1
禮樂五○樂服樂正副四人，舒腳襆頭，紫羅公服，烏角帶，木笏，皂靴。 照燭二人，服同前，無笏。
Rites and Music, Part Five ○ Ceremonial dress: the four deputy music supervisors wear spread-corner futou, purple gauze official robes, black horn belts, wooden tablets, and black boots. Two torchbearers wear the same dress as above but carry no tablets.
2
樂師二人，服緋，冠、笏同前。 運譜二人，服綠，冠、笏同前。
Two music masters wear scarlet robes, with caps and tablets like those above. Two score keepers wear green robes, with caps and tablets like those above.
3
舞師二人，舒腳襆頭，黃羅繡抹額，紫服，金銅荔枝帶，皂靴，各執仗。 〈（仗，牙仗也。）〉
Two dance masters wear spread-corner futou, yellow gauze embroidered forehead bands, purple robes, gold-and-copper lychee belts, and black boots, each bearing a staff. (The staffs are yak-tail ceremonial staffs.)
4
執旌二人，平冕，前後各九旒五就，青生色鸞袍，黃綾帶，黃絹袴，白絹襪，赤革履。 〈（平冕鸞袍，皆仿金制，惟冕之旒數不同，詳見後至元二年博士議。）〉
Two banner bearers wear even coronets with nine tassels of five clusters fore and aft, green unpatterned luan robes, yellow gauze belts, yellow silk trousers, white silk socks, and red leather shoes. (The even coronet and luan robe follow Jin models, except that the coronet's tassels differ in number; see the doctors' deliberation of the second year of the Later Zhiyuan era for particulars.)
5
執纛二人，青羅巾，余同執旌。
Two standard bearers wear blue gauze caps; their other dress matches the banner bearers.
6
樂工，介幘冠，緋羅生色鸞袍，黃綾帶，皂靴。 〈（冠以皮為之，黑油如熊耳，亦金制也。）〉 歌工，服同樂工。 執麾，服同上，惟加平巾幘。 〈（狀若籠金幘，以革為之。）〉
Musicians wear jieze caps, scarlet gauze unpatterned luan robes, yellow gauze belts, and black boots. (The cap is of leather, lacquered black like bear ears—also a Jin model.) Singers wear the same dress as the musicians. Banner-pole bearers dress as above but also wear plain-cloth jieze. (Shaped like a gilded cage-cap and made of leather.)
7
舞人，青羅生色義花鸞袍，緣以皂綾，平冕冠。 〈（冠前後有旒，青白硝石珠相間。）〉
Dancers wear green gauze unpatterned righteousness-flower luan robes trimmed with black gauze and even coronets. (The coronet bears tassels fore and aft, strung with alternating blue and white crystal beads.)
8
執器二十人，服同樂工，綠油母追冠， 〈（革為之，一名武弁。）〉 加紅抹額。
Twenty instrument bearers dress as musicians and wear green-lacquered leather muzhui caps, (Made of leather and also known as the martial cap.) with red forehead bands added.
9
至元二年閏五月，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。 太常寺下博士議定：樂正副四人、樂師二人、照燭二人、運譜二人，皆服紫羅公服，皂紗襆頭舒腳，紅鞓角帶，木笏，皂靴。 引舞色長四人，紫羅公服，皂紗襆頭展腳，黃羅繡南花抹額，金銅帶，皂靴。 樂工二百四十有六人，緋繡義花鸞袍，縣黃插口，介幘冠，紫羅帶，全黃羅抹帶，黃絹夾褲，白綾襪，朱履。 〈（金太常寺掌故張珍所著《疊代世範》載金制：舞人服黑衫，皆四襖，有黃插口，左右垂之，黃綾抹帶，其衫以綢為之，胸背二答、兩肩二答，前後和一答，皆彩色，繡二鸞盤飛之狀，綴之於衫。 冠以平冕，亦有天板、口圈，天門納言以紫絹標背，銅裹邊圈，前後各五旒，以青白硝石珠相間。 《大備集》所載，二舞人皂繡義花鸞衫，縣紫插口，黃綾抹帶，朱履，平冕。 其冠有口圈，亦有天門納言系帶，口圈高一尺許，天板長二尺，闊一尺，前微高後低，裏外紫絹糊，銅楞道妝釘，無旒。）〉 執器二十人，緋繡義花鸞袍，縣黃插口，綠油革冠，黃羅抹帶，黃絹夾褲，白綾襪，朱履。 旌纛四人，青繡義花鸞袍，縣紫插口，平冕冠二，青包巾二，黃羅抹帶，黃絹夾褲，白綾襪，朱履。 七月，中書吏部再準太常博士議定，行下所司制造。 三年九月服成，緋鸞袍二百六十有七，青鸞袍一百三十二，黃絹褲一百五十二，紫羅公服一十四，黃綾帶三百九十七，介幘冠二百四十有四，平冕冠百三十，簪全，木笏十有六，襆頭十有四，平巾幘二，綠油革冠二十，荔枝銅帶四，角帶十，皂靴二百六十對，朱履百五十對。
In the intercalary fifth month of the second year of Zhiyuan, the Office of Great Music reported that the music and dance officers above and below the hall, together with the musicians, needed robes, caps, crowns, boots, and shoes, and asked that they be made. The doctors under the Grand Secretariat of Rites determined that the four deputy music supervisors, two music masters, two torchbearers, and two score keepers should all wear purple gauze official robes, black gauze futou with spread corners, red leather horn belts, wooden tablets, and black boots. Four lead-dance section chiefs wear purple gauze official robes, black gauze futou with extended corners, yellow gauze embroidered southern-flower forehead bands, gold-and-copper belts, and black boots. Two hundred forty-six musicians wear scarlet embroidered righteousness-flower luan robes with yellow hanging mouth-pieces, jieze caps, purple gauze belts, full yellow gauze forehead bands, yellow silk lined trousers, white gauze socks, and red shoes. (In Zhang Zhen's 《Successive Ages as Models》, archivist of the Jin Grand Secretariat of Rites, Jin dancers wore black four-layered jackets with yellow mouth-pieces hanging at the sides and yellow gauze forehead bands. The jackets were silk, bearing