1
開皇九年，平陳，獲宋、齊舊樂，詔于太常置清商署以管之。 求陳太樂令蔡子元、於普明等，復居其職。 由是牛弘奏曰：
In Kaihuang 9, after Chen fell, Song and Qi court music was seized and a Qing Shang Office was set up under the Grand Music Master. Cai Ziyuan, Yu Puming, and other former Chen music officials were found and reappointed. Niu Hong then submitted a memorial:
2
臣聞周有六代之樂，至《韶》、《武》而已。 秦始皇改周舞曰《五行》，漢高帝改《韶舞》曰《文始》，以示不相襲也。 又造《武德》，自表其功，故高帝廟奏《武德》、《文始》、《五行》之舞。 又作《昭容》、《禮容》，增演其意。 《昭容》生於《武德》，蓋猶古之《韶》也。 《禮容》生於《文始》，矯秦之《五行》也。 文帝又作《四時》之舞，故孝景帝立，追述先功，采《武德舞》作《昭德舞》，被之管弦，薦于太宗之廟。 孝宣采《昭德舞》為《盛德舞》，更造新歌，薦于武帝之廟。 據此而言，遞相因襲，縱有改作，並宗於《韶》。 至明帝時，東平獻王采《文德舞》為《大武》之舞，薦于光武之廟。
I have heard that Zhou kept the music of six ages, down only to the Shao and the Wu. Qin Shihuang renamed the Zhou dance Five Elements; Han Gaozu renamed the Shao Dance Wen Shi—to mark a break with the past. He also composed Martial Virtue to celebrate his own deeds, so Gaozu's temple used the Martial Virtue, Wen Shi, and Five Elements dances. He also added Bright Countenance and Ritual Countenance, developing their themes further. Bright Countenance grew out of Martial Virtue and was in effect the old Shao. Ritual Countenance grew out of Wen Shi, correcting Qin's Five Elements dance. Emperor Wen added a Four Seasons dance; Xiaojing later drew on Martial Virtue to create Bright Virtue, scored it for orchestra, and presented it at the Founding Emperor's temple. Xiaoxuan reworked Bright Virtue into Flourishing Virtue with new lyrics for Emperor Wu's temple. On this evidence, titles changed but the line always led back to the Shao. Under Ming, the Prince of Dongping turned Cultured Virtue into the Great Martial dance for Guangwu's temple.
3
漢末大亂，樂章淪缺，魏武平荊州，獲杜夔，以為軍謀祭酒，使創雅樂。 時散騎侍郎鄧靜善詠雅歌，樂師尹胡能習宗祀之曲，舞師馮肅曉知先代諸舞。 總練研精，復于古樂，自夔始也。 文帝黃初，改《昭容》之樂為《昭業樂》，《武德》之舞為《武頌舞》，《文始》之舞為《大韶舞》，《五行》之舞為《大武舞》。 明帝初，公卿奏上太祖武皇帝樂曰《武始》之舞，高祖文皇帝樂曰《咸熙》之舞。 又制樂舞，名曰《章斌》之舞，有事於天地宗廟及臨朝大饗，並用之。
Han collapsed into chaos and the scores vanished; Cao Cao captured Du Kui in Jingzhou, made him Army Planning Libationer, and charged him with restoring court music. Deng Jing could sing the ritual songs, Yin Hu knew the sacrificial repertoire, and Feng Su knew the old dances. Pooling their expertise, they restored ancient music—starting with Kui. In Wen's Huangchu reign, Bright Countenance became Bright Achievement, Martial Virtue became Martial Hymn, Wen Shi became Great Shao, and Five Elements became Great Martial. Early in Ming's reign, officials proposed Martial Beginning for Cao Cao and Xianxi for Cao Pi. He also instituted the Zhang Bin dance for Heaven-and-Earth and temple rites and for great court banquets.
4
晉武帝泰始二年，遣傅玄等造行禮及上壽食舉歌詩。 張華表曰：「按漢、魏所用，雖詩章辭異，興廢隨時，至其韻逗曲折，並系於舊，一皆因襲，不敢有所改也。」 九年，荀勖典樂，使郭夏、宋識造《正德》、《大豫》之舞。 改魏《昭武舞》曰《宣武舞》，羽籥舞曰《宜文舞》。 江左之初，典章堙紊，賀循為太常卿，始有登歌之樂。 大寧末，阮孚等又增益之。 咸和間，鳩集遺逸，鄴沒胡後，樂人頗復南度，東晉因之，以具鐘律。 太元間，破苻永固，又獲樂工楊蜀等，閑練舊樂，於是金石始備。 尋其設懸音調，並與江左是同。
In Jin Taishi 2, Fu Xuan and others were sent to write processional, longevity, and banquet songs. Zhang Hua wrote: "Han and Wei pieces differ in wording and came and went with the times, but their phrasing and turns all followed old models—nothing was boldly changed. In year 9, Xun Xu had Guo Xia and Song Shi compose Correct Virtue and Great Yu. Wei's Bright Martial became Propagating Martial, and the feather-flute dance became Propagating Culture. Early Eastern Jin law was in disarray; under He Xun as Grand Music Master, ascent hymns finally appeared. Late in Daning, Ruan Fu and others expanded the repertoire. In Xianhe, refugees were collected; after Ye fell, musicians fled south and Eastern Jin finally had bells and pipes. In Taiyuan, after Fu Yonggu was beaten, musicians like Yang Shu restored the old repertoire and metal-and-stone instruments were complete. Their pitch arrangements matched those of the Eastern Jin.
5
慕容垂破慕容永于長子，盡獲苻氏舊樂。 垂息為魏所敗，其鐘律令李佛等，將太樂細伎，奔慕容德於鄴。 德遷都廣固，子超嗣立，其母先沒姚興，超乙太樂伎一百二十人詣興贖母。 及宋武帝入關，悉收南渡。 永初元年，改《正德舞》曰《前舞》，《大武舞》曰《後舞》。 文帝元嘉九年，太樂令鐘宗之，更調金石。 至十四年，典書令奚縱，復改定之。 又有《凱容》、《宣業》之舞，齊代因而用之。 蕭子顯《齊書·志》曰：「宋孝建初，朝議以《凱容舞》為《韶舞》，《宣業舞》為《武德舞》。 據《韶》為言，《宣業》即是古之《大武》，非《武德》也。」 故《志》有《前舞凱容》歌辭，《後舞凱容》歌辭者矣。 至於梁初，猶用《凱容》、《宣業》之舞，後改為《大壯》、《大觀》焉。 今人猶喚《大觀》為《前舞》，故知樂名雖隨代而改，聲韻曲折，理應常同。
Murong Chui beat Murong Yong at Changzi and took the Fu dynasty's entire musical legacy. After Chui's son Xi lost to Wei, pitch-master Li Fo fled to Murong De at Ye with the Grand Music performers. De moved to Guanggu; when Chao succeeded, he sent 120 musicians to Yao Xing to ransom his captive mother. When Liu Yu entered the passes, every southern refugee musician was gathered in. In Yongchu 1, Correct Virtue became the Front Dance and Great Martial the Rear Dance. In Wen's Yuanjia 9, Music Director Zhong Zongzhi retuned bells and stones. By year 14, Documents Director Xi Zong had revised them again. Qi also kept the Triumphal Countenance and Propagating Achievement dances. Xiao Zixian's Qi Treatise notes that in Song's Xiaojian era, court debate equated Triumphal Countenance with Shao and Propagating Achievement with Martial Virtue. By Shao standards, Propagating Achievement is the old Great Martial, not Martial Virtue. Hence the Treatise preserves lyrics for Front and Rear Triumphal Countenance. Early Liang kept Triumphal Countenance and Propagating Achievement; later they became Great Strength and Great Vision. Great Vision is still called the Front Dance today—titles change by dynasty, but the melodic turns should stay the same.
6
前克荊州，得梁家雅曲，今平蔣州，又得陳氏正樂。 史傳相承，以為合古。 且觀其曲體，用聲有次，請修緝之，以備雅樂。 其後魏洛陽之曲，據《魏史》云「太武平赫連昌所得」，更無明證。 後周所用者，皆是新造，雜有邊裔之聲。 戎音亂華，皆不可用。 請悉停之。
We already took Liang's elegant repertoire with Jingzhou; pacifying Jiangzhou has now brought Chen's orthodox music as well. Historians treat this succession as genuinely ancient. Their forms are ordered and their tones sequenced—please edit them into proper court ritual music. Later Wei Luoyang pieces are attested only by the Wei History's note on Taiwu's capture of Helian Chang—nothing more. Later Zhou used newly composed music laced with frontier sounds. Barbarian tones corrupt Chinese music and must not be used. Please suspend all of them.
7
制曰：「制禮作樂，聖人之事也，功成化洽，方可議之。 今宇內初平，正化未洽。 遽有變革，我則未暇。」 晉王廣又表請，帝乃許之。
The edict replied: "Rites and music belong to sages—only after triumph and full civil harmony may they be reworked. The realm is barely pacified and proper civilization not yet settled. I have no time for sudden change. Prince Yang Guang petitioned again, and the Emperor agreed.
8
牛弘遂因鄭譯之舊，又請依古五聲六律，旋相為宮。 雅樂每宮但一調，唯迎氣奏五調，謂之五音。 縵樂用七調，祭祀施用。 各依聲律尊卑為次。 高祖猶憶妥言，注弘奏下，不許作旋宮之樂，但作黃鐘一宮而已。 於是牛弘及秘書丞姚察、通直散騎常侍許善心、儀同三司劉臻、通直郎虞世基等，更共詳議曰：
Niu Hong, building on Zheng Yi, also asked to restore cyclical palace modulation from the five tones and six pitch-pipes. Court music used one mode per palace key; only qi-welcoming rites used five modes—the five tones. Slow ceremonial music used seven modes for sacrifice. Each was ranked by pitch hierarchy. Gaozu heeded Tuo's advice, annotated Niu Hong's memorial, and forbade cyclical modulation—only Yellow Bell palace would do. Niu Hong, Yao Cha, Xu Shanxin, Liu Zhen, Yu Shiji, and others then deliberated jointly:
9
後周之時，以四聲降神，雖采《周禮》，而年代深遠，其法久絕，不可依用。 謹案《司樂》：「凡樂，圜鐘為宮，黃鐘為角，太簇為徵，姑洗為羽，舞《雲門》以祭天。 函鐘為宮，太簇為角，姑洗為徵，南呂為羽，舞《咸池》以祭地。 黃鐘為宮，大呂為角，太簇為徵，圜鐘為羽，舞《韻》以祀宗廟。」 馬融曰：「圜鐘，應鐘也。」 賈逵、鄭玄曰：「圜鐘，夾鐘也。」 鄭玄又云：「此樂無商聲，祭尚柔剛，故不用也。」 干寶云：「不言商，商為臣。 王者自謂，故置其實而去其名，若曰有天地人物，無德以主之，謙以自牧也。」 先儒解釋，既莫知適從。 然此四聲，非直無商，又律管乖次，以其為樂，無克諧之理。 今古事異，不可得而行也。
Later Zhou's four-tone spirit-summoning rite cited the Rites of Zhou, but the method was long dead and unusable. The Director of Music states: "For Heaven: Round Bell palace, Yellow Bell horn, Great Cluster bell-note, Maiden Wash feather—dance Cloud Gate. For Earth: Enclosing Bell palace, Great Cluster horn, Maiden Wash bell-note, Southern Pitch feather—dance Xian Chi. For the ancestral temple: Yellow Bell palace, Great Pitch horn, Great Cluster bell-note, Round Bell feather—dance Great Martial. Ma Rong identified Round Bell with Responding Bell. Jia Kui and Zheng Xuan took Round Bell to mean Pinched Bell. Zheng Xuan added that this music omits the commercial tone because sacrifice balances firmness and yielding. Gan Bao said commercial is unnamed because it represents the minister. The king keeps the substance but drops the name—humility before Heaven, Earth, and the people. Earlier commentators disagree, leaving no clear authority. These four tones lack commercial and mis-order the pipes—they cannot harmonize as music. Times have changed; the scheme cannot be enacted.
