1
禮樂二○制樂始末
Rites and Music, Part 2: The Origins of Imperial Music-Making
2
太祖初年，以河西高智耀言，徵用西夏舊樂。 太宗十年十一月，宣聖五十一代孫衍聖公元措來朝，言於帝曰：「今禮樂散失，燕京、南京等處，亡金太常故臣及禮冊、樂器多存者，乞降旨收錄。」 於是降旨，令各處管民官，如有亡金知禮樂舊人，可並其家屬徙赴東平，令元措領之，於本路稅課所給其食。 十一年，元措奉旨至燕京，得金掌樂許政、掌禮王節及樂工翟剛等九十二人。 十二年夏四月，始命制登歌樂，肄習於曲阜宣聖廟。 十六年，太常用許政所舉大樂令苗蘭詣東平，指授工人，造琴十張，一弦、三弦、五弦、七弦、九弦者各二。
In the first years of Taizu’s reign, at the recommendation of Gao Zhiyao of Hexi, the court recruited the former musical tradition of Western Xia. In the eleventh month of Taizong’s tenth year, Yuan Cuo—the Yansheng Duke and fifty-first-generation descendant of Confucius—presented himself at court and told the emperor: “Rites and music have fallen into disarray. At Yanjing, Nanjing, and elsewhere, many former Jin masters of ritual and music, together with ceremonial manuals and instruments, are still to be found. I ask that Your Majesty issue orders to gather and preserve them. An edict followed instructing local administrators that any surviving Jin experts in ritual and music, together with their families, should be moved to Dongping under Yuan Cuo’s supervision, with rations provided from the circuit’s tax bureau. In the eleventh year Yuan Cuo went to Yanjing by imperial order and secured ninety-two specialists, among them the Jin’s directors of music and ritual, Xu Zheng and Wang Jie, and the musician Zhai Gang. In the fourth month of summer in the twelfth year the court first ordered the creation of ascending-hall music and had it rehearsed at the Temple of Confucius in Qufu. In the sixteenth year the Grand Secretariat sent Miao Lan, whom Xu Zheng had recommended as Director of Great Music, to Dongping to train artisans there. They built ten zithers: two each with one, three, five, seven, and nine strings.
3
憲宗二年三月五日，命東平萬戶嚴忠濟立局，制冠冕、法服、鐘磬、筍虡、儀物肄習。 五月十三日，召太常禮樂人赴日月山。 八月七日，學士魏祥卿、徐世隆，郎中姚樞等，以樂工李明昌、許政、吳德、段楫、寇忠、杜延年、趙德等五十餘人，見於行宮。 帝問制作禮樂之始，世隆對曰：「堯、舜之世，禮樂興焉。」 時明昌等各執鐘、磬、笛、簫、篪、塤、巢笙，於帝前奏之，曲終，復合奏之，凡三終。 十一日，始用登歌樂祀昊天上帝於日月山。 祭畢，命驛送樂工還東平。
On the fifth day of the third month in Xianzong’s second year, Yan Zhongji, commander of Dongping, was ordered to set up a workshop to produce ceremonial caps, robes, bells, stone chimes, racks, and regalia, and to drill performers in their use. On the thirteenth day of the fifth month the court summoned the Grand Secretariat’s ritual and music specialists to Riyue Mountain. On the seventh day of the eighth month the academicians Wei Xiangqing and Xu Shilong, the director Yao Shu, and their colleagues introduced more than fifty musicians—including Li Mingchang, Xu Zheng, Wu De, Duan Ji, Kou Zhong, Du Yannian, and Zhao De—to the emperor at his traveling palace. The emperor inquired when ritual and music had first been instituted. Shilong answered: “In the age of Yao and Shun, rites and music first flourished.” Thereupon Mingchang and his fellows took up bells, chime-stones, flutes, panpipes, chi, xun, and nest-sheng and played before the throne. When the piece ended they performed it again as an ensemble, for three complete renditions. On the eleventh day ascending-hall music was used for the first time to offer sacrifice to Heaven at Riyue Mountain. After the rites the emperor ordered the musicians conveyed by post relay back to Dongping.
4
三年，時世祖居潛邸，命勾當東平府公事宋周臣兼領大樂禮官、樂工人等，常令肄習，仍令萬戶嚴忠濟依已降旨存恤。 六年夏五月，世祖以潛邸次灤州，下教命嚴忠濟督宋周臣以所得禮樂舊人肄習，宜如故事勉行之，毋忽。 冬十有一月，敕樂工老不堪任事者，以子孫代之，不足者，以他戶補之。
In the third year, while the future Shizu still held his princely residence, Song Zhouchen, administrator of Dongping affairs, was placed in charge of the ritual music officers and musicians and told to keep them in regular rehearsal; Yan Zhongji was likewise instructed to continue supporting them as earlier edicts required. In the fifth month of summer in the sixth year the prince, then sojourning at Luanzhou, directed Yan Zhongji to oversee Song Zhouchen’s training of the recovered ritual and music masters, urging them to follow established practice diligently and not to let the work lapse. In the eleventh month of winter an edict declared that musicians too aged for service should be succeeded by their sons and grandsons, with additional households enrolled wherever replacements were still lacking.
