Volume 109 Treatise 5: Music

氣質初分，聲形立矣。聖者因天然之有，為入用之物；緣喜怒之心，設哀樂之器。蕢桴葦籥，其來自久。伏羲絃琴，農皇制瑟，垂鍾和磬，女媧之簧，隨感而作，其用稍廣。軒轅桴阮瑜之管，定小一之律，[1]以成咸池之美，次以六莖、五英、大章、韶、夏、護、武之屬，聖人所以移風易俗也。故在易之豫，義明崇德。書云：「詩言志，歌詠言，聲依永，律和聲，八音克諧，神人以和。」周禮圜鍾為宮，黃鍾為角，大蔟為徵，沽洗為羽，雷鼓、雷鼗，孤竹之管，雲和之琴瑟，雲門之舞，奏之六變，天神可得而降矣；函鍾為宮，大蔟為角，沽洗為徵，南呂為羽，靈鼓、靈鼗，孫竹之管，空桑之琴瑟，咸池之舞，奏之八變，地示可得而禮矣；黃鍾為宮，大呂為角，大蔟為徵，應鍾為羽，路鼓、路鼗，陰竹之管，龍門之琴瑟，九德之歌，九㲈之舞，奏之九變，人鬼可得而禮矣。此所以協三才，寧萬國也。凡音，宮為君，商為臣，角為民，徵為事，羽為物，五者不亂則無㥈懘之音。宮亂則荒，其君驕；商亂則陂，其官壞；角亂則憂，其民怨；徵亂則哀，其事勤；羽亂則危，其財匱。姦聲感人，逆氣應之，逆氣成象而淫樂興焉；正聲感人，順氣應之，順氣成象而和樂興焉。先王耻其亂，故制雅頌之聲以道之，使其聲足樂而不流，使其文足論而不息，使其曲直、繁瘠、廉肉、節奏足以感動人之善心而已，不使放心邪氣得接焉。樂在宗廟之中，君臣上下同聽之，莫不和敬；在族長鄉里之中，長幼同聽之，莫不和順；閨門之內，父子兄弟同聽之，莫不和親。又有昧任離禁之樂，[2]以娛四夷之民。斯蓋立樂之方也。

When vital force and matter first separated, sound and form came into being. The sages took what nature provided and fashioned it into instruments for human use; responding to the emotions of joy and anger, they created instruments to express grief and pleasure. Gourd rattles, reed drums, and reed pipes date back to the remotest antiquity. Fuxi strung the zither, the Divine Farmer fashioned the se lute, Chui cast bells and tuned stone chimes, and Nüwa invented the reed pipe—all born of spontaneous inspiration, and their applications grew ever wider. The Yellow Emperor beat the jade pipes of Ruan Yu and established the pitch of the lesser unity,[1] thereby completing the splendor of the Xianchi rite; thereafter came the Six Stems, Five Blossoms, Dazhang, Shao, Xia, Hu, Wu, and their kind—the means by which sages transform the winds of custom and change popular habits. Hence in the Book of Changes, the hexagram Yu makes clear the principle of honoring virtue. The Book of Documents says: "Poetry expresses the mind; song extends the words; melody follows the sustained line; pitch harmonizes the tones; the eight kinds of sound achieve perfect harmony; spirits and mortals are brought into accord." In the Rites of Zhou, the round bell serves as the tonic, the yellow bell as the third, the great cu as the fifth, and the gu and xian as the seventh; with thunder drums and thunder tambourines, pipes of lone bamboo, zithers and lutes of Yunhe, and the Yunmen dance—when performed in six transformations, the heavenly spirits may be drawn down; the huan bell as tonic, the great cu as third, the gu and xian as fifth, and the southern lu as seventh; with spirit drums and spirit tambourines, pipes of descendant bamboo, zithers and lutes of Kongsang, and the Xianchi dance—when performed in eight transformations, the earthly spirits may be honored in ritual; the yellow bell as tonic, the great lu as third, the great cu as fifth, and the ying bell as seventh; with road drums and road tambourines, pipes of yin bamboo, zithers and lutes of Longmen, the Song of Nine Virtues, and the Dance of Nine Shao—when performed in nine transformations, the spirits of the departed may be honored in ritual. In this way the three realms are harmonized and the myriad states are settled in tranquility. In music generally, the tonic represents the ruler, the second the minister, the third the people, the fifth affairs, and the seventh material things; when these five are not confused, no jarring or clashing tones arise. When the tonic is disordered, decadence follows and the ruler grows arrogant; when the second is disordered, decline sets in and the bureaucracy collapses; when the third is disordered, sorrow spreads and the people grow resentful; when the fifth is disordered, grief prevails and affairs become oppressively burdensome; when the seventh is disordered, danger threatens and resources run dry. Corrupt sounds stir the heart, and wayward vital force responds; when wayward force takes shape, licentious music arises; Proper sounds stir the heart, and harmonious vital force responds; when harmonious force takes shape, concordant music arises. The former kings were ashamed of such disorder and therefore composed the music of the Ya and Song to guide the people—sounds delightful enough yet never dissolute, texts eloquent enough yet never endless, with variations in contour, density, sharpness, and rhythm sufficient only to awaken the good in human hearts, and never allowing wayward minds or corrupt influences to take hold. When music is performed in the ancestral temple, ruler and subject, high and low, listen together, and all are filled with harmony and reverence; in the village and neighborhood of the clan elder, old and young listen together, and all are harmonious and deferential; within the household, fathers and sons, elder and younger brothers listen together, and all are harmonious and close. There were also the melodies of Mei, Ren, Li, and Jin,[2] to entertain the peoples of the four outer regions. This, in essence, is the proper way to establish music.

三代之衰，邪音間起，則有爛漫靡靡之樂興焉。周之衰也，諸侯力爭，澆偽萌生，淫慝滋甚，競其邪，忘其正，廣其器，蔑其禮，或奏之而心疾，或撞之不令。晉平公聞清角而顛隕，魏文侯聽古雅而眠睡，鄭、宋、齊、衞，流宕不反，於是正樂虧矣。大樂感於風化，與世推移，治國之音安以樂，亡國之音哀以思，隨時隆替，不常厥聲。延陵歷聽諸國，盛衰必舉，蓋所感者著，所識者深也。樂之崩矣，秦始滅學，經亡義絕，莫探其真。人重協俗，世貴順耳，則雅聲古器幾將淪絕。漢興，制氏但識其鏗鏘鼓舞，不傳其義，而於郊廟朝廷，皆協律新變，雜以趙、代、秦、楚之曲，故王禹、宋曅上書切諫，丙強、景武顯著當時，通儒達士所共歎息矣。後漢東平王蒼總議樂事，頗有增加，大抵循前而已。及黃巾、董卓以後，天下喪亂，諸樂亡缺。魏武既獲杜夔，令其考會古樂，而柴玉、左延年終以新聲寵愛。晉世荀勗典樂，與郭夏宋識之徒共加研集，謂為合古，而阮咸譏之。金行不永，以至亡敗，哀思之來，便為驗矣。夫大樂與天地同和，苟非達識至精，何以體其妙極。自漢以後，舞稱歌名，代相改易，服章之用，亦有不同，斯則不襲之義也。

As the Three Dynasties declined, corrupt sounds began to appear, and dissolute, indulgent music arose. When Zhou fell into decline, feudal lords fought for dominance; shallow artifice and falsehood emerged, and licentious wickedness grew rampant—they vied in perversity, forgot the proper way, multiplied their instruments, and despised ritual propriety; some fell ill at heart upon hearing the music, others struck instruments without proper order. Duke Ping of Jin heard the clear third tone and collapsed in a swoon; Marquis Wen of Wei listened to ancient court music and fell asleep; in Zheng, Song, Qi, and Wei, music drifted into excess and never returned—and so correct music was lost. Great music responds to the winds of custom and moral transformation, shifting with each age; the music of a well-governed state is serene and joyful, that of a dying state mournful and brooding—it waxes and wanes with the times, and its character is never fixed. Yanling traveled through the various states listening to their music, and wherever he went he discerned rise and decline—for what he sensed was evident, and what he understood ran deep. When music finally collapsed, Qin began to destroy learning; the classics were lost and their meaning extinguished, and none could recover their true essence. People valued what accorded with popular taste, and the age prized what was easy on the ear—so elegant music and ancient instruments were nearly lost forever. When Han arose, the Zhi clan knew only the resounding clangor and drum-beats but did not transmit the underlying meaning; at suburban sacrifices, temples, and court, all music was harmonized to newly altered pitches, mixed with melodies from Zhao, Dai, Qin, and Chu—hence Wang Yu and Song Ye submitted stern memorials of remonstrance, while Bing Qiang and Jing Wu won renown in their day; learned scholars and eminent gentlemen all lamented together. In Later Han, Prince Cang of Dongping took charge of music affairs and made some additions, but for the most part simply followed precedent. After the Yellow Turbans and Dong Zhuo, the realm was plunged into chaos, and all music was lost or incomplete. After Emperor Wu of Wei obtained Du Kui, he ordered him to investigate and reconstruct ancient music, yet Chai Yu and Zuo Yannian ultimately won imperial favor with new compositions. In the Jin era, Xun Xu directed the music bureau and, together with Guo Xia, Song Shi, and others, further researched and assembled the repertoire, claiming it matched antiquity—but Ruan Xian ridiculed their work. The Metal dynasty did not last long, ending in ruin and defeat—the arrival of mournful, brooding music was proof enough. Great music harmonizes with heaven and earth; without penetrating insight and the utmost refinement, how can one grasp its subtle perfection? From Han onward, dances took their names from songs, and each generation altered them in turn; the use of costume and regalia also varied—this reflects the principle that tradition need not be copied unchanged.

永嘉已下，海內分崩，伶官樂器，皆為劉聰、石勒所獲，慕容儁平冉閔，遂克之。 [3]王猛平鄴，入於關右。苻堅既敗，長安紛擾，慕容永之東也，禮樂器用多歸長子，及垂平永，並入中山。自始祖內和魏晉，二代更致音伎；穆帝為代王，愍帝又進以樂物；金石之器雖有未周，而絃管具矣。逮太祖定中山，獲其樂縣，既初撥亂，未遑創改，因時所行而用之。世歷分崩，頗有遺失。

From the Yongjia era onward, the realm fragmented; court musicians and musical instruments were all seized by Liu Cong and Shi Le; when Murong Jun defeated Ran Min, he captured them in turn. [3] Wang Meng pacified Ye and brought them into the western passes. After Fu Jian's defeat, Chang'an fell into chaos; when Murong Yong moved east, most ritual objects and musical instruments went to Changzi; when Murong Chui defeated Yong, all were brought into Zhongshan. From the time the founding ancestor reconciled internally with Wei and Jin, two generations successively acquired musical performers; Emperor Mu, while Prince of Dai, and Emperor Min further presented musical instruments; Although bells and stone chimes were not yet complete, string and wind instruments were fully in place. When the founding emperor settled Zhongshan, he acquired its musical establishment; having just quelled the chaos, he had no leisure to institute reforms and simply used what was current at the time. As generations passed through fragmentation, much was lost.