10
按《東觀書·馬防傳》，太子丞鮑鄴等上作樂事，下防。 防奏言：「建初二年七月鄴上言，天子食飲，必順於四時五味，而有食舉之樂。 所以順天地，養神明，求福應也。 今官雅樂獨有黃鐘，而食舉樂但有太簇，皆不應月律，恐傷氣類。 可作十二月均，各應其月氣。 公卿朝會，得聞月律，乃能感天，和氣宜應。 詔下太常評焉。 太常上言，作樂器直錢百四十六萬，奏寢。 今明詔復下，臣防以為可須上天之明時，因歲首之嘉月，發太簇之律，奏雅頌之音，以迎和氣。」 其條貫甚具，遂獨施行。 起於十月，為迎氣之樂矣。 又《順帝紀》云：「陽嘉二年冬十月庚午，以春秋為辟雍，隸太學，隨月律。 十月作應鐘，三月作姑洗。 元和以來，音戾不調，修復黃鐘，作樂器，如舊典。」 據此而言，漢樂宮懸有黃鐘均，食舉太簇均，止有二均，不旋相為宮，亦以明矣。 計從元和至陽嘉二年，才五十歲，用而復止。 驗黃帝聽鳳以制律呂，《尚書》曰「予欲聞六律五聲」，《周禮》有「分樂而祭」。 此聖人製作，以合天地陰陽之和，自然之理，乃雲音戾不調，斯言誣之甚也。
The Eastern View Annals record that Bao Ye and others submitted a music proposal to Ma Fang. Fang wrote: "In Jianchu 2, month 7, Ye reported that royal meals follow season and flavor and require dish-raising music. Such music aligns Heaven and Earth, nourishes the spirits, and seeks blessing. Court music uses only Yellow Bell and dish music only Great Cluster—neither follows monthly pipes and may disturb the qi. Twelve monthly modes could match each month's qi. If officials heard the monthly pipes at court, Heaven would be moved and harmonious qi would answer. The matter was referred to the Grand Music Master. The Grand Music Master priced instruments at 1,460,000 cash; the proposal died. Fang now urged using the year's first auspicious month to sound Great Cluster and perform elegant hymns to welcome harmonious qi. The plan was detailed and this measure alone was adopted. From the tenth month onward it served as qi-welcoming music. Emperor Shun's annals note that in Yangjia 2, month 10, gengwu, the Bright Enclosure rite followed monthly pipes under the Imperial Academy. Responding Bell was tuned in month 10; Maiden Wash in month 3. Since Yuanhe pitches had drifted; Yellow Bell was restored and instruments rebuilt to the old standard. Han court music had only Yellow Bell and Great Cluster modes—two modes, not cyclical modulation. From Yuanhe to Yangjia 2 was only fifty years—adopted, then abandoned. The Yellow Emperor heard the phoenix to fix pipes and tones; the Documents say "I wish to hear six pipes and five tones"; the Rites of Zhou assign music to sacrifice. Sages fashioned music to match cosmic harmony—calling the pipes "discordant" is slander.
11
今梁、陳雅曲，並用宮聲。 按《禮》：「五聲十二律，還相為宮。」 盧植云：「十二月三管流轉用事，當用事者為宮。 宮，君也。」 鄭玄曰：「五聲宮、商、角、徵、羽。 其陽管為律，陰管為呂。 布十二辰，更相為宮，始自黃鐘，終於南呂，凡六十也。」 皇侃疏：「還相為宮者，十一月以黃鐘為宮，十二月以大呂為宮，正月乙太簇為宮。 餘月放此。 凡十二管，各備五聲，合六十聲。 五聲成一調，故十二調。」 此即釋鄭義之明文，無用商、角、徵、羽為別調之法矣。 《樂稽耀嘉》曰：「東方春，其聲角，樂當宮于夾鐘。 餘方各以其中律為宮。」 若有商、角之理，不得雲宮于夾鐘也。 又云：「五音非宮不調，五味非甘不和。」 又《動聲儀》：「宮唱而商和，是謂善本，太平之樂也。」 《周禮》：「奏黃鐘，歌大呂，以祀天神。」 鄭玄「以黃鐘之鐘，大呂之聲為均。」 均，調也。 故崔靈恩云：「六樂十二調，亦不獨論商、角、徵、羽也。」 又云：「凡六樂者，皆文之以五聲，播之以八音。」 故知每曲皆須五聲八音錯綜而能成也。 《禦寇子》云：「師文鼓琴，命宮而總四聲，則慶雲浮，景風翔。」 唯《韓詩》云：「聞其宮聲，使人溫厚而寬大。 聞其商聲，使人方廉而好義。」 及古有清角、清征之流。 此則當聲為曲。 今以五引為五聲，迎氣所用者是也。 餘曲悉用宮聲，不勞商、角、徵、羽。 何以得知？ 荀勖論三調為均首者，得正聲之名，明知雅樂悉在宮調。 已外徵、羽、角，自為謠俗之音耳。 且西涼、龜茲雜伎等，曲數既多，故得隸於眾調，調各別曲，至如雅樂少，須以宮為本，曆十二均而作，不可分配餘調，更成雜亂也。
Liang and Chen elegant pieces all use palace tone. The Rites say: "Five tones and twelve pipes cyclically form palace keys. Lu Zhi explained that whichever monthly pipe is "in office" becomes palace. Palace means "ruler." Zheng Xuan named the five tones: palace, commercial, horn, bell-note, and feather. Yang pipes are pitch pipes; yin pipes are pitch tubes. Twelve branches rotate as palace from Yellow Bell to Southern Pitch—sixty combinations in all. Huang Kan glossed cyclical palace: month 11 Yellow Bell, month 12 Great Pitch, month 1 Great Cluster. Other months follow the same rule. Twelve pipes each carry five tones—sixty tones total. Five tones make one mode, hence twelve modes. This explicitly explains Zheng's view—commercial, horn, bell-note, and feather are not separate modes. The Music Appraisal says: in eastern spring the horn tone should take palace in Pinched Bell. Each direction uses its central pitch pipe as palace. If commercial and horn were separate modes, "palace in Pinched Bell" would be impossible. It adds: no tone harmonizes without palace; no flavor blends without sweetness. The Moving Sound Instrument: palace leads and commercial answers—the music of great peace. The Rites of Zhou: play Yellow Bell, sing Great Pitch, for the Heavenly Spirit. Zheng Xuan glossed this as Yellow Bell bells and Great Pitch voice forming the mode. Mode means tuning. Cui Ling'en held that the six ritual musics and twelve modes never treat commercial, horn, bell-note, and feather as separate modes. He also said: all six ritual musics are ornamented with five tones and spread with eight sounds. Each piece must interweave five tones and eight sounds to be complete. The Master of Yu records that Shi Wen, commanding palace and gathering four tones, made auspicious clouds rise and the bright wind soar. Han Poetry alone says palace tone makes one warm, generous, and broad. Commercial tone makes one upright, incorruptible, and devoted to righteousness. Antiquity also knew Clear Horn and Clear Bell-note pieces. These treat a single tone as the whole piece. The five introductory pieces now serve as the five tones for qi-welcoming rites. Other pieces all use palace tone without separate commercial, horn, bell-note, or feather modes. How do we know? Xun Xu's three mode-heads prove court ritual music belongs to palace mode. Bell-note, feather, and horn beyond that are merely folk tones. Frontier variety pieces fill many modes, but court music is sparse and must be built on palace across twelve modes.
12
其奏大抵如此。 帝並從之。 故隋代雅樂，唯奏黃鐘一宮，郊廟饗用一調，迎氣用五調。 舊工更盡，其餘聲律，皆不復通。 或有能為蕤賓之宮者，享祀之際肆之，竟無覺者。
Performance followed this scheme broadly. The Emperor approved all of it. Sui court music used only Yellow Bell palace; suburban feasts one mode; qi-welcoming five modes. Old masters died out and the remaining pitch laws were lost. Some could play Flourishing Guest palace at sacrifices unnoticed.
13
弘又修皇后房內之樂，據毛萇、侯苞、孫毓故事，皆有鐘聲，而王肅之意，乃言不可。 又陳統云：「婦人無外事，而陰教尚柔，柔以靜為體，不宜用於鐘。」 弘等采肅、統以取正焉。 高祖龍潛時，頗好音樂，常倚琵琶，作歌二首，名曰《地厚》、《天高》，托言夫妻之義。 因即取之為房內曲。 命婦人並登歌上壽並用之。 職在宮內，女人教習之。
Hong also revised empress inner-chamber music; Wang Su argued against bells despite earlier precedents. Chen Tong said women's teaching honors yielding stillness—bells are unsuitable. Hong followed Su and Tong. Before reigning, Gaozu loved music and composed Earth's Depth and Heaven's Height on pipa as a husband-wife allegory. These became inner-chamber pieces. Women performed them for ascent hymns and longevity toasts. Palace women were trained to perform them.
14
初，後周故事，懸鐘磬法，七正七倍，合為十四。 蓋准變宮、變徵，凡為七聲，有正有倍，而為十四也。 長孫紹遠引《國語》冷州鳩云：「武王伐殷，歲在鶉火。」 自鶉及駟，七位故也。 既以七同其數，而以律和其聲，於是有七律。 又引《尚書大傳》「謂之七始」，其注云：「謂黃鐘、林鐘、太簇、南呂、姑洗、應鐘、蕤賓也。」 歌聲不應此者，皆去之。 然據一均言也。 宮、商、角、徵、羽為正，變宮、變徵為和，加倍而有十四焉。 又梁武帝加以濁倍，三七二十一而同為架，雖取繁會，聲不合古。 又後魏時，公孫崇設鐘磬正倍，參懸之。 弘等並以為非，而據《周官·小胥職》「懸鐘磬，半之為堵，全之為肆」。 鄭玄曰：「鐘磬編懸之，二八十六而在一虡。 鐘一堵，磬一堵，謂之肆。」 又引《樂緯》「宮為君，商為臣，君臣皆尊，各置一副，故加十四而懸十六」。 又據漢成帝時，犍為水濱得石磬十六枚，此皆懸八之義也。 懸鐘磬法，每虡准之，懸八用七，不取近周之法懸七也。
Later Zhou suspended bells and chimes used seven orthodox and seven doubled—fourteen total. Seven tones, each orthodox and doubled, made fourteen. Changsun Shaoyuan cited the Guo Yu: Wu's attack on Yin fell in Quail Fire. Quail through Four Stallions spans seven stations. Seven stations matched seven tones. He cited the Documents commentary's seven beginnings: Yellow Bell, Forest Bell, Great Cluster, Southern Pitch, Maiden Wash, Responding Bell, Flourishing Guest. Nonmatching singing tones were removed. This concerns a single mode. Palace, commercial, horn, bell-note, and feather are orthodox; altered palace and altered bell-note harmonize—fourteen when doubled. Liang Wudi added turbid doubles—twenty-one frames, unorthodox in sound. Later Wei's Gongsun Chong used triple suspension of orthodox and doubled bells and chimes. Hong rejected these, citing the Minor Musician: half a wall, whole a display. Zheng Xuan: two eights, sixteen bells and chimes per frame. One bell wall and one chime wall make a display. The Music Weft honors ruler and minister separately—sixteen suspended. Han Chengdi's sixteen Qianwei stone chimes also mean suspension by eights. Each frame suspends eight using seven—not Later Zhou's seven.
15
又參用《儀禮》及《尚書大傳》，為宮懸陳布之法。 北方北向，應鐘起西，磬次之，黃鐘次之，鐘次之，大呂次之，皆東陳。 一建鼓在其東，東鼓。 東方西向，太簇起北，磬次之，夾鐘次之，鐘次之，姑洗次之，皆南陳。 一建鼓在其南，東鼓。 南方北向，中呂起東，鐘次之，蕤賓次之，磬次之，林鐘次之，皆西陳。 一建鼓在其西，西鼓。 西方東向，夷則起南，鐘次之，南呂次之，磬次之，無射次之，皆北陳。 一建鼓在其北，西鼓。 其大射，則撤北面而加鉦鼓。 祭天用雷鼓、雷鞀，祭地用靈鼓、靈鞀，宗廟用路鼓、路鞀。 各兩設在懸內。
They combined Ceremonial Rites and Documents commentary for palace suspension layout. North faces north: Responding Bell west, then chimes, Yellow Bell, bells, Great Pitch—all eastward. One set drum east, facing east. East faces west: Great Cluster north, then chimes, Pinched Bell, bells, Maiden Wash—all southward. One set drum south, facing east. South faces north: Middle Pitch east, then bells, Flourishing Guest, chimes, Forest Bell—all westward. One set drum west, facing west. West faces east: Levelled Pitch south, then bells, Southern Pitch, chimes, Unattached Shoot—all northward. One set drum north, facing west. Great archery removes the north side and adds cymbal drums. Heaven uses thunder drums; earth spirit drums; temple road drums. Each pair stands within the suspension.
16
又准《儀禮》，宮懸四面設鎛鐘十二虡，各依辰位。 又甲、丙、庚、壬位，各設鐘一虡，乙、丁、辛、癸位，各陳磬一虡。 共為二十虡。 其宗廟殿庭郊丘社並同。 樹建鼓於四隅，以象二十四氣。 依月為均，四箱同作，蓋取毛傳《詩》云「四懸皆同」之義。 古者鎛鐘據《儀禮》擊為節檢，而無合曲之義。 又大射有二鎛，皆亂擊焉，乃無成曲之理。 依後周以十二鎛相生擊之，聲韻克諧。 每鎛鐘、建鼓各一人。 每鐘、磬簨虡各一人，歌二人，執節一人，琴、瑟、箏、築各一人。 每鐘虡，竽、笙、簫、笛、塤、篪各一人。 懸內柷、敔各一人，柷在東，吾在西。 二舞各八佾。 樂人皆平巾幘、絳褠衣。 樂器並采《周官》，參之梁代，擇用其尤善者。 其簨虡皆金五博山，飾以崇牙，樹羽旒蘇。 其樂器應漆者，天地之神皆硃漆，宗廟及殿庭則五色漆畫。 晉、宋故事，箱別各有柷、敔，既同時戛之，今則不用。
Palace halls set twelve bo-bell frames by branch position. Jia, bing, geng, ren get bell frames; yi, ding, xin, gui get chime frames. Twenty frames total. Temple halls, courts, suburban mounds, and altars follow the same layout. Set drums at four corners represent twenty-four qi. Four identical boxes by monthly mode follow "all four suspensions alike." Ancient bo bells were beat-checks only—not full pieces. Great archery's two bo bells were struck randomly—no completed piece. Later Zhou struck twelve bo bells in generating sequence—harmonious. One performer per bo bell and set drum. One performer per bell/chime frame; two singers; one beat-keeper; one each on zither, se, zheng, zhu. Each bell frame: yu, sheng, xiao, di, xun, chi—one each. Within suspension: zhu east, yu west—one each. Two dances, eight rows each. Musicians wore plain kerchiefs and crimson-trimmed robes. Instruments followed the Rites of Zhou, consulting Liang for the best. Frames had gold five-peaked mountains, lofty teeth, feather tassels. Heaven-and-Earth instruments in cinnabar lacquer; temple and court in five colors. Jin and Song struck zhu and yu per box simultaneously; now omitted.