colored plaques on chest and back, on each shoulder, and joining front and back, all embroidered with paired luan in coiling flight and sewn to the garment. They wore even coronets with heaven-board and mouth-ring; the heaven-gate and speech-ribbon were backed in purple silk with a copper-clad rim, and five tassels fore and aft strung with alternating blue and white crystal beads. The 《Great Completeness Collection》 describes two dancers in black embroidered righteousness-flower luan jackets with purple hanging mouth-pieces, yellow gauze forehead bands, red shoes, and even coronets. (Their coronets had mouth-rings and heaven-gate speech-ribbons with ties. The mouth-ring stood about a foot high; the heaven-board was two feet long and one foot wide, slightly higher in front than behind, lined inside and out with purple silk and studded with copper ribbing, and bore no tassels.) Twenty instrument bearers wear scarlet embroidered righteousness-flower luan robes with yellow hanging mouth-pieces, green-lacquered leather caps, yellow gauze forehead bands, yellow silk lined trousers, white gauze socks, and red shoes. Four banner-and-standard bearers wear green embroidered righteousness-flower luan robes with purple hanging mouth-pieces; two wear even coronets and two blue wrapped caps, with yellow gauze forehead bands, yellow silk lined trousers, white gauze socks, and red shoes. In the seventh month the Secretariat's Ministry of Personnel again ratified the Grand Secretariat doctors' decision and ordered the responsible offices to manufacture the garments. By the ninth month of the third year the garments were finished: 267 scarlet luan robes, 132 green luan robes, 152 pairs of yellow silk trousers, 14 purple gauze official robes, 397 yellow gauze belts, 244 jieze caps, 130 even coronets with hairpins, 16 wooden tablets, 14 futou, 2 plain-cloth jieze, 20 green-lacquered leather caps, 4 lychee copper belts, 10 horn belts, 260 pairs of black boots, and 150 pairs of red shoes.
10
宣聖廟樂工，黑漆冠三十五，綠羅生色胸背花袍三十五，皂靴三十五對，黃絹囊三十五，黃絹夾袱三十五。 大樂職掌
For musicians at the Temple of the Sagely Exemplar there were 35 black-lacquered caps, 35 green gauze unpatterned chest-and-back flower robes, 35 pairs of black boots, 35 yellow silk pouches, and 35 yellow silk lined wrappers. Duties of the Office of Great Music
11
大樂署，令一人，丞一人，掌郊社、宗廟之樂。 凡樂，郊社、宗廟則用宮縣，工四百六十有一人； 社稷，則用登歌，工五十有一人； 二樂用工三百一十有二人，代事故者五十人。 前祭之月，召工習樂及舞。 祀前一日，宿縣於庭中。 東方西方設十二镈鐘，各依辰位。 編鐘處其左，編磬處其右。 黃鐘之鐘起子位，在通街之西。 蕤賓之鐘居午位，在通街之東。 每辰三虡，謂之一肆，十有二辰，凡三十六虡。 樹建鞞應於四隅，左右，設縣中之北。 歌工次之， 〈（三十二人，重行相向而坐。）〉 巢笙次之，簫次之，竽次之，籥次之，篪次之，塤次之，長笛又次之。 夾街之左右，瑟翼敔之東西，在前行。 路鼓、路鼗次之。 〈（郊祀則雷鼓、雷鼗。）〉 閏余匏在簫之東，七星匏在西，九曜匏次之。 一弦琴列路鼓之東西， 〈（東一，西二。）〉 三弦、五弦、七弦、九弦次之。 晉鼓一，處縣中之東南，以節樂。 〈（一弦琴三，五弦以下皆六。 凡坐者，高以杌，地以氈。）〉 立四表於橫街之南，少東。 設舞位於縣北。 文郎左執籥，右秉翟； 武郎左執幹，右執戚； 皆六十有四人。 享日，與工人先入就位。 舞師二人，執纛二人，引文舞分立於表南。 武舞及執器者，俟立於宮縣之左右。 器鼗二，雙鐸二，單鐸二，鐃二，錞二， 〈（二錞用六人。）〉 鉦二，相鼓二，雅鼓二，凡二十人。 文舞退，舞師二人、執旌二人，引武舞進，立其處，文舞還立於縣側。 又設登歌樂於殿之前楹， 〈（殿陛之旁，設樂床二，樂工列於上。）〉 搏拊二，歌工六，一，一，在門內，相向而坐。 鐘一虡，在前楹之東。 一弦、三弦、五弦、七弦、九弦琴五，次之。 瑟二，在其東，笛一、籥一、篪一在琴之南，巢笙、和笙各二次之。 塤一，在笛之南。 閏余匏、排簫各一，次之，皆西上。 磬一虡，在前楹之西。 一弦、三弦、五弦、七弦、九弦琴五，次之。 塤一，在笛之南。 七星匏、九曜匏、排簫各一，次之，皆東上。 凡宗廟之樂九成，舞九變。 黃鐘之宮，三成，三變。 大呂之角，二成，二變。 太簇之徵，二成，二變。 應鐘之羽，二成，二變。 圜丘之樂六成，舞六變。 夾鐘之宮，三成，三變。 黃鐘之角，一成，一變。 太簇之徵，一成，一變。 姑洗之羽，一成，一變。 社稷之樂八成：林鐘之宮二成，太簇之角二成，姑洗之征二成，南呂之羽二成。 凡有事於宗廟，大樂令位於殿楹之東，西向； 丞位於縣北，通街之東，西向； 以肅樂舞。
The Office of Great Music had one director and one assistant director, responsible for music at suburban altars and the imperial ancestral temple. For music generally, suburban altars and the ancestral temple employed the full court ensemble with 461 performers; the altars of soil and grain used ascending-hall music with 51 performers; both forms together required 312 workers, with 50 substitutes for illness or death. In the month before a sacrifice, performers were summoned to rehearse music and dance. On the eve of the rite, the suspended ensemble was set up overnight in the courtyard. Twelve bo bells were placed east and west, each aligned with its earthly-branch station. Chime-bells stood to their left and chime-stones to their right. The Yellow Bell bell began at the zi station, west of the central street. The Luxuriant