5
五年，太常寺言：「自古帝王功成作樂，樂各有名，盛德形容，於是乎在。 伏睹皇上踐阼以來，留心至治，聲名文物，思復承平之舊，首敕有司，修完登歌、宮縣、八佾樂舞，以備郊廟之用。 若稽古典，宜有徽稱。 謹案歷代樂名，黃帝曰《咸池》、《龍門》、《大卷》、少昊《大淵》，顓頊《六莖》，高辛《五英》，唐堯《大咸》、《大章》，虞舜《大韶》，夏禹《大夏》，商湯《大》，周武《大武》。 降及近代，咸有厥名，宋總名曰《大晟》，金總名曰《大和》。 今采輿議，權以數名，伏乞詳定。 曰《大成》，按《尚書》『簫韶九成，鳳凰來儀』。 《樂記》曰『王者功成作樂』，《詩》云『展也大成』。 曰《大明》，按《白虎通》言『如唐堯之德，能大明天人之道』。 曰《大順》，《易》曰『天之所助者順』，又曰『順乎天而應乎人』。 曰《大同》，《樂記》曰『樂者為同，禮者為異』。 《禮運》曰『大道之行也，故人不獨親其親，不獨子其子，是之謂大同』。 曰《大豫》，《易》曰『豫順以動，故天地如之』。 《象》曰『雷出地奮，豫。 先王以作樂崇德，殷薦之上帝，以配祖考』。」 中書省遂定名曰《大成之樂》，乃上表稱賀。 表曰：「離日中天，已睹文明之化； 豫雷出地，又聞正大之音。 神人以和，祖考來格。 欽惟皇帝陛下，潤色洪業，遊意太平，爰從龍邸之潛，久敬鳳儀之奏。 及登寶位，申命鼎司，謂雖陳堂上之登歌，而尚闕庭前之佾舞。 方嚴禋祀，當備聲容。 屬天語之一宣，乃春官之畢會。 臣等素無學術，徒有汗顏。 聿求舊署之師工，仍討累朝之典故。 按圖索器，永言和聲，較鐘律於積黍之中，續琴調於絕弦之後。 金而模，石而琢，虡斯豎，筍斯橫，合八音而克諧，閱三歲而始就。 列文武兩階之幹羽，象帝王四面之宮庭，一洗哇淫之聲，可謂盛大之舉。 既完雅器，未錫嘉名。 蓋聞軒、昊以來，俱有《咸》、《雲》之號，《莖》、《英》、《章》、《韶》以象德，《夏》、《》、《武》、《勺》以表功。 洪惟國朝，誕受天命，地大物巨，人和歲豐。 宜符古記之文，稱曰《大成之樂》。 漢庭聚議，作章敢望於一夔； 舜殿鳴弦，率舞願觀於百獸。」
In the fifth year the Grand Secretariat of Rites memorialized: “Since antiquity, sovereigns who had achieved their great work would compose music; each composition bore its own name, and in those names their supreme virtue found expression. We observe that since Your Majesty’s accession you have devoted yourself to perfect governance and sought to restore the cultural splendor of a tranquil age. You first ordered the relevant offices to restore ascending-hall music, the full court ensemble, and the eight-row dances for suburban and ancestral sacrifice. Consulting the classical precedents, the new music ought to receive an honorific name. We respectfully review the music titles of successive dynasties: the Yellow Emperor composed Xianchi, Longmen, and Dajuan; Shaohao, Dayuan; Zhuanxu, Liujing; Gaoxin, Wuying; Tang Yao, Daxian and Dazhang; Yu Shun, Dashao; Yu of Xia, Daxia; Tang of Shang, Dahu; and Wu of Zhou, Dawu. In later ages each dynasty likewise had its title: the Song called their corpus Dasheng, and the Jin called theirs Dahe. We now submit several names drawn from public discussion for Your Majesty’s deliberation and final choice. The first is Dacheng, citing the Book of Documents: “When the xiao-shao reached its ninth movement, the phoenix came to take its place.” The Record of Music states that when a king has accomplished his work he composes music, and the Odes declare, “How great is this perfect accomplishment.” Another is Daming, citing the Baihu tong: “Like the virtue of Yao of Tang, able to illumine fully the Way of Heaven and humanity.” Another is Dashun, for the Changes teaches that Heaven aids what accords with its will and that the sage is “accordant with Heaven and responsive to humanity.” Another is Datong, since the Record of Music says that music unites whereas ritual distinguishes. The Evolution of Rites explains that when the Great Way prevails, people cherish not only their own kin and children—this is called Great Unity. Another is Dayu, for the Changes says that Yu moves in harmonious accord, and Heaven and Earth respond in kind. Its Image reads: “Thunder bursts forth from the earth in exultation—Yu. The former kings composed music to exalt virtue and offered it abundantly to the Supreme Lord, with their ancestors as correlates.” The Central Secretariat accordingly fixed the title as the Music of Great Accomplishment and submitted a congratulatory memorial. The memorial declared: “The sun of Li stands at mid-heaven, and the transformation of civilization is already manifest; the thunder of Yu bursts from the earth, and we hear anew the great and upright tone of ritual music. Spirits and humanity are in harmony, and the royal ancestors draw near. We respectfully note that Your Majesty has adorned the great enterprise and set your mind on universal peace, honoring the phoenix rites of music even from the days of your princely residence. Upon ascending the throne you charged the chief ministers, observing that although ascending-hall music was already performed in the hall, the courtyard dancers were still lacking. With the great sacrifices approaching, both sound and ceremonial display had to be made complete. Once the imperial command was issued, the ritual officers gathered to complete the task. We your ministers possess little learning and can only blush with shame. We sought out the master craftsmen of former offices and reviewed the precedents of successive dynasties. Following ancient diagrams we procured the instruments, pursued harmonious sound, calibrated the bell pitches by the millet measure, and restored zither tuning where strings had long been broken. Metal was cast, stone was carved, frames erected and crossbars set in place; the eight categories of sound were brought into harmony, and only after three years was the work completed. We arrayed the civil and martial dancers with their shields and plumes upon the twin stairways, evoking the four-sided court of ancient sovereigns, and swept away vulgar and licentious sounds—a truly magnificent achievement. Though the ritual instruments were now complete, no honorific title had yet been granted. We understand that since the age of the Yellow Emperor and Zhuanxu, sovereigns have titled their music Xian and Yun to evoke primordial harmony, Jing, Ying, Zhang, and Shao to embody virtue, and Xia, Hu, Wu, and Shao to commemorate achievement. Our dynasty, born to receive the Mandate of Heaven, rules a vast realm of abundant goods, with the people at peace and harvests plentiful. It is fitting that the music accord with the ancient texts and be styled the Music of Great Accomplishment. At the Han court they debated who might compose a Zhang—who would dare claim the talent of a single Kui? In Shun’s hall the strings resounded and all danced, as if the hundred beasts themselves had come to join.”