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又《周官·大司樂》：「奏黃鐘，歌大呂，舞《雲門》，以祀天神。 奏太簇，歌應鐘，舞《咸池》，以祭地祇。 奏姑洗，歌南呂，舞《大韶》，以祀四望。 奏蕤賓，歌函鐘，舞《大夏》，以祭山川。 奏夷則，歌小呂，舞《大護》，以享先妣。 奏無射，歌夾鐘，舞《大武》，以享先祖。」 此乃周制，立二王三恪，通己為六代之樂。 至四時祭祀，則分而用之。 以六樂配十二調，一代之樂，則用二調矣。 隋去六代之樂，又無四望、先妣之祭，今既與古祭法有別，乃以神祗位次分樂配焉。 奏黃鐘，歌大呂，以祀圓丘。 黃鐘所以宣六氣也，耀魄天神，最為尊極，故奏黃鐘以祀之。 奏太簇，歌應鐘，以祭方澤。 太簇所以贊陽出滯，昆侖厚載之重，故奏太簇以祀之。 奏姑洗，歌南呂，以祀五郊、神州。 姑洗所以滌潔百物，五郊神州，天地之次，故奏姑洗以祀之。 奏蕤賓，歌函鐘，以祭宗廟。 蕤賓所以安靜神人，祖宗有國之本，故奏蕤賓以祀之。 奏夷則，歌小呂，以祭社稷、先農。 夷則所以詠歌九穀，貴在秋成，故奏夷則以祀之。 奏無射，歌夾鐘，以祭巡狩方嶽。 無射所以示人軌物，觀風望秩，故奏無射以祀之。 同用文武二舞。 其圓丘降神六變，方澤降神八變，宗廟禘祫降神九變，皆用《昭夏》。 其餘祭享皆一變。 又《周禮》，王出，奏《王夏》，屍出，奏《肆夏》。 叔孫通法，迎神奏《嘉至》。 今亦隨事立名。 皇帝入出，皆奏《皇夏》。 群官入出，皆奏《肆夏》。 食舉上壽，奏《需夏》。 迎、送神，奏《昭夏》。 薦獻郊廟，奏《誠夏》。 宴饗殿上，奏登歌。 並文舞武舞，合為八曲。 古有宮、商、角、徵、羽五引，梁以三朝元會奏之。 今改為五音，其聲悉依宮商，不使差越。 唯迎氣於五郊，降神奏之，《月令》所謂「孟春其音角」是也。 通前為十三曲。 並內宮所奏《天高》、《地厚》二曲，于房中奏之，合十五曲。
Grand Music Master: Yellow Bell, Great Pitch, Cloud Gate—for the Heavenly Spirit. Great Cluster, Responding Bell, Xian Chi—for earthly spirits. Maiden Wash, Southern Pitch, Great Shao—for the Four Outlooks. Flourishing Guest, Enclosing Bell, Great Summer—for mountains and rivers. Levelled Pitch, Lesser Pitch, Great Shield—for prior consorts. Unattached Shoot, Pinched Bell, Great Martial—for prior ancestors. Zhou established two kings and three enfeoffed lines—six generations of music. Four seasonal sacrifices divided their use. Six ritual musics matched twelve modes—two modes per generation. Sui dropped six-dynasty music and Four Outlooks/consort rites—music now matched spirit rank. Yellow Bell, Great Pitch—for the Round Mound. Yellow Bell expresses six qi; the Bright Soul Spirit is supreme. Great Cluster, Responding Bell—for the Square Pond. Great Cluster assists yang; Kunlun's earth-burden is weighty. Maiden Wash, Southern Pitch—for Five Suburbs and Spirit Land. Maiden Wash cleanses all things; suburbs rank below Heaven and Earth. Flourishing Guest, Enclosing Bell—for the ancestral temple. Flourishing Guest quiets spirits and people; ancestors root the state. Levelled Pitch, Lesser Pitch—for soil-grain and Prior Agriculture altars. Levelled Pitch celebrates the nine grains; autumn harvest is prized. Unattached Shoot, Pinched Bell—for imperial tours and directional mountains. Unattached Shoot displays norms; observing customs on tour. Both use cultured and martial dances. Round Mound six changes, Square Pond eight, temple diqi nine—all use Bright Summer. Other sacrifices use one change each. Rites of Zhou: King Summer when the king goes out; Display Summer when the corpse departs. Shusun Tong played Excellent Arrival to welcome spirits. Names are now set by occasion. The emperor's entry and exit use Bright Summer. Officials' entry and exit use Display Summer. Dish-raising and longevity toasts use Need Summer. Welcoming and sending spirits use Bright Summer. Suburban and temple offerings use Sincere Summer. Palace banquets use ascent hymns. Cultured and martial dances total eight pieces. Antiquity had five introductory palace/commercial/horn/bell-note/feather pieces; Liang played them at New Year audiences. They become five tones following palace and commercial without deviation. Only five-suburb qi-welcoming plays spirit-descent—the Monthly Ordinance's "early spring horn tone." Thirteen pieces in all with the foregoing. Inner-chamber Heaven's Height and Earth's Depth bring the total to fifteen.
18
其登歌法，准《禮·效特牲》「歌者在上，匏竹在下。」 《大戴》云：「清廟之歌，懸一磬而尚拊搏。」 又在漢代，獨登歌者，不以絲竹亂人聲。 近代以來，有登歌五人，別升於上，絲竹一部，進處階前。 此蓋《尚書》「戛擊鳴球，搏拊琴瑟以詠，祖考來格」之義也。 梁武《樂論》以為登歌者頌祖宗功業，檢《禮記》乃非元日所奏。 若三朝大慶，百辟俱陳，升工籍殿，以詠祖考，君臣相對，便須涕洟。 以此說非通，還以嘉慶用之。 後周登歌，備鐘、磬、琴、瑟，階上設笙、管。 今遂因之。 合於《儀禮》荷瑟升歌，及笙入，立於階下，間歌合樂，是燕飲之事矣。 登歌法，十有四人，鐘東磬西，工各一人，琴、瑟、箏、築各一人，並歌者三人，執節七人，並坐階上。 笙、竽、簫、笛、塤、篪各一人，並立階下。 悉進賢冠，絳公服。 斟酌古今，參而用之。 祀神宴會通行之。 若有大祀臨軒，陳於階壇之上。 若冊拜王公，設宮懸，不用登歌。 釋奠則唯用登歌，而不設懸。
Ascent hymns follow the Rites: singers above, gourd and bamboo below. Great Dai: Clear Temple hymns suspend one chime yet honor clapping. Han ascent hymns used human voice alone without strings and bamboo. Recently five ascent singers ascend separately while strings and bamboo wait on the steps. This follows the Documents: strike spheres, clap zither and se—ancestors draw near. Liang Wu held ascent hymns praise ancestors; the Book of Rites excludes New Year's day. At New Year, ruler and ministers facing ascent hymns to ancestors would weep. That view fails; Bright Celebration is used instead. Later Zhou ascent hymns added bells, chimes, zither, se; sheng and pipes on the steps. That precedent is now followed. Ceremonial Rites: carrying se to ascend, sheng below—banquet music. Fourteen ascent performers: bells east, chimes west; instruments and singers seated on steps. Sheng, yu, xiao, di, xun, chi stand below the steps. All wear advance-the-worthy caps and crimson robes. Ancient and modern are weighed and combined. Used for spirit sacrifice and banquets alike. Great sacrifices array them on the step altar. Princely investiture uses palace suspension without ascent hymns. Libation sacrifices use ascent hymns without suspension.
19
古者人君食，皆用當月之調，以取時律之聲。 使不失五常之性，調暢四體，令得時氣之和。 故鮑鄴上言，天子食飲，必順四時，有食舉樂，所以順天地，養神明，可作十二月均，感天和氣。 此則殿庭月調之義也。 祭祀既已分樂，臨軒朝會，並用當月之律。 正月懸太簇之均，乃至十二月懸大呂之均，欲感君人情性，允協陰陽之序也。
Ancient rulers ate to that month's pitch mode. Thus the five constants and four limbs harmonized with seasonal qi. Bao Ye urged twelve monthly modes so royal meals would move Heaven's qi. This is palace monthly-mode doctrine. Sacrifices divide music; court audiences use the month's pitch law. Month 1 Great Cluster through month 12 Great Pitch moves the ruler's heart and yin-yang order.
20
又文舞六十四人，並黑介幘，冠進賢冠，絳紗連裳，內單，皁褾、領、襈、裾、革帶，烏皮履。 十六人執鸑。 十六人執Ｏ。 十六人執旄。 十六人執羽，左手皆執籥。 二人執纛，引前，在舞人數外，衣冠同舞人。 武舞六十四人，並服武弁，硃褠衣，革帶，烏皮履。 左執硃幹，右執大戚，依硃幹玉戚之文。 二人執旌，居前，二人執鞀，二人執鐸。 金錞二，四人輿，二人作。 二人執鐃次之。 二人執相，在左，二人執雅，在右，各工一人作。 自旌以下來引，並在舞人數外，衣冠同舞人。 《周官》所謂「以金錞和鼓，金鐲節鼓，金鐃止鼓，金鐸通鼓」也。 又依《樂記》象德擬功，初來就位，總幹而山立，思君道之難也。 發揚蹈厲，威而不殘也。 舞亂皆坐，四海咸安也。 武，始而受命，再成而定山東，三成而平蜀道，四成而北狄是通，五成而江南是拓，六成復綴，以闡太平。 高祖曰：「不須象功德，直象事可也。」 然竟用之。 近代舞出入皆作樂，謂之階步，咸用《肆夏》。 今亦依定，即《周官》所謂樂出入奏鐘鼓也。 又魏、晉故事，有《矛俞》、《弩俞》及硃儒導引。 今據《尚書》直雲干羽，《禮》文稱羽籥干戚。 今文舞執羽籥，武舞執干戚，其《矛俞》、《弩俞》等，蓋漢高祖自漢中歸，巴、俞之兵，執仗而舞也。 既非正典，悉罷不用。
Cultured dance: sixty-four in black kerchiefs, advance-the-worthy caps, crimson linked robes. Sixteen hold yu feathers. Sixteen hold [implements]. Sixteen hold yak-tail banners. Sixteen hold plumes; left hand holds yue flutes. Two streamer-bearers lead outside the dancers. Martial dance: sixty-four in martial caps and cinnabar-trimmed robes. Left cinnabar shield, right great axe—jade-axe style. Two banners, two hand-drums, two bells in front. Two metal chun, four carriers, two players. Two cymbals next. Two xiang left, two ya right—one player each. Banner-bearers and leaders stand outside the dancers. Rites of Zhou: metal chun harmonizes drums, duo beats, nao stops, duo signals. Record of Music: gathering shields mountain-high recalls the ruler's difficult path. Expanding and treading vigorously—awe without cruelty. When disorder ends all sit—all within the seas at peace. Martial: six movements—from mandate through Shandong, Shu, north, Jiangnan, to great peace. Gaozu said: "Model events, not achievements. They were used anyway. Recent dance entry and exit used step music—Display Summer. Now fixed—the Rites of Zhou's bells and drums at entry and exit. Wei and Jin also had Spear Dance, Crossbow Dance, and cinnabar Confucian guides. Documents say shield and plume; ritual texts plume-flute, shield, axe. Cultured dance uses plume-flute; martial shield and axe—Spear and Crossbow likely came from Hanzhong Ba-Yu troops. Non-orthodox pieces are abolished.
21
十四年三月，樂定。 秘書監、奇章縣公牛弘，秘書丞、北絳郡公姚察，通直散騎常侍、虞部侍郎許善心，兼內史舍人虞世基，儀同三司、東宮學士饒陽伯劉臻等奏曰：「臣聞蕢桴土鼓，由來斯尚，雷出地奮，著自《易經》。 邃古帝王，經邦馭物，揖讓而臨天下者，祀樂之謂也。 秦焚經典，樂書亡缺，爰至漢興，始加鳩采，祖述增廣，緝成朝憲。 魏、晉相承，更加論討，沿革之宜，備於故實。 永嘉之後，九服崩離，燕、石、苻、姚，遁據華土。 此其戎乎，何必伊川之上，吾其左衽，無復微管之功。 前言往式，於斯而盡。 金陵建社，朝士南奔，帝則皇規，粲然更備，與內原隔絕，三百年於茲矣。 伏惟明聖膺期，會昌在運。 今南征所獲梁、陳樂人，及晉、宋旗章，宛然俱至。 曩代所不服者，今悉服之，前朝所未得者，今悉得之。 化洽功成，於是乎在。 臣等伏奉明詔，詳定雅樂，博訪知音，旁求儒彥，研校是非，定其去就，取為一代正樂，具在本司。」 於是並撰歌辭三十首，詔並令施用，見行者皆停之。 其人間音樂，流僻日久，棄其舊體者，並加禁約，務存其本。
Month 3, year 14—the music was fixed. Niu Hong, Yao Cha, Xu Shanxin, Yu Shiji, Liu Zhen and others memorialized on music's ancient honor. Ancient emperors governed through sacrificial music. Qin burned classics; Han began collecting music into court law. Wei and Jin added discussion recorded in precedent. After Yongjia the realm collapsed; barbarian states held the Central Plains. Barbarians everywhere—not only beyond the Yi; left lapels, no Guan Zhong. Former patterns ended there. Jinling rose; scholars fled south—three centuries cut off from the heartland. Enlightened sagacity received the era; fortune flourishes. Liang-Chen musicians and Jin-Song regalia have all arrived. Former non-submitters submit; former lacks are filled. Transformation harmonized, achievement complete. We fixed court music as one generation's orthodox repertoire. Thirty song texts were composed; edict ordered their use and stopped old practice. Popular music was restricted to preserve its root.
