arises from the pestle-wheel and the dragon ship from fallen leaves—such is change. In antiquity one ate from zu and dou; in later ages one changed to cups and bowls; mats and rush seating served for repose; in later ages one changed to couches and low tables. Were the sages to live again, they could not abandon cups and bowls and couches and low tables to return to the plain quality of zu, dou, mats, and rush seating. Are the instruments of the eight sounds any different from this? When Confucius said "Zheng music is decadent," was it because its instruments were inferior to antiquity? He detested the change in its sound. Suppose one who truly knew music, through present instruments, lodged ancient sounds, removed confused and dissolute strains and returned to central harmony and elegant correctness—then to move men's hearts and guide harmonious qi, would this not be the music of a well-governed age? Then what the age calls elegant music is not necessarily like antiquity, and what the Music Office performs is not all decadent music! " When, after those several men had all eagerly pressed reform, Shu's discourse alone pointed in this direction; therefore his words are preserved, to await those who understand.
75
教坊本隸宣徽院，有使、副使、判官、都色長、色長、高班、大小都知。 天聖五年，以內侍二人為鈐轄。 嘉祐中，詔樂工每色額止二人，教頭止三人，有闕即填。 異時或傳詔增置，許有司論奏。 使、副歲閱雜劇，把色人分三等，遇三殿應奉人闕，即以次補。 諸部應奉及二十年、年五十已上，許補廟令或鎮將，官制行，以隸太常寺。 同天節，寶慈、慶壽宮生辰，皇子、公主生，凡國之慶事，皆進歌樂詞。
The Music Office originally was subordinate to the Xuanhui Court, with a commissioner, vice-commissioner, reviewing official, chief color-master, color-master, senior attendants, and senior and junior directors. In the fifth year of Tiansheng, two inner attendants were appointed as controllers. In the Jiayou era an edict fixed each instrumental color at only two musicians and teaching heads at only three; vacancies were filled as they arose. At other times, if an edict transmitted to increase the complement, the responsible office was permitted to memorialize for discussion. Each year the commissioner and vice-commissioner inspected variety plays; color-holders were divided into three grades; when vacancies occurred among attendants for the Three Halls, they were filled in order. Those who had served in the various sections for twenty years and were fifty or older were permitted appointment as temple warden or garrison commander; when the official system was implemented, the Music Office was placed under the Court of Imperial Sacrifices. On the Tongtian Festival, the birthdays of the Baoci and Qing Shou Palaces, the birth of princes and princesses, and all national celebrations, song lyrics were submitted.
76
熙寧九年，教坊副使花日新言：“樂聲高，歌者難繼。 方響部器不中度，絲竹從之。 宜去噍殺之急，歸嘽緩之易，請下一律，改造方向，以為樂準。 絲竹悉從其聲，則音律諧協，以導中和之氣。 ”詔從之。 十一月，奏新樂於化成殿，帝諭近臣曰：“樂聲第降一律，已得寬和之節矣。 ”增賜方響為架三十，命太常下法駕、鹵部樂一律，如教坊雲。 初，熙寧二年五月，罷宗室正任以上借教坊樂人，至八年，復之，許教樂。
In the ninth year of Xining, Music Office vice-commissioner Hua Rixin said, "The music sounds high and singers cannot follow. The fangxiang section's instruments are not in pitch; silk and bamboo follow them. The shrill and cutting urgency should be removed and ease and gentleness restored; I beg that one pitch standard be issued and the fangxiang remade as the musical norm. Let silk and bamboo all follow its sound, then pitch and mode will be harmonious and guide the qi of central harmony. " An edict approved it. In the eleventh month the new music was performed in the Huacheng Hall; the emperor instructed his close ministers, "The music sound has been lowered one pitch standard and already attained the measure of breadth and harmony. " Thirty additional fangxiang frames were bestowed; the Court of Imperial Sacrifices was ordered to lower the music of the imperial chariot escort and Lu section one pitch standard, as the Music Office had proposed. Initially, in the fifth month of the second year of Xining, clansmen of fifth rank and above were forbidden to borrow Music Office musicians; by the eighth year this was restored and teaching music was permitted.