天興元年冬，詔尚書吏部郎鄧淵定律呂，協音樂。及追尊皇曾祖、皇祖、皇考諸帝，樂用八佾，舞皇始之舞。皇始舞，太祖所作也，以明開大始祖之業。後更制宗廟。皇帝入廟門，奏王夏，太祝迎神于廟門，奏迎神曲，猶古降神之樂；乾豆上，奏登歌，猶古清廟之樂；曲終，下奏神祚，嘉神明之饗也；皇帝行禮七廟，奏陛步，以為行止之節；皇帝出門，奏總章，次奏八佾舞，次奏送神曲。又舊禮：孟秋祀天西郊，兆內壇西，備列金石，樂具，皇帝入兆內行禮，咸奏舞八佾之舞；孟夏有事于東廟，用樂略與西郊同。太祖初，冬至祭天于南郊圓丘，樂用皇矣，奏雲和之舞，事訖，奏維皇，將燎；夏至祭地祇於北郊方澤，樂用天祚，奏大武之舞。正月上日，饗羣臣，宣布政教，備列宮懸正樂，兼奏燕、趙、秦、吳之音，五方殊俗之曲。四時饗會亦用焉。凡樂者樂其所自生，禮不忘其本，掖庭中歌真人代歌，上叙祖宗開基所由，下及君臣廢興之跡，凡一百五十章，昏晨歌之，時與絲竹合奏。郊廟宴饗亦用之。

In the winter of the first year of Tianxing, an edict ordered Deng Yuan, Director of the Ministry of Personnel, to establish the pitch pipes and harmonize the musical system. When posthumously honoring the great-great-grandfather, great-grandfather, and father emperors, music employed eight rows of dancers and the Huangshi dance. The Huangshi dance was composed by the founding emperor to celebrate the founding of the great ancestral enterprise. Later the ancestral temple rites were reformed. When the emperor entered the temple gate, the Wangxia was performed; the Grand Invoker welcomed the spirit at the temple gate and the spirit-welcoming melody was played, as in the ancient music for summoning spirits; when the dried meats were placed on the offering stands, the dengge was performed, as in the ancient Pure Temple music; when the melody ended, the Shenzuo was performed below, celebrating the spirits' acceptance of the offering; as the emperor performed rites at the seven temples, the Bibu was performed to mark the pace of his movements; When the emperor exited the gate, the Zongzhang was performed, followed by the dance of eight rows, then the spirit-sending melody. Also according to old rites: in mid-autumn heaven was sacrificed to at the western suburb; within the altar enclosure to the west, bells, stone chimes, and musical equipment were fully arrayed; when the emperor entered the enclosure to perform rites, the dance of eight rows was performed throughout; In mid-summer rites were performed at the eastern temple, and the music used was largely the same as at the western suburb. In the founding emperor's early reign, at the winter solstice heaven was sacrificed to at the round mound of the southern suburb; the Huangyi was performed and the Yunhe dance was danced; when the rite was complete, the Wei Huang was performed as the sacrificial fire was about to be kindled; At the summer solstice the earth deity was sacrificed to at the square pond of the northern suburb; the Tianzuo was performed and the Dawu dance was danced. On the first day of the first month, the assembled ministers were feasted and government and teaching were proclaimed; the full palace ensemble and correct music were arrayed, together with melodies of Yan, Zhao, Qin, and Wu and songs of the diverse customs of the five directions. Seasonal feasts also employed them. In general, music celebrates its origins, and ritual never forgets its roots; in the inner palace they sang the Songs of the True Men, recounting above how the ancestors founded the enterprise and below the rise and fall of rulers and ministers—in all one hundred fifty chapters, sung morning and evening, sometimes accompanied by strings and winds. Suburban sacrifices, temple rites, and banquets also employed them.

六年冬，詔太樂、總章、鼓吹增修雜伎，造五兵、角觝、麒麟、鳳皇、仙人、長蛇、白象、白虎及諸畏獸、魚龍、辟邪、鹿馬仙車、高絙百尺、長趫、緣橦、跳丸、五案以備百戲。大饗設之於殿庭，如漢晉之舊也。太宗初，又增修之，撰合大曲，更為鍾鼓之節。

In the winter of the sixth year, an edict ordered the Grand Music, Zongzhang, and Drum-and-Pipe offices to expand and repair miscellaneous entertainments, creating acts of the Five Weapons, horn-butting, qilin, phoenix, immortals, long serpent, white elephant, white tiger, and various fearsome beasts, fish and dragon, ward-off-evil, deer-horse immortal carriage, hundred-foot high rope, long stilts, pole-climbing, ball-juggling, and five-table displays to complete the hundred entertainments. At grand feasts they were set up in the palace courtyard, following the old practice of Han and Jin. In the early reign of Emperor Taizong, they were further expanded and repaired; grand suites were composed and the bell-and-drum rhythms were revised.

世祖破赫連昌，獲古雅樂，及平涼州，得其伶人、器服，並擇而存之。後通西域，又以悅般國鼓舞設於樂署。

Emperor Shizu defeated Helian Chang and obtained ancient court music; when Liang province was pacified, he acquired its performers, instruments, and costumes, selecting and preserving the best. Later, when the Western Regions were opened, the dances and drums of the Yueban kingdom were also installed in the music bureau.

高宗、顯祖無所改作。諸帝意在經營，不以聲律為務，古樂音制，罕復傳習，舊工更盡，聲曲多亡。

Emperors Gaozong and Xianzu made no alterations or new creations. The emperors focused on statecraft and did not make pitch and rhythm a priority; ancient musical systems were rarely transmitted; veteran craftsmen died off one after another, and many songs and melodies were lost.

太和初，高祖垂心雅古，務正音聲。時司樂上書，典章有闕，[4]求集中祕羣官議定其事，并訪吏民，有能體解古樂者，與之修廣器數，甄立名品，以諧八音。詔「可」。雖經眾議，於時卒無洞曉聲律者，樂部不能立，其事彌缺。然方樂之制及四夷歌舞，稍增列于太樂。金石羽旄之飾，為壯麗於往時矣。

In the early Taihe era, Emperor Gaozu devoted himself to elegant antiquity and strove to restore correct pitch and tone. At the time the Director of Music submitted a memorial noting deficiencies in the regulations,[4] requesting that officials of the central secretariat be assembled to deliberate and settle the matter, and that officials and commoners be consulted as well—whoever could comprehend ancient music would join in expanding and repairing the instrument inventory, selecting and establishing proper categories, to harmonize the eight kinds of sound. An edict replied: "Approved." Although many deliberated, at the time there was ultimately no one who thoroughly understood pitch and rhythm; the music bureau could not be established, and the deficiency grew ever worse. Yet regional music and the songs and dances of the four outer peoples were gradually added to the Grand Music repertoire. The adornments of bells, stone chimes, feathers, and banners became more magnificent than ever before.

五年，文明太后、高祖並為歌章，戒勸上下，皆宣之管絃。

In the fifth year, Empress Dowager Wenming and Emperor Gaozu both composed song texts to admonish and encourage high and low, and all were disseminated through pipes and strings.

七年秋，中書監高允奏樂府歌詞，陳國家王業符瑞及祖宗德美，又隨時歌謠，不準古舊，辨雅、鄭也。

In the autumn of the seventh year, Gao Yun, Director of the Secretariat, submitted the song texts of the Music Bureau, setting forth the state's royal enterprise, auspicious omens, and the virtue and excellence of the ancestors, together with occasional songs and ballads that did not conform to ancient models, distinguishing proper court music from popular music.

十一年春，文明太后令曰：「先王作樂，所以和風改俗，非雅曲正聲不宜庭奏。可集新舊樂章，參探音律，除去新聲不典之曲，裨增鍾縣鏗鏘之韻。」

In the spring of the eleventh year, Empress Dowager Wenming ordered: "The former kings made music to harmonize the winds and transform customs; music that is not elegant melody and correct sound should not be performed at court. Collect old and new musical chapters, investigate pitch and rhythm, remove new sounds and uncanonical melodies, and enhance the resounding tones of the bell-chime ensemble."

十五年冬，高祖詔曰：「樂者所以動天地，感神祇，調陰陽，通人鬼。故能關山川之風，以播德於無外。由此言之，治用大矣。逮乎末俗陵遲，正聲頓廢，多好鄭衞之音以悅耳目，故使樂章散缺，伶官失守。今方釐革時弊，稽古復禮，庶令樂正雅頌，各得其宜。今置樂官，實須任職，不得仍令濫吹也。」遂簡置焉。

In the winter of the fifteenth year, Emperor Gaozu proclaimed: "Music is that which moves heaven and earth, stirs the spirits, harmonizes yin and yang, and connects the living with the dead. Therefore it can resonate with the winds of mountains and rivers and spread virtue to the farthest reaches. From this perspective, its importance to governance is immense. When later customs declined, correct sounds were abruptly abandoned; many favored the licentious music of Zheng and Wei to please the ears and eyes, and thus musical chapters were scattered and incomplete, and court musicians lost their proper role. Now we are reforming the defects of the age, examining antiquity and restoring ritual, hoping to make music restore the Ya and Song, each to its proper place. In establishing music officials now, they must truly fulfill their duties and must not continue to be allowed to perform indiscriminately." Thereupon selections were made and appointments established.

十六年春，又詔曰：「禮樂之道，自古所先，故聖王作樂以和中，制禮以防外。然音聲之用，其致遠矣，所以通感人神，移風易俗。至乃簫韶九奏，鳳皇來儀；擊石拊石，百獸率舞。有周之季，斯道崩缺，故夫子忘味於聞韶，正樂於返魯。逮漢魏之間，樂章復闕，然博採音韻，粗有篇條。自魏室之興，太祖之世尊崇古式，舊典無墜。但干戈仍用，文教未淳，故令司樂失治定之雅音，習不典之繁曲。比太樂奏其職司，求與中書參議。覽其所請，愧感兼懷。然心喪在躬，未忍聞此。 [5]但禮樂事大，乃為化之本，自非通博之才，莫能措意。中書監高閭器識詳富，志量明允，每間陳奏樂典，頗體音律，可令與太樂詳採古今，以備茲典。其內外有堪此用者，任其參議也。」閭歷年考度，粗以成立，遇遷洛不及精盡，未得施行。尋屬高祖崩，未幾，閭卒。

In the spring of the sixteenth year, another edict proclaimed: "The way of ritual and music has been foremost since antiquity; therefore the sage kings made music to harmonize the inner self and fashioned ritual to guard against external disorder. Yet the power of sound and pitch reaches far indeed—it connects and moves humans and spirits, transforms the winds of custom and changes popular habits. So much so that when the Shaoshao was performed nine times, the phoenix came to pay homage; when stone chimes were struck and tapped, the hundred beasts led the dance. In the late Zhou, this tradition collapsed; therefore the Master forgot the taste of meat upon hearing the Shao, and restored correct music upon returning to Lu. By the Han and Wei period, musical chapters were again incomplete, yet through broad collection of pitch and rhyme, there were roughly some written records. Since the rise of the Wei dynasty, in the founding emperor's era ancient forms were honored and old regulations were preserved. But warfare continued and literary culture was not yet refined; therefore the Director of Music lost the elegant sounds of settled governance and practiced uncanonical elaborate melodies. Recently the Grand Music presented its official duties and requested joint deliberation with the Secretariat. Reading their request, I feel both shame and gratitude together. Yet I am still in mourning and cannot bear to hear such matters. [5] Yet ritual and music are weighty matters, the foundation of civilization; only someone of comprehensive and broad talent can give them proper consideration. Gao Lu, Director of the Secretariat, is richly endowed in talent and insight, with clear and trustworthy resolve; whenever he submitted memorials on musical regulations, he showed considerable understanding of pitch and rhythm—he should be ordered together with the Grand Music to thoroughly survey antiquity and the present and complete this canon. Whoever within or outside the court is capable of this task may join in the deliberation." Lu investigated and measured over several years and roughly completed the work, but the move of the capital to Luoyang left no time to refine it fully, and it was never implemented. Soon afterward Emperor Gaozu passed away, and before long Lu died as well.

先是，閭引給事中公孫崇共考音律，景明中，崇乃上言樂事。正始元年秋，詔曰：「太樂令公孫崇更調金石，燮理音準，其書二卷并表悉付尚書。夫禮樂之事，有國所重，可依其請，八座已下、四門博士以上此月下旬集太樂署，考論同異，博採古今，以成一代之典也。」十月，尚書李崇奏：「前被旨敕，以兼太樂令公孫崇更調金石，并其書表付外考試，登依旨敕以去。八月初，詣署集議。但六樂該深，五聲妙遠。至如仲尼淵識，故將忘味；吳札善聽，方可論辨。自斯已降，莫有詳之。今既草創，悉不窮解，雖微有詰論，略無究悉。方欲商搉淫濫，作範將來，寧容聊爾一試，便垂竹帛。今請依前所召之官并博聞通學之士更申一集，考其中否，研窮音律，辨括權衡。若可施用，別以聞請。」制「可」。時亦未能考定也。

Earlier, Lu had enlisted Attendant-in-Ordinary Gongsun Chong to jointly investigate pitch and rhythm; during the Jingming era, Chong submitted a memorial on music affairs. In the autumn of the first year of Zhengshi, an edict proclaimed: "Grand Music Director Gongsun Chong has readjusted bells and stone chimes and harmonized pitch standards; his two scrolls of writing together with his memorial are all to be delivered to the Ministry. Ritual and music are what a state holds in esteem; his request may be granted—officials from the Eight Seats downward and Erudites of the Four Gates upward shall assemble at the Grand Music Office before the end of this month to examine and debate agreements and differences, broadly surveying antiquity and the present, to complete the canon of an age." In the tenth month, Li Chong of the Ministry submitted: "Previously we received the imperial command that Acting Grand Music Director Gongsun Chong readjust bells and stone chimes, and that his writings and memorial be delivered for external examination; Deng proceeded according to the command. At the beginning of the eighth month, we went to the office and assembled for deliberation. But the six kinds of music are profound in scope, and the five tones are subtle and far-reaching. As for Confucius, with his profound understanding, he forgot the taste of meat; Wu Zha, skilled in listening, alone could discuss and distinguish. From that time onward, none has examined it in detail. Now that it is newly drafted, none fully comprehends it; although there were slight questions and debates, there was scarcely any thorough understanding. We are just about to discuss excess and laxity and establish models for the future—how can we casually try it once and immediately commit it to written record? We now request that the officials previously summoned, together with broadly learned scholars of comprehensive knowledge, assemble again to examine what is correct and what is not, exhaustively investigate pitch and rhythm, and distinguish and summarize weights and measures. If it can be applied, we shall report separately and request approval." An imperial rescript replied: "Approved." At the time they were also unable to examine and fix it.