22
先是高祖遣內史侍郎李元操、直內史省盧思道等，列清廟歌辭十二曲。 令齊樂人曹妙達于太樂教習，以代周歌。 其初迎神七言，象《元基曲》，獻奠登歌六言，象《傾杯曲》，送神禮畢五言，象《行天曲》。 至是弘等但改其聲，合于鐘律，而辭經敕定，不敢易之。 至仁壽元年，煬帝初為皇太子，從饗于太廟，聞而非之。 乃上言曰：「清廟歌辭，文多浮麗，不足以述宣功德，請更議定。」 於是制詔吏部尚書、奇章公弘，開府儀同三司、領太子洗馬柳顧言，秘書丞、攝太常少卿許善心，內史舍人虞世基，禮部侍郎蔡徵等，更詳故實，創制雅樂歌辭。 其祠圓丘，皇帝入，至版位定，奏《昭夏》之樂，以降天神。 升壇，奏《皇夏》之樂。 受玉帛，登歌，奏《昭夏》之樂。 皇帝降南陛，詣罍洗，洗爵訖，升壇，並奏《皇夏》。 初升壇，俎入，奏《昭夏》之樂。 皇帝初獻，奏《諴夏》之樂。 皇帝既獻，作文舞之舞。 皇帝飲福酒，作《需夏》之樂。 皇帝反爵于坫，還本位，奏《皇夏》之樂。 武舞出，作《肆夏》之樂。 送神作《昭夏》之樂。 就燎位，還大次，並奏《皇夏》。
Earlier Gaozu had Li Yuancao and Lu Simao compose twelve Clear Temple lyrics. Qi musician Cao Miaoda taught them at Grand Music to replace Zhou songs. Spirit-welcoming modeled Yuan Ji; offering ascent Tilting Cup; spirit-send Traveling Heaven. Hong changed sounds to match pitch law but kept edict-fixed texts. Renshou 1, Crown Prince Yangdi disapproved at the Grand Temple. He petitioned: Clear Temple lyrics are too ornate to proclaim merit—revise them. Edict ordered Hong, Liu Yiyan, Xu Shanxin, Yu Shiji, Cai Zheng to create new court ritual lyrics. Round Mound: emperor enters, Bright Summer descends the heavenly spirit. Ascending the altar: Bright Summer. Receiving jade and silk: ascent hymn Bright Summer. Descent, libation wash, re-ascent—all Bright Summer. First altar ascent with meat stands: Bright Summer. First offering: Sincere Summer. After offering: cultured dance. Blessing wine: Need Summer. Cup returned to stand: Bright Summer. Martial dance exit: Display Summer. Spirit send-off: Bright Summer. Kindling and return to tent: Bright Summer.
23
圜丘：
Round Mound:
24
降神，奏《昭夏》辭：
Spirit descent—Bright Summer lyrics:
25
肅祭典，協良辰。 具嘉薦，俟皇臻。 禮方成，樂已變。 感靈心，回天眷。 辟華闕，下乾宮。 乘精氣，禦祥風。 望爟火，通田燭。 膺介圭，受瑄玉。 神之臨，慶陰陽。 煙衢洞，宸路深。 善既福，德斯輔。 流鴻祚，遍區宇。
Solemn rites on an aligned auspicious day. Fine offerings await the emperor. Rite complete, music changed. Heaven's favor moves the spirit heart. Opening the gate, descending to Qian. Riding refined qi, commanding auspicious wind. Brazier fire links field candles. Receiving tablet and round jade. The spirit descends—yin and yang rejoice. Smoke paths open; the imperial way deep. Goodness blesses; virtue assists. Great fortune fills the realm.
26
皇帝升壇，奏《皇夏》辭：
Emperor ascends altar—Bright Summer:
27
於穆我君，昭明有融。 道濟區域，功格玄穹。 百神警衛，萬國承風，仁深德厚，信洽義豐。 明發思政，勤憂在躬。 鴻基惟永，福祚長隆。
Grand our lord, bright in radiance. The Way aids the realm; merit reaches heaven. Spirits guard; states receive the wind—deep benevolence, thick virtue. At dawn he governs; care is in his person. Foundation eternal; fortune long flourishes.
28
登歌辭：
Ascent hymn:
29
德深禮大，道高饗穆。 就陽斯恭，陟配惟肅。 血紘升氣，冕裘標服。 誠感清玄，信陳史祝。 祗承靈貺，載膺多福。
Deep virtue, great rites; high Way, solemn feast. Reverent toward yang; solemn in ascent. Blood threads rise; robe and fur mark the garb. Sincerity moves heaven; faith presents the prayer. Reverently receiving blessing, bearing fortune.
30
皇帝初獻，奏《諴夏》辭：
First offering—Sincere Summer:
31
肇禋崇祀，大報尊靈。 因高盡敬，掃地推誠。 六宗隨兆，五緯陪營。 雲和發韻，孤竹揚清。 我粢既潔，我酌惟明。 元神是鑒，百祿來成。
Border sacrifice begins—great report to the spirit. Utmost reverence on high; sweeping earth in sincerity. Six lords follow omen; five planets attend. Cloud harmony sounds; solitary bamboo raises clarity. Pure grain; bright libation. The primal spirit observes; blessings complete.
32
皇帝既獻，奏文舞辭：
After offering—cultured dance:
33
皇矣上帝，受命自天。 睿圖作極，文教遐宣。 四方監觀，萬品陶甄。 有苗斯格，無得稱焉。 天地之經，和樂具舉。 體徵咸萃，要荒式序。 正位履端，秋霜春雨。
Great God on High, mandate from Heaven. Sagely design; culture spreads afar. Four quarters observe; ten thousand kinds molded. The Miao submit—none may claim otherwise. Heaven and Earth's constant—harmonious music. Omens gathered; distant wilds ordered. Correct position—autumn frost, spring rain.
34
皇帝飲福酒，奏《需夏》辭：
Blessing wine—Need Summer:
35
禮以恭事，薦以饗時。 載清玄酒，備潔薌萁。 回旒分爵，思媚軒墀。 惠均撤俎，祥降受釐。 十倫以具，百福斯滋。 克昌厥德，永祚鴻基。
Reverent rites; timely feasting. Clear dark wine; pure fragrant millet. Turning tassels, dividing cups; fond hall steps. Grace spread; auspicious blessing received. Ten categories complete; fortunes increase. May virtue flourish; eternal foundation.
36
武舞辭：
Martial dance:
37
禦曆膺期，乘乾表則。 成功戡亂，順時經國。 兵暢五材，武弘七德。 憬彼遐裔，化行充塞。 三道備舉，二儀交泰。 情發自中，義均莫大。 祀敬恭肅，鐘鼓繁會。 萬國斯歡，兆人斯賴。 享茲介福，康哉元首。 惠我無疆，天長地久。
Receiving the era; Qian as model. Conquering disorder; governing by season. Arms extend five materials; martial seven virtues. Distant regions awed; transformation fills all. Three Ways raised; two principles at peace. Feeling from within; righteousness supreme. Reverent sacrifice; bells and drums joined. Ten thousand states rejoice; myriad people rely. Great blessing—health to the sovereign! Boundless grace—Heaven long, Earth enduring.
38
送神奏《昭夏》辭：
Spirit send-off—Bright Summer:
39
享序洽，祀禮施。 神之駕，嚴將馳。 奔精驅，長離耀。 牲煙達，潔誠照。 騰日馭，鼓電鞭。 辭下土，升上玄。 瞻寥廓，杳無際。 澹群心，留余惠。
Feast harmonized; rites deployed. Spirit carriage—solemn, about to gallop. Racing essence; long li blazes. Sacrificial smoke; pure sincerity shines. Soaring sun chariot; lightning whip. Leaving earth; ascending heaven. Gazing at boundless expanse. Calming hearts; grace remains.
40
皇帝就燎，還大次，並奏《皇夏》，辭同上。
Kindling and return—Bright Summer as above.
41
五郊歌辭五首：迎送神、登歌，與圜丘同。
Five Suburbs songs—welcome, send-off, ascent as Round Mound.
42
青帝歌辭，奏角音：
Green Thearch—horn tone:
43
震宮初動，木德惟仁。 龍精戒旦，鳥曆司春。 陽光煦物，溫風先導。 嚴處載驚，膏田已冒。 犧牲豐潔，金石和聲。 懷柔備禮，明德惟馨。
Thunder palace stirs; wood virtue benevolent. Dragon essence at dawn; bird calendar governs spring. Yang light warms; warm wind leads. Strict places startle; oiled fields covered. Rich sacrifices; metal and stone harmonize. Gentle rites complete; bright virtue fragrant.
44
赤帝歌辭，奏徵音：
Red Thearch—bell-note tone:
45
長贏開序，炎上為德。 執禮司萌，持衡禦國。 重離得位，芒種在時。 含櫻薦實，木權垂蕤。 慶賞既行，高明可處。 順時立祭，事昭福舉。
Long ying opens season; flame above is virtue. Rites govern sprouts; balance governs state. Double li in place; bearded grain timely. Cherries offered; tree authority tasseled. Rewards given; high and bright may dwell. Seasonal sacrifice; fortune raised.
46
黃帝歌辭，奏宮音：
Yellow Thearch—palace tone:
47
爰稼作土，順位稱坤。 孕金成德，履艮為尊。 黃本內色，宮實聲始。 萬物資生，四時咸紀。 靈壇汛掃，盛樂高張。 威儀孔備，福履無疆。
Grain makes earth; position called Kun. Gestating metal; treading Gen honored. Yellow inner color; palace sound's start. Ten thousand things live; four seasons regulated. Spirit altar swept; grand music raised. Aweful rites prepared; boundless fortune.
48
白帝歌辭，奏商音：
White Thearch—commercial tone:
49
西成肇節，盛德在秋。 三農稍已，九穀行收。 金氣肅殺，商威Ｐ戾。 嚴風鼓莖，繁霜殞帶。 厲兵詰暴，敕法慎刑。 神明降嘏，國步惟寧。
Western season opens; virtue in autumn. Three farmers finish; nine grains harvest. Metal qi kills; commercial awfulness severe. Strict wind beats stalks; frost drops leaves. Sharpen weapons; careful law. Spirits bless; state tranquil.
50
黑帝歌辭，奏羽音：
Black Thearch—feather tone:
51
玄英啟候，冥陵初起。 虹藏於天，雉化于水。 嚴關重閉，星回日窮。 黃鐘動律，廣莫生風。 玄樽示本，天產惟質。 恩覃外區，福流景室。
Dark glory opens; dark mound rises. Rainbow hidden; pheasants in water. Passes closed; stars turn, sun ends. Yellow Bell moves; vast mo generates wind. Dark wine shows root; heaven's produce substance. Grace extends outward; fortune flows inward.
52
感帝奏《諴夏》辭：迎送神、登歌，與圜丘同。
Fire Thearch Sincere Summer—welcome and ascent as Round Mound.
53
禘祖垂典，郊天有章。 以春之孟，于國之陽。 繭栗惟誠，陶匏斯尚。 人神接禮，明幽交暢。 火靈降祚，火曆載隆。 蒸哉帝道，赫矣皇風。
Ancestral canon; suburban Heaven patterned. Spring's first month at the state's yang. Silkworm cocoons sincere; pottery honored. Human and spirit meet; bright and dark exchange. Fire spirit blesses; fire calendar eminence. Steaming imperial Way; brilliant royal wind.
54
雩祭奏《諴夏》辭：迎送神、登歌，與圜丘同。
Rain sacrifice Sincere Summer—as Round Mound.
55
硃明啟候時載陽，肅若舊典延五方。 嘉薦以陳盛樂奏，氣序和平資靈祐。 公田既雨私亦濡，人殷俗富政化敷。
Vermillion season when yang loads; old canon to five directions. Offerings displayed; qi peaceful, spirit blesses. Public and private fields moist; people abundant.
56
蠟祭奏《諴夏》辭：迎送神、登歌，與圜丘同。
Wax sacrifice Sincere Summer—as Round Mound.
57
四方有祀，八蠟酬功。 收藏既畢，榛葛送終。 使之必報，祭之斯索。 三時告勞，一日為澤。 神祗必來，鱗羽咸致。 惟義之盡，惟仁之至。 年成物阜，罷役息人。 皇恩已洽，靈慶無垠。
Four directions sacrifice; eight waxes repay. Harvest stored; hazel vines send end. Sent must be repaid; sacrifice demands all. Three seasons' toil; one day's grace. Spirits come; all creatures arrive. Righteousness exhausted; benevolence utmost. Harvest abundant; corvée ceased. Imperial grace harmonized; boundless celebration.
58
朝日、夕月歌詩二首：迎送神、登歌，與圜丘同。
Morning sun and evening moon—welcome and ascent as Round Mound.