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三年，初用宮縣、登歌樂、文武二舞於太廟。 先是，東平萬戶嚴忠範奏：「太常登歌樂器樂工已完，宮縣樂、文武二舞未備，凡用人四百一十二，請以東平漏籍戶充之，合用樂器，官為置備。」 制可，命中書省臣議行。 於是中書命左三部、太常寺、少府監，於興禪寺置局，委官楊天祐、太祝郭敏董其事，大樂正翟剛辨驗音律，充收受樂器官。 丞相耶律鑄又言：「今制宮縣大樂，內編磬十有二虡，宜於諸處選石材為之。」 太常寺以新撥宮縣樂工、文武二舞四百一十二人，未習其藝，遣大樂令許政往東平教之。 大樂署言：「堂上下樂舞官員及樂工，合用衣服、冠冕、靴履等物，乞行制造。」 中書禮部移準太常博士，議定制度，下所屬制造。 宮縣樂器既成，大樂署郭敏開坐名數以上：編鐘、磬三十有六虡，樹鼓四， 〈（建鞞、應同一座。）〉 晉鼓一，路鼓二，鼗鼓二，相鼓二，雅鼓二，一，一，笙二十有七， 〈（巢和竽。）〉 塤八，篪、簫、籥、笛各十，琴二十有七，瑟十有四，單鐸、雙鐸、鐃、錞、鉦、麾、旌、纛各二，補鑄編鐘百九十有二，靈壁石磬如其數。 省臣言：「太廟殿室向成，宮縣樂器咸備，請征東平樂工，赴京師肄習，以俟享廟。」 制可。 秋七月，新樂服成，樂工至自東平，敕翰林院定撰八室樂章，大樂署編運舞節，俾肄習之。
In the third year the full court ensemble, ascending-hall music, and the civil and martial dances were first employed at the Imperial Ancestral Temple. Earlier Yan Zhongfan, commander of Dongping, reported that ascending-hall instruments and musicians were ready but the court ensemble and civil and martial dances were not. Four hundred and twelve performers were required; he asked that unregistered households in Dongping supply them and that the state furnish the necessary instruments. The request was approved and the Central Secretariat ordered to implement it. The Central Secretariat then directed the Left Three Departments, the Grand Secretariat of Rites, and the Palace Workshops to establish a bureau at Xingchan Temple, with Yang Tianyou and libationer Guo Min in charge and Chief Musician Zhai Gang verifying pitch and receiving the instruments. Chancellor Yelü Zhuo added that the new court ensemble required twelve frames of stone chimes and that suitable stone should be procured from various regions. The Grand Secretariat noted that the four hundred and twelve musicians assigned to the ensemble and dances had not yet mastered their parts and dispatched Director of Great Music Xu Zheng to Dongping to train them. The Bureau of Great Music requested that ceremonial garments, caps, boots, and other apparel be manufactured for the officers and musicians who performed above and below the hall. The Ritual Section referred the matter to the Grand Secretariat’s ritual masters, who fixed the regulations and ordered subordinate offices to produce the items. Once the court-ensemble instruments were finished, Guo Min of the Bureau of Great Music submitted an inventory: thirty-six frames of bells and chime-stones, four tree-drums, (the mounted drum and responding drum sharing one stand.) Also: one Jin drum, two road drums, two hand-drums, two phase drums, two ya drums, one zhu, one yu, and twenty-seven sheng, (comprising nest-sheng and yu.) There were eight xun, ten each of chi, xiao, yue, and di flutes, twenty-seven zithers, fourteen se, two each of single and paired clapper-bells, nao, bo, zheng, command banners, pennants, and great banners; one hundred ninety-two supplementary set-bells were cast, with an equal number of Lingbi stone chimes. The ministers reported that the ancestral temple halls were nearly finished and the court instruments ready, and asked that Dongping musicians be summoned to the capital to rehearse for the impending temple sacrifice. The request was approved. In the seventh month the new ritual garments were finished and the musicians arrived from Dongping. The Hanlin Academy was ordered to compose hymns for the eight shrines, and the Bureau of Great Music set the dance measures for rehearsal.
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冬十有一月，有事於太廟，宮縣、登歌樂、文武二舞咸備。 其迎送神曲曰《來成之曲》，烈祖曰《開成之曲》，太祖曰《武成之曲》，太宗曰《文成之曲》，皇伯考術赤曰《弼成之曲》，皇伯考察合帶曰《協成之曲》，睿宗曰《明成之曲》，定宗曰《熙成之曲》，憲宗曰《威成之曲》。 初獻、升降曰《肅成之曲》，司徒奉俎曰《嘉成之曲》，文舞退、武舞進曰《和成之曲》，亞終獻、酌獻曰《順成之曲》，徹豆曰《豐成之曲》。 文舞曰《武定文綏之舞》，武舞曰《內平外成之舞》。 第一成象滅王罕，二成破西夏，三成克金，四成收西域、定河南，五成取西蜀、平南詔，六成臣高麗、服交趾。 〈（詳見《樂舞篇》。）〉
In the eleventh month of winter the ancestral temple rites were performed with the full court ensemble, ascending-hall music, and both civil and martial dances complete. The hymn welcoming and escorting the spirits was titled Coming Accomplishment; for the Illustrious Ancestor, Opening Accomplishment; for Taizu, Martial Accomplishment; for Taizong, Cultural Accomplishment; for the imperial uncle Jochi, Assisting Accomplishment; for Chagatai, Harmonious Accomplishment; for Ruizong, Bright Accomplishment; for Dingzong, Radiant Accomplishment; and for Xianzong, August Accomplishment. The first offering and ascent and descent used Reverent Accomplishment; the Minister of Works presenting the sacrificial meat used Fine Accomplishment; the civil dance yielding to the martial dance used Harmonious Accomplishment; the second and final libations used Accordant Accomplishment; and the removal of offerings used Abundant Accomplishment. The civil dance was titled Martial Settlement and Civil Pacification; the martial dance, Inner Peace and Outer Accomplishment. The first movement commemorated the destruction of Wang Han; the second, the defeat of Western Xia; the third, the conquest of Jin; the fourth, the recovery of the Western Regions and pacification of Henan; the fifth, the conquest of Western Shu and pacification of Nanzhao; the sixth, the submission of Goryeo and subjugation of Jiaozhi. (see the Treatise on Music and Dance for details.)
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十有二月，籍近畿儒戶三百八十四人為樂工。 先是，召用東平樂工凡四百一十二人。 中書以東平地遠，惟留其戶九十有二，余盡遣還，復入民籍。
In the twelfth month three hundred eighty-four scholar-commoner households near the capital were enrolled as musicians. Earlier four hundred twelve musicians from Dongping had been summoned. Because Dongping lay far from the capital, the Central Secretariat retained only ninety-two households and sent the rest home, restoring them to the civil registers.
9
十一年秋八月，制內庭曲舞。 中書以上皇帝冊寶，下太常太樂署編運無射宮《大寧》等曲，及上壽曲譜。 〈（當時議殿庭用雅樂，後不果用。）〉
In the eighth month of the eleventh year inner-court songs and dances were instituted. When the Central Secretariat presented the imperial seals and regalia, it ordered the Bureau of Great Music to arrange Wuyi-gong pieces such as Great Tranquility and the score for the longevity hymn. (elegant music for the palace hall was then proposed but never adopted.)
10
十三年，以近畿樂戶多逃亡，僅得四十有二，復征用東平樂工。 十六年冬十月，命太常卿忽都於思召太常樂工。 是月十一日，大樂令完顏椿等以樂工見於香閣，文郎魏英舞迎神黃鐘宮曲，武郎安仁舞亞獻無射宮曲。 十八年冬十月，昭睿順聖皇后將祔廟，制昭睿順聖皇后室曲舞。
In the thirteenth year so many musician households near the capital had fled that only forty-two remained, and musicians from Dongping were again recruited. In the tenth month of the sixteenth year Director Hudu’ensi of the Grand Secretariat was ordered to summon the ritual musicians. On the eleventh day of that month Director of Great Music Wanyan Chun presented the musicians at the Incense Pavilion; civil officer Wei Ying danced the Huangzhong-gong welcoming hymn and martial officer An Ren the Wuyi-gong hymn for the second offering. In the tenth month of the eighteenth year, as Empress Zhaorui Shunsheng was to be enshrined in the ancestral temple, hymns and dances for her shrine were composed.