四年春，公孫崇復表言：「伏惟皇魏龍躍鳳舉，配天光宅。世祖太武皇帝革靜荒嵎，廓寧宇內，兇醜尚繁，戎軒仍動，制禮作樂，致有闕如。高祖孝文皇帝德鍾後仁之期，道協先天之日，顧雲門以興言，感簫韶而忘味。以故中書監高閭博識明敏，文思優洽，紹蹤成均，實允所寄。乃命閭廣程儒林，究論古樂，依據六經，參諸國志，錯綜陰陽，以制聲律。鍾石管絃，略以完具，八音聲韻，事別粗舉。值遷邑崧瀍，未獲周密，五權五量，竟不就果。自爾迄今，率多褫落，金石虛懸，宮商未會。伏惟陛下至聖承天，纂戎鴻烈，以金石未協，詔臣緝理。謹即廣搜秬黍，選其中形，又採梁山之竹，更裁律呂，制磬造鍾，依律並就。但權量差謬，其來久矣，頃蒙付并州民王顯進所獻古銅權，稽之古範，考以今制，鍾律準度，與權參合。昔造猶新，始創若舊，異世同符，如合規矩。樂府先正聲有王夏、肆夏、登歌、鹿鳴之屬六十餘韻，又有文始、五行、勺舞。 [6]太祖初興，置皇始之舞，復有吳夷、東夷、西戎之舞。樂府之內，有此七舞。太和初，郊廟但用文始、五行、皇始三舞而已。 [7]竊惟周之文武，頌聲不同；漢之祖宗，廟樂又別。伏惟皇魏四祖、三宗，道邁隆周，功超鴻漢，頌聲廟樂，宜有表章，或文或武，以旌功德。自非懿望茂親、雅量淵遠、博識洽聞者其孰能識其得失。衞軍將軍、尚書右僕射臣高肇器度淹雅，神賞入微，徽讚大猷，聲光海內，[8]宜委之監就，以成皇代典謨之美。昔晉中書監荀勗前代名賢，受命成均，委以樂務，崇述舊章，儀刑古典，事光前載，豈遠乎哉。又先帝明詔，內外儒林亦任高閭申請。今之所須，求依前比。」世宗知肇非才，詔曰：「王者功成治定，制禮作樂，以宣風化，以通明神，理萬品，贊陰陽，光功德，治之大本，所宜詳之。可令太常卿劉芳亦與主之。」

In the spring of the fourth year, Gongsun Chong again submitted a memorial saying: "I humbly consider that the august Wei, like a dragon leaping and a phoenix rising, matches heaven and dwells in glory. Emperor Shizu, Emperor Taiwu, pacified the wild frontier and brought peace throughout the realm; though fierce enemies still abounded and the war chariot still moved, the establishment of ritual and creation of music remained incomplete. Emperor Gaozu, Emperor Xiaowen, accumulated virtue at the time of later benevolence and harmonized with the way of the prior heaven; gazing upon Yunmen he was moved to speak, and upon hearing the Shaoshao he forgot the taste of meat. Therefore Gao Lu, Director of the Secretariat, with broad knowledge and keen intelligence, literary thought excellent and harmonious, continuing the tradition of Chengjun, was truly worthy of this trust. He then ordered Lu to broadly engage the forest of scholars, exhaustively discuss ancient music, rely on the Six Classics, consult the various state records, and interweave yin and yang to establish pitch and rhythm. Bells, stone chimes, pipes, and strings were roughly complete; the sounds and pitches of the eight tones were separately outlined in rough form. When the capital was moved to Song and Chan, thorough completion was not achieved; the five weights and five measures ultimately did not reach fruition. From then until now, most have been lost; bells and stone chimes hang unused, and tonic and second do not harmonize. I humbly consider that Your Majesty, supremely sage, succeeding heaven and inheriting the great enterprise, because bells and stone chimes were not harmonized, ordered me to put them in order. I respectfully then broadly searched for black millet and selected the best specimens; I also gathered bamboo from Liang Mountain, recut the pitch pipes, fashioned stone chimes and cast bells, and completed all according to pitch. But weights and measures have been erroneous for a long time; recently I was entrusted with the ancient bronze weight presented by Wang Xian of Bing province, checked it against ancient models, compared it with present standards, and found that bell pitch, rhythm, and measure all accord with the weight. What was made in the past seems new; what was first created seems old—different ages share the same standard, as if fitting compass and square. In the Music Bureau, the correct sounds of old include Wangxia, Sixia, dengge, Luming, and the like—more than sixty melodies—and also the Wenshi, Wuxing, and Shao dances. [6] When the founding emperor first rose, he established the Huangshi dance, and there were also dances of Wu Yi, Dong Yi, and Xi Rong. Within the Music Bureau, there are these seven dances. In the early Taihe era, suburban sacrifices and temples used only the Wenshi, Wuxing, and Huangshi three dances. [7] I privately consider that in Zhou, Wen and Wu had different eulogy songs; in Han, the ancestral temple music of the founders was again distinct. I humbly consider that the four ancestors and three founders of the august Wei, their way surpassing flourishing Zhou and their achievement exceeding great Han, should have eulogy songs and temple music set forth in written form, whether literary or martial, to display merit and virtue. Unless one is of excellent reputation and eminent kinship, elegant breadth and profound insight, broad knowledge and comprehensive learning—who else can discern its gains and losses? Your servant Gao Zhao, General of the Guard and Vice Director of the Left Ministry, is of refined breadth and elegance, with divine appreciation reaching into the subtle, praising the great design, his fame shining throughout the realm,[8] and should be entrusted to supervise and complete it, to achieve the beauty of the august dynasty's canon and plan. Formerly Xun Xu, Director of the Secretariat of Jin, a renowned worthy of a prior age, received the mandate at Chengjun and was entrusted with music affairs, honoring and expounding old regulations and taking classical antiquity as model—his achievement illuminated prior records; is this not a close precedent? Moreover, the late emperor's clear edict also entrusted Gao Lu to submit requests from the forest of scholars within and without. What is needed now, I request, should follow the prior precedent." Emperor Shizong knew Zhao lacked talent and proclaimed: "When a king's achievement is complete and governance settled, he establishes ritual and creates music to spread customs and transformation, to illuminate and connect with spirits, to order the myriad categories, to assist yin and yang, and to glorify merit and virtue—this is the great foundation of governance and should be examined in detail. Grand Master of Ceremonies Liu Fang may also be ordered to jointly direct it."

永平二年秋，尚書令高肇，尚書僕射、清河王懌等奏言：「案太樂令公孫崇所造八音之器并五度五量，太常卿劉芳及朝之儒學，執諸經傳，考辨合否，尺寸度數悉與周禮不同。問其所以，稱必依經文，聲則不協，以情增減，殊無準據。竊惟樂者皇朝治定之盛事，光贊祖宗之茂功，垂之後王。不刊之制，宜憲章先聖，詳依經史。且二漢、魏、晉歷諸儒哲，未聞器度依經，而聲調差謬。臣等參議，請使臣芳準依周禮更造樂器，事訖之後，集議並呈，從其善者。」詔「可」。芳上尚書言：「調樂諧音，[9]本非所曉，且國之大事，亦不可決於數人。今請更集朝彥，眾辨是非，明取典據。資決元凱，然後營制。」肇及尚書邢巒等奏許，詔「可」。於是芳主修營。時揚州民張陽子、義陽民兒鳳鳴、陳孝孫、戴當千、吳殿、陳文顯、陳成等七人頗解雅樂正聲，八佾、文武二舞、鐘聲、管絃、登歌聲調，芳皆請令教習，參取是非。

In the autumn of the second year of Yongping, Gao Zhao, Director of the Ministry, and Yuan Yi, Prince of Qinghe, Vice Director of the Ministry, and others submitted: "We find that the eight kinds of instruments and the five measures and five weights made by Grand Music Director Gongsun Chong, when Liu Fang, Grand Master of Ceremonies, and the Confucian scholars of the court held to the various classics and commentaries and examined whether they accorded, all differed from the Rites of Zhou in dimensions and measurements. When asked the reason, they said they must follow the classic text, but the sounds did not harmonize, and increases and decreases were made according to inclination, with no standard basis whatsoever. I privately consider that music is the great achievement of the dynasty's settled governance, glorifying and praising the abundant merit of the ancestors, to be handed down to later kings. An unalterable system should take the former sages as constitutional model and follow the classics and histories in detail. Moreover, through the Two Han, Wei, and Jin, among all the Confucian sages, we have never heard of instruments and measures following the classics while the pitch and tone were erroneous. We your ministers jointly deliberate and request that your servant Fang be ordered to remake the musical instruments strictly according to the Rites of Zhou; when the task is complete, assemble for deliberation and present together, adopting what is best." An edict replied: "Approved." Fang submitted to the Ministry saying: "Harmonizing music and pitch[9] is not what I originally understood, and moreover a great affair of state cannot be decided by a few people. I now request that court luminaries be assembled again, that the multitude distinguish right from wrong, and that canonical evidence be clearly taken. Relying on the judgment of the wise, then construct and establish." Zhao and Xing Luan of the Ministry and others submitted approval, and an edict replied: "Approved." Thereupon Fang took charge of construction and repair. At the time seven men—Zhang Yangzi of Yang province, Er Fengming, Chen Xiaosun, Dai Dangqian, Wu Dian, Chen Wenxian, and Chen Cheng of Yiyang—understood elegant music and correct sounds rather well; Fang requested that they all be ordered to teach and practice the eight rows, the Wen and Wu two dances, bell sounds, pipes and strings, and dengge pitch, and to join in determining right and wrong.

永平三年冬，芳上言：「觀古帝王，罔不據功象德而制舞名及諸樂章，今欲教文武二舞，施之郊廟，請參制二舞之名。竊觀漢魏已來，鼓吹之曲亦不相緣，今亦須制新曲，以揚皇家之德美。」詔芳與侍中崔光、郭祚，黃門游肇、孫惠蔚等四人參定舞名并鼓吹諸曲。其年冬，[10]芳又上言：「臣聞樂者，感物移風，諷氓變俗，先王所以教化黎元，湯武所以〔改章功德。 [11]晉氏失政，中原紛蕩。劉石以一時姦雄，跋扈魏趙；苻姚以部帥強豪，趦趄關輔。於是禮壞樂隳，廢而莫理。大魏應期啟運，奄有萬方，雖日不暇給，常以禮樂為先。古樂虧闕，詢求靡所，故頃年以來，創造非一，考之經史，每乖典制。遂使鏗鏘之禮，未備於郊廟；鼓舞之式，尚闕於庭陛。臣忝官宗伯，禮樂是司，所以仰慚俯愧，不遑寧處者矣。自獻春被旨，賜令博採經傳，更制金石，并教文武二舞及登歌、鼓吹諸曲。今始校就，謹依前敕，延集公卿并一時儒彥討論終始，莫之能異。謹以申聞，請與舊者參呈。若臣等所營形合古制，擊拊會節，元日大饗，則須陳列。既歲聿云暮，三朝無遠，請共本曹尚書及郎中部率呈試。如蒙允許，賜垂敕判。」詔曰：「舞可用新，餘且仍舊。」鼓吹雜曲遂寢焉。〕

In the winter of the third year of Yongping, Fang submitted: "Observing the ancient emperors and kings, none failed to base dance names and various musical chapters on merit and symbolize virtue; now wishing to teach the Wen and Wu two dances and apply them at suburban sacrifices and temples, I request that names for the two dances be jointly established. I privately observe that from Han and Wei onward, the drum-and-pipe melodies have also not been connected in sequence; now new melodies must also be created to spread the virtue and excellence of the royal house." An edict ordered Fang together with Attendant-in-Ordinary Cui Guang and Guo Zuo, and Yellow Gate You Zhao and Sun Huiwei—the four of them—to jointly fix the dance names and the various drum-and-pipe melodies. That winter,[10] Fang again submitted: "I have heard that music moves things and transforms the winds, admonishes the people and changes customs—the means by which former kings civilized the common folk, and by which Tang and Wu therefore reformed regulations and proclaimed merit where the source text is defective before this phrase. [11] The Jin house lost proper governance, and the Central Plains were thrown into turmoil. Liu and Shi, as momentary treacherous heroes, domineered over Wei and Zhao; Fu and Yao, as tribal chieftains and powerful magnates, hesitated and faltered in the Guanxi region. Thereupon ritual collapsed and music was ruined, abandoned and left unreformed. Great Wei responded to the age and opened its destiny, suddenly possessing the myriad regions; though days allowed no rest, ritual and music were always placed first. Ancient music was deficient and incomplete, and inquiry found nowhere to seek it; therefore in recent years creations have been numerous, but when examined against the classics and histories, each departs from canonical regulation. Thus the resounding rites were not complete at suburban sacrifices and temples; the forms of drum and dance were still lacking in the courtyard and steps. I, unworthy, hold the office of Minister of Rites, in charge of ritual and music—therefore looking up I feel shame and looking down I feel guilt, with no leisure for peace. Since receiving the command in the spring of submission, I was granted orders to broadly collect from classics and commentaries, remake bells and stone chimes, and also teach the Wen and Wu two dances and the dengge and drum-and-pipe melodies. Now the proofreading is complete; respectfully following the prior command, I assembled the nobles and ministers together with the Confucian luminaries of the time to discuss from beginning to end, and none could differ. I respectfully report this and request that it be presented together with the old version for comparison. If what we your ministers have constructed accords with ancient regulation in form, and striking and beating meet the rhythm, then at the New Year's grand feast it must be arrayed. Since the year is already ending and the three audiences are not far off, I request that together with the Director and section chiefs of this ministry we lead the presentation for trial performance. If graciously permitted, grant your command for judgment." An edict proclaimed: "The dances may use the new versions; the rest for now remain as before." The drum-and-pipe miscellaneous melodies were thereupon shelved.