59
朝日奏《諴夏》辭：
Morning sun—Sincere Summer:
60
扶木上朝暾，嵫山沉暮景。 寒來遊晷促，暑至馳輝永。 時和合璧耀，俗泰重輪明。 執圭盡昭事，服冕罄虔誠。
Morning sun rises; Zi Mountain evening. Cold shortens gnomon; summer lengthens light. Seasons harmonized; customs peaceful. Jade tablet completes service; crown exhausts sincerity.
61
夕月奏《諴夏》辭：
Evening moon—Sincere Summer:
62
澄輝燭地域，流耀鏡天儀。 曆草隨弦長，珠胎逐望虧。 成形表蟾兔，竊藥資王母。 西郊禮既成，幽壇福惟厚。
Clear brilliance on earth; light mirrors heaven. Calendar grass follows string; pearl follows moon. Moon hare forms; Queen Mother's medicine. Western suburb complete; dark altar fortune thick.
63
方丘歌辭四首：唯此四者異，餘並同圜丘。
Square Mound four sets differ; rest as Round Mound.
64
迎神奏《昭夏》辭：
Spirit welcome—Bright Summer:
65
柔功暢，陰德昭。 陳瘞典，盛玄郊。 篚幕清，膋鬯馥。 皇情虔，具僚肅。 笙頌合，鼓鞀會。 出桂旗，屯孔蓋。 敬如在，肅有承。 神胥樂，慶福膺。
Yielding achievement; yin virtue bright. Burial canon; grand dark suburb. Pure baskets; rich libation. Imperial reverence; officials solemn. Sheng harmonizes; drums join. Cassia banners; great canopies. Reverent as present; solemn acceptance. Spirits rejoice; fortune received.
66
奠玉帛登歌：
Offering jade and silk—ascents hymn:
67
道惟生育，器乃包藏。 報功稱范，殷薦有常，六瑚已饋，五齊流香。 貴誠尚質，敬洽義彰。 神祚惟永，帝業增昌。
The Way generates; vessels store. Repaying achievement; six hu offered. Honoring sincerity; reverence displayed. Spirit eternal; enterprise flourishing.
68
皇地祇歌辭，奏《諴夏》辭：
Spirit of Earth—Sincere Summer:
69
厚載垂德，昆丘主神。 陰壇吉禮，北至良辰。 鑒水呈潔，牲栗表純。 樽壺夕視，幣玉朝陳。 群望咸秩，精靈畢臻。 祚流于國，祉被於人。
Heavy bearing; Kun mound masters spirit. Dark altar; north at auspicious day. Mirror water pure; millet substance. Evening libation; morning silk. Outlooks ranked; spirits arrive. Eminence in state; blessing to people.
70
送神歌辭，奏《昭夏》辭：
Spirit send-off—Bright Summer:
71
奠既徹，獻已周。 竦靈駕，逝遠遊。 洞四極，匝九縣。 慶方流，祉恆遍。 埋玉氣，掩牲芬。 晰神理，顯國文。
Offering withdrawn; presentation complete. Spirit carriage rises; far wandering. Four poles; nine districts. Celebration flows; blessing universal. Burying jade qi; covering fragrance. Spirit principle; state culture.
72
神州奏《諴夏》辭：迎送神、登歌，與方丘同。
Spirit Land Sincere Summer—as Square Mound.
73
四海之內，一和之壤。 地曰神州，物賴生長。 咸池既降，泰折斯饗。 牲牷尚黑，珪玉實兩。 九宇載寧，神功克廣。
Four seas, one domain. Spirit Land; things rely on growth. Xian Chi descended; great fold feasted. Black oxen; paired jade. Nine realms secure; achievement broad.
74
社稷歌辭四首：迎送神、登歌，與方丘同。
Soil-grain four sets—as Square Mound.
75
春祈社，奏《諴夏》辭：
Spring soil god—Sincere Summer:
76
厚地開靈，方壇崇祀。 達以風露，樹之松梓。 勾萌既申，芟柞伊始。 恭祈粢盛，載膺休祉。
Thick earth; square altar. Wind and dew; pine planted. Sprouts extended; oak cutting begins. Praying for grain; bearing blessing.
77
春祈稷，奏《諴夏》辭：
Spring grain god—Sincere Summer:
78
粒食興教，播厥有先。 尊神致潔，報本惟虔。 瞻榆束耒，望杏開田。 方憑戩福，佇詠豐年。
Grain raises teaching; sowing first. Honoring spirit; repaying root. Elm and plow; apricot and fields. Awaiting blessing; chanting abundant year.
79
秋報社，奏《諴夏》辭：
Autumn soil god—Sincere Summer:
80
北墉申禮，單出表誠。 豐犧入薦，華樂在庭。 原隰既平，泉流又清。 如雲已望，高廩斯盈。
North wall rite; sincerity shown. Rich oxen; music in court. Lowlands level; springs clear. Clouds hoped; granaries full.
81
秋報稷，奏《諴夏》辭：
Autumn grain god—Sincere Summer:
82
人天務急，農亦勤止。 或颭或藨，惟璟惟芑。 涼風戒時，歲雲秋矣。 物成則報，功施必祀。
Heaven-human urgent; farming diligent. Bent and straight; millet varieties. Cool wind warns; year is autumn. Things complete; achievement sacrifices.
83
先農，奏《諴夏》辭：迎送神，與方丘同。
Prior Agriculture Sincere Summer—welcome as Square Mound.
84
農祥晨晰，土膏初起。 春原俶載，青壇致祀。 斂蹕長阡，回旌外壝。 房俎飾薦，山罍沈滓。 親事硃弦，躬持黛耜。 恭神務穡，受釐降祉。
Farming auspice at dawn; earth paste rises. Spring sowing; cinnabar altar. Reining at paths; banners outside mound. Meat stands adorned; jars sink dregs. Cinnabar strings; indigo plow. Reverent spirit; blessing descends.
85
先聖先師，奏《諴夏》辭：
Prior Sage and Prior Master—Sincere Summer:
86
經國立訓，學重教先。 《三墳》肇冊，《五典》留篇。 開鑿理著，陶鑄功宣。 東膠西序，春誦夏弦。 芳塵載仰，祀典無騫。
State teaching; learning first. Three Mounds compiled; Five Canons remain. Principles displayed; achievement proclaimed. Eastern glue; spring recitation, summer strings. Fragrant dust admired; canon unbroken.
87
太廟歌辭：
Grand Temple song texts:
88
迎神歌辭：
Spirit welcome:
89
務本興教，尊神體國。 霜露感心，享祀陳則。 官聯式序，奔走在庭。 几筵結慕，裸獻惟誠。 嘉樂載合，神其降止。 永言保之，錫以繁祉。
Root and teaching; honor spirit. Frost and dew; feasting rule. Offices ordered; running in court. Tables bound; bare offering sincere. Fine music; spirit descends. Forever preserve; abundant blessing.
90
登歌辭：
Ascent hymn:
91
孝熙嚴祖，師象敬宗。 惟皇肅事，有來邕邕。 雕梁霞復，繡橑雲重。 觀德自感，奉璋伊恭。 彝斝盡飾，羽綴有容。 升歌發藻，景福來從。
Filial ancestors; reverent model. Emperor solemn; coming harmonious. Carved beams; cloud-heavy rafters. Observing virtue; jade reverent. Vessels adorned; feather countenance. Ascent sends brilliance; fortune follows.
92
俎入歌辭：郊丘、社、廟同。
Meat stand entry—suburban, soil, temple same.
93
祭本用初，祀由功舉。 駿奔咸會，供神有序。 明酌盈樽，豐犧實俎。 幽金既薦，繢錯維旅。 享由明德，香非稷黍。 載流嘉慶，克固鴻緒。
Sacrifice root; sacrifice achievement. Swift running; spirits ordered. Libation fills; oxen fill stands. Dark metal offered; painted host. Feasting bright virtue; not millet alone. Excellent celebration; great thread secured.
94
皇高祖太原府君神室歌辭：
Taiyuan Prefecture Lord spirit chamber:
95
締基發祥，肇源興慶。 乃仁乃哲，克明克令。 庸宣國圖，善流人詠。 開我皇業，七百同盛。
Foundation tied; celebration risen. Benevolent, wise, bright, commanding. State design declared; people chant. Imperial enterprise; seven hundred flourishing.
96
皇曾祖康王神室歌辭：
Kang Prince spirit chamber:
97
皇條俊茂，帝系靈長。 豐功疊軌，厚利重光。 福由善積，代以德彰。 嚴恭盡禮，永錫無疆。
Imperial branch; spirit long. Layered achievement; doubled benefit. Fortune from goodness; virtue displayed. Strict reverence; boundless bestowal.
98
皇祖獻王神室歌辭：
Prince of Offerings spirit chamber:
99
盛才必達，丕基增舊。 涉渭同符，遷邠等構。 弘風邁德，義高道富。 神鑒孔昭，王猷克懋。
Abundant talent; foundation increased. Crossing Wei; moving Bin. Expanding wind; high righteousness. Spirit mirror bright; plan vigorous.
100
皇考太祖武元皇帝神室歌辭：
Martial Origin Emperor spirit chamber:
101
深仁冥著，至道潛敷。 皇矣太祖，耀名天衢。 翦商隆祚，奄宅隋區。 有命既集，誕開靈符。
Deep benevolence; utmost Way spread. Great Grand Ancestor; name in heaven. Cutting Shang; Sui region. Mandate gathered; spirit token.
102
飲福酒歌辭：郊丘、社、廟同。
Blessing wine—suburban, soil, temple same.
103
神道正直，祀事有融。 肅邕備禮，莊敬在躬。 羞燔已具，奠酹將終。 降祥惟永，受福無窮。
Spirit Way upright; sacrifice harmonious. Solemn harmony; grave reverence. Roasted offerings; libation ending. Auspicious forever; fortune without end.
104
送神歌辭：
Spirit send-off:
105
饗禮具，利事成。 佇旒冕，肅簪纓。 金奏終，玉俎撤。 盡孝敬，窮嚴潔。 人祗分，哀樂半。 降景福，憑幽贊。
Feasting complete; affair done. Tassels and crown; solemn hairpins. Metal ends; stands withdrawn. Exhaust reverence; strict purity. Human and spirit; sorrow and joy half. Bright fortune; dark assistance.
106
元會：
Great Assembly:
107
皇帝出入殿庭，奏《皇夏》辭：郊丘、社、廟同。
Emperor hall entry—Bright Summer as suburban rites.
108
深哉皇度，粹矣天儀。 司陛整蹕，式道先馳。 八屯霧擁，七萃雲披。 退揚進揖，步矩行規。 勾陳乍轉，華蓋徐移。 羽旗照耀，珪組陸離。 居高念下，處安思危。 照臨有度，紀律無虧。
Deep measure; pure heavenly form. Escort arranged; way cleared. Eight encampments; seven picked. Retiring and advancing bows; step rules. Gouchen turns; canopy moves. Feather banners; jade spread. High thinking low; secure thinking danger. Oversight measured; law without loss.
109
皇太子出入，奏《肆夏》辭：
Crown Prince—Display Summer:
110
惟熙帝載，式固王猷。 體乾建本，是曰孟侯。 馳道美漢，寢門稱周。 德心既廣，道業惟優。 傅保斯導，賢才與遊。 瑜玉發響，畫輪停輈。 皇基方峻，七鬯恆休。
Splendid record; securing plan. Embodying Qian; eldest son. Procession praised Han; bedchamber Zhou. Virtuous heart broad; Way superior. Tutor guides; talents roam. Jade tone; wheel stops. Foundation lofty; seven libations secure.
111
食舉歌辭八首：
Dish-raising songs, eight sets:
112
燔黍設教禮之始，五味相資火為紀。 平心和德在甘旨，牢羞既陳鐘石俟，以斯而禦揚盛軌。
Roasting millet begins rites; five flavors, fire canon. Balanced heart; bells wait—raising flourishing track.
113
養身必敬禮食昭，時和歲阜庶物饒。 鹽梅既濟鼎鉉調，特以膚臘加臐膮，威儀濟濟懋皇朝。
Nourishing body; seasons abundant. Salt harmonized; aweful rites, flourishing court.
114
饔人進羞樂侑作，川潛之膾雲飛勣。 甘酸有宜芬芍藥，金敦玉豆盛交錯，禦鼓既聲安以樂。
Cooks advance shame; minced river fish. Sweet and sour; gold and jade—peace and joy.
115
玉食惟後膳必珍，芳菰既潔重秬新。 是能安體又調神，荊包畢至海貢陳，用之有節德無垠。
Jade food rare; fragrant rice pure. Body settled; sea tribute—measured virtue.
116
嘉羞入饋猶化謐，沃土名滋帝台實。 陽華之榮雕陵栗，鼎俎芬芳豆籩溢，通幽致遠車書一。
Fine offering; emperor's terrace fruit. Tripod fragrant; chariots and writing one.
117
道高物備食多方，山膚既善水豢良。 桓蒲在位簨業張，加籩折俎爛成行，恩風下濟道化光。
Way high; mountain and water meats fine. Frames spread; grace descends, Way bright.
118
禮以安國仁為政，具物必陳饔牢盛。 罝罘斤斧順時令，懷生熙熙皆得性，於茲宴喜流嘉慶。
Rites settle state; feast pens abundant. Seasonal nets and axes; banquet joy flows.
119
皇道四達禮樂成，臨朝日舉表時平。 甘芳既飫醑以清，揚休玉卮正性情，隆我帝載永明明。
Imperial Way complete; court displays peace. Sweet wine clear; jade cup; record forever bright.