77
政和三年五月，詔：“比以《大晟樂》播之教坊，嘉與天下共之，可以所進樂頒之天下。 ”八月，尚書省言：“大晟府宴樂已撥歸教坊，所有諸府從來習學之人，元降指揮令就大晟府教習，今當並就教坊習學。 ”從之。 四年正月，禮部奏：“教坊樂，春或用商聲，孟或用季律，甚失四時之序。 乞以大晟府十二月所定聲律，令教坊閱習，仍令秘書省撰詞。”
In the fifth month of the third year of Zhenghe, an edict said, "Recently the Dasheng music has been disseminated to the Music Office; it is fitting that the court share it with all under Heaven—the submitted music may be promulgated throughout the realm. In the eighth month the Ministry of Rites said, "The Dasheng Bureau's banquet music has already been transferred to the Music Office; all persons from the various bureaus who formerly studied it were, by the original directive, ordered to study under the Dasheng Bureau—now they should all study together at the Music Office. " Approval was granted. In the first month of the fourth year the Ministry of Rites memorialized, "Music Office music—in spring sometimes uses shang mode, in early summer sometimes uses seasonal pitch—greatly losing the sequence of the four seasons. I beg that the pitch modes the Dasheng Bureau fixed for the twelve months be ordered for Music Office review and practice, and that the Secretariat be ordered to compose lyrics."
78
高宗建炎初，省教坊。 紹興十四年復置，凡樂工四百六十人，以內侍充鈐轄。 紹興末復省。 孝宗隆興二年天申節，將用樂上壽，上曰：“一歲之間，隻兩宮誕日外，餘無所用，不知作何名色。 ”大臣皆言：“臨時點集，不必置教坊。 ”上曰：“善。 ”乾道後，北使每歲兩至，亦用樂，但呼市人使之，不置教坊，止令修內司先兩旬教習。 舊例用樂人三百人，百戲軍百人，百禽鳴二人，小兒隊七十一人，女童隊百三十七人，築球軍三十二人，起立門行人三十二人，旗鼓四十人， 〈（以上並臨安府差。）〉 相撲等子二十一人。 〈（御前忠佐司差。）〉 命罷小兒及女童隊，餘用之。
At the beginning of the Jianyan era of Emperor Gaozong, the Music Office was abolished. In the fourteenth year of Shaoxing it was restored—in all four hundred sixty musicians, with inner attendants serving as controllers. At the end of Shaoxing it was again abolished. On the Tian Shen Festival in the second year of Longxing of Emperor Xiaozong, music was to be used for the longevity rite; the emperor said, "Within a year, apart from the two palaces' birthdays, there is otherwise no use for it—I do not know what name to give it. " The chief ministers all said, "For temporary assembly there is no need to establish a Music Office. " The emperor said, "Good. " After the Qiandao era, when northern envoys came twice each year, music was also used, but market people were summoned to perform it; no Music Office was established—only the Directorate of Palace Maintenance was ordered to rehearse them two weeks in advance. By former precedent three hundred musicians were used, one hundred men of the Hundred Plays Army, two men for the Hundred Birds' Calls, seventy-one boys' troupe, one hundred thirty-seven girls' troupe, thirty-two cuju kickball troops, thirty-two men of the Standing Gate procession, and forty banners and drums, (all above dispatched by the Lin'an prefecture.) Twenty-one sumo wrestlers and the like. (dispatched by the Imperial Loyal Retainers Office before the throne.) An order abolished the boys' and girls' troupes; the remainder were used.
79
雲韶部者，黃門樂也。 開寶中平嶺表，擇廣州內臣之聰警者，得八十人，令於教坊習樂藝，賜名簫韶部。 雍熙初，改曰雲韶。 每上元觀燈，上巳、端午觀水嬉，皆命作樂於宮中。 遇南至、元正、清明、春秋分社之節，親王內中宴射，則亦用之。 奏大曲十三：一曰中呂宮《萬年歡》； 二曰黃鍾宮《中和樂》； 三曰南呂宮《普天獻壽》，此曲亦太宗所製； 四曰正宮《梁州》； 五曰林鍾商《泛清波》； 六曰雙調《大定樂》； 七曰小石調《喜新春》； 八曰越調《胡渭州》； 九曰大石調《清平樂》； 十曰般涉調《長壽仙》； 十一曰高平調《罷金鉦》； 十二曰中呂調《綠腰》； 十三曰仙呂調《采雲歸》。 樂用琵琶、箏、笙、觱栗、笛、方響、杖鼓、羯鼓、大鼓、拍板。 雜劇用傀儡，後不復補。
The Yun Shao section is Yellow Gate music. In the Kaibao era, when Lingnan was pacified, eighty of the most quick-witted inner attendants of Guangzhou were chosen, ordered to study music in the Music Office, and granted the name Xiao Shao section. In the first year of Yongxi it was renamed Yun Shao. On each Lantern Festival when lamps are viewed, and on the Shangsi and Dragon Boat Festivals when water games are viewed, they were all ordered to perform music within the palace. When the winter solstice, New Year's Day, Qingming, and the spring and autumn equinox community festivals arrived, and when imperial princes held archery banquets within the palace, they were also used. Thirteen grand suites were performed: first, Zhonglü palace, "Wannian Huan"; second, Huangzhong palace, "Zhonghe Le"; third, Nanlü palace, "Putian Xian Shou"—this suite was also composed by Taizong; fourth, Zhenggong, "Liangzhou"; fifth, Linzhong shang, "Fan Qing Bo"; sixth, Shuang mode, "Dading Le"; seventh, Xiaoshi mode, "Xi Xinchun"; eighth, Yue mode, "Hu Weizhou"; ninth, Dashi mode, "Qingping Le"; tenth, Banshe mode, "Changshou Xian"; eleventh, Gaoping mode, "Ba Jin Zheng"; twelfth, Zhonglü diao, "Lü Yao"; thirteenth, Xianlü diao, "Cai Yun Gui." The instruments used were pipa, zheng, sheng, bili, di, fangxiang, staff drum, jie drum, great drum, and clappers. Variety plays used puppets; afterward they were not replenished.