〔初，御史中尉元匡與芳等競論鍾律。孝明帝熙平二年冬，[12]匡復上言其事，太師、高陽王雍等奏停之。〕

At first, Censor-in-Chief Yuan Kuang competed with Fang and others in debating bell pitch and rhythm. In the winter of the second year of Xiping under Emperor Xiaoming,[12] Kuang again submitted a memorial on the matter, and Grand Preceptor Yuan Yong, Prince of Gaoyang, and others submitted to halt it.

〔先是，有陳仲儒者自江南歸國，頗閑樂事，〕請依京房，立準以調八音。神龜二年夏，有司問狀。仲儒言：

Earlier, there was one Chen Zhongru who returned from the south and was quite versed in music affairs; he requested to follow Jing Fang and establish pitch standards to tune the eight sounds. In the summer of the second year of Shengui, the relevant offices inquired into his credentials. Zhongru said:

前被符，問：「京房準定六十之律，後雖有器存，[13]曉之者尠。至熹平末，張光等猶不能定絃之急緩，聲之清濁。仲儒授自何師，出何典籍而云能曉？」但仲儒在江左之日，頗愛琴，又嘗覽司馬彪所撰續漢書，[14]見京房準術，成數昞然，而張光等不能定。仲儒不量庸昧，竊有意焉。遂竭愚思，鑽研甚久。雖未能測其機妙，至於聲韻，頗有所得。度量衡歷，出自黃鍾，雖造管察氣，經史備有，但氣有盈虛，黍有巨細，差之毫氂，失之千里。自非管應時候，聲驗吉凶，則是非之原，諒亦難定。此則非仲儒淺識所敢聞之。至於準者，本以代律，取其分數，調校樂器，則宮商易辨。若尺寸小長，則六十宮商相與微濁；若分數加短，則六十徵羽類皆小清。語其大本，居然微異。至於清濁相宣，諧會歌管，皆得應合。雖積黍驗氣，取聲之本，清濁諧會，亦須有方。若閑準意，則辨五聲清濁之韻；若善琴術，則知五調調音之體。參此二途，以均樂器，則自然應和，不相奪倫。如不練此，必有乖謬。

Previously I received a command asking: "Jing Fang's pitch standard fixed the sixty pitch pipes; though instruments survived afterward,[13] those who understood them were few. By the end of Xiping, Zhang Guang and others still could not fix the tightness and looseness of strings or the clarity and muddiness of sounds. From what teacher did Zhongru receive instruction, from what classic or record does he claim understanding?" But when Zhongru was in the lands south of the Yangtze, he was quite fond of the zither, and once read the Continuation of the Book of Han compiled by Sima Biao,[14] where he saw Jing Fang's pitch-standard technique with its numbers clearly set forth, while Zhang Guang and others could not fix it. Zhongru, not measuring his mediocrity and dullness, privately harbored an intention in the matter. Thereupon exhausting his humble efforts, he researched for a long time. Although he could not fathom its subtle mechanism, as for sound and pitch, he gained considerably. Measures, weights, and the calendar derive from the yellow bell; though making pipes and observing qi is fully recorded in classics and histories, qi has fullness and emptiness, millet has large and small, and an error of a hair's breadth leads to a loss of a thousand li. Unless the pipe responds to the seasons and the sound verifies fortune and misfortune, the origin of right and wrong is indeed hard to fix. This is not something Zhongru's shallow understanding dares to address. As for the pitch standard, it originally substitutes for the pitch pipes, taking their fractional ratios to tune and adjust instruments, so that tonic and second are easily distinguished. If the dimensions are slightly long, then among the sixty tonic and second tones each will be slightly muddy; If the fractional ratios are slightly shortened, then among the sixty fifth and seventh tones each will be slightly sharp and clear. Speaking of its fundamental principle, the difference is indeed slight. As for blending clear and muddy tones and harmonizing song with pipes, all achieve proper correspondence. Although accumulating millet to verify qi provides the root of pitch, harmonizing clear and muddy tones also requires a proper method. If one is versed in the pitch standard, one can distinguish the clear and muddy pitch of the five tones; if one is skilled in zither technique, one knows the structure of the five modes' tuning. Combining these two approaches to balance the instruments, they naturally respond in harmony without disrupting each other's order. Without mastering this, errors and deviations are inevitable.

案後漢順帝陽嘉二年冬十月，行禮辟雍，奏應鍾，始復黃鍾作樂，器隨月律。是為十二之律必須次第為宮，而商角徵羽以類從之。尋調聲之體，宮商宜濁，徵羽用清。若依公孫崇止以十二律聲，[15]而云還相為宮，清濁悉足，非唯未練五調調器之法，至於五聲次第，自是不足。何者？黃鍾為聲氣之元，其管最長，故以黃鍾為宮，太蔟為商，林鍾為徵，則宮徵相順。若均之八音，猶須錯採眾聲，配成其美。若以應鍾為宮，大呂為商，蕤賓為徵，則徵濁而宮清，雖有其韻，不成音曲。若以夷則為宮，則十二律中唯得取中呂為徵，其商角羽並無其韻。若以中呂為宮，則十二律內全無所取。何者？中呂為十二之窮，[16]變律之首。依京房書，中呂為宮，乃以去滅為商，執始為徵，然後方韻。而崇乃以中呂為宮，猶用林鍾為商，[17]黃鍾為徵，何由可諧？仲儒以調和樂器，文飾五聲，非準不妙。若如嚴嵩父子，心賞清濁，是則為難。若依案見尺作準，調絃緩急，清濁可以意推耳。

It is recorded that in the tenth month of winter in the second year of Yangjia under Emperor Shun of Later Han, rites were performed at the Biyong and the ying bell was played; the yellow bell was restored as music, and instruments followed the monthly pitch. This means that among the twelve pitch pipes, each must in sequence serve as tonic, while second, third, fifth, and seventh follow by category. Examining the structure of tuning sound, tonic and second should be lower in pitch, while fifth and seventh should be higher. If following Gongsun Chong, who uses only the twelve pitch sounds[15] and claims they rotate as tonic with clear and muddy fully sufficient, not only has he not mastered the method of tuning instruments in the five modes, but even the sequence of the five tones is inherently insufficient. Why? The yellow bell is the origin of sound and vital force; its pipe is longest; therefore with yellow bell as tonic, great cu as second, and forest bell as fifth, tonic and fifth accord with each other. If balancing among the eight sounds, one must still mix and collect various tones to compose their beauty. If using the ying bell as tonic, great lu as second, and rui bin as fifth, then the fifth is lower while the tonic is higher; though it has pitch, it does not form a melody. If using yi ze as tonic, then among the twelve pitch pipes only the middle lu can serve as fifth; second, third, and seventh have no pitch at all. If using middle lu as tonic, then among the twelve pitch pipes nothing can be taken at all. Why? Middle lu is the end of the twelve;[16] it is the head of the altered pitch. According to Jing Fang's book, with middle lu as tonic, one takes qu mie as second and zhi shi as fifth, and only then do the pitches accord. Yet Chong uses middle lu as tonic but still uses forest bell as second[17] and yellow bell as fifth—how can it harmonize? Zhongru holds that harmonizing instruments and ornamenting the five tones cannot be accomplished without the pitch standard. If like Yan Song and his son, one's heart appreciates clear and muddy tones, that would be difficult. If following the present standard made according to the visible foot-rule, tuning strings tight and loose, clear and muddy can be inferred by intent.

但音聲精微，史傳簡略，舊志唯云準形如瑟十三絃，隱間九尺，以應黃鍾九寸，調中一絃，令與黃鍾相得。案畫以求其聲，[18]遂不辨準須柱以不？柱有高下，絃有粗細，餘十二絃復應若為？致令攬者望風拱手。 [19]又案房準九尺之內為一十七萬七千一百四十七分，一尺之內為萬九千六百八十三分，又復十之，是為於準一寸之內亦為萬九千六百八十三分。然則於準一分之內，乘為二千分，[20]又為小分，以辨強弱。中間至促，雖復離朱之明，猶不能窮而分之。雖然仲儒私曾考驗，但前却中柱，使入準常尺分之內，[21]則相生之韻已自應合。分數既微，器宜精妙。其準面平直，須如停水；其中絃一柱，高下須與二頭臨岳一等，移柱上下之時，不使離絃，不得舉絃。又中絃粗細，須與琴宮相類。中絃須施軫如琴，以軫調聲，令與黃鍾一管相合。中絃下依數盡出六十律清濁之節。 [22]其餘十二絃，須施柱如箏。又凡絃皆須豫張，使臨時不動，即於中絃案盡一周之聲，[23]度著十二絃上。然後依相生之法，以次運行，取十二律之商徵。商徵既定，又依琴五調調聲之法，以均樂器。其瑟調以宮為主，清調以商為主，平調以角為主。 [24]五調各以一聲為主，然後錯採眾聲以文飾之，方如錦繡。

But sound and pitch are subtle and refined; historical records are brief; old gazetteers only say the pitch standard's form resembles a se with thirteen strings, with nine chi concealed between, corresponding to the yellow bell's nine cun, tuning the middle string to accord with the yellow bell. Drawing diagrams to seek its sound,[18] one then cannot distinguish whether the standard requires posts or not? Posts have high and low, strings have thick and thin—how should the remaining twelve strings correspond? This causes those who take it up to gaze helplessly and fold their hands. [19] It is also recorded that within Fang's nine chi there are one hundred seventy-one thousand one hundred forty-seven parts; within one chi there are nineteen thousand six hundred eighty-three parts, and dividing by ten again, within one cun of the standard there are also nineteen thousand six hundred eighty-three parts. Thus within one fen of the standard, multiplying yields two thousand parts,[20] and further small parts to distinguish strong and weak. In the middle it becomes extremely cramped; even the clarity of Li Zhu could not exhaustively divide it. Nevertheless Zhongru privately once tested it; simply moving the middle post forward and back so it enters within the standard's regular chi and fen,[21] then the mutually generating pitches already respond in accord. The fractional ratios being so minute, the instrument must be exquisitely precise. Its standard face must be flat and level, like still water; among its strings the middle post must be equal in height to the two end bridges; when moving the post up and down, it must not leave the string nor lift the string. Also the middle string's thickness must resemble the zither's tonic string. The middle string must have tuning pegs like the zither; using pegs to tune sound, make it accord with one yellow bell pipe. Below the middle string, according to the numbers, fully mark the clear and muddy nodes of the sixty pitch pipes. [22] The remaining twelve strings must have posts like the zheng. Also all strings must be pre-tensioned so they do not move at the moment; then on the middle string mark the full cycle of sound,[23] and place it on the twelve strings. Then following the method of mutual generation, run in sequence and take the second and fifth of the twelve pitch pipes. Once second and fifth are fixed, then following the zither's five-mode tuning method, balance the instruments. The se mode takes tonic as primary; the qing mode takes second as primary; the ping mode takes third as primary. [24] Each of the five modes takes one tone as primary, then mixes and collects various tones to ornament it, just like brocade.

自上代來消息調準之方並史文所略，[25]出仲儒所思。若事有乖此，聲則不和。仲儒尋準之分數，精微如彼，定絃緩急，艱難若此。而張光等親掌其事，尚不知藏中有準。既未識其器，又焉能施絃也？且燧人不師資而習火，延壽不束脩以變律，故云「知之者欲教而無從，心達者體知而無師」。苟有一毫所得，皆關心抱，豈必要經師授然後為奇哉！但仲儒自省膚淺，才非一足，正可粗識音韻，纔言其理致耳。

From high antiquity the methods of tuning and adjusting pitch standards are omitted from historical texts;[25] these come from Zhongru's own thinking. If matters depart from this, the sound will not harmonize. Zhongru sought the fractional ratios of the standard with such subtle refinement; fixing strings tight and loose is equally difficult. Yet Zhang Guang and others personally managed the affair and still did not know there was a standard in the storehouse. Having not recognized the instrument, how could they string it? Moreover Suiren did not learn from a teacher yet mastered fire; Zhongyan did not receive formal instruction yet altered pitch—thus it is said, "Those who know wish to teach but have none to follow; those whose hearts penetrate comprehend bodily yet have no master." If one gains even a hair's breadth, it all concerns the heart's embrace—must one necessarily receive instruction from a classic master before being extraordinary? But Zhongru reflected on his own superficiality; his talent was not complete in every respect—he could only roughly recognize pitch and rhyme, barely speaking of its principles.