120
上壽歌辭：
Longevity toast:
121
俗已乂，時又良。 朝玉帛，會衣裳。 基同北辰久，壽共南山長。 黎元鼓腹樂未央。
Customs governed; time good. Jade and silk; robes met. Foundation long as North Star; life as South Mountain. People drum bellies—joy without end.
122
宴群臣登歌辭：
Ministers' banquet ascent hymn:
123
皇明馭曆，仁深海縣。 載擇良辰，式陳高宴。 隅隅卿士，昂昂侯甸。 車旗煜爚，衣纓蔥蒨。 樂正展懸，司宮飾殿。 三揖稱禮，九賓為傳。 圓鼎臨碑，方壺在面。 《鹿鳴》成曲，嘉魚入薦。 筐篚相輝，獻酬交遍。 飲和飽德，恩風長扇。
Imperial brightness; benevolence deep. Auspicious day; grand banquet. Ministers lofty; marches lofty. Car banners blazing; tassels verdant. Music spreads; hall adorned. Three bows; nine guests. Round tripod; square pot. Deer Call; fine fish offered. Baskets shine; offering crosses all. Drinking harmony; grace wind fans.
124
文舞歌辭：
Cultured dance:
125
天眷有屬，後德惟明。 君臨萬宇，昭事百靈。 濯以江漢，樹之風聲。 罄地必歸，窮天皆至。 六戎仰朔，八蠻請吏。 煙雲獻彩，龜龍表異。 緝和禮樂，變理陰陽。 功由舞見，德以歌彰。 兩儀同大，日月齊光。
Heaven's favor; later virtue bright. Ten thousand realms; hundred spirits. Yang and Han washing; wind reputation. Earth returns; sky arrives. Six barbarians; eight savages request officials. Cloud smoke; turtle and dragon. Rites and music; yin and yang ordered. Achievement in dance; virtue in song. Two principles great; sun and moon equal.
126
武舞歌辭：
Martial dance:
127
惟皇禦宇，惟帝乘乾。 五材並用，七德兼宣。 平暴夷險，拯溺救燔。 九域載安，兆庶斯賴。 績地之厚，補天之大。 聲隆有截，化覃無外。 鼓鐘既奮，干戚攸陳。 功高德重，政謐化淳。 鴻休永播，久而彌新。
Emperor governs; mounts Qian. Five materials; seven virtues. Pacifying violence; saving drowned. Nine domains secure; people rely. Earth's thickness; heaven's greatness. Reputation lofty; transformation boundless. Drums vigorous; shields displayed. Achievement high; transformation pure. Great blessing spread; ever new.
128
大射登歌辭：
Great archery ascent hymn:
129
道謐金科照，時乂玉條明。 優賢饗禮洽，選德射儀成。 鑾旗鬱雲動，寶軑儼天行。 巾車整三乏，司裘飾五正。 鳴球響高殿，華鐘震廣庭。 烏號傳昔美，淇衛著前名。 揖讓皆時傑，升降盡朝英。 附枝觀體定，杯水睹心平。 豐觚既來去，燔炙復從橫。 欣看禮樂盛，喜遇黃河清。
Way tranquil; golden canon shines. Honoring worthies; shooting rite complete. Phoenix banners; heaven traveling. Headscarf cart; fur officer. Sounding sphere; flower bell. Black bow ancient; Qi and Wei renowned. Yielding heroes; court elites. Attached branch; cup water level heart. Rich goblets; roasted meat. Rites flourishing; Yellow River clear.
130
《凱樂》歌辭三首：
Triumph Music, three sets:
131
述帝德：
Describing imperial virtue:
132
於穆我後，睿哲欽明。 膺天之命，載育群生。 開元創曆，邁德垂聲。 朝宗萬宇，祗事百靈。 煥乎皇道，昭哉帝則。 惠政滂流，仁風四塞。 淮海未賓，江湖背德。 運籌必勝，濯征斯克。 八荒務卷，四表雲褰。 雄圖盛略，邁後光前。 寰區已泰，福祚方延。 長歌凱樂，天子萬年。
Grand sovereign; sage and bright. Heaven's mandate; nurturing all. Opening calendar; surpassing virtue. Ten thousand realms; hundred spirits. Brilliant Way; bright rule. Grace torrent; benevolent wind. Huai and sea unsubmitted; rivers turn. Planning wins; campaign conquers. Eight wilds rolled; four borders drawn. Heroic design; surpassing later. Realms peaceful; fortune extending. Long song Triumph—Son of Heaven ten thousand years.
133
述諸軍用命：
Describing armies obeying orders:
134
帝德遠覃，天維宏布。 功高雲天，聲隆《韶《護》。 惟彼海隅，未從王度。 皇赫斯怒，元戎啟路。 桓桓猛將，赳赳英謨。 攻如燎髮，戰似摧枯。 救茲塗炭，克彼妖逋。 塵清兩越，氣靜三吳。 鯨鯢已夷，封疆載辟。 班馬蕭蕭，歸旌弈弈。 雲台表效，司勳紀績。 業並山河，道固金石。
Imperial virtue; heavenly net spread. Achievement sky-high; reputation as Shao and Hu. Sea corner not following royal measure. Imperial anger; army opens road. Fierce generals; heroic plans. Attack like burning hair; battle crushing wood. Saving sludge; conquering fugitives. Two Yues cleared; three Wus tranquil. Whales pacified; borders opened. Rank horses; dense banners. Cloud Terrace merit; achievement recorded. Enterprise as mountains; Way as stone.
135
述天下太平：
Describing all under Heaven peaceful:
136
阪泉軒德，丹浦堯勳。 始實以武，終乃以文。 嘉樂聖主，大哉為君。 出師命將，廓定重氛。 書軌既並，干戈是戢。 弘風設教，政成人立。 禮樂聿興，衣裳載緝。 風雲自美，嘉祥爰集。 皇皇聖政，穆穆神猷。 牢籠虞夏，度越姬劉。 日月比曜，天地同休。 永清四海，長帝九州。
Banquan virtue; Red Pond merit. Beginning martial; ending culture. Fine music sage—great lord. Issuing army; fixing miasma. Writing together; shields stored. Expanding teaching; people established. Rites rise; garments stitched. Wind and clouds beautiful; auspice gathered. Brilliant governance; solemn plan. Caging Yu and Xia; crossing Ji and Liu. Sun and moon; Heaven and Earth rest. Forever clearing seas; long emperoring provinces.
137
皇后房內歌辭：
Empress inner-chamber:
138
至順垂典，正內弘風。 母儀萬國，訓范六宮。 求賢啟化，進善宣功。 家邦載序，道業斯融。
Utmost obedience; expanding inner wind. Mother model; six palaces instructed. Seeking worthies; advancing goodness. Home and state ordered; Way harmonized.
139
大業元年，煬帝又詔修高廟樂，曰：「古先哲王，經國成務，莫不因人心而制禮，則天明而作樂。 昔漢氏諸廟別所，樂亦不同，至於光武之後，始立共堂之制。 魏文承運，初營廟寢，太祖一室，獨為別宮。 自茲之後，兵車交爭，製作規模，日不暇給。 伏惟高祖文皇帝，功侔造物，道濟生靈，享薦宜殊，樂舞須別。 今若月祭時饗，既與諸祖共庭，至於舞功，獨於一室，交違禮意，未合人情。 其詳議以聞。」 有司未及陳奏，帝又以禮樂之事，總付秘書監柳顧言、少府副監何稠、著作郎諸葛潁、秘書郎袁慶隆等，增多開皇樂器，大益樂員，郊廟樂懸，並令新制。 顧言等後親，帝復難於改作，其議竟寢。 諸郊廟歌辭，亦並依舊制，唯新造《高祖廟歌》九首。 今亡。 又遣秘書省學士定殿前樂工歌十四首，終大業世，每舉用焉。 帝又詔博訪知鐘律歌管者，皆追之。 時有曹士立、裴文通、唐羅漢、常寶金等，雖知操弄，雅鄭莫分，然總付太常，詳令刪定。 議修一百四曲，其五曲在宮調，黃鐘也； 一曲應調，大呂也； 二十五曲商調，太簇也； 一十四曲角調，姑洗也； 一十三曲變徵調，蕤賓也； 八曲徵調，林鐘也； 二十五曲羽調，南呂也； 一十三曲變宮調，應鐘也。 其曲大抵以詩為本，參以古調，漸欲播之弦歌，被之金石。 仍屬戎車，不遑刊正，禮樂之事，竟無成功焉。
Daye 1, Yangdi issued an edict High Temple music revision—sage kings made rites from hearts, music from Heaven. Han temples separate; shared hall began after Guangwu. Wei Wen built temples—Grand Ancestor's chamber separate. From then war contended; regulation had no leisure. Grand Ancestor's achievement matched creation—music and dance should differ. Monthly sacrifice shares court but dance alone in one chamber—contrary to rite and feeling. Please deliberate and report. Offices had not reported when the Emperor entrusted music to Liu Yiyan, He Chou, and others—new instruments and musicians. The Emperor found revision difficult; the proposal died. Suburban and temple lyrics kept old form; nine new Grand Ancestor Temple songs. Now lost. Fourteen hall-front songs fixed—used through Daye. Edict summoned all who knew pitch pipes and song pipes. Cao Shili and others knew performance but not elegant from popular—entrusted to Grand Music Master. One hundred four pieces proposed: five in palace mode, Yellow Bell; one responding mode, Great Pitch; twenty-five commercial mode, Great Cluster; fourteen horn mode, Maiden Wash; thirteen altered bell-note, Flourishing Guest; eight bell-note mode, Forest Bell; twenty-five feather mode, Southern Pitch; thirteen altered palace, Responding Bell. Pieces took poems as base, consulting ancient modes for string and metal. War left no leisure to publish—rites and music achieved nothing.
140
自漢至梁、陳樂工，其大數不相逾越。 及周並齊，隋並陳，各得其樂工，多為編戶。 至六年，帝乃大括魏、齊、周、陳樂人子弟，悉配太常，並於關中為坊置之，其數益多前代。 顧言等又奏，仙都宮內，四時祭享，還用太廟之樂，歌功論德，別制其辭。 七廟同院，樂依舊式。 又造饗宴殿庭宮懸樂器，布陳簨虡，大抵同前，而於四隅各加二建鼓、三案。 又設十二鎛，鎛別鐘磬二架，各依辰位為調，合三十六架。 至於音律節奏，皆依雅曲，意在演令繁會，自梁武帝之始也，開皇時，廢不用，至是又復焉。 高祖時，宮懸樂器，唯有一部，殿庭饗宴用之。 平陳所獲，又有二部，宗廟郊丘分用之。 至是並于樂府藏而不用。 更造三部：五郊二十架，工一百四十三人。 廟庭二十架，工一百五十人。 饗宴二十架，工一百七人。 舞郎各二等，並一百三十二人。
Han through Liang-Chen musician numbers did not much differ. Zhou took Qi musicians; Sui took Chen's—mostly registered households. Year 6 gathered Wei-Qi-Zhou-Chen musicians into Guanzhong wards—exceeding former ages. Immortal Capital sacrifices used Grand Temple music with separate merit lyrics. Seven temples one courtyard; old music form. Banquet hall suspension like before but four corners gained set drums and stands. Twelve bo bells, thirty-six frames by branch position. Pitch and rhythm followed elegant pieces—Liang style restored after Kaihuang abandonment. Gaozu had one palace suspension set for banquets. Pacifying Chen brought two more sets for temple and suburb. All stored unused in the Music Office. Three new sets: Five Suburbs 20 frames, 143 workers. Temple court 20 frames, 150 workers. Banquet 20 frames, 107 workers. Dance youths two grades, 132 persons.
141
顧言又增房內樂，益其鐘磬，奏議曰：「房內樂者，主為王后弦歌諷誦而事君子，故以房室為名。 燕禮饗飲酒禮，亦取而用也。 故云：'用之鄉人焉，用之邦國焉。 '文王之風，由近及遠，鄉樂以感人，須存雅正。 既不設鐘鼓，義無四懸，何以取正於婦道也。 《磬師職》云：'燕樂之鐘磬。」 鄭玄曰：'燕樂，房內樂也，所謂陰聲，金石備矣。 '以此而論，房內之樂，非獨弦歌，必有鐘磬也。 《內宰職》云：'正後服位，詔其禮樂之儀。 '鄭玄云：'薦撤之禮，當與樂相應。 '薦撤之言，雖施祭祀，其入出賓客，理亦宜同。 請以歌鐘歌磬，各設二虡，土革絲竹並副之，並升歌下管，總名房內之樂。 女奴肄習，朝燕用之。」 制曰：「可。」 於是內宮懸二十虡。 其鎛鐘十二，皆以大磬充。 去建鼓，餘飾並與殿庭同。
Yiyan increased inner-chamber music: queen's string songs serving the lord. Banquet and drinking rites also use it. Use among village people; use among the state. King Wen's winds from near to far—village music must stay elegant. Without bells and drums, how can women's Way be corrected? Chime Master: banquet music bells and chimes. Zheng Xuan: banquet music is inner-chamber yin sound with metal and stone. Inner-chamber music requires bells and chimes, not strings alone. Inner Steward: correct queen's position; announce rites and music. Zheng Xuan: offering and withdrawal should match music. Offering and withdrawal logic applies to guests as to sacrifice. Song bells and chimes two frames each; ascent and lower pipes—inner-chamber music. Female servants trained for court banquets. Edict: Approved. Inner palace suspension: twenty frames. Twelve bo bells filled with large chimes. Set drums removed; ornament as hall court.