11
十九年，王積翁奏請征亡宋雅樂器至京師，置於八作司。 二十一年，大樂署言「宜付本署收掌」，中書命八作司與之。 镈鐘二十有七，編鐘七百二十有三，特磬二十有二，編磬二十有八，鐃六，單鐸、雙鐸各五，鉦、錞各八。 二十二年冬閏十有一月，太常卿忽都於思奏：「大樂見用石磬，聲律不協。 稽諸古典，磬石莫善於泗濱，女直未嘗得此。 今泗在封疆之內，宜取其石以制磬。」 從之。 選審聽音律大樂正趙榮祖及識辨磬材石工牛全，詣泗州采之，得磬璞九十，制編磬二百三十。 命大樂令陳革等料簡，應律者百有五。 二十三年，忽都於思又奏：「太廟樂器，編鐘、笙匏，歲久就壞，音律不協。」 遂補鑄編鐘八十有一，合律者五十，造笙匏三十有四。 二十九年四月，太常太卿香山請采石增制編磬，遣孔鑄馳驛往泗州，得磬璞五十八，制磬九十。 大樂令毛莊等審聽之，得應律磬五十有八，於是編磬始備。
In the nineteenth year Wang Jiweng memorialized that the fallen Song’s ritual instruments be collected for the capital and placed under the Eight Workshops Directorate. In the twenty-first year the Bureau of Great Music requested custody of the instruments, and the Central Secretariat ordered the Eight Workshops to transfer them. The collection comprised twenty-seven bo bells, seven hundred twenty-three set-bells, twenty-two special chime-stones, twenty-eight sets of chime-stones, six nao, five each of single and paired clapper-bells, and eight each of zheng and bo. In the intercalary eleventh month of the twenty-second year Director Hudu’ensi reported that the stone chimes then in use for the great music were out of tune. According to classical precedent, no stone surpassed that of the Siban bank, which the Jurchen had never possessed. Now that Si lay within the realm, he urged that its stone be quarried to make new chimes. The request was approved. Chief Musician Zhao Rongzu, expert in pitch, and stonemason Niu Quan, skilled at identifying chime stone, were sent to Sizhou, where they obtained ninety rough blocks and fashioned two hundred thirty set chimes. Director of Great Music Chen Ge and his colleagues examined them and found one hundred five in tune. In the twenty-third year Hudu’ensi reported again that the ancestral temple’s set-bells and gourd pipes had deteriorated with age and fallen out of tune. Eighty-one set-bells were recast, of which fifty matched the standard pitch, and thirty-four gourd pipes were newly made. In the fourth month of the twenty-ninth year Grand Director Xiangshan requested additional stone chimes; Kong Zhu was dispatched by post relay to Sizhou, obtained fifty-eight rough blocks, and fashioned ninety chimes. Director of Great Music Mao Zhuang and his colleagues tested them by ear and found fifty-eight in tune, and the full set of chime-stones was at last complete.
12
三十年夏六月，初立社稷，命大樂許德良運制曲譜，翰林國史院撰樂章，其降送神曰《鎮寧之曲》，初獻、盥洗、升壇、降壇、望瘞位皆《肅寧之曲》，正配位奠玉幣曰《億寧之曲》，司徒奉俎徹豆曰《豐寧之曲》，正配位酌獻曰《保寧之曲》，亞終獻曰《咸寧之曲》。 〈（按祭社稷、先農及大德六年祀天地五方帝，樂章皆用金舊名。 釋奠宣聖，亦因宋不改。 詳《樂章篇》。）〉 三十一年，世祖、裕宗祔廟，命大樂署編運曲譜舞節，翰林定撰樂章。 世祖室曰《混成之曲》，裕宗室曰《昭成之曲》。
In the sixth month of the thirtieth year the altars of Soil and Grain were first established. Xu Deliang of the Bureau of Great Music was ordered to arrange the scores while the Hanlin Academy and Bureau of National History composed the hymn texts. Escorting the spirits away used Stabilizing Tranquility; the first offering, hand-washing, ascending and descending the altar, and gazing toward the burial place all used Solemn Tranquility; presenting jade and silk at the primary and secondary positions used Abundant Tranquility; the Minister of Works presenting the meat and removing the beans used Plentiful Tranquility; libations at the primary and secondary positions used Preserving Tranquility; and the second and final offerings used Universal Tranquility. For sacrifices to Soil and Grain, the God of Agriculture, and the Five Directional Emperors in the sixth year of Dade, the hymn titles all retained old Jin names. The libation to the Sage of Manifestation likewise followed Song practice and was left unchanged. (See the Treatise on Hymns for details.) In the thirty-first year, as Shizu and Yuzong were enshrined in the ancestral temple, the Bureau of Great Music was ordered to compile scores and dance rhythms and the Hanlin Academy to compose the hymn texts. Shizu’s shrine used Blended Accomplishment; Yuzong’s shrine used Manifest Accomplishment.
13
成宗大德九年，新建郊壇既成，命大樂署編運曲譜舞節，翰林撰樂章。 十一月二十八日，祀圜丘用之。 其迎送神曰《天成之曲》，初獻奠玉幣曰《欽成之曲》，酌獻曰《明成之曲》，登降曰《隆成之曲》，亞終酌獻曰《和成之曲》，奉饌徹豆曰《寧成之曲》，望燎如登降， 〈（惟用黃鐘宮。）〉 文舞曰《崇德之舞》，武舞曰《定功之舞》。 十年，命江浙行省制造宣聖廟樂器，以宋舊樂工施德仲審較應律，運至京師。 秋八月，用於廟祀宣聖。 先令翰林新撰樂章，命樂工習之，降送神曰《凝安之曲》，初獻、盥洗、升殿、降殿、望瘞皆《同安之曲》，奠幣曰《明安之曲》，奉俎曰《豐安之曲》，酌獻曰《成安之曲》，亞終獻曰《文安之曲》，徹豆曰《娛安之曲》。 蓋舊曲也，新樂章不果用。
In Chengzong’s ninth year of Dade, after the new suburban altar was finished, the Bureau of Great Music was ordered to compile scores and dance rhythms and the Hanlin Academy to compose hymn texts. They were first used in the Circular Mound sacrifice on the twenty-eighth day of the eleventh month. Welcoming and escorting the spirits used Heaven’s Accomplishment; the first offering of jade and silk used Reverent Accomplishment; libation used Bright Accomplishment; ascent and descent used Lofty Accomplishment; the second and final libations used Harmonious Accomplishment; presenting food and removing the beans used Tranquil Accomplishment; and gazing toward the fire-offering followed ascent and descent, (only the Huangzhong-gong mode was used.) The civil dance was titled Honoring Virtue; the martial dance, Establishing Merit. In the tenth year the Jiangzhe Branch Secretariat was ordered to make instruments for the Temple of the Sage of Manifestation; the former Song musician Shi Dezhong tested them for correct pitch, and they were sent to the capital. In the eighth month they were used in the temple sacrifice to the Sage of Manifestation. The Hanlin Academy had first been ordered to compose new hymn texts and the musicians to learn them: escorting the spirits away used Settled Tranquility; the first offering, hand-washing, ascending and descending the hall, and gazing toward the burial place all used Shared Tranquility; presenting silks used Bright Tranquility; presenting the meat tray used Plentiful Tranquility; libation used Accomplished Tranquility; the second and final offerings used Cultural Tranquility; and removing the beans used Joyful Tranquility. In the end the old hymns were used, and the new hymn texts were never adopted.