時尚書蕭寶夤奏言：「金石律呂，制度調均，中古已來尠或通曉。仲儒雖粗述書文，頗有所說，而學不師授，云出己心；又言舊器不任，必須更造，然後克諧。上違成敕用舊之旨，輒持己心，輕欲制作。臣竊思量，不合依許。」詔曰：「禮樂之事，蓋非常人所明，可如所奏。」

At the time Attendant-in-Ordinary Xiao Baoyin submitted: "Metal, stone, pitch pipes, and pitch standards—their systems, regulation, and tuning—since middle antiquity few have thoroughly understood them. Although Zhongru roughly expounded written texts and had some explanations, his learning had no master and he claimed it came from his own heart; he also said the old instruments were inadequate and must be remade before harmony could be achieved. This violates the prior edict's intent to use the old; he arbitrarily held to his own heart and lightly wished to create anew. Your servant privately considers that approval should not be granted." An edict proclaimed: "Ritual and music affairs are generally not what ordinary people understand; it may be as submitted."

正光中，侍中、安豐王延明受詔監修金石，博探古今樂事，令其門生河間信都芳考算之。屬天下多難，終無制造。芳後乃撰延明所集樂說并諸器物準圖二十餘事而注之，不得在樂署考正聲律也。

In the Zhengguang era, Attendant-in-Ordinary Yuan Yanming, Prince of Anfeng, received orders to supervise the repair of bells and stone chimes, broadly collecting music affairs ancient and modern, ordering his disciple Xin Dufang of Hejian to calculate them. When the realm faced many hardships, in the end nothing was manufactured. Fang later compiled Yanming's collected music treatises together with diagrams of various instruments and pitch standards—more than twenty items—and annotated them, but could not examine and correct pitch and rhythm at the Music Office.

普泰中，前廢帝詔錄尚書長孫稚、太常卿祖瑩營理金石。永熙二年春，稚、瑩表曰：

In the Putai era, the deposed former emperor ordered Recording Secretary Zhangsun Zhi and Grand Master of Ceremonies Zu Ying to manage bells and stone chimes. In the spring of the second year of Yongxi, Zhi and Ying submitted:

臣聞安上治民莫善於禮，移風易俗莫善於樂。易曰：「先王以作樂崇德，殷薦之上帝，以配祖考。」書曰：「戞擊鳴球，拊搏琴瑟以詠，祖考來格。」詩言志，律和聲，敦叙九族，平章百姓，天神於焉降歆，地祇可得而禮。故樂以象德，舞以象功，干戚所以比其形容，金石所以發其歌頌，薦之宗廟則靈祇饗其和，用之朝廷則君臣協其志，樂之時義大矣哉！雖復沿革異時，晦明殊位，周因殷禮，百世可知也。

Your servant has heard that settling the people above and governing them below—nothing is better than ritual; transforming the winds and changing customs—nothing is better than music. The Book of Changes says: "The former kings made music to honor virtue, offering to the Supreme Lord above and matching the ancestors." The Book of Documents says: "Strike and tap the sounding orb, beat the zither and se to sing, and the ancestors come to approach." Poetry expresses intent, pitch harmonizes sound, kin are ordered in nine degrees, the people are harmonized, heavenly spirits thereby descend to receive, and earthly spirits may be honored in ritual. Therefore music symbolizes virtue and dance symbolizes achievement; shield and axe compare their forms, bells and stone chimes release their songs and eulogies; offered in the ancestral temple, spirits receive their harmony; used at court, ruler and minister harmonize their intent—the timely meaning of music is great indeed! Although institutions change with different ages and positions differ in light and dark, Zhou inherited from Yin ritual—the hundred generations can know it.

太祖道武皇帝應圖受命，光宅四海，義合天經，德符地緯，九戎薦舉，五禮未詳。太宗、世祖重輝累耀，恭宗、顯祖誕隆丕基，而猶經營四方，匪遑制作。高祖孝文皇帝承太平之緒，纂無為之運，帝圖既遠，王度惟新。太和中命故中書監高閭草創古樂，閭尋去世，未就其功。閭亡之後，故太樂令公孫崇續修遺事，十有餘載，崇敷奏其功。時太常卿劉芳以崇所作，體制差舛，不合古義，請更修營，被旨聽許。芳又釐綜，久而申呈。時故東平王元匡共相論駁，各樹朋黨，爭競紛綸，竟無底定。及孝昌已後，世屬艱虞，內難孔殷，外敵滋甚。永安之季，胡賊入京，燔燒樂庫，所有之鍾悉畢賊手，其餘磬石，咸為灰燼。普泰元年，臣等奉敕營造樂器，責問太樂前來郊丘懸設之方，宗廟施安之分。太樂令張乾龜答稱芳所造六格：北廂黃鍾之均，實是夷則之調，其餘三廂，宮商不和，共用一笛，施之前殿，樂人尚存；又有沽洗、太蔟二格，用之後宮，檢其聲韻，復是夷則，於今尚在。而芳一代碩儒，斯文攸屬，討論之日，必應考古，深有明證。乾龜之辨，恐是歷歲稍遠，伶官失職。芳久殂沒，遺文銷毀，無可遵訪。臣等謹詳周禮，分樂而序之。

The founding emperor Daowu responded to the chart and received the mandate, dwelling in glory throughout the four seas; his righteousness accorded with heaven's norm and his virtue matched earth's latitude; the nine barbarians presented tribute, yet the five rites were not detailed. Emperors Taizong and Shizu added radiance upon radiance; Emperors Gongzong and Xianzu raised the great foundation—yet still they managed the four quarters and had no leisure for creation. Emperor Gaozu, Emperor Xiaowen, inherited the thread of great peace and gathered the fortune of non-action; the imperial design was already far-reaching and the royal measure was renewed. In the Taihe era he ordered the late Director of the Secretariat Gao Lu to draft ancient music; Lu soon passed away and did not complete the achievement. After Lu's death, the late Grand Music Director Gongsun Chong continued repairing the legacy affairs; for more than ten years Chong presented his achievement. At the time Grand Master of Ceremonies Liu Fang, because what Chong made differed in structure and was not in accord with ancient meaning, requested further repair and construction, and received orders permitting it. Fang again reorganized and synthesized; after a long time he submitted. At the time the late Prince of Dongping, Yuan Kuang, jointly debated and refuted; each formed factions, competing and contending in confusion, ultimately reaching no settlement. After Xiaochang, the age belonged to hardship and anxiety; internal troubles were deep and external enemies ever more numerous. In the Jingtai season, barbarian rebels entered the capital; the music storehouse was burned—all bells fell entirely into enemy hands; the remaining stone chimes were all reduced to ash. In the first year of Putai, we your ministers received orders to construct musical instruments and questioned the Grand Music on the methods of suspension at suburban altars and the arrangements at the ancestral temple. Grand Music Director Zhang Qian'gui replied that the six frames Fang made: the northern wing's yellow bell pitch was actually yi ze tuning; the other three wings had tonic and second not harmonized, all sharing one flute; set up in the front hall, the musicians still survive; there were also gu and xian two frames, used in the rear palace; checking their pitch, they were again yi ze, and to this day still exist. Yet Fang was a great scholar of his generation to whom this literary tradition belonged; on the day of discussion he should have examined antiquity and had deep clear proof. Qian'gui's distinction perhaps reflects years gradually passing and court musicians losing their charge. Fang long since died; his surviving texts were destroyed and nothing can be followed or consulted. We your ministers respectfully detail the Rites of Zhou and arrange the music in sequence.

凡樂：圜鍾為宮，黃鍾為角，太蔟為徵，沽洗為羽，若樂六變，天神可得而禮；函鍾為宮，太蔟為角，沽洗為徵，南呂為羽，若樂八變，地示可得而禮；黃鍾為宮，大呂為角，太蔟為徵，應鍾為羽，若樂九變，人鬼可得而禮。至於布置，不得相生之次，兩均異宮，並無商聲，而同用一徵。書曰：於予擊石拊石，百獸率舞，八音克諧，神人以和。計五音不具，則聲豈成文；七律不備，則理無和韻。八音克諧，莫曉其旨。聖道幽玄，微言已絕，漢魏已來，未能作者。案春秋魯昭公二十年，晏子言於齊侯曰：「先王之濟五味、和五聲也，以平其心，成其政也。聲亦如味，一氣、二體、三類、四物、五聲、六律、七音、八風、九歌以相成也。」服子慎注云：「黃鍾之均，黃鍾為宮，太蔟為商，沽洗為角，林鍾為徵，南呂為羽，應鍾為變宮，蕤賓為變徵。一懸十九鍾，十二懸二百二十八鍾，八十四律。」即如此義，乃可尋究。今案周禮小胥之職，樂懸之法，鄭注云：「鍾磬編縣之，二八十六枚。」漢成帝時，犍為郡於水濱得古磬十六枚獻呈，漢以為瑞，復依禮圖編懸十六。去正始中，徐州薛城送玉磬十六枚，亦是一懸之器。檢太樂所用鍾、磬，各一懸十四，不知何據。魏侍中繆襲云：周禮以六律、六同、五聲、八音、六舞大合樂以致鬼神。今之樂官，徒知古有此制，莫有明者。又云：樂制既亡，漢成謂韶武、武德、武始、大鈞可以備四代之樂。奏黃鍾，舞文始，以祀天地；奏太蔟，舞大武，以祀五郊、明堂；奏姑洗，舞武德，巡狩以祭四望山川；奏蕤賓，舞武始、大鈞以祀宗廟。祀圓丘、方澤，羣廟祫祭之時則可兼舞四代之樂。漢亦有雲翹、育命之舞，罔識其源，漢以祭天。魏時又以雲翹兼祀圓丘天郊，育命兼祀方澤地郊。今二舞久亡，無復知者。臣等謹依高祖所制尺，周官考工記鳧氏為鍾鼓之分、磬氏為磬倨句之法，[26]禮運五聲十二律還相為宮之義，以律呂為之劑量，奏請制度，經紀營造。依魏晉所用四廂宮懸，鍾、磬各十六懸，塤、箎、箏、筑聲韻區別。蓋理三稔，於茲始就，五聲有節，八音無爽，笙鏞和合，不相奪倫，元日備設，百僚允矚。雖未極萬古之徽蹤，實是一時之盛事。