80
鈞容直，亦軍樂也。 太平興國三年，詔籍軍中之善樂者，命曰引龍直。 每巡省遊幸，則騎導車駕而奏樂； 若禦樓觀燈、賜酺，則載第一山車。 端拱二年，又選捧日、天武、拱聖軍曉暢音律者，增多其數，以中使監視，藩臣以樂工上貢者亦隸之。 淳化四年，改名鈞容直，取鈞天之義。 初用樂工，同雲韶部。 大中祥符五年，因鼓工溫用之請，增《龜茲》部，如教坊。 其奉天書及四宮觀皆用之。 有指揮使一人、都知二人、副都知二人、押班三人、應奉文字一人、監領內侍二人。 嘉祐元年，係籍三百八十三人。 六年，增置四百三十四人，詔以為額，闕即補之。 七年，詔隸班及二十四年、年五十以上者，聽補軍職，隸軍頭司。 其樂舊奏十六調，凡三十六大曲，鼓笛二十一曲，並他曲甚眾。 嘉祐二年，監領內侍言，鈞容直與教坊樂並奏，聲不諧。 詔罷鈞容舊十六調，取教坊十七調肄習之，雖間有損益，然其大曲、曲破並急、慢諸曲，與教坊頗同矣。
Junrong Direct is also military music. In the third year of Taiping Xingguo, an edict registered those skilled in music within the armies and named them Yinlong Direct. Whenever the emperor toured on inspection, they rode ahead of the imperial carriage and played music; if viewing lamps from the imperial tower or granting a grand feast, they were loaded on the First Mountain carriage. In the second year of Duangong, those from the Sun-Embracing, Heavenly Martial, and Bow-Sage armies who were skilled in pitch and mode were again selected and their number increased, with inner attendants supervising; musicians presented as tribute by frontier lords were also attached. In the fourth year of Chunhua it was renamed Junrong Direct, taking the meaning of the music of Jun Heaven. At first musicians were used, as in the Yun Shao section. In the fifth year of Dazhong Xiangfu, at drummer Wen Yongzhi's request, the "Kuche" section was added, as in the Music Office. It was used when presenting the Mandate of Heaven writ and at the Four Palaces' observances. There was one commander, two chief directors, two vice chief directors, three ushers, one text attendant, and two supervising inner attendants. In the first year of Jiayou, those on the register numbered three hundred eighty-three persons. In the sixth year four hundred thirty-four persons were added; an edict fixed this as the quota; vacancies were filled. In the seventh year an edict permitted those in the roster for twenty-four years and fifty years of age or above to be appointed to military office and attached to the Army Heads Office. Its music formerly performed sixteen modes, thirty-six grand suites in all, twenty-one wind-and-drum suites, and very many other melodies besides. In the second year of Jiayou the supervising inner attendants said that when Junrong Direct and Music Office music were performed together the sounds were not harmonious. An edict abolished Junrong's former sixteen modes; the Music Office's seventeen modes were taken for practice; though there were occasional additions and subtractions, its grand suites, suite breakdowns, and fast and slow suites were largely the same as the Music Office's.