Guest bell occupied the wu station, east of the central street. Each earthly branch had three frames, called one spread; twelve branches yielded thirty-six frames in all. Bian and ying drums were set at the four corners; to left and right they stood north of the ensemble's center. Next came the singers, (thirty-two in all, seated in double ranks facing one another.) then nest-sheng, xiao, yu, yue, chi, xun, and long flutes in that order. Along the flanking streets to left and right, se flanked the yi east and west in the front rank. Road drums and road tambourines came next. (At suburban sacrifice, thunder drums and thunder tambourines were used instead.) The intercalary-surplus gourd-pipe stood east of the xiao; the Seven Stars gourd-pipe to the west; the Nine Luminaries gourd-pipe followed. One-string zithers were placed east and west of the road drums, (one in the east, two in the west.) followed by three-, five-, seven-, and nine-string zithers. A single Jin drum stood southeast of the ensemble's center to mark the beat. (Three one-string zithers; six each of five-string and below. (All seated players used stools, with felt spread on the ground.) Four marker poles were set up south of the cross street, slightly to the east. Dance positions were laid out north of the suspended ensemble. Civil dancers held yue in the left hand and feathers in the right; martial dancers held shields in the left and axes in the right; sixty-four in all. On the day of the offering, they entered ahead of the other performers and took their stations. Two dance masters and two standard bearers led the civil dancers, who stood in separate ranks south of the markers. The martial dancers and instrument bearers waited on either side of the court ensemble. two instrument tambourines, two paired bells, two single bells, two nao, two zheng, (The two zheng required six players.) two gongs, two xiang drums, and two ya drums—twenty players in all. When the civil dance withdrew, two dance masters and two banner bearers led the martial dance forward to take their place, while the civil dancers returned to stand beside the suspended ensemble. Ascending-hall music was also arranged at the front eaves of the hall, (beside the hall steps stood two music platforms, with musicians arrayed on them.) two bofu and six singers—three to a side—seated inside the gate facing one another. One frame of bells stood east of the front eaves. Five zithers—one-, three-, five-, seven-, and nine-string—followed. Two se stood east of them; one flute, one yue, and one chi south of the zithers; nest-sheng and he-sheng, two each, followed. One xun stood south of the flute. One intercalary-surplus gourd-pipe and one panpipe followed, all ranked ascending to the west. One frame of chime-stones stood west of the front eaves. Five zithers—one-, three-, five-, seven-, and nine-string—followed. One xun stood south of the flute. One Seven Stars gourd-pipe, one Nine Luminaries gourd-pipe, and one panpipe followed, all ranked ascending to the east. Ancestral temple music comprised nine movements, with nine dance changes. The Yellow Bell mode: three movements and three dance changes. The Great Clarity second mode: two movements and two changes. The Great Cluster third mode: two movements and two changes. The Responding Bell fifth mode: two movements and two changes. Music at the Circular Mound comprised six movements, with six dance changes. The Pinched Bell mode: three movements and three dance changes. The Yellow Bell second mode: one movement and one change. The Great Cluster third mode: one movement and one change. The Maiden Wash fifth mode: one movement and one change. Music at the altars of soil and grain had eight movements: two in the Forest Bell mode, two in the Great Cluster second mode, two in the Maiden Wash third mode, and two in the Southern Pitch fifth mode. Whenever rites were held at the ancestral temple, the Director of Great Music stood east of the hall eaves, facing west; the assistant director stood north of the suspended ensemble, east of the central street, facing west; to keep the music and dance in proper order.