In general for music: round bell as tonic, yellow bell as third, great cu as fifth, gu and xian as seventh—if music has six transformations, heavenly spirits may be honored in ritual; huan bell as tonic, great cu as third, gu and xian as fifth, southern lu as seventh—if music has eight transformations, earthly spirits may be honored in ritual; yellow bell as tonic, great lu as third, great cu as fifth, ying bell as seventh—if music has nine transformations, the spirits of the dead may be honored in ritual. As for arrangement, not following the order of mutual generation, two pitch sets with different tonic, entirely lacking second tone, yet jointly using one fifth. The Book of Documents says: When I strike and tap stone, the hundred beasts lead the dance; the eight sounds achieve harmony, spirits and humans are united. If the five tones are not complete, how can sound form a pattern; if the seven pitch pipes are not complete, then principle has no harmonious rhyme. The eight sounds achieve harmony—none comprehend its intent. The sage's way is dark and profound; subtle words are already cut off; from Han and Wei onward, none has been able to create it. It is recorded that in the twentieth year of Duke Zhao of Lu in the Spring and Autumn Annals, Yanzi spoke to the Marquis of Qi: "The former kings blended the five flavors and harmonized the five sounds to balance the heart and complete governance. Sound is also like flavor: one qi, two bodies, three categories, four things, five sounds, six pitch pipes, seven tones, eight winds, and nine songs mutually complete each other." Fu Zizhan annotated: "In the yellow bell pitch set, yellow bell is tonic, great cu is second, gu and xian is third, forest bell is fifth, southern lu is seventh, ying bell is altered tonic, rui bin is altered fifth. One suspension has nineteen bells; twelve suspensions have two hundred twenty-eight bells, eighty-four pitch pipes." Following this meaning, investigation becomes possible. Now examining the Rites of Zhou, the duties of the minor clerk and the method of musical suspension—Zheng's annotation says: "Bells and stone chimes are strung in series; two times eight is sixteen pieces." In the time of Emperor Cheng of Han, Jianwei commandery obtained sixteen ancient stone chimes by the water's edge and presented them; Han regarded them as auspicious and again, following the ritual diagrams, strung sixteen in suspension. From the Zhengshi era, Xue city in Xu province sent sixteen jade chimes—these too are instruments of one suspension. Examining the bells and chimes used by the Grand Music, each suspension has fourteen pieces—we do not know on what basis. Wei Attendant-in-Ordinary Miao Xi said: The Rites of Zhou use the six pitch pipes, six concords, five tones, eight sounds, and six dances in great combined music to summon spirits. Today's music officials merely know antiquity had this system; none understands it clearly. He also said: When the music system was lost, Emperor Cheng of Han considered Shao Wu, Wude, Wushi, and Dajun sufficient to complete the music of the four dynasties. Playing the yellow bell, dancing Wenshi, to sacrifice to heaven and earth; playing the great cu, dancing Dawu, to sacrifice at the five suburbs and Bright Hall; playing gu and xian, dancing Wude, on imperial tours to sacrifice at the four outlooks, mountains, and rivers; playing rui bin, dancing Wushi and Dajun to sacrifice at the ancestral temple. When sacrificing at the round mound, square pond, and collective temple joint sacrifices, the music of the four dynasties could be danced together. Han also had the Yunqiao and Yuming dances—their source is unknown; Han used them to sacrifice to heaven. In Wei times Yunqiao was also used jointly to sacrifice at the round mound and southern heaven suburb; Yuming jointly at the square pond and earth suburb. Today these two dances have long been lost; none knows them anymore. We your ministers respectfully follow the foot-rule made by Emperor Gaozu, the Rites of Zhou's Artificers' Record on the Fu clan's division of bells and drums and the Qing clan's method for stone chime angles,[26] and the Doctrine of Ritual's principle of the five tones and twelve pitch pipes rotating as tonic, using pitch pipes as measure, submitting regulations for construction and systematic building. Following the four-wing palace suspension used by Wei and Jin, bells and chimes each have sixteen suspensions; xun, chi, zheng, and zhu differ in sound and pitch. Roughly three years in planning—now at last complete—the five tones have measure, the eight sounds without error; sheng and yong harmonize and blend without usurping each other's order; on New Year's Day fully arrayed, the hundred officials gaze with approval. Although not reaching the subtle traces of ten thousand ages, it is truly a grand achievement of the time.

竊惟古先哲王制禮作樂，各有所稱：黃帝有咸池之樂，顓頊作承雲之舞，大章、大韶堯舜之異名，大夏、大濩禹湯之殊稱，周言大武，秦曰壽人。及焚書絕學之後，舊章淪滅，無可準據。漢高祖時，叔孫通因秦樂人制宗廟樂，迎神廟門奏嘉至，皇帝入廟門奏永至，登歌再終，下奏休成之樂，通所作也。高祖六年，有昭容樂、禮容樂，又有房中祠樂，高祖唐山夫人所作也。孝惠二年，使樂府令夏侯寬備其簫管，更名安世樂。高祖廟奏武德、文始、五行之舞，孝文廟奏昭德、文始、四時、五行之舞，孝武廟奏盛德、文始、四時、五行之舞。武德者，高祖四年作也，以象天下樂己行武以除亂也；文始舞者，舜韶舞，高祖六年更名曰文始，以示不相襲也；五行舞者，本周舞，秦始皇二十六年更名曰五行也；四時舞者，孝文所作，以明天下之安和也。孝景以武德舞為昭德，孝宣以昭德舞為盛德。光武廟奏大武，諸帝廟並奏文始、五行、四時之舞。及卯金不祀，當塗勃興，魏武廟樂改云韶武，用虞之大韶、周之大武，總號大鈞也。曹失其鹿，典午乘時，晉氏之樂更名正德。自昔帝王，莫不損益相緣，徽號殊別者也。而皇魏統天百三十載，至於樂舞，迄未立名，非所以聿宣皇風，章明功德，贊揚懋軌，垂範無窮者矣。

I privately consider that the ancient sage kings established ritual and created music, each with its own designation: the Yellow Emperor had the Xianchi music, Zhuanxu made the Chengyun dance, Dazhang and Dashao are different names of Yao and Shun, Daxia and Dahu are distinct titles of Yu and Tang; Zhou speaks of Dawu, Qin calls it Shouren. After burning books and cutting off learning, old regulations sank and perished, with no standard to follow. In Emperor Gaozu of Han's time, Shusun Tong, using Qin musicians, made ancestral temple music; at the temple gate welcoming spirits they played Jiazhi; when the emperor entered the temple gate they played Yongzhi; after the dengge twice ended, below they played the Xiucheng music—what Tong made. In the sixth year of Gaozu there were Zhaorong music and Lirong music, and also inner-chamber sacrificial music—what Lady Tangshan of Gaozu made. In the second year of Xiaohui, the Music Bureau Director Xiahou Kuan was ordered to complete its pipes and strings, renaming it Anshi music. At Gaozu's temple they played Wude, Wenshi, and Wuxing dances; at Xiaowen's temple Zhaode, Wenshi, Sishi, and Wuxing dances; at Xiaowu's temple Shengde, Wenshi, Sishi, and Wuxing dances. Wude was made in Gaozu's fourth year, to symbolize the realm rejoicing that he had practiced martial virtue to remove disorder; the Wenshi dance is Shun's Shao dance; in Gaozu's sixth year it was renamed Wenshi to show non-inheritance; the Wuxing dance is originally Zhou's dance; in Qin Shihuang's twenty-sixth year it was renamed Wuxing; the Sishi dance was made by Xiaowen to manifest peace throughout the realm. Xiaojing changed Wude dance to Zhaode; Xiaoxuan changed Zhaode dance to Shengde. At Guangwu's temple they played Dawu; at all emperors' temples they played Wenshi, Wuxing, and Sishi dances. When the Liu gold line ceased sacrifice and the Cao line rose vigorously, Wei Wu's temple music was changed to Shao Wu, using Yu's Dashao and Zhou's Dawu, collectively called Dajun. When Cao lost the deer, Sima seized the moment; Jin's music was renamed Zhengde. From former emperors and kings, none failed to modify and continue in succession, with distinct honorific titles. Yet the august Wei has unified heaven for one hundred thirty years, yet as for music and dance, names have still not been established—this is not how to proclaim the imperial wind, manifest merit and virtue, praise the great track, and set an endless model.

案今后宮饗會及五郊之祭，皆用兩懸之樂，詳攬先誥，大為紕繆。古禮，天子宮懸，諸侯軒懸，大夫判懸，士特懸。皇后禮數，德合王者，名器所資，豈同於大夫哉。孝經言：「嚴父莫大於配天。」宗祀文王於明堂，以配上帝，即五精之帝也。禮記王制「庶羞不踰牲，燕衣不踰祭服」，論語「禹卑宮室，盡力於溝洫」，「惡衣食致美於黻冕」。何有殿庭之樂過於天地乎！失禮之差，遠於千里。昔漢孝武帝東巡狩封禪，還祀泰一於甘泉，祭后土於汾陰，皆盡用，明其無減。普泰元年，前侍中臣孚及臣瑩等奏求造十二懸，六懸裁訖，續復營造，尋蒙旨判。今六懸既成，臣等思鍾磬各四，鈲鎛相從，[27]十六格宮懸已足，今請更營二懸，通前為八，宮懸兩具矣。一具備於太極，一具列於顯陽。若圓丘、方澤、上辛、四時五郊、社稷諸祀雖時日相交，[28]用之無闕。孔子曰：周道四達，禮樂交通。傳曰：「魯有禘樂，賓祭用之。」然則天地宗廟同樂之明證也。其升斗權量，當時未定，請即刊校，以為長準。

Examining present inner-palace feasts and sacrifices at the five suburbs, all use music of two suspensions; broadly reviewing prior edicts, this is greatly erroneous. Ancient ritual: the Son of Heaven has palace suspension, feudal lords have chariot suspension, grandees have half suspension, officers have special suspension. The empress's ritual measure, her virtue matching the king, the vessels and insignia she relies on—how can they be the same as a grand master? The Classic of Filial Piety says: "Honoring the father—nothing is greater than matching heaven." Sacrificing to King Wen in the Bright Hall to match the Supreme Lord—that is the five essences of emperors. The Record of Ritual's Royal Regulations: "Common delicacies do not exceed sacrificial victims; banquet robes do not exceed sacrificial robes"; the Analects: "Yu built low palace chambers and exerted all strength on ditches and canals," "disdaining food and clothing yet achieving beauty in ceremonial caps and robes." How can palace music exceed that of heaven and earth! The error of lost ritual extends far beyond a thousand li. Formerly Emperor Xiaowu of Han on eastern tour performed feng and shan sacrifices; returning he sacrificed to Taiyi at Ganquan and the earth deity at Fenyin—both fully used complete suspension, showing no reduction. In the first year of Putai, former Attendant-in-Ordinary Chen Fu and we your ministers and others submitted requesting construction of twelve suspensions; six suspensions were just completed and construction continued, soon receiving imperial judgment. Now that six suspensions are complete, we your ministers consider that bells and chimes each have four, bo and bo following each other,[27] sixteen frames of palace suspension are already sufficient; we now request two more suspensions be built, totaling eight with the prior—two sets of palace suspension. One set installed at Taiji, one set arrayed at Xianyang. If round mound, square pond, upper xin, four seasons, five suburbs, and state-altar sacrifices—even when dates intersect,[28] use will not be lacking. Confucius said: The Zhou way extends in four directions; ritual and music intercommunicate. The Commentary says: "Lu had di music, used at guest sacrifices." Thus heaven-and-earth and ancestral temple using the same music is clear proof. The sheng, dou, weights, and measures were not fixed at the time; we request immediate engraving and verification as the long-term standard.

周存六代之樂，雲門、咸池、韶、夏、濩、武用於郊廟，各有所施，但世運遙緬，隨時亡缺。漢世唯有虞韶、周武，魏為武始、咸熙，錯綜風聲，為一代之禮。晉無改造，易名正德。今聖朝樂舞未名，舞人冠服無準，稱之文、武舞而已。依魏景初三年以來衣服制，其祭天地宗廟：武舞執干戚，著平冕、黑介幘、玄衣裳、白領袖、絳領袖中衣、絳合幅袴袜、黑韋鞮；文舞執羽籥，冠委貌，其服同上。其奏於廟庭：[29]武舞，武弁、赤介幘、生絳袍、單衣絳領袖、[30]皂領袖中衣、虎文畫合幅袴、白布袜、黑韋鞮；文舞者進賢冠、黑介幘、生黃袍、單衣白合幅袴，服同上。其魏晉相因，承用不改。古之神室，方各別所，[31]故聲歌各異。今之太廟，連基接棟，樂舞同奏，於義得通。

Zhou preserved the music of six dynasties—Yunmen, Xianchi, Shao, Xia, Hu, and Wu—used at suburban sacrifices and temples, each with its application, but ages distant in time, lost with the seasons. The Han age had only Yu's Shao and Zhou's Wu; Wei had Wushi and Xianxi, mixing wind sounds into the ritual of a generation. Jin made no reform, changing the name to Zhengde. Today the holy dynasty's music and dance have no name; dancers' caps and robes have no standard—they are simply called Wen and Wu dances. Following the garment system from Jingchu third year of Wei onward, for sacrificing to heaven, earth, and ancestral temple: the Wu dance holds shield and axe, wearing ping mian, black jieze, dark yi robe, white collar and sleeves, red collar and sleeves inner robe, red hefu ku and socks, black wei di; the Wen dance holds feathers and yue, wearing weimao; the garments are the same as above. When performed in the temple courtyard:[29] Wu dance—wu mian, red jieze, raw red robe, single garment with red collar and sleeves,[30] black collar and sleeves inner robe, tiger-pattern hefu ku, white cloth socks, black wei di; Wen dancers wear jinxian guan, black jieze, raw yellow robe, single garment with white hefu ku; garments same as above. Wei and Jin inherited and used without change. Ancient spirit chambers had separate locations in each direction;[31] therefore songs differed. Today's Grand Temple connects foundations and joins rafters; music and dance performed together—in principle this is permissible.