142
皇太子軒懸，去南面，設三鎛鐘于辰醜申，三建鼓亦如之。 編鐘三虡，編磬三虡，共三鎛鐘為九虡。 其登歌減者二人。 簨虡金三博山。 樂器應漆者硃漆之。 其二舞用六佾。
Crown Prince suspension: south removed; bo bells and set drums at chen, chou, shen. Three bell frames, three chime frames—nine with bo bells. Ascent singers reduced by two. Frames: gold three-peaked mountains. Lacquered instruments: cinnabar. Two dances: six rows each.
143
其雅樂鼓吹，多依開皇之故。 雅樂合二十器，今列之如左：
Court ritual and wind-and-drum mostly followed Kaihuang. Court ritual music: twenty instruments listed below:
144
金之屬二：一曰鎛鐘，每鐘懸一簨虡，各應律呂之音，即黃帝所命伶倫鑄十二鐘，和五音者也。 二曰編鐘，小鐘也，各應律呂，大小以次，編而懸之。 上下皆八，合十六鐘，懸於一簨虡。
Metal: bo bell—Ling Lun's twelve bells harmonizing five tones. Strung bells—small bells strung by pitch size. Upper and lower eight each—sixteen on one frame.
145
石之屬一：曰磬，用玉若石為之，懸如編鐘之法。
Stone: chime of jade or stone, suspended like bells.
146
絲之屬四：一曰琴，神農制為五弦，周文王加二弦為七者也。 二曰瑟，二十七弦，伏犧所作者也。 三曰築，十二弦。 四曰箏，十三弦，所謂秦聲，蒙恬所作者也。
Silk: qin—Shennong five strings; Zhou Wen seven. Se—twenty-seven strings by Fuxi. Zhu—twelve strings. Zheng—thirteen strings, Qin sound by Meng Tian.
147
竹之屬三：一曰簫，十六管，長二尺，舜所造者也。 二曰篪，長尺四寸，八孔，蘇公所作者也。 三曰笛，凡十二孔，漢武帝時丘仲所作者也。 京房備五音，有七孔，以應七聲。 黃鐘之笛，長二尺八寸四分四厘有奇，其餘亦上下相次，以為長短。
Bamboo: xiao—sixteen pipes by Shun. Chi—eight holes by Lord Su. Di—twelve holes by Qiu Zhong under Han Wudi. Jing Fang: seven holes for seven sounds. Yellow Bell di length set; others sequenced.
148
匏之屬二：一曰笙，二曰竽，並女媧之所作也。 笙列管十九，于匏內施簧而吹之。 竽大，三十六管。
Gourd: sheng and yu by Nüwa. Sheng: nineteen pipes with reeds in gourd. Yu large: thirty-six pipes.
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土之屬一：曰塤，六孔，暴辛公之所作者也。
Earth: xun—six holes by Duke Bao Xin.
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革之屬五：一曰建鼓，夏後氏加四足，謂之足鼓。 殷人柱貫之，謂之楹鼓。 周人懸之，謂之懸鼓。 近代相承，植而貫之，謂之建鼓。 蓋殷所作也。 又棲翔鷺於其上，不知何代所加。 或曰，鵠也，取其聲揚而遠聞。 或曰，鷺，鼓精也。 越王勾踐擊大鼓于雷門以壓吳。 晉時移于建康，有雙鷺哾鼓而飛入雲。 或曰，皆非也。 《詩》云：「振振鷺，鷺於飛。 鼓咽咽，醉言歸。」 古之君子，悲周道之衰，頌聲之輟，飾鼓以鷺，存其風流。 未知孰是。 靈鼓、靈鞀，併入面。 雷鼓、雷鞀，六面。 路鼓、路鞀，四面。 鼓以桴擊，鞀貫其中而手搖之。 又有節鼓，不知誰所造也。
Leather: set drum—Xia foot drum. Yin pillar drum. Zhou suspended drum. Recent ages: planted and pierced set drum. Likely Yin invention. Flying egrets atop—age unknown. Some say swan—for far-heard sound. Some say egret is drum essence. Goujian struck great drums at Thunder Gate against Wu. Jiankang: paired egrets cried at drums and flew away. Some say all wrong. Odes: "Fluttering egrets in flight. Drums murmur; drunk words homeward. Ancient gentlemen ornamented drums with egrets, preserving elegance. Unknown which is correct. Spirit drums and hand-drums: eight faces. Thunder drums: six faces. Road drums: four faces. Drums mallet-struck; hand-drums hand-shaken. Beat-keeping drums—maker unknown.
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木之屬二：一曰柷，如桶，方二尺八寸，中有椎柄，連底動之，令左右擊，以節樂。 二曰敔，如伏獸，背有二十七鉏鋙，以竹長尺，橫櫟之，以止樂焉。
Wood: zhu—bucket-shaped beat keeper. Yu—crouching beast back struck to stop music.
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簨虡，所以懸鐘磬，橫曰簨，飾以鱗屬，植曰虡，飾以臝及羽屬。 簨加木板於上，謂之業。 殷人刻其上為崇牙，以掛懸。 周人畫繒為紵，戴之以璧，垂五采羽於其下，樹於簨虡之角。 近代又加金博山於簨上，垂流蘇，以合采羽。 五代相因，同用之。
Frames suspend bells: horizontal sun, vertical ju. Sun adds board atop—the ye. Yin carved lofty teeth for hanging. Zhou painted silk, jade disk, five-color plumes at corners. Recent ages added gold peaks and tassels. Five dynasties used alike.
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始開皇初定令，置《七部樂》：一曰《國伎》，二曰《清商伎》，三曰《高麗伎》，四曰《天竺伎》，五曰《安國伎》，六曰《龜茲伎》，七曰《文康伎》。 又雜有疏勒、扶南、康國、百濟、突厥、新羅、倭國等伎。 其後牛弘請存《鞞》、《鐸》、《巾》、《拂》等四舞，與新伎並陳。 因稱：「四舞，按漢、魏以來，並施於宴饗。 《鞞舞》，漢巴、渝舞也。 至章帝造《鞞舞辭》雲'關東有賢女'，魏明代漢曲雲'明明魏皇帝'。 《鐸舞》，傅玄代魏辭雲'振鐸鳴金'，成公綏賦雲'《鞞鐸》舞庭，八音並陳'是也。 《拂舞》者，沈約《宋志》云：'吳舞，吳人思晉化。 '其辭本雲'白符鳩'是也。 《巾舞》者，《公莫舞》也。 伏滔云：'項莊因舞，欲劍高祖，項伯紆長袖以扞其鋒，魏、晉傳為舞焉。 '檢此雖非正樂，亦前代舊聲。 故梁武報沈約云：'《鞞》、《鐸》、《巾》、《拂》，古之遺風。 '楊泓云：'此舞本二八人，桓玄即真，為八佾。 後因而不改。 '齊人王僧虔已論其事。 平陳所得者，猶充八佾，於懸內繼二舞後作之，為失斯大。 檢四舞由來，其實已久。 請並在宴會，與雜伎同設，於西涼前奏之。」 帝曰：「其聲音節奏及舞，悉宜依舊。 惟舞人不須捉鞞拂等。」 及大業中，煬帝乃定《清樂》、《西涼》、《龜茲》、《天竺》、《康國》、《疏勒》、《安國》、《高麗》、《禮畢》，以為《九部》。 樂器工衣創造既成，大備於茲矣。
Kaihuang established Seven Department Music: State, Qing Shang, Goguryeo, Tianzhu, An, Kucha, Wenkang. Also mixed: Shule, Funan, Kang, Baekje, Turkic, Silla, Wa. Niu Hong preserved Shield, Duo, Scarf, Whisk dances with new varieties. Four dances deployed at banquets since Han and Wei. Shield Dance—Han Ba-Yu dance. Zhang's Shield lyrics "worthy woman east of pass"; Wei Ming "bright Wei emperor." Duo Dance—Fu Xuan "shake duo ring metal"; Cheng Gong Sui's court description. Whisk Dance—Shen Yue: Wu dance, Wu people thought of Jin. Lyrics originally "white dove token." Scarf Dance is Gongmo Dance. Fu Tao: Xiang Zhuang's sword dance; Xiang Bo's sleeves—transmitted as dance. Though not orthodox, it is old sound. Liang Wu: Shield, Duo, Scarf, Whisk—ancient winds. Yang Hong: originally sixteen dancers; Huan Xuan made eight rows. Later unchanged. Wang Sengqian discussed it. Chen's eight-row four dances after the two dances within suspension—great error. Four dances long established. Please perform four dances at banquets before Western Liang. Emperor: sound, rhythm, dance follow the old. Only dancers need not hold shield and whisk. Daye: Yangdi fixed Nine Departments including Clear Music and Rites Complete. Instruments, workers, robes newly made—complete.
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《清樂》其始即《清商三調》是也，並漢來舊曲。 樂器形制，並歌章古辭，與魏三祖所作者，皆被於史籍。 屬晉朝遷播，夷羯竊據，其音分散。 苻永固平張氏，始於涼州得之。 宋武平關中，因而入南，不復存於內地。 及平陳後獲之。 高祖聽之，善其節奏，曰：「此華夏正聲也。 昔因永嘉，流于江外，我受天明命，今復會同。 雖賞逐時遷，而古致猶在。 可以此為本，微更損益，去其哀怨，考而補之。 以新定律呂，更造樂器。」 其歌曲有《陽伴》，舞曲有《明君》、《並契》。 其樂器有鐘、磬、琴、瑟、擊琴、琵琶、箜篌、築、箏、節鼓、笙、笛、簫、篪、塤等十五種，為一部。 工二十五人。
Clear Music is Clear Shang Three Modes—Han old pieces. Instrument forms and ancient lyrics recorded in histories. Jin moved east; sounds scattered. Fu Yonggu obtained them at Liang province. Song Wu brought them south, lost in inner lands. Pacifying Chen recovered them. Gaozu: "This is Huaxia orthodox sound. Through Yongjia it flowed out; now reunited under mandate. Time shifts; ancient flavor remains. Use as foundation; remove grief; examine and supplement. New pitch law; new instruments. Songs: Yang Companion; dances: Bright Lord, Combined Contract. Fifteen instruments including bell, pipa, konghou—one department. Twenty-five workers.
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《西涼》者，起苻氏之末，呂光、沮渠蒙遜等，據有涼州，變龜茲聲為之，號為秦漢伎。 魏太武既平河西得之，謂之《西涼樂》。 至魏、周之際，遂謂之《國伎》。 今曲項琵琶、豎頭箜篌之徒，並出自西域，非華夏舊器。 《楊澤新聲》、《神白馬》之類，生於胡戎。 胡戎歌非漢魏遺曲，故其樂器聲調，悉與書史不同。 其歌曲有《永世樂》，解曲有《萬世豐》舞，曲有《于闐佛曲》。 其樂器有鐘、磬、彈箏、搊箏、臥箜篌、豎箜篌、琵琶、五弦、笙、簫、大篳篥、長笛、小篳篥、橫笛、腰鼓、齊鼓、擔鼓、銅拔、貝等十九種，為一部。 工二十七人。
Western Liang: Lü Guang changed Kucha sound—Qin-Han variety. Wei Taiwu called it Western Liang Music. Later called State Variety. Curved pipa and vertical konghou are Western—not Huaxia old. Yangze New Sound and Spirit White Horse born among barbarians. Barbarian songs differ from Han-Wei and from histories. Songs: Eternal World Music; interludes: Myriad Age Abundance; dance: Khotan Buddha. Nineteen instruments including pipa, bili, waist drum—one department. Twenty-seven workers.
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《龜茲》者，起自呂光滅龜茲，因得其聲。 呂氏亡，其樂分散，後魏平中原，復獲之。 其聲後多變易。 至隋有《西國龜茲》、《齊朝龜茲》、《土龜茲》等，凡三部。 開皇中，其器大盛於閭幹。 時有曹妙達、王長通、李士衡、郭金樂、安進貴等，皆妙絕弦管，新聲奇變，朝改暮易，持其音技，估衒公王之間，舉時爭相慕尚。 高祖病之，謂群臣曰：「聞公等皆好新變，所奏無復正聲，此不祥之大也。 自家形國，化成人風，勿謂天下方然，公家家自有風俗矣。 存亡善惡，莫不系之。 樂感人深，事資和雅，公等對親賓宴飲，宜奏正聲； 聲不正，何可使兒女聞也！」 帝雖有此敕，而竟不能救焉。 煬帝不解音律，略不關懷。 後大制豔篇，辭極淫綺。 令樂正白明達造新聲，創《萬歲樂》、《藏鉤樂》、《七夕相逢樂》、《投壺樂》、《舞席同心髻》、《玉女行觴》、《神仙留客》、《擲磚續命》、《鬥雞子》、《鬥百草》、《泛龍舟》、《還舊宮》、《長樂花》及《十二時》等曲，掩抑摧藏，哀音斷絕。 帝悅之無已，謂幸臣曰：「多彈曲者，如人多讀書。 讀書多則能撰書，彈曲多即能造曲。 此理之然也。」 因語明達云：「齊氏偏隅，曹妙達猶自封王。 我今天下大同，欲貴汝，宜自修謹。」 六年，高昌獻《聖明樂》曲，帝令知音者于館所聽之，歸而肄習。 及客方獻，先於前奏之，胡夷皆驚焉。 其歌曲有《善善摩尼》，解曲有《婆伽兒》，舞曲有《小天》，又有《疏勒鹽》。 其樂器有豎箜篌、琵琶、五弦、笙、笛、簫、篳篥、毛員鼓、都曇鼓、答臘鼓、腰鼓、羯鼓、雞婁鼓、銅拔、貝等十五種，為一部。 工二十人。
Kucha: Lü Guang destroyed Kucha and took its sound. Lü fell; Later Wei recovered Kucha music. Its sound later changed much. Sui had three Kucha departments. Kaihuang: instruments flourished in Lügan. Cao Miaoda and others wondrous in strings—lords competed to admire. Gaozu troubled: new changes lack orthodox sound—inauguspicious. Each family has its own customs—not all under Heaven. Survival and good tied to this. Music moves deeply—play orthodox sound before kin and guests. Non-orthodox sound—how may children hear! Edict could not be remedied. Yangdi ignored pitch law. Later sensuous licentious pieces. Bai Mingda created licentious pieces—Ten Thousand Years, Floating Dragon Boat, Twelve Hours, etc. Emperor: many pieces like many books. Many books enable composing; many pieces enable making. So runs the principle. Qi corner—Cao Miaoda still made himself king. Today great unity—I wish to honor you; be careful. Year 6 Gaochang presented Holy Bright Music. Played before guests—barbarians startled. Songs: Good Good Mani; interlude Good Child; dance Little Heaven; Shule Salt. Fifteen Kucha instruments including jie drum, chicken basket drum. Twenty workers.