12
協律郎二人，掌和律呂，以合陰陽之聲。 陽律六：黃鐘子，太簇寅，姑洗辰，蕤賓午，夷則申，無射戌。 陰呂六：大呂醜，夾鐘卯，仲呂巳，林鐘未，南呂酉，應鐘亥。 文之以宮、商、角、徵、羽、變宮、變徵，播之以金、石、絲、竹、匏、土、革、木。 凡律管之數九，九九相乘，八十一以為宮； 三分去一，五十四以為徵； 三分益一，七十二以為商； 三分去一，四十八以為羽； 三分益一，六十四以為角。 如黃鐘為宮，則林鐘為徵，太簇為商，南呂為羽，姑洗為角，應鐘為變宮，蕤賓為變征，是為七聲十二律，還相為宮，為八十四調。 凡大祭祀皆法服，一人立於殿楹之西，東向； 一人立於縣北通街之西，東向； 以節樂。 〈（堂上者主登歌，堂下者主宮縣。）〉 凡樂作，則跪，俯伏，舉麾以興，工鼓以奏； 樂止則偃麾，工戛而樂止。 〈（今執麾者代執之，協律郎特拜而已。）〉
Two Pitch-Pipe Masters harmonized the pitch-pipes and tubes so that the sounds of yin and yang would accord. The six yang pitch-pipes were Yellow Bell at zi, Great Cluster at yin, Maiden Wash at chen, Luxuriant Guest at wu, Levelled Rule at shen, and Unshot at xu. The six yin tubes were Great Clarity at chou, Pinched Bell at mao, Second Pitch at si, Forest Bell at wei, Southern Pitch at you, and Responding Bell at hai. They were patterned with the seven modes—gong, shang, jue, zhi, yu, altered gong, and altered zhi—and disseminated through the eight materials: metal, stone, silk, bamboo, gourd, earth, leather, and wood. Pitch-pipes were reckoned by nines; nine times nine yielded eighty-one for the gong tone; removing one-third left fifty-four for zhi; adding one-third made seventy-two for shang; removing one-third left forty-eight for yu; adding one-third made sixty-four for jue. When Yellow Bell served as gong, Forest Bell was zhi, Great Cluster shang, Southern Pitch yu, Maiden Wash jue, Responding Bell altered gong, and Luxuriant Guest altered zhi—yielding the seven tones and twelve pitch-standards, each in turn serving as gong, for eighty-four modes in all. At every great sacrifice all wore ritual dress; one person stood west of the hall eaves, facing east; another stood west of the central street north of the suspended ensemble, facing east; to mark the music. (The one above the hall directed ascending-hall music; the one below directed the court ensemble.) When music began, they knelt and prostrated themselves, raised the banner to start it, and the musicians drummed to play; when it stopped they lowered the banner, and the musicians struck the yi to end the music. (Nowadays the banner-pole bearer does this in their place; the Pitch-Pipe Master only performs the special bow.)
13
樂正二人，副二人，掌肄樂舞、展樂器、正樂位。 凡祭，二人立於殿內，二人立於縣間，以節樂。 殿內者視獻者奠獻用樂作止之節，以笏示照燭，照燭舉偃以示堂下。 若作登歌，則以笏示敔而已。 縣間者視堂上照燭。 及引初獻，照燭動，亦以笏示敔。
Two music supervisors and two assistants drilled music and dance, deployed instruments, and corrected the performers' stations. At every sacrifice, two stood inside the hall and two between the suspended ensembles to regulate the music. Those inside the hall watched the offering-official's cues for starting and stopping the music, signaled the torchbearers with their tablets, and the torchbearers raised or lowered their lights to signal those below. When ascending-hall music was played, they signaled only the yi with their tablets. Those between the ensembles watched the torchbearers in the hall above. When leading the first offering-official, as the torchbearers moved, they likewise signaled the yi with their tablets.
14
樂師一人，運譜一人，掌以樂教工人。 凡祭，立於縣間，皆北上，相向而立。
One music master and one score keeper taught the musicians their parts. At every sacrifice they stood between the ensembles, all facing north and opposite one another.