81
紹興中，鈞容直舊管四百人，楊存中請復收補，權以舊管之半為額，尋聞其召募騷擾，降詔止之。 及其以應奉有勞，進呈推賞，又申諭止於支賜一次，庶杜其日後希望。 紹興三十年，復詔鈞容班可蠲省，令殿司比擬一等班直收頓，內老弱癃疾者放停。 教坊所嚐援祖宗舊典，點選入教，雖暫從其請，紹興三十一年有詔，教坊即日蠲罷，各令自便。
In the Shaoxing era Junrong Direct formerly managed four hundred persons; Yang Cunzhong requested restoration and recruitment, temporarily fixing the quota at half the former complement; soon it was heard that recruitment caused disturbance, and an edict halted it. When he was advanced and rewarded for meritorious attendance, the emperor again instructed that rewards be limited to a single grant of valuables, to block their hopes thereafter. In the thirtieth year of Shaoxing an edict again permitted reduction of the Junrong roster; the Palace Service was ordered to compare and absorb them into a first-grade roster guard, dismissing the old and weak and infirm. The Music Office often cited the ancestral statutes and selected persons for entry into teaching; though they temporarily assented to the request, in the thirty-first year of Shaoxing there was an edict abolishing the Music Office that very day, each man released to go as he pleased.
82
東西班樂，亦太平興國中選東西班習樂者，樂器獨用銀字觱栗、小笛、小笙。 每騎從車駕而奏樂，或巡方則夜奏於行宮殿庭。
The Eastern and Western Ban music was also chosen in the Taiping Xingguo era from those in the Eastern and Western Bans who studied music; the instruments used exclusively were silver-letter bili, small di, and small sheng. Whenever they followed the imperial carriage and played music, or when the emperor toured the regions they played at night in the traveling palace courtyard.
83
諸軍皆有善樂者，每車駕親祀回，則衣緋綠衣，自青城至朱雀門，列於禦道之左右，奏樂迎奉，其聲相屬，聞十數里。 或軍宴設亦奏之。 棹刀槍牌翻歌等，不常置。
Every army had those skilled in music; whenever the emperor personally sacrificed and returned, they wore scarlet and green garments from Qingcheng to the Vermilion Bird Gate, arrayed along both sides of the imperial way, performing music in welcome—one sound succeeding another, heard for ten-odd li. They also performed at army banquets. Pole-saber, spear-shield, and banner-flipping songs and the like were not regularly established.
84
清衛軍習樂者，令鈞容直教之，內侍主其事，園苑賜會及館待契丹使人。
Those in the Clear Guard Army who studied music were ordered taught by Junrong Direct, with inner attendants presiding; they were used at garden-park grants of banquets and when hosting Khitan envoys.
85
又有親從親事樂及開封府衙前樂，園苑又分用諸軍樂，諸州皆有衙前樂。
There were also music of the Personal Retinue and Personal Affairs, and music before the Kaifeng prefectural yamen; the garden parks also separately employed various army music, and every prefecture had yamen-front music.
86
四夷樂者，元豐六年五月，召見米脂砦所降戎樂四十二人，奏樂於崇政殿，以三班借職王恩等六人差監在京閑慢庫務門及舊城門敢勇三十六人，與茶酒新任殿侍。 《大晟樂書》曰：“前此宮架之外，列熊羆案，所奏皆夷樂也，豈容淆雜大樂！ 乃奏罷之。 然古鞮鞻氏掌四夷樂，靺師、旄人各有所掌，以承祭祀，以供宴享。 蓋中天下而立，得四海之歡心，使鼓舞焉，先王之所不廢也。 《漢律》曰：‘每大朝會宜設於殿門之外。 ’天子禦樓，則宮架之外列於道側，豈可旋於廣庭，與大樂並奏哉！”
Barbarian music: in the fifth month of the sixth year of Yuanfeng, forty-two surrendered Rong musicians from the Mizhi stockade were summoned and performed in the Chongzheng Hall; six men on provisional Third-Rank assignment, Wang En and others, were differenced to supervise the idle and slow capital storehouse gates and the old city gate Dare-to-Win corps of thirty-six men, together with tea-and-wine newly appointed palace attendants. The Book of Dasheng Music says, "Before this, beyond the palace frame, the Bear and Pi table was arrayed and what was performed was all barbarian music—how could it be mixed with great music! Therefore it was memorialized and abolished. Yet in antiquity the Di and Li clans managed the four barbarians' music; the Mo masters and Mao men each had their charge, to undertake sacrifice and supply banquet enjoyment. For one who stands at the center of all under Heaven and wins the hearts of the four seas, to make them drum and dance—this the former kings did not abolish. The Han Code says, "At each great court assembly they should be set outside the hall doors. " When the Son of Heaven mounts the tower, they are arrayed outside the palace frame along the roadside—how could they be turned about in the broad courtyard and performed together with great music!