14
十一年，武宗即位，祭告天地，命大樂署編運皇地祗酌獻大呂宮一曲及舞節，翰林撰樂章。 〈（無曲名。）〉 九月，順宗、成宗二室祔廟，下大樂署編運曲譜舞節，翰林撰樂章，順宗室曰《慶成之曲》，成宗室曰《守成之曲》。
In the eleventh year, when Wuzong took the throne and offered sacrifices announcing this to Heaven and Earth, the Bureau of Great Music was ordered to compile one Dalü-gong libation piece for the Empress of Earth along with dance rhythms, and the Hanlin Academy composed the hymn texts. (no hymn titles are recorded.) In the ninth month, when the shrines of Shunzong and Chengzong were enshrined in the temple, the Bureau of Great Music was ordered to compile scores and dance rhythms and the Hanlin Academy to compose hymn texts: Shunzong’s shrine used Celebratory Accomplishment and Chengzong’s Guarded Accomplishment.
15
至大二年，親享太廟。 皇帝入門奏《順成之曲》，盥洗、升殿用至元中初獻升降《肅成之曲》，亦曰《順成之曲》，出入小次奏《昌寧之曲》，迎神用至元中《來成之曲》，改曰《思成》，初獻、攝太尉盥洗、升殿奏《肅寧之曲》，酌獻太祖室仍用舊曲，改名《開成》， 〈（《開成》本至元中烈祖曲名，其詞則太祖舊曲也。）〉 睿宗室仍用舊曲，改名《武成》， 〈（此亦至元中太祖曲名，其詞則「神祖創業」以下仍舊。）〉 皇帝飲福、登歌奏《釐成之曲》， 〈（新制曲。）〉 文舞退、武舞進仍用舊曲，改名《肅寧》， 〈（舊名《和成》，其詞「天生五材，孰能去兵」以下是也。）〉 亞終獻、酌獻仍用舊曲，改名《肅寧》， 〈（舊名《順成》，其詞「幽明精禋」以下是也。）〉 徹豆曰《豐寧之曲》， 〈（舊名《豐成》，詞語亦異。）〉 送神曰《保成之曲》，皇帝出廟廷亦曰《昌寧之曲》。 〈（《太常集禮》曰：「樂章據孔思逮本錄之。 國朝樂章皆用成字，凡用寧字者，金曲也。 國初禮樂之事，悉用前代舊工，循習故常，遂有用其舊者。 亦有不用其詞，而冒以舊號者，如郊祀先農等樂是也。」）〉
In the second year of Zhida the emperor personally sacrificed at the Grand Temple. As the emperor entered the gate, Accordant Accomplishment was played; hand-washing and ascending the hall used the Zhiyuan-era Reverent Accomplishment for the first offering’s ascent and descent, also called Accordant Accomplishment; entering and leaving the side pavilion used Flourishing Tranquility; welcoming the spirits used the Zhiyuan-era Coming Accomplishment, renamed Reflective Accomplishment; the first offering, the acting Grand Commandant’s hand-washing, and ascending the hall used Solemn Tranquility; libation at Taizu’s shrine kept the old hymn under the new title Opening Accomplishment, (Opening Accomplishment had been a Zhiyuan-era title for the Illustrious Ancestor, though its text was Taizu’s old hymn.) Ruizong’s shrine likewise kept the old hymn under the new title Martial Accomplishment, (this too had been a Zhiyuan-era title for Taizu, though from “The spirit-ancestor founded the enterprise” onward the text remained unchanged.) When the emperor received the blessing cup, the ascending singers performed Ordered Accomplishment, (a newly composed hymn.) As the civil dance yielded to the martial dance, the old hymn was retained under the new title Solemn Tranquility, (formerly titled Harmonious Accomplishment, beginning with the line “Heaven gave the five materials—who can do away with arms?”) The second and final libations likewise kept the old hymn under the title Solemn Tranquility, (formerly titled Accordant Accomplishment, beginning with “The refined sacrifice of dark and bright.”) Removing the beans used Plentiful Tranquility, (formerly titled Abundant Accomplishment, with different wording.) Escorting the spirits away used Preserved Accomplishment, and as the emperor left the temple courtyard Flourishing Tranquility was played again. The Collected Rites of the Grand Sacrifices notes that the hymn texts follow Kong Sidai’s original record. Dynasty hymn titles use the character cheng; wherever ning appears, the piece is a Jin hymn. In the dynasty’s early years ritual music relied entirely on specialists from earlier regimes who followed old practice, and so some old pieces remained in use. (In other cases the old title was kept though the text was replaced, as with the suburban and God-of-Agriculture hymns.”)
16
冬十有二月，始制先農樂章，以太常登歌樂祀之。 先是，有命祀先農以登歌樂，如祭社稷之制。 大樂署言「《禮》祀先農如社」，遂錄祭社林鐘宮《鎮寧》等曲以上，蓋金曲也。 三年冬十月，置曲阜宣聖廟登歌樂。 初，宣聖五十四代孫左三部照磨思逮言：「闕里宣聖祖廟，釋奠行禮久闕，祭服登歌之樂，未蒙寵賜。 如蒙移咨江浙行省，於各處贍學祭余子粒內，制造登歌樂器及祭服，以備祭祀，庶盡事神之禮。」 中書允其請，移文江浙制造。 至是，樂器成，運赴闕里用之。 十有一月，敕以二十三日冬至，祀昊天上帝於南郊，配以太祖，令大樂署運制配位及親祀曲譜舞節，翰林撰樂章。 皇帝出入中壝黃鐘宮曲二，盥洗黃鐘宮曲一，升殿登歌大呂宮曲一，酌獻黃鐘宮曲一，飲福登歌大呂宮曲一，出入小次黃鐘宮曲一。 〈（皆無曲名。）〉 四年夏六月，武宗祔廟，命樂正謝世寧等編曲譜舞節，翰林侍講學士張士觀撰樂章，曲名《威成之曲》。
In the twelfth month hymn texts for the God of Agriculture were first instituted, and the Grand Sacrifices’ ascending singers’ music was used in the rite. Earlier an order had been issued that the God of Agriculture be sacrificed to with ascending singers’ music, following the arrangements used for Soil and Grain. The Bureau of Great Music argued that “the Rites treat sacrifice to the God of Agriculture like sacrifice to a territorial god,” and submitted the Linzhong-gong hymns used for the territorial god, including Stabilizing Tranquility—these being Jin hymns. In the tenth month of the third year ascending singers’ music was established at the Temple of the Sage of Manifestation in Qufu. Earlier Kong Sidai, the Sage’s fifty-fourth-generation descendant and clerk of the Left Three Departments, had reported that at the ancestral temple in Queli the libation rites had long gone unperformed and that no court gift of sacrificial robes or ascending singers’ music had yet been granted. If the court would instruct the Jiangzhe Branch Secretariat to manufacture ascending singers’ instruments and sacrificial robes from the grain remaining after provisioning endowed schools for sacrifice in each locality, the temple could be fully equipped and the rites of serving the spirits properly fulfilled. The Central Secretariat approved the request and instructed Jiangzhe to manufacture them. By then the instruments were finished and sent to Queli for use. In the eleventh month an edict ordered sacrifice to the Supreme Lord of the Vast Heaven at the Southern Suburb on the winter solstice, the twenty-third day, with Taizu as associate spirit; the Bureau of Great Music was to arrange scores and dance rhythms for the associate’s position and for the emperor’s personal sacrifice, and the Hanlin Academy composed the hymn texts. There were two Huangzhong-gong pieces for the emperor entering and leaving the inner enclosure; one Huangzhong-gong piece for hand-washing; one Dalü-gong ascending singers’ piece for ascending the hall; one Huangzhong-gong piece for libation; one Dalü-gong ascending singers’ piece for receiving the blessing cup; and one Huangzhong-gong piece for entering and leaving the side pavilion. (none have hymn titles.) In the sixth month of the fourth year, when Wuzong was enshrined in the temple, Chief Musicians Xie Shining and others compiled scores and dance rhythms, and Hanlin Academician Expositor Zhang Shiguan composed the hymn text, titled August Accomplishment.