15
舞師四人，皆執梃， 〈（梃，牙仗也。）〉 執纛二人，執旌二人，祭則前舉以為舞容。 舞人從南表向第一表，為一成，則一變； 從第二至第三，為二成； 從第三至北第四表，為三成； 舞人各轉身南向於北表之北，還從第一至第二，為四成； 從第二至第三，為五成； 從第三至南第一表，為六成； 若八變者，更從南北向第二，為七成； 又從第二至第三，為八成； 若九變者，又從第三至北第一，為九變。
Four dance masters, each bearing a staff, (The staffs are yak-tail ceremonial staffs.) two standard bearers and two banner bearers; at the sacrifice they led the way, raising them to shape the dance formation. Dancers moved from the southern marker to the first marker—one movement, one change; from the second to the third was two movements; from the third to the fourth northern marker was three movements; each dancer turned south beyond the northern marker, then returned from the first to the second marker—four movements; from the second to the third was five movements; from the third to the first southern marker was six movements; for eight changes, they again moved from south to north toward the second marker—seven movements; again from the second to the third was eight movements; for nine changes, again from the third to the first northern marker completed the nine changes.
16
執麾一人，從協律郎以麾舉偃而節樂。
One banner-pole bearer followed the Pitch-Pipe Master, raising and lowering the banner to regulate the music.
17
照燭二人，掌執籠燭而節樂。 凡樂作止，皆舉偃其籠燭。 一人立於堂上門東，視殿內獻官禮節，麾燭以示縣間。 一人立於堂下縣間，俟三獻入導初獻至位，立於其左。 〈（初獻行，皆前導，亞、終則否。）〉 凡殿下禮節，則麾其燭以示上下。 初獻詣盥洗位，乃偃其燭，止亦如之。 俟初獻動為節，宮縣樂作，詣盥洗位，洗拭瓚訖，樂止。 詣階，登歌樂作，升自東階，至殿門，樂止，乃立於陛側以俟。 晨稞訖，初獻出殿，登歌樂作，至版位，樂止。 司徒迎饌至橫街，轉身北向，宮縣樂作，司徒奉俎至各室遍奠訖，樂止。 酌獻，初獻詣盥洗位，宮縣樂作，詣爵洗位，洗拭爵訖，樂止。 出笏，登歌樂作，升自東階，至殿門，樂止。 初獻至酒尊所，酌訖，宮縣樂作，詣神位前，祭酒訖，拜、興、讀祝，樂止。 讀訖，樂作，再拜訖，樂止。 次詣每室，作止如初。 每室各奏本室樂曲，俱獻畢，還至殿門，登歌樂作，降自東階，至版位，樂止。 文舞退，武舞進，宮縣樂作，舞者立定，樂止。 亞獻行禮，無節步之樂，至酒尊所，酌酒訖，出笏，宮縣樂作，詣神位前，奠獻畢，樂止。 次詣每室，作止如初。 俱畢，還至版位，皆無樂。 終獻樂作，同亞獻，助奠以下升殿，奠馬湩，至神位，蒙古巫祝致詞訖，宮縣樂作，同司徒進饌之曲，禮畢，樂止。 出殿，登歌樂作，各復位，樂止。 太祝徹籩豆，登歌樂作，卒徹，樂止。 奉禮贊拜，眾官皆再拜訖，送神，宮縣樂作，一成而止。
Two torchbearers held caged candles to regulate when the music began and ended. Whenever music began or stopped, they raised or lowered their caged candles. One stood east of the hall gate above, watching the offering-official's ritual inside and waving the candles to signal those between the ensembles. One stood between the ensembles below, and when the three offering-officials entered, guided the first to his station and stood at his left. (They led the way for the first offering-official's procession, but not for the second or final offerings.) For every ritual below the hall, they waved their candles to signal above and below. When the first offering-official went to the ablution station, they lowered their candles; stopping the music worked the same way. When the first offering-official moved, the court ensemble began; he went to the ablution station, washed and wiped the libation vessel, and the music stopped. As he approached the steps, ascending-hall music began; he ascended the eastern steps to the hall gate, the music stopped, and he waited beside the steps. When the morning grain offering was finished, the first offering-official left the hall; ascending-hall music played until he reached the spirit-tablet station, then stopped. The Minister of Education brought the offerings to the cross street, turned north, and the court ensemble began; he bore the trays to each chamber and presented offerings throughout, then the music stopped. For the libation offering, the first offering-official went to the ablution station while the court ensemble played; he then went to the goblet-washing station, washed and wiped the goblet, and the music stopped. He withdrew his tablet; ascending-hall music began as he ascended the eastern steps to the hall gate, then stopped. The first offering-official reached the wine vessels and poured; the court ensemble began as he went before the spirit seat, offered the libation, bowed, rose, and read the prayer, then the music stopped. When the reading was finished, music began; when the double bow was complete, the music stopped. He then went to each chamber, with music starting and stopping as before. Each chamber played its own melody; when all offerings were complete, he returned to the hall gate; ascending-hall music played as he descended the eastern steps to the spirit-tablet station, then stopped. The civil dancers withdrew and the martial dancers entered; the court ensemble began, and when the dancers stood in place, the music stopped. The second offering-official performed the rite without music marking his steps; at the wine vessels he poured, withdrew his tablet, and the court ensemble began as he went before the spirit seat and completed the presentation, then the music stopped. He then went to each chamber, with music starting and stopping as before. When all was finished, he returned to the spirit-tablet station without music. Music for the final offering began, as for the second; assistant presenters ascended the hall and presented mare's milk; at the spirit seat the Mongol shaman finished his invocation; the court ensemble played the same piece as when the Minister of Education brought the offerings, and when the rite was complete, the music stopped. As they left the hall, ascending-hall music began; each returned to his station, and the music stopped. The Grand Invoker removed the baskets and stands while ascending-hall music played; when removal was complete, the music stopped. The Master of Ceremonies prompted the bow; all officials bowed twice; as the spirits were sent off, the court ensemble played one movement and stopped.