自中原喪亂，[32]晉室播蕩，永嘉已後，舊章湮沒。太武皇帝破平統萬，得古雅樂一部，正聲歌五十曲，工伎相傳，間有施用。自高祖遷居，世宗晏駕，內外多事，禮物未周。今日所有王夏、肆夏之屬二十三曲，猶得擊奏，足以闡累聖之休風，宣重光之盛美。伏惟陛下仁格上皇，義光下武，道契玄機，業隆寶祚，思服典章，留心軌物，反堯舜之淳風，復文武之境土，飾宇宙之儀刑，納生人於福地，道德熙泰，樂載新聲，天成地平，於是乎在。樂舞之名，乞垂旨判。臣等以愚昧參廁問道，呈御之日，伏增惶懼。

Since the Central Plains fell into chaos,[32] the Jin house was scattered; after Yongjia, old regulations were submerged. Emperor Taiwu broke and pacified Tongwan, obtaining one set of ancient elegant music—fifty correct-sound songs—with craftsmen transmitting skills; some were occasionally used. Since Emperor Gaozu moved the capital and Emperor Shizong passed away, internal and external affairs were many and ritual objects were not complete. Today the existing Wangxia, Sixia, and the like—twenty-three melodies—can still be struck and performed, sufficient to spread the accumulated sages' fine wind and proclaim the splendor of redoubled brilliance. I humbly consider that Your Majesty's benevolence reaches the upper sovereign, righteousness illumines the martial below, the way accords with dark mystery, enterprise prospers in the precious throne, pondering canonical regulations, attending to standards and things, returning to Yao and Shun's pure wind, restoring Wen and Wu's territory, adorning the universe's ritual forms, receiving the living into blessed land—virtue and the way flourish, music carries new sounds; heaven completes and earth levels—in this it lies. The names of music and dance—we beg your command for judgment. We your ministers, with our dullness joining the inquiry into the way, on the day of presentation feel increased awe and fear.

詔：「其樂名付尚書博議以聞。」

An edict: "The music names are to be delivered to the Ministry for broad deliberation and report."

其年夏，集羣官議之。瑩復議曰：「夫樂所以乘靈通化，舞所以象物昭功，金石播其風聲，絲竹申其歌詠。郊天祠地之道，雖百世而可知；奉神育民之理，經千載而不昧。是以黃帝作咸池之樂，顓頊有承雲之舞，堯為大章，舜則大韶，禹為大夏，湯為大濩，周曰大武，秦曰壽人，漢為大予，魏名大鈞，晉曰正德。雖三統互變，五運代降，莫不述作相因，徽號殊別者也。皇魏道格三才，化清四宇，弈世載德，累葉重光，或以文教興邦，或以武功平亂，功成治定，於是乎在。及主上龍飛載造，景命惟新，書軌自同，典刑罔二，覆載均於兩儀，仁澤被於四海，五聲有序，八音克諧，樂舞之名，宜以詳定。案周兼六代之樂，聲律所施，咸有次第。滅學以後，經禮散亡，漢來所存，二舞而已。請以韶舞為崇德，[33]武舞為章烈，總名曰嘉成。漢樂章云：『高張四縣，神來燕饗。』宗廟所設，宮懸明矣。計五郊天神，尊於人鬼；六宮陰極，體同至尊。理無減降，宜皆用宮懸。其舞人冠服制裁咸同舊式。庶得以光贊鴻功，敷揚大業。」錄尚書事長孫稚已下六十人同議申奏，詔曰：「王者功成作樂，治定制禮，以『成』為號，良無間然。又六代之舞者，以大為名，今可準古為大成也。凡音樂以舞為主，故干戈羽籥，禮亦無別，但依舊為文舞、武舞而已。餘如議。」

That summer, officials were assembled to deliberate. Ying again deliberated: "Music therefore rides the spirit and transforms through communication; dance therefore symbolizes things and manifests achievement; metal and stone broadcast their wind sounds, silk and bamboo express their songs and eulogies. The way of sacrificing to heaven and worshiping earth—though a hundred generations pass, it can be known; the principle of serving spirits and nurturing the people—through a thousand years it is not obscure. Therefore the Yellow Emperor made Xianchi music, Zhuanxu had Chengyun dance, Yao made Dazhang, Shun then Dashao, Yu made Daxia, Tang made Dahu, Zhou says Dawu, Qin says Shouren, Han made Dayu, Wei named Dajun, Jin says Zhengde. Although the three systems alternately changed and the five cycles succeeded each other, none failed to compose and continue in succession, with distinct honorific titles. The august Wei's way matches the three powers, transformation clears the four realms, generation after generation bearing virtue, leaf upon leaf adding brilliance—some civil culture raised the state, some martial achievement pacified disorder; achievement complete and governance settled—in this it lies. When the sovereign dragon flew and the mandate was newly renewed, writing and tracks were alike, canonical punishments without duality, covering and bearing equal to the two principles, benevolent grace spread over the four seas, five tones ordered, eight sounds harmonized—the names of music and dance should be fixed in detail. Examining Zhou's inclusion of six dynasties' music, the pitch and rhythm applied all had sequence. After destroying learning, classic ritual scattered and was lost; what Han preserved was only two dances. We request that the Shao dance be called Chongde,[33] the Wu dance Zhanglie, collectively named Jiacheng. Han music chapter says: 'High-strung four suspensions, spirits come to feast and enjoy.' Ancestral temple arrangement—palace suspension is clear. Considering the five suburbs' heavenly spirits—they are honored above human ghosts; the six palaces' yin pole—their substance equals supreme honor. In principle there is no reduction; all should use palace suspension. The dancers' caps, robes, and cutting regulations are all the same as the old style. Thus we may glorify and praise the great achievement and spread the great enterprise." Recording Secretary Zhangsun Zhi and below—sixty people—jointly deliberated and submitted; an edict proclaimed: "When a king's achievement is complete he makes music and when governance is settled he establishes ritual; taking 'cheng' as title is truly without objection. Also the six dynasties' dances take 'da' as name; now following antiquity it may be called Dacheng. In general music takes dance as primary; therefore shield-axe, feather, and yue—in ritual there is no distinction—but simply follow the old as Wen dance and Wu dance. The rest as deliberated."

初，侍中崔光、臨淮王彧並為郊廟歌詞而迄不施用，樂人傳習舊曲，加以訛失，了無章句。後太樂令崔九龍言於太常卿祖瑩曰：「聲有七聲，調有七調，以今七調合之七律，起於黃鍾，終於中呂。今古雜曲，隨調舉之，將五百曲。恐諸曲名，後致亡失，今輒條記，存之於樂府。」瑩依而上之。九龍所錄，或雅或鄭，至於謠俗、四夷雜歌，但記其聲折而已，不能知其本意。又名多謬舛，莫識所由，隨其淫正而取之。樂署今見傳習，其中復有所遺，至於古雅，尤多亡矣。

Initially, Attendant-in-Ordinary Cui Guang and Prince of Huaiyang Yuan Yu both made suburban and temple song texts but to the end they were not applied; musicians transmitted and practiced old melodies, adding corruption and loss, entirely without chapters and phrases. Later Grand Music Director Cui Jiulong spoke to Grand Master of Ceremonies Zu Ying: "Sound has seven tones, modes have seven modes; combining today's seven modes with the seven pitch pipes, starting from yellow bell and ending at middle lu. Old and new miscellaneous melodies, performed according to mode—nearly five hundred melodies. Fearing the melody names will later be lost, I now list and record them, preserving them in the Music Bureau." Ying followed and submitted upward. What Jiulong recorded—some elegant, some popular—as for ballads, customs, and miscellaneous songs of the four barbarians, he only recorded their sound and melody breaks, unable to know their original intent. The names also contain many errors; their origins are unknown—they are selected according to whether they are licentious or correct. What the Music Office presently transmits and practices still has gaps; as for ancient elegant music, especially much has been lost.

初，高祖討淮、漢，世宗定壽春，收其聲伎。 [34]江左所傳中原舊曲，明君、聖主、公莫、白鳩之屬，及江南吳歌、荊楚四聲，總謂清商。至於殿庭饗宴兼奏之。其圓丘、方澤、上辛、地祗、五郊、四時拜廟、三元、冬至、社稷、馬射、籍田、樂人之數，各有差等焉。

Initially, Emperor Gaozu campaigned against Huai and Han; Emperor Shizong pacified Shouchun and collected its singers and performers. [34] Old melodies of the Central Plains transmitted from the lands south of the Yangtze—Mingjun, Shengzhu, Gongmo, Baimiu, and the like—and Wu songs of Jiangnan and the four tones of Jing-Chu are collectively called Qing Shang. They were also performed at palace feasts and banquets. The numbers of musicians for round mound, square pond, upper xin, earth deity, five suburbs, four-season temple worship, three primordials, winter solstice, state altars, horse archery, and plowing rites each had graded differences.

校勘記

Collation Notes

軒轅桴阮瑜之管定小一之律殿本考證云：「呂氏春秋：〈仲夏紀適音篇〉伶倫自大夏之西，乃之阮隃之陰，是『瑜』當作『隃』，『小一』當作『十二』。」按呂氏春秋又云：「次制十二筒，以至阮隃之下，聽鳳凰之鳴，以別十二律。」考證說是。

The Yellow Emperor beat the pipes of Ruan Yu and fixed the pitch of the lesser unity—Palace Edition textual verification says: "Master Lü's Spring and Autumn Annals: 〈"Appropriate Sounds" chapter of "Midsummer""〉 Ling Lun from west of Great Xia came to the shaded side of Ruan Yu—therefore "Yu" should read "Yu (shaded slope)," and "lesser unity" should read "twelve." The annotation further says: "Next he made twelve tubes; reaching below Ruan Yu, he listened to the phoenix's cry to distinguish the twelve pitch pipes." The verification explanation is correct.

又有昧任離禁之樂諸本「昧任離禁」作「靺昧任禁」。盧文弨魏書樂志校補〈下簡稱盧校〉云：「『靺』即『昧』也，不當複出，又闕『離』字，今依周官鞮鞻氏注補正。」按盧說是，今據改。

There were also the melodies of Mei, Ren, Li, and Jin—in various editions "Mei, Ren, Li, and Jin" reads "Mo Mei Ren Jin." Lu Wenchao's Collation and Supplement to the Music Treatise of the Book of Wei 〈abbreviated below as Lu's Collation〉 says: "'Mo' is simply 'Mei' and should not appear twice; moreover the character 'Li' is missing—now corrected according to the Rites of Zhou annotation on the Di and Li clan." Lu's explanation is correct; the text is now emended accordingly.

慕容儁平冉閔遂克之按此段說的是「伶官樂器」的轉移，「克」字不協，且上既云「平」，也不應又說「克之」。「克」當是「得」或「獲」之訛。

Murong Jun defeated Ran Min and thereby seized them—this passage describes the transfer of court musicians and instruments; the character "seized" is incongruous, and since "pacified" was already stated above, "seized them" should not be repeated. "Seized" is likely a corruption of "obtained" or "acquired."

典章有闕冊府卷五六七〈六八０六頁〉、通典卷一四二歷代沿革後魏條「典」作「樂」。按「典」當是「樂」之訛，但作「典」亦可通，今不改。

Regulations are deficient—Ce Fu volume 567 〈page 6806〉 , Tongdian volume 142 "Successive Reforms, Later Wei" entry reads "music" for "regulations." "Regulations" is likely a corruption of "music," but reading "regulations" is also permissible; no change is made.

未忍聞此諸本「聞」訛「闕」，今據冊府卷五六七〈六八０七頁〉改。

Cannot bear to hear this—in various editions "hear" is corrupted to "lack"; now emended according to Ce Fu volume 567 〈page 6807〉 .

又有文始五行勺舞諸本「文」作「皇」，盧校改「文」，云：「皇始在下文。」按下云「太祖初興，置皇始之舞」，豈得先有此舞？今從盧校改。

There were also the Wenshi, Wuxing, and Shao dances—in various editions "Wen" reads "Huang"; Lu's Collation changes to "Wen," saying: "Huangshi appears below." Below it says "When the founding emperor first rose, he established the Huangshi dance"—how could this dance exist beforehand? Now following Lu's Collation in emending.

郊廟但用文始五行皇始三舞而已冊府卷五六七〈六八０八頁〉「郊廟」上有「用之」二字，「郊廟」下有「中京造次」四字，疑這裏脫去。

Suburban sacrifices and temples used only the Wenshi, Wuxing, and Huangshi three dances—Ce Fu volume 567 〈page 6808〉 Before "suburban sacrifices and temples" there are the two characters "used them"; after "suburban sacrifices and temples" there are the four characters "Central Capital provisional arrangement"—suspected lacuna here.

器度淹雅神賞入微徽讚大猷聲光海內諸本「淹雅」作「徽雅」，「徽讚」作「淹讚」，冊府〈同上卷頁〉作「淹雅」「徽讚」。按文義冊府是，今據改。

Breadth refined and elegant, divine appreciation reaching the subtle, praising the great design, fame shining throughout the realm—in various editions "refined and elegant" reads "emblem elegant," "praising" reads "refined praise"; Ce Fu 〈same volume and page〉 reads "refined and elegant" and "praising." According to the sense of the text Ce Fu is correct; now emended accordingly.

調樂諧音百衲本「調」作「𧥟」，為字不成，諸本作「詞」，當是以意補，於文義也未協，今據冊府〈同上卷頁〉補。

Harmonizing music and pitch—in the patched edition "tune" is written as an incomplete character; various editions read "words," apparently supplied by guess and not congruent in sense; now supplemented according to Ce Fu 〈same volume and page〉 .