17
仁宗皇慶二年秋九月，用登歌樂祀太上皇 〈（睿宗。）〉 於真定玉華宮。 自是歲用之，至延祐七年春三月奏罷。 延祐五年，命各路府宣聖廟罷雅樂，選擇習古樂師教肄生徒，以供春秋祭祀。 六年秋八月，議置三皇廟樂，不果行。 七年，仁宗祔廟，命樂正劉瓊等編運酌獻樂譜舞節，翰林撰樂章，曲名曰《歆成之曲》。
In the ninth month of Huangqing 2, Renzong used ascending singers’ music to sacrifice to the Retired Emperor (Ruizong.) The rites were held at Yuhua Palace in Zhending. Thereafter it was performed every year until a memorial in the third month of Yanyou 7 brought it to an end. In Yanyou 5 every circuit and prefectural Temple of the Sage of Manifestation was ordered to set aside elegant music and instead select masters of ancient music to train students for the spring and autumn sacrifices. In the eighth month of the sixth year a proposal to establish music for the Temple of the Three Sovereigns was debated but never implemented. In the seventh year, when Renzong was enshrined in the temple, Chief Musicians Liu Qiong and others compiled the libation score and dance rhythms, and the Hanlin Academy composed the hymn text, titled Joyful Accomplishment.
18
英宗至治二年冬十月，用登歌樂於太廟。 是月，英宗祔廟，下大樂署編運樂譜舞節，翰林撰樂章，曲曰《獻成之曲》。 文宗天歷二年春三月，明宗祔廟，下大樂署編運樂譜舞節，翰林定撰樂章，曲曰《永成之曲》。
In the tenth month of Zhizhi 2 under Yingzong, ascending singers’ music was used at the Grand Temple. That same month, when Yingzong was enshrined in the temple, the Bureau of Great Music compiled the musical score and dance rhythms and the Hanlin Academy composed the hymn text, titled Offering Accomplishment. In the third month of Tianli 2 under Wenzong, when Mingzong was enshrined in the temple, the Bureau of Great Music compiled the musical score and dance rhythms and the Hanlin Academy composed the hymn text, titled Eternal Accomplishment.
19
△登歌樂器金部
△ Ascending singers’ instruments: the metal section
20
編鐘一虡，鐘十有六，範金為之。 筍虡 〈（橫曰筍，植曰虡。）〉 皆雕繪樹羽，塗金雙鳳五，中列博山，崇牙十有六，縣以紅絨組。 虡趺青龍籍地，以綠油臥梯二，加兩跗焉。 筍兩端金螭首，銜鍮石璧翣，五色銷金流蘇，絳以紅絨維之。 鐵杙者四，所以備欹側。 在太室以礙地甓，因易以石麟。 虡額識以金飾篆字。 擊鐘者以茱萸木為之，合竹為柄。 凡鐘，未奏，覆以黃羅； 雨，覆以油絹。 磬亦然。 元初，鐘用宋、金舊器，其識曰「大晟」、「大和」、「景定」者是也。 後增制，兼用之。
One bell frame held sixteen bells cast in bronze. The sun and ju frame members (the horizontal member is called sun and the upright ju.) Both were carved and painted with feather ornaments, bore five gilded double-phoenixes, and centered on a Mount Bo motif; sixteen lofty teeth suspended the bells from red-silk cords. The ju stand rested on a green dragon base touching the ground, with two green-painted recumbent ladders and two supporting feet. Golden chi-dragon heads capped both ends of the sun, holding tungsten-stone bi-disks and feather-fans with five-colored gilded tassels bound in red silk. Four iron stakes steadied the frame against tipping. In the Grand Chamber they had interfered with the floor tiles and were replaced with stone qilin supports. The ju crossbeam bore seal-script inscriptions in gold ornament. Bell mallets were made of dogwood with laminated bamboo handles. As a rule, bells were covered with yellow gauze when not being played; in rain, with oiled silk. Chime-stones were treated the same way. At the Yuan founding, bells included Song and Jin instruments bearing inscriptions such as Dasheng, Dahe, and Jingding. Later new bells were added and both old and new were used together.
21
編磬一虡，磬十有六，石為之。 縣以紅絨紃，虡跗狻猊。 拊磬者，以牛角為之。 余筍虡、崇牙、樹羽、璧翣、流蘇之制，並與鐘同。 元初，磬亦用宋、金舊器。 至元中，始采泗濱靈壁石為之。
One chime frame held sixteen stone chimes. They were suspended with red-silk cords, and the ju feet were shaped as suanni. Chime clappers were made of ox horn. The sun-and-ju frames, lofty teeth, feather ornaments, bi-disk fans, and tassels all matched those of the bells. At the Yuan founding, chimes likewise included Song and Jin instruments. In the Zhiyuan period stone was first quarried from the Siban and Lingbi banks to make new chimes.
22
琴十，一弦、三弦、五弦、七弦、九弦者各二。 斫桐為面，梓為底，冰弦，木軫，漆質，金徽，長三尺九寸。 首闊五寸二分，通足中高二寸七分，旁各高二寸； 尾闊四寸一分，通足中高二寸，旁各高一寸五分。 俱以黃綺夾囊貯之。 琴卓髹以綠。
There were ten zithers—two each of one-, three-, five-, seven-, and nine-stringed types. The soundboard was paulownia and the base catalpa, with ice strings, wooden pegs, lacquered body, and gold fretting markers; each measured three feet nine inches long. At the head the width was five inches two fen; through the center of the feet the height was two inches seven fen, and at the sides two inches; at the tail the width was four inches one fen, through the center of the feet the height was two inches, and at the sides one inch five fen. All were kept in cases lined with yellow brocade. The zither stands were lacquered green.