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《天竺》者，起自張重華據有涼州，重四譯來貢男伎，《天竺》即其樂焉。 歌曲有《沙石疆》，舞曲有《天曲》。 樂器有鳳首箜篌、琵琶、五弦、笛、銅鼓、毛員鼓、都曇鼓、銅拔、貝等九種，為一部。 工十二人。
Tianzhu: Zhang Chonghua's translations brought male variety. Songs: Sand Stone Border; dances: Heaven Melody. Nine Tianzhu instruments including phoenix-head konghou. Twelve workers.
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《康國》，起自周武帝娉北狄為後，得其所獲西戎伎，因其聲。 歌曲有《戢殿農和正》，舞曲有《賀蘭缽鼻始》、《末奚波地》、《農惠缽鼻始》、《前拔地惠地》等四曲。 樂器有笛、正鼓、加鼓、銅拔等四種，為一部。 工七人。
Kang Kingdom: Zhou Wudi's Di consort brought Western Rong variety. Kang songs and four dances including Helan Bowl Nose Start. Four Kang instruments: di, drums, cymbal. Seven workers.
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《疏勒》、《安國》、《高麗》，並起自後魏平馮氏及通西域，因得其伎。 後漸繁會其聲，以別于太樂。
Shule, An, Goguryeo from Later Wei and Western Regions. Later sounds distinguished from Grand Music.
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《疏勒》，歌曲有《亢利死讓樂》，舞曲有《遠服》，解曲有《鹽曲》。 樂器有豎箜篌、琵琶、五弦、笛、簫、篳篥、答臘鼓、腰鼓、羯鼓、雞婁鼓等十種，為一部，工十二人。
Shule: Kang Li Death Yield; dance Distant Service; interlude Salt. Ten Shule instruments, twelve workers.
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《安國》，歌曲有《附薩單時》，舞曲有《末奚》，解曲有《居和祗》。 樂器有箜篌、琵琶、五弦、笛、簫、篳篥、雙篳篥、正鼓、和鼓、銅拔等十種，為一部。 工十二人。
An Kingdom: Attached Sa Single Time; dance End Xi. Ten An Kingdom instruments. Twelve workers.
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《高麗》，歌曲有《芝棲》，舞曲有《歌芝棲》。 樂器有彈箏、臥箜篌、豎箜篌、琵琶、五弦、笛、笙、簫、小篳篥、桃皮篳篥、腰鼓、齊鼓、擔鼓、貝等十四種，為一部。 工十八人。
Goguryeo: Zhi Qi; dance Song Zhi Qi. Fourteen Goguryeo instruments. Eighteen workers.
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《禮畢》者，本出自晉太尉庾亮家。 亮卒，其伎追思亮，因假為其面，執翳以舞，象其容，取其諡以號之，謂之為《文康樂》。 每奏九部樂終則陳之，故以禮畢為名。 其行曲有《單交路》，舞曲有《散花》。 樂器有笛、笙、簫、篪、鈴槃、鞞、腰鼓等七種，三懸為一部。 工二十二人。
Rites Complete from Jin Marshal Yu Liang's house. Yu Liang's performers mourned him as Cultured Peace Music. Performed after nine departments—Rites Complete. Processional Single Crossroad; dance Scattering Flowers. Seven instruments, triple suspension. Twenty-two workers.
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始齊武平中，有魚龍爛漫、俳優、硃儒、山車、巨象、拔井、種瓜、殺馬、剝驢等，奇怪異端，百有餘物，名為百戲。 周時，鄭譯有寵于宣帝，奏征齊散樂人，並會京師為之。 蓋秦角抵之流者也。 開皇初，並放遣之。 及大業二年，突厥染幹來朝，煬帝欲誇之，總追四方散樂，大集東都。 初于芳華苑積翠池側，帝帷宮女觀之。 有舍利先來，戲於場內，須臾跳躍，激水滿衢，黿鼉龜鰲，水人蟲魚，遍覆於地。 又有大鯨魚，噴霧翳日，倏忽化成黃龍，長七八丈，聳踴而出，名曰《黃龍變》。 又以繩系兩柱，相去十丈，遣二倡女對舞繩上，相逢切肩而過，歌舞不輟。 又為夏育扛鼎，取車輪石臼大甕器等，各於掌上而跳弄之。 並二人戴竿，其上有舞，忽然騰透而換易之。 又有神鰲負山，幻人吐火，千變萬化，曠古莫儔。 染幹大駭之。 自是皆于太常教習。 每歲正月，萬國來朝，留至十五日，於端門外，建國門內，綿亙八里，列為戲場。 百官起棚夾路，從昏達旦，以縱觀之。 至晦而罷。 伎人皆衣錦繡繒彩。 其歌舞者，多為婦人服，鳴環佩，飾以花毦者，殆三萬人。 初課京兆、河南制此衣服，而兩京繒錦，為之中虛。 三年，駕幸榆林，突厥啟民朝於行宮，帝又設以示之。 六年，諸夷大獻方物。 突厥啟民以下，皆國主親來朝賀。 乃于天津街盛陳百戲，自海內凡有奇伎，無不總萃。 崇侈器玩，盛飾衣服，皆用珠翠金銀，錦罽絺繡。 其營費钜億萬。 關西以安德王雄總之，東都以齊王暕總之，金石匏革之聲，聞數十里外。 彈弦扌厭管以上，一萬八千人。 大列炬火，光燭天地，百戲之盛，振古無比。 自是每年以為常焉。
Qi Wuping Hundred Entertainments: dragons, elephants, well-pulling, over one hundred tricks. Zhou: Zheng Yi gathered Qi scattered musicians at capital. Likely Qin horn-butting tradition. Kaihuang beginning: all released. Daye 2: Yangdi recalled scattered musicians to impress Turks. First at Accumulated Emerald Pool—palace women watched. Relic leaped; water filled streets with creatures. Great whale became yellow dragon—Yellow Dragon Transformation. Two girls danced on rope between pillars. Xia Yu carrying tripod; juggling wheels and urns on palms. Two pole-dancers exchanged mid-air. Spirit turtle bearing mountain; fire-spitting illusionists. Yiran greatly alarmed. From then taught at Grand Music Master. New Year: eight-li entertainment ground outside Duan Gate. Officials' sheds from dusk to dawn. Until month's end. Entertainers wore brocade and silk. Nearly thirty thousand singers in women's dress. Jingzhao and Henan silk brocade emptied. Year 3 Yulin: display for Qimin. Year 6: barbarians presented products. State lords personally congratulated. Tianjin Street Hundred Entertainments—all strange skills gathered. Extravagant vessels; pearl, jade, gold, brocade clothes. Expenses tens of millions. Princes Xiong and Yang supervised—music heard tens of li. Eighteen thousand string and pipe performers. Torch fire illuminated Heaven and Earth—unmatched splendor. Annual thereafter.
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故事，天子有事于太廟，備法駕，陳羽葆，以入於次。 禮畢升車，而鼓吹並作。 開皇十七年詔曰：「昔五帝異樂，三王殊禮，皆隨事而有損益，因情而立節文。 仰惟祭享宗廟，瞻敬如在，罔極之感，情深茲日。 而禮畢升路，鼓吹發音，還入宮門，金石振響。 斯則哀樂同日，心事相違，情所不安，理實未允。 宜改茲往式，用弘禮教。 自今以後，享廟日不須設鼓吹，殿庭勿設樂懸。 在廟內及諸祭，並依舊。 其王公已下，祭私廟日，不得作音樂。」
Precedent: Grand Temple affair uses full carriage and feather canopy. Rites complete—wind-and-drum perform on ascending carriage. Kaihuang 17: Five Thearchs different music; rites follow affairs. Ancestral sacrifice—gazing as if present; feeling deep today. Yet rites complete then wind-and-drum—sorrow and joy same day. Sorrow and joy same day—heart opposed; principle not permitted. Change former form; expand ritual teaching. Temple feast day: no wind-and-drum; hall no suspension. Within temple and sacrifices follow old. Princes' private temple sacrifice: no music. Closing quote of edict.
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至大業中，煬帝制宴饗設鼓吹，依梁為十二案。 案別有錞於、鉦、鐸、軍樂鼓吹等一部。 案下皆熊罷貙豹，騰倚承之，以象百獸之舞。 其大駕鼓吹，並硃漆畫。 大駕鼓吹、小鼓加金鐲、羽葆鼓、鐃鼓、節鼓，皆五采重蓋，其羽葆鼓，仍飾以羽葆。 長鳴、中鳴、大小橫吹，五采衣幡，緋掌，畫交龍，五采腳。 大角幡亦如之。 大鼓、長鳴、大橫吹、節鼓及橫吹後笛、簫、篳篥、笳、桃皮篳篥等工人服，皆緋地苣文為袍袴及帽。 金鉦、㭎鼓，其鉦鼓皆加八角紫傘。 小鼓、中鳴、小橫吹及橫吹後笛、簫、篳篥、笳、桃皮篳篥等工人服，並青地苣文袍袴及帽。 羽葆鼓、鐃及歌、簫、笳工人服，並武弁，硃褠衣，革帶。 大角工人，平巾幘，緋衫，白布大口袴。 其鼓吹督帥服，與大角同。 以下准督帥服，亦如之。
Daye: Yangdi banquet wind-and-drum—twelve stands like Liang. Each stand: chunyu, cymbal, duo, army wind-and-drum. Below stands bear and leopard—to image beasts' dance. Grand carriage wind-and-drum cinnabar lacquer. Grand wind-and-drum: five-color canopies; feather-canopy drums. Long and transverse blow: five-color banners, dragon-painted. Great horn banners likewise. Great drums and transverse blow workers: crimson ju-pattern robes. Metal cymbal and gang drum: eight-corner purple umbrellas. Small drums and pipes: blue ju-pattern robes. Feather-canopy and song workers: martial caps, cinnabar trim. Great horn workers: plain kerchief, crimson shirt. Supervising commanders dress as great horn. Below commanders likewise.
167
㭎鼓一曲，十二變，與金鉦同。 夜警用一曲俱盡。 次奏大鼓。 大鼓，一十五曲供大駕，一十二曲供皇太子，一十曲供王公等。 小鼓，九曲供大駕，三曲供皇太子及王公等。
Gang drum: twelve changes as metal cymbal. Night watch: one piece exhausted. Next: great drum. Great drum: 15 grand carriage, 12 crown prince, 10 princes. Small drum: 9 grand carriage, 3 crown prince and princes.
168
長鳴色角，一百二十具供大駕，三十六具供皇太子，十八具供王公等。
Long whistle horn: 120 grand carriage, 36 crown prince, 18 princes.
169
次鳴色角，一百二十具供大駕，十二具供皇太子，一十具供王公等。
Next whistle horn: 120 grand carriage, 12 crown prince, 10 princes.
170
大角，第一曲起捉馬，第二曲被馬，第三曲騎馬，第四曲行，第五曲入陣，第六曲收軍，第七曲下營。 皆以三通為一曲。 其辭並本之鮮卑。
Great horn seven pieces: Seizing Horse through Leaving Camp. Three signals per piece. Lyrics derive from Xianbei.
171
鐃鼓，十二曲供大駕，六曲供皇太子，三曲供王公等。 其樂器有鼓，並歌簫、笳。
Nao drum: 12 grand carriage, 6 crown prince, 3 princes. Instruments: drums, song xiao, horn.
172
大橫吹，二十九曲供大駕，九曲供皇太子，七曲供王公。 其樂器有角、節鼓、笛、簫、篳篥、笳、桃皮篳篥。
Great transverse blow: 29 grand carriage, 9 crown prince, 7 princes. Instruments: horn, beat drum, di, xiao, bili, horn, peach-skin bili.
173
小橫吹，十二曲供大駕，夜警則十二曲俱用。 其樂器有角、笛、簫、篳篥、笳、桃皮篳篥。
Small transverse blow: 12 grand carriage; night watch all 12. Instruments: horn, di, xiao, bili, horn, peach-skin bili.