其年冬按上云「永平三年冬」，又云「其年冬」，重複。冊府卷五六七〈五八０九頁〉無此三字，若非上文「冬」字訛，則此三字當是衍文。

That winter—above it says "winter of the third year of Yongping," and again "that winter"—redundant. Ce Fu volume 567 〈page 5809〉 lacks these three characters; if not a corruption of "winter" above, then these three characters are superfluous.

湯武所以〔改章功德〕自括號內「改章功德」至「頗行樂事」，共二百八十九字諸本皆闕，在宋本為此卷之十二頁。一九四四年商務印書館重印百衲本二十四史，依勵芸書屋據冊府卷五六七〈六八０九頁〉及通典卷一四三歷代制造後魏條補頁補。今據商務重印本魏書，加括號。

Therefore Tang and Wu [reformed regulations and proclaimed merit]—from the bracketed phrase "reformed regulations and proclaimed merit" through "quite versed in music affairs," a passage of two hundred eighty-nine characters is absent in all editions; in the Song edition this was page twelve of this scroll. In 1944 the Commercial Press reprinted the patched edition of the Twenty-Four Histories, supplementing pages according to Li Yun Study House based on Ce Fu volume 567 〈page 6809〉 and Tongdian volume 143 "Successive Manufactures, Later Wei" entry. Now according to the Commercial Press reprint of the Book of Wei, brackets are added.

孝明帝熙平二年冬按魏書於魏帝例稱廟號，冊府通典改稱諡號，這裏「孝明帝」原文當作「肅宗」。

Emperor Xiaoming, winter of the second year of Xiping—according to the Book of Wei, Wei emperors are normally cited by temple name; Ce Fu and Tongdian change to posthumous titles; here "Emperor Xiaoming" in the original should read "Suzong."

後雖有器存諸本脫「器」字，盧校據通典卷一四三補，今從補。

Though instruments survived afterward—in various editions the character "instruments" is missing; Lu's Collation supplements according to Tongdian volume 143; now supplemented.

頗愛琴又嘗覽司馬彪所撰續漢書諸本「愛」作「授」，「又」作「文」，冊府〈同上卷頁〉、卷八五七〈一０一七六頁〉，通典卷一四三作「愛」、「又」。按當時「授」「受」通用，「頗受琴文」，雖亦可通，然較晦，且通典與冊府合，知傳本此志訛，今據改。

Quite fond of the qin and once read the Continuation of the Book of Han compiled by Sima Biao—in various editions "fond" reads "received," "and" reads "literary"; Ce Fu 〈same volume and page〉 , volume 857 〈page 10176〉 , Tongdian volume 143 reads "fond" and "and." "Received" and "accepted" were interchangeable at the time; "quite received qin literature," though also possible, is comparatively obscure; moreover Tongdian agrees with Ce Fu, showing this passage in transmitted editions is corrupt; now emended accordingly.

若依公孫崇止以十二律聲諸本脫「依」字，盧校據通典一四三補。按冊府卷五六七〈六八一０頁〉、卷八五七〈一０一七七頁〉並有「依」字，今從盧校補。

If following Gongsun Chong who uses only the twelve pitch sounds—in various editions the character "following" is missing; Lu's Collation supplements according to Tongdian 143. According to Ce Fu volume 567 〈page 6810〉 , volume 857 〈page 10177〉 both have the character "following"; now supplemented following Lu's Collation.

中呂為十二之窮諸本「窮」作「竅」，下注「疑」字，盧校據通典一四三改「窮」。按七調起於黃鍾，終於中呂，見下崔九龍語，今從盧校改，並刪「疑」字。

Middle lu is the end of the twelve—in various editions "end" reads "aperture," with a note "suspected" below; Lu's Collation changes to "end" according to Tongdian 143. According to the seven modes starting from yellow bell and ending at middle lu—see Cui Jiulong's statement below; now following Lu's Collation in emending and deleting the "suspected" note.

而崇乃以中呂為宮猶用林鍾為商諸本無「為宮」二字，盧校據通典卷一四三補。按冊府卷八五七〈一０一七七頁〉亦有「為宮」二字，今從盧校補。

Yet Chong uses middle lu as gong but still uses forest bell as shang—in various editions the two characters "as gong" are missing; Lu's Collation supplements according to Tongdian volume 143. According to Ce Fu volume 857 〈page 10177〉 also has the two characters "as gong"; now supplemented following Lu's Collation.

按畫以求其聲諸本「畫」作「盡」，冊府卷五六七作「尺」。通典卷一四三作「畫」，盧校據通典改。按續漢書律曆志上稱京房所製之準，「中央一絃，下有畫分寸，以為六十律清濁之節」。知準刻劃分寸為節，作「畫」是，今從盧校改。

Drawing diagrams to seek its sound—in various editions "draw" reads "exhaust"; Ce Fu volume 567 reads "foot-rule." Tongdian volume 143 reads "draw"; Lu's Collation emends according to Tongdian. According to the Treatise on Pitch and Calendar in the Continuation of the Book of Han, it states that the pitch standard Jing Fang made had "on the middle string below, drawn fen and cun markings as nodes for the clear and muddy of the sixty pitch pipes." Knowing the standard incised fen and cun as nodes, "draw" is correct; now following Lu's Collation in emending.

致令攬者望風拱手冊府卷八五七、通典卷一四三「望風」作「迎前」。按原文當作「迎前」，但作「望風」亦通，今不改。

This causes those who take it up to gaze at the wind and fold their hands—Ce Fu volume 857 and Tongdian volume 143 read "step forward" for "gaze at the wind." The original text should read "step forward," but "gaze at the wind" is also permissible; no change is made.

乘為二千分諸本「千」作「十」，盧校據通典一四三改「千」。按冊府卷五六七〈六八一０頁〉也作「千」，今從盧校改。

Multiplying yields two thousand parts—in various editions "thousand" reads "ten"; Lu's Collation changes to "thousand" according to Tongdian 143. According to Ce Fu volume 567 〈page 6810〉 also reads "thousand"; now following Lu's Collation in emending.

使入準常尺分之內盧校據通典一四三「準常」乙作「常準」。

So it enters within the standard's regular chi and fen—Lu's Collation transposes "standard regular" to "regular standard" according to Tongdian 143.

中絃下依數盡出六十律清濁之節通典卷一四三無「盡」字。盧校「盡」字下注「疑畫」。按據上引續漢書律曆志，「盡」當是「畫」之訛。

Below the middle string according to the numbers fully marking the clear and muddy nodes of the sixty pitch pipes—Tongdian volume 143 lacks the character "fully." Lu's Collation notes below "fully": "suspected to be draw." According to the cited Continuation of the Book of Han Treatise on Pitch and Calendar above, "fully" is likely a corruption of "draw."

即於中絃案盡一周之聲通典卷一四三「盡」作「畫」，疑是。

Then on the middle string mark the full cycle of sound—Tongdian volume 143 reads "draw" for "fully," which is suspected correct.

平調以角為主諸本「角」作「宮」，冊府卷五六七作「徵」，卷八五七及通典卷一四三作「角」，盧校據通典改「角」。按作「角」是，今從盧校改。

The ping mode takes jue as primary—in various editions "jue" reads "gong"; Ce Fu volume 567 reads "zhi," volume 857 and Tongdian volume 143 read "jue"; Lu's Collation emends to "jue" according to Tongdian. Reading "jue" is correct; now following Lu's Collation in emending.

自上代來消息調準之方並史文所略諸本「自上代來」作「上來」二字，語較晦，今據冊府卷八五七〈一０一七七頁〉、通典卷一四三補。

From high antiquity the methods of tuning and adjusting pitch standards and historical texts are all omitted—in various editions "from high antiquity" reads the two characters "came up," comparatively obscure; now supplemented according to Ce Fu volume 857 〈page 10177〉 , Tongdian volume 143.

磬氏為磬倨句之法諸本「句」字空格或注「闕」字。殿本考證云：「考工記：磬有倨句。則此所闕當是一『句』字。」按冊府卷五六七〈六八一三頁〉正是「句」字，今據補。

The Qing clan's method for stone chime angles—in various editions the character "angle" is blank or noted "lacuna." Palace Edition textual verification says: "Artificers' Record: stone chimes have obtuse angles. Then what is missing here should be the one character "angle." According to Ce Fu volume 567 〈page 6813〉 it is precisely the character "angle"; now supplemented accordingly.

鈲鎛相從諸本「鎛」作「鐏」，冊府卷五六七〈六八一四頁〉作「鎛」。按鎛是大鐘〈或云小鐘〉，「鐏」非樂器，今據改。又「鈲」字冊府作「釧」，皆非樂器。爾雅釋樂：「大鍾謂之鏞，其中謂之剽。」宋書卷一九樂志云「剽音瓢」。疑「鈲」乃「瓢」形近而訛，「瓢」即「剽」。

Bo and bo following each other—in various editions "bo" reads "zun"; Ce Fu volume 567 〈page 6814〉 reads "bo." Bo is the large bell 〈some say small bell〉 , "zun" is not a musical instrument; now emended accordingly. Ce Fu also gives "bo" as "chuan," but neither character names a musical instrument. The Erya's "Explanation of Music" states: "The great bell is called yong; the middle-sized is called piao." The Song Shu, Music Treatise, volume 19, glosses the reading as "piao." It is suspected that "bo" was miscopied for the similar-looking "piao," and that "piao" here means the middle bell called piao.

雖時日相交百衲本「交」作「六」，旁注「疑」字。諸本無「交」或「六」字。南本、殿本「疑」作「礙」，北、汲、局三本作「凝」，都大字作正文。冊府〈同上卷頁〉作「交」。按「六」是「交」的殘闕，不可通，後人旁注「疑」字，南本以下諸本遂逕刪「六」字，以意改「疑」為「礙」或「凝」。今據冊府改，並刪「疑」字。

Even when ritual dates overlap: in the patched edition "intersect" appears as "six," with a marginal gloss "suspected." Other editions omit both "intersect" and "six." The Southern and Palace editions replace the gloss "suspected" with "hinder"; the Northern, Ji, and Ju editions use "congeal," treating the gloss as regular text. In Ce Fu 〈same volume and page〉 has "intersect." "Six" is evidently a broken form of "intersect" and makes no sense; later copyists added "suspected" in the margin, and Southern-edition lineages then deleted "six" outright and substituted "hinder" or "congeal" for the gloss. The text is now corrected to Ce Fu's reading and the "suspected" note removed.

其奏於廟庭冊府〈同上卷頁〉「廟」作「朝」。按宋書樂志一也作「朝」，疑冊府是，但作「廟」亦通，今不改。

When performed in the temple courtyard: Ce Fu 〈same volume and page〉 reads "temple" as "court." Song Shu, Music Treatise 1, also has "court," so Ce Fu is probably right; yet "temple" remains acceptable and is left unchanged.

單衣絳領袖諸本「絳」作「練」。按宋書樂志一作「絳」。上文已見絳及白、皂領袖，都以顏色識別，「練」乃「絳」形近而訛，今改正。

Single garment with red collar and sleeves: in many editions "red" appears as "white silk." Song Shu, Music Treatise 1, reads "red." Earlier the text already distinguishes red, white, and black collars and sleeves by color, so "white silk" is almost certainly a miswrite of "red"; the reading is corrected accordingly.

方各別所冊府〈同上卷頁〉「方」作「房」，疑是。

Separate locations in each direction: Ce Fu 〈same volume and page〉 reads "direction" as "chamber," which is probably correct.

自中原喪亂諸本「原」訛「煩」，不可通，今據冊府〈同上卷頁〉改。

Since the Central Plains fell into chaos: in various editions "plains" is miscopied as "trouble," which is nonsense; the line is corrected from Ce Fu 〈same volume and page〉 Emended.

請以韶舞為崇德諸本「舞」作「武」，盧校改「舞」。按上云「漢來所存，二舞而已」。漢書卷二二禮樂志：「文始舞者，曰本舜招舞也。」「招舞」即「韶舞」。「武」乃涉下「武舞」而訛，今從盧校改。

We request that the Shao dance be called Chongde: in various editions "dance" reads "martial"; Lu's Collation restores "dance." As stated above, "from Han onward, only two dances were preserved." Han Shu, Treatise on Ritual and Music, volume 22: "The Wenshi dance is originally Shun's Zhao dance." Zhao dance" is the same as "Shao dance." "Martial" was introduced by contamination from "Wu dance" below; the emendation follows Lu's Collation.

收其聲伎諸本「伎」訛「役」，盧校據通典卷一四二改。按冊府〈同上卷頁〉也作「伎」，今從盧校改。

Collected its singers and performers: in various editions "performers" is miscopied as "service"; Lu's Collation follows Tongdian, volume 142. Ce Fu agrees 〈same volume and page〉 likewise has "performers"; the text now follows Lu's Collation.

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