23
瑟四，其制，底面皆用梓木，面施采色，兩端繪錦，長七尺。 首闊尺有一寸九分，通足中高四寸，旁各高三寸； 尾闊尺有一寸七分，通足中高五寸，旁各高三寸五分。 朱絲為弦，凡二十有五，各設柱，兩頭有孔，疏通相連，以黃綺夾囊貯之。 架四，髹以綠，金飾鳳首八。
There were four se-zithers, each with catalpa base and face, the face painted in colors and both ends brocade-embroidered, seven feet long. At the head the width was one chi one cun nine fen; through the center of the feet the height was four cun, and at the sides three cun; At the tail the width was one chi one cun seven fen, through the center of the feet the height was five cun, and at the sides three cun five fen. The strings were vermillion silk, twenty-five in all, each with bridge posts and holes at both ends bored through; they were kept in cases lined with yellow brocade. There were four stands lacquered green, with eight gold phoenix-head ornaments.
24
簫二，編竹為之，每架十有六管，闊尺有六分。 黑槍金鸞鳳為飾，鍮石釘鉸。 以黃絨紃維於人項，左右復垂紅絨絳結。 架以木為之，高尺有二寸，亦號排簫，韜以黃囊。
There were two xiao panpipes of bundled bamboo, sixteen tubes per frame, each one chi six fen wide. They were ornamented with black lacquer and gold luan-phoenixes, with tombak nails and hinges. Yellow velvet cords were tied at the performer’s neck, with red velvet knots hanging down on either side. The frame was wooden, one chi two cun high, also called paixiao, and cased in yellow pouches.
25
笛一，斷竹為之，長尺有四寸，七孔，亦號長笛。 纏以朱絲，垂以紅絨絳結，韜以黃囊。 籥二，制如笛，三孔。 纏以朱絲，垂以紅絨絳結，韜以黃囊。
There was one di flute cut from bamboo, one chi four cun long with seven holes, also called the long di. It was wrapped in vermillion silk with red velvet knots hanging down and kept in a yellow pouch. There were two yue flutes shaped like the di, each with three holes. They were wrapped in vermillion silk with red velvet knots hanging down and kept in yellow pouches.
26
篪二，髹色如桐葉，七孔。 纏以朱絲，垂以紅絨絳結，韜以黃囊。 匏部
There were two chi flutes lacquered the color of paulownia leaves, each with seven holes. They were wrapped in vermillion silk with red velvet knots hanging down and kept in yellow pouches. The gourd section
27
巢笙四，和笙四，七星匏一，九曜匏一，閏余匏一，皆以斑竹為之。 玄髹底，置管匏中，施簧管端，參差如鳥翼。 大者曰巢笙，次曰和笙，管皆十九，簧如之。 十三簧者曰閏余匏，九簧者曰九曜匏，七簧者曰七星匏，皆韜以黃囊。
There were four nest-sheng, four he-sheng, one Seven Stars gourd, one Nine Luminaries gourd, and one Intercalary Remainder gourd, all made of mottled bamboo. Each had a black-lacquered base with pipes set in the gourd and reeds at the pipe ends, staggered like bird wings. The larger type was called nest-sheng and the next he-sheng; each had nineteen pipes and an equal number of reeds. Those with thirteen reeds were Intercalary Remainder gourds, those with nine were Nine Luminaries gourds, and those with seven were Seven Stars gourds; all were kept in yellow pouches.
28
塤二，陶土為之，圍五寸半，長三寸四分，形如稱錘，六孔，上一，前二，後三，韜以黃囊。 革部
There were two pottery xun, five and a half cun in circumference and three cun four fen long, shaped like steelyard weights, with six holes—one on top, two in front, and three in back—and kept in yellow pouches. The hide section
29
搏拊二，制如鼓而小，中實以糠，外髹以朱，繪以綠雲，系以青絨絳。 兩手用之，或搏或拊，以節登歌之樂。 木部
There were two bofu clappers, small drum-like pieces stuffed with chaff, lacquered red on the outside and painted with green clouds, tied with blue velvet cords. Used with both hands, beating or clapping, they marked time for the ascending-hall music. The wood section
30
柷一，以桐木為之，狀如方桶，繪山於上，髹以粉，旁為圓孔，納椎於中。 椎以杞木為之，撞之以作樂。
There was one zhu of paulownia wood, square-bucket shaped, with mountains painted on top and whitewashed, a round hole at the side, and a mallet inserted within. The mallet was of jujube wood and was struck to begin the music.
31
敔一，制以桐木，狀如伏虎，彩繪為飾，背有二十七鉏铻刻，下承以盤。 用竹長二尺四寸，破為十莖，其名曰籈，櫟其背以止樂。 △宮縣樂器
There was one yu of paulownia wood shaped like a crouching tiger, painted in colors, with twenty-seven notched serrations on the back and a dish below. A bamboo rod two chi four cun long was split into ten strips called zhen and raked across the back to stop the music. △ Court ensemble instruments
32
镈鐘十有二虡，虡一鐘，制視編鐘而大，依十二辰位特縣之，亦號辰鐘。 筍虡朱髹、塗金，彩繪飛龍，跗東青龍，西白虎，南赤豸，北玄麟，素羅五色流蘇。 余制並與編鐘同。
There were twelve bo-bell frames with one bell each, made like the set-bells but larger, specially suspended according to the twelve earthly branches and also called chen bells. The sun-and-ju frames were red-lacquered and gilded, painted with flying dragons, with green dragon, white tiger, red xie, and dark qilin at the east, west, south, and north feet, and plain gauze with five-colored tassels. All other specifications matched those of the set-bells.
33
編鐘十有二虡，虡十有六鐘，制見《登歌》。 〈（此下樂器制與《登歌》同者，皆不重載。）〉 石部編磬十有六虡，虡十有二磬，制見《登歌》。 筍虡與镈鐘同。
There were twelve set-bell frames with sixteen bells each; the specifications are given in the Ascending Singers section. (instruments whose specifications match the Ascending Singers section are not repeated below.) Stone section: sixteen chime frames with twelve chimes each; the specifications are given in the Ascending Singers section. The sun-and-ju frames matched those of the bo-bells.
34
絲部琴二十有七，一弦者三，三弦、五弦、七弦、九弦者各六。 瑟十有二。 竹部
Silk section: twenty-seven zithers—three one-stringed and six each of three-, five-, seven-, and nine-stringed types. There were twelve se-zithers. The bamboo section
35
簫十，籥十，篪十，笛十。 匏部巢笙十。 竽十，竹為之。 與巢笙皆十九簧，惟指法各異。
There were ten xiao, ten yue, ten chi, and ten di flutes. Gourd section: ten nest-sheng. There were ten bamboo yu mouth organs. Both yu and nest-sheng had nineteen reeds, though their fingering differed.