18
宴樂之器
Banquet Music Instruments
19
興隆笙，制以楠木，形如夾屏，上銳而面平，縷金雕鏤枇杷、寶相、孔雀、竹木、雲氣，兩旁側立花板，居背三之一，中為虛櫃，如笙之匏。 上豎紫竹管九十，管端實以木蓮苞。 櫃外出小橛十五，上豎小管，管端實以銅杏葉。 下有座，獅象繞之，座上櫃前立花板一，雕鏤如背，板間出二皮風口，用則設朱漆小架於座前，系風囊於風口，囊面如琵琶，朱漆雜花，有柄，一人挼小管，一人鼓風囊，則簧自隨調而鳴。 中統間，回回國所進。 以竹為簧，有聲而無律。 玉宸樂院判官鄭秀乃考音律，分定清濁，增改如今制。 其在殿上者，盾頭兩旁立刻木孔雀二，飾以真孔雀羽，中設機。 每奏，工三人，一人鼓風囊，一人按律，一人運動其機，則孔雀飛舞應節。
The Prosperity sheng was made of nanmu wood in the shape of a folding screen, sharp above and flat-faced, with gold filigree and carvings of loquat, treasure-flowers, peacocks, bamboo, trees, and clouds. Flower panels stood on either side, occupying a third of the back; at the center was a hollow cabinet like a sheng's gourd. Ninety purple bamboo pipes rose from it, their ends stopped with lotus-wood buds. Fifteen small pegs projected outside the cabinet, each bearing a small pipe stopped with a copper apricot leaf. It stood on a base ringed with lions and elephants; before the cabinet on the base stood a flower panel carved like the back, with two leather wind openings between the panels. In performance a small vermilion-lacquered frame was set before the base and a wind bladder—shaped like a pipa, lacquered vermilion with floral patterns and fitted with a handle—was tied to the openings. One player plucked the small pipes while another pumped the bladder, and the reeds sounded in the chosen mode. During the Zhongtong era it was presented from the Muslim lands. Its reeds were bamboo; it produced sound but no fixed pitch. Zheng Xiu, judge of the Jade Hall Music Academy, then examined pitch and mode, distinguished clear from muddy tones, and revised it into its present form. The hall version had two carved wooden peacocks flanking the shield-head, adorned with real peacock feathers, with a mechanism between them. At each performance three players took part: one pumped the wind bladder, one held the pitch, and one worked the mechanism, so that the peacocks danced in time with the music.
20
殿庭笙十，延祐間增制，不用孔雀。
Ten hall-court sheng were added during the Yanyou era, without the peacock mechanism.
21
琵琶，制以木，曲首，長頸，四軫，頸有品，闊面，四弦，面飾雜花。 箏，如瑟，兩頭微垂，有柱，十三弦。
The pipa was of wood, with a curved head, long neck, four pegs, frets on the neck, a broad soundboard, four strings, and a face decorated with floral patterns. The zheng resembled the se, with both ends slightly drooping, bridges, and thirteen strings.
22
火不思，制如琵琶，直頸，無品，有小槽，圓腹如半瓶榼，以皮為面，四弦，皮絣同一孤柱。
The huobusi resembled the pipa but had a straight neck without frets, a small groove, a round belly like half a flask, a skin soundboard, four strings, and the skin laced to a single bridge.
23
胡琴，制如火不思，卷頸，龍首，二弦，用弓捩之，弓之弦以馬尾。
The huqin resembled the huobusi, with a curled neck and dragon head, two strings played with a bow, and horsehair for the bowstring.
24
方響，制以鐵，十六枚，懸於磬虡，小角槌二。 廷中設，下施小交足幾，黃羅銷金衣。 龍笛，制如笛，七孔，橫吹之，管首制龍頭，銜同心結帶。 頭管，制以竹為管，卷蘆葉為首，竅七。
The fangxiang was of iron—sixteen pieces suspended on a chime-stone frame, with two small horn mallets. It was set up in the court on a small crossed-leg stand, with a yellow gauze cover worked in cut gold. The dragon flute resembled the di, with seven holes and played horizontally; its head was carved as a dragon holding a knotted cord of concentric circles. The touguan had a bamboo pipe with a rolled reed-leaf head and seven holes.
25
笙，制以匏為底，列管於上，管十三，簧如之。
The sheng had a gourd base with pipes arrayed above—thirteen pipes, each with its reed.
26
箜篌，制以木，闊腹，腹下施橫木，而加軫二十四，柱頭及首並加鳳喙。
The konghou was of wood with a broad belly; a crossbar beneath the belly bore twenty-four pegs, and both the pillar head and the top were capped with phoenix beaks.
27
雲敖，制以銅，為小鑼十三，同一木架，下有長柄，左手持，而右手以小槌擊之。 簫，制如笛，五孔。
The yun'ao was of copper—thirteen small gongs on one wooden frame with a long handle below; the player held it in the left hand and struck with a small mallet in the right. The xiao resembled the di, with five holes.
28
戲竹，制如籈，長二尺餘，上系流蘇香囊，執而偃之，以止樂。
The xizhu resembled the zhu, more than two feet long, with tassels and a scent pouch tied above; the player raised and lowered it to stop the music.
29
鼓，制以木為匡，冒以革，朱漆雜花，面繪復身龍，長竿二。 廷中設，則有大木架，又有擊撾高座。
The drum had a wooden frame covered with hide, vermilion lacquer with floral patterns, a face painted with a coiled dragon, and two long poles. In the court it stood on a large wooden frame, with a high seat for the striker.
30
杖鼓，制以木為匡，細腰，以皮冒之，上施五彩繡帶，右擊以杖，左拍以手。 劄鼓，制如杖鼓而小，左持而右擊之。 和鼓，制如大鼓而小，左持而右擊之。
The zhanggu had a wooden frame and narrow waist, was covered with hide, and bore five-colored embroidered bands; the player struck it with a stick in the right hand and clapped with the left. The zhagu resembled the zhanggu but smaller, held in the left hand and struck with the right. The hegu resembled the large drum but smaller, held in the left hand and struck with the right.
31
闉，制如箏而七弦，有柱，用竹軋之。 羌笛，制如笛而長，三孔。 拍板，制以木為板，以繩聯之。 水盞，制以銅，凡十有二，擊以鐵箸。
The yin resembled the zheng but had seven strings and bridges, and was played by plucking with bamboo. The Qiang flute resembled the di but was longer, with three holes. The paiban consisted of wooden boards joined by cord. The shuizhan was of copper—twelve in all—struck with iron chopsticks.
32
樂音王隊： 〈（元旦用之。）〉 引隊大樂禮官二員，冠展角襆頭，紫袍，塗金帶，執笏。 次執戲竹二人，同前服。 次樂工八人，冠花襆頭。 紫窄衫，銅束帶。 龍笛三，杖鼓三，金鞚小鼓一，板一，奏《萬年歡》之曲。 從東階升，至御前，以次而西，折繞而南，北向立。 〈（後隊進，皆仿此。）〉 次二隊，婦女十人，冠展角襆頭，紫袍，隨樂聲進至御前，分左右相向立。 次婦女一人，冠唐帽，黃袍，進北向立定，樂止，念致語畢，樂作，奏《長春柳》之曲。 次三隊，男子三人，戴紅發青面具，雜彩衣，次一人，冠唐帽，綠襕袍，角帶，舞蹈而進，立於前隊之右。 次四隊，男子一人，戴孔雀明王像面具，披金甲，執叉，從者二人，戴毗沙神像面具，紅袍，執斧。 次五隊，男子五人，冠五梁冠，戴龍王面具，繡氅，執圭，與前隊同進，北向立。 次六隊，男子五人，為飛天夜叉之像，舞蹈以進。 次七隊，樂工八人，冠霸王冠，青面具，錦繡衣，龍笛三，觱栗三，杖鼓二，與前大樂合奏《吉利牙》之曲。 次八隊，婦女二十人，冠廣翠冠，銷金綠衣，執牡丹花，舞唱前曲，與樂聲相和，進至御前，北向，列為九重，重四人，曲終，再起，與後隊相和。 次九隊，婦女二十人，冠金梳翠花鈿，繡衣，執花鞚稍子鼓，舞唱前曲，與前隊相和。 次十隊，婦女八人，花髻，服銷金桃紅衣，搖日月金鞚稍子鼓，舞唱同前。 次男子五人，作五方菩薩梵像，搖日月鼓。 次一人，作樂音王菩薩梵像，執花鞚稍子鼓，齊聲舞前曲一闋，樂止。 次婦女三人，歌《新水令》、《沽美酒》、《太平令》之曲終，念口號畢，舞唱相和，以次而出。
The Music-King Formation: (Used on New Year's Day.) Leading the formation were two ritual officers of Great Music in extended-corner futou, purple robes, gilt belts, and tablets. Next came two xizhu bearers in the same dress. Next came eight musicians in floral futou, purple narrow jackets, and copper belts. with three dragon flutes, three zhanggu, one small golden-bridle drum, and one paiban, playing 《Ten Thousand Years of Joy》. They ascended the eastern steps to the throne, moved west in order, turned south, and stood facing north. (Later formations entered following this same pattern.) Next came a formation of ten women in extended-corner futou and purple robes, who advanced with the music to the throne and stood facing one another to left and right. Next one woman in a Tang cap and yellow robe advanced, stood facing north, finished the congratulatory address as the music stopped, then the music resumed with 《Long Spring Willow》. Next came three men in red-haired green