36
七星匏一，九曜匏一，閏余匏一。 土部塤八。 革部
There was one Seven Stars gourd, one Nine Luminaries gourd, and one Intercalary Remainder gourd. Earth section: eight xun. The hide section
37
晉鼓一，長六尺六寸，面徑四尺，圍丈有二尺，穹隆者居鼓面三之一，穹徑六尺六寸三分寸之一，面繪雲龍為飾，其臯陶以朱髹之，下承以彩繪趺座，並鼓高丈餘。 在郊祀者，鞔以馬革。
There was one Jin drum six chi six cun long, with a face four chi in diameter and a circumference of one zhang two chi; the arched portion occupied one third of the drum face, with an arch diameter of six chi six cun and one third of a cun; the face was painted with clouds and dragons, the rim lacquered red, and the whole stood on a painted pedestal more than one zhang high. For suburban sacrifice it was headed with horse hide.
38
樹鼓四，每樹三鼓。 其制高六尺六寸，中植以柱，曰建鼓。 柱末為翔鷺，下施小圓輪。 又為重鬥，方蓋，並繚以彩繪。 四角有竿，各垂璧翣流蘇，下以青狻猊四為趺。 建旁挾二小鼓，曰鞞、曰應，樹樂縣之四隅。 踏床、鼓桴，並髹以朱。
There were four tree-drums, with three drums on each stand. Each stand was six chi six cun high, with a central pillar called the frame drum. The pillar top was shaped as a soaring egret, with small round wheels below. It also had doubled bracket sets and a square canopy, all bound with painted decoration. Poles at the four corners each hung bi-disks, feather-fans, and tassels, and four green suanni formed the base below. Beside the frame drum stood two small drums, called pi and ying, placed at the four corners of the suspended ensemble. Footstools and drumsticks were all lacquered red.
39
雷鼓二，制如鼓而小，鞔以馬革，持其柄播之，旁耳自擊，郊祀用之。
There were two thunder drums, small drum-like pieces headed with horse hide; shaking the handle made the side ears strike themselves; they were used in suburban sacrifice.
40
雷鼗二，亦以馬革鞔之，為大小鼓三，交午貫之以柄，郊祀用之。 路鼓二，制如雷鼓，惟非馬革，祀宗廟用之。
There were two thunder rattles, also headed with horse hide, formed as three drums of varying size crossed and pierced by a handle for suburban sacrifice. There were two road drums shaped like thunder drums but not headed with horse hide, used in ancestral temple sacrifice.
41
路鼗二，其制為大小二鼓，午貫之，旁各有耳，以柄搖之，耳往還自擊，不以馬革，祀宗廟用之。 木部
There were two road rattles formed as large and small drums pierced crosswise, each with side ears that struck back and forth when the handle was shaken; they were not headed with horse hide and were used in ancestral temple sacrifice. The wood section
42
柷一，一。 △節樂之器
There was one zhu and one yu. △ Instruments for regulating music
43
麾一，制以絳繒，長七尺，畫升龍於上，以塗金龍首朱杠縣之。 樂長執之，舉以作樂，偃以止樂。
There was one command banner of crimson silk, seven chi long, painted with an ascending dragon and suspended from a gilded dragon-head on a red pole. The music director held it, raising it to begin the music and lowering it to stop.
44
照燭二，以長竿置絳羅籠於其末，然燭於中。 夜暗，麾遠難辨，樂正執之，舉以作樂，偃以止樂。 △文舞器
There were two illumination torches—long poles with crimson gauze cages at the end and candles lit within. When darkness made the distant banner hard to see, the music supervisor held them, raising them to begin the music and lowering them to stop. △ Civil dance implements
45
纛二，制若旌幢，高七尺，杠首刻象牛首，下施朱繒蓋為三重，以導文舞。 籥六十有四，木為之。 象籥之制，舞人所執。
There were two great banners like pennant standards, seven chi high, with ox heads carved on the pole tops and three tiers of crimson silk canopy below to lead the civil dance. There were sixty-four wooden yue-staves. Modeled on the yue flute, they were held by the dancers.
46
翟六十有四，木柄，端刻龍首，飾以雉羽，綴以流蘇，舞人所執。 △武舞器旌二，制如纛，杠首棲以鳳，以導武舞。 幹六十有四，木為之，加以彩繪，舞人所執。
There were sixty-four pheasant-feather staffs with wooden handles, dragon heads carved at the ends, pheasant feathers and tassels for ornament, held by the dancers. △ Martial dance implements: two pennants shaped like great banners, with phoenixes perched on the pole tops, to lead the martial dance. There were sixty-four wooden shields painted in colors, held by the dancers.
47
戚六十有四，制若劍然，舞人所執。 〈（《禮記註》：「戚，斧也。」 今制與古異。）〉
There were sixty-four qi shaped like swords, held by the dancers. (Commentary on the Records of Rites: “Qi is an axe. (” but the present design differs from the ancient one.)
48
金錞二，範銅為之，中虛，鼻象狻猊，木方趺。 二人舉錞，築於趺上。 金鉦二，制如銅槃，縣而擊之，以節樂。
There were two bronze bo cast hollow in copper, with suanni-shaped noses and square wooden bases. Two men lifted each bo and struck it on its base. There were two bronze zheng shaped like copper dishes, suspended and struck to mark the music.
49
金鐃二，制如火鬥，有柄，以銅為匡，疏其上如鈴，中有丸。 執其柄而搖之，其聲鐃鐃然，用以止鼓。
There were two bronze nao shaped like fire braziers, with handles, copper frames pierced like bells, and pellets inside. Shaken by the handle, they rang out sharply and were used to stop the drums.
50
單鐸、雙鐸各二，制如小鐘，上有柄，以金為舌，用以振武舞。 兩鐸通一柄者，號曰雙鐸。
There were two each of single and paired duo clapper-bells shaped like small bells with handles and gold clappers, used to animate the martial dance. When two duo shared one handle they were called paired duo.
51
雅鼓二，制如漆筒，鞔以羊革，旁有兩紐。 工人持之，築地以節舞。
There were two ya drums shaped like lacquered tubes, headed with sheepskin and fitted with two side loops. Artisans held them and struck the ground to mark the dance.
52
相鼓二，制如搏拊，以韋為表，實之以糠。 拊其兩端，以相樂舞節。
There were two phase drums shaped like bofu clappers, hide-covered and stuffed with chaff. Clapping both ends, they marked time for the music and dance.
53
鼗鼓二。 △舞表
There were two hand-drums. △ Dance position markers
54
表四，木桿，鑿方石樹之，用以識舞人之兆綴。
There were four markers—wooden poles set in carved square stones—used to mark the dancers’ positions and ranks.