masks and motley dress, followed by one man in a Tang cap, green round-collared robe, and horn belt, who danced forward to stand at the right of the preceding formation. Next came one man wearing a Peacock Bright-King mask, clad in golden armor and holding a fork, with two attendants in Vaisravana masks, red robes, and axes. Next came five men in five-ridge caps and Dragon-King masks, embroidered mantles, and scepters, who advanced with the preceding formation and stood facing north. Next came five men costumed as flying apsaras and yakshas, dancing forward. Next came eight musicians in Overlord caps, green masks, and brocade dress, with three dragon flutes, three suona, and two zhanggu, joining the preceding Great Music in 《Jiliya》. Next came twenty women in broad emerald crowns and cut-gold green robes, holding peonies and dancing and singing in time with the music. They advanced to the throne, faced north in nine ranks of four, and when the piece ended rose again in harmony with the following formation. Next came twenty women with gold-comb and emerald-flower hairpins, embroidered robes, and floral-bridle shao drums, dancing and singing in harmony with the preceding formation. Next came eight women with floral topknots, cut-gold peach-pink robes, and sun-and-moon golden-bridle shao drums, dancing and singing as before. Next came five men costumed as the Five-Direction Bodhisattvas in Sanskrit style, shaking sun-and-moon drums. Next came one man as the Music-King Bodhisattva in Sanskrit style, holding a floral-bridle shao drum; all together danced and sang one stanza of the preceding melody, then the music stopped. Finally three women sang through 《New Water Tune》, 《Buying Fine Wine》, and 《Peace Command》; when the slogans were finished they danced and sang together and withdrew in order.
33
壽星隊： 〈（天壽節用之。）〉 引隊禮官樂工大樂冠服，並同樂音王隊。 次二隊，婦女十人，冠唐巾，服銷金紫衣，銅束帶。 次婦女一人，冠平天冠，服繡鶴氅，方心曲領，執圭，以次進至御前，立定，樂止，念致語畢，樂作，奏《長春柳》之曲。 次三隊，男子三人，冠服舞蹈，並同樂音王隊。 次四隊，男子一人，冠金漆弁冠，服緋袍，塗金帶，執笏； 從者二人，錦帽，繡衣，執金字福祿牌。 次五隊，男子一人，冠卷雲冠，青面具，綠袍，塗金帶，分執梅、竹、松、椿、石，同前隊而進，北向立。 次六隊，男子五人，為烏鴉之像，作飛舞之態，進立於前隊之左，樂止。 次七隊，樂工十有二人，冠雲頭冠，銷金緋袍，白裙，龍笛三，觱栗三，劄鼓三，和鼓一，板一，與前大樂合奏《山荊子》帶《妖神急》之曲。 次八隊，婦女二十人，冠鳳翹冠，翠花鈿，服寬袖衣，加雲肩、霞綬、玉佩，各執寶蓋，舞唱前曲。 次九隊，婦女三十人，冠玉女冠，翠花鈿，服黃銷金寬袖衣，加雲肩、霞綬、玉佩，各執棕毛日月扇，舞唱前曲，與前隊相和。 次十隊，婦女八人，服雜彩衣，被槲葉、魚鼓、簡子。 次男子八人，冠束發冠，金掩心甲，銷金緋袍，執戟。 次為龜鶴之像各一。 次男子五人，冠黑紗帽，服繡鶴氅，朱履，策龍頭濆杖，齊舞唱前曲一闋，樂止。 次婦女三人，歌《新水令》、《沽美酒》、《太平令》之曲終，念口號畢，舞唱相和，以次而出。
The Longevity Star Formation: (Used at the Heavenly Longevity Festival.) The leading ritual officers, musicians, and Great Music dress matched the Music-King Formation. Next came ten women in Tang caps, cut-gold purple robes, and copper belts. Next one woman in a Level-Heaven crown, embroidered crane mantle, square-heart curved collar, and scepter advanced to the throne, finished the congratulatory address as the music stopped, then the music resumed with 《Long Spring Willow》. Next came three men whose caps, dress, and dance matched the Music-King Formation. Next came one man in a gold-lacquered bian cap, scarlet robe, gilt belt, and tablet; with two attendants in brocade caps and embroidered robes bearing gold-letter Fortune-and-Emolument plaques. Next came one man in a curling-cloud crown, green mask, green robe, and gilt belt, holding plum, bamboo, pine, paulownia, and stone in turn; he advanced with the preceding formation and stood facing north. Next came five men costumed as crows in flying dance, advancing to stand at the left of the preceding formation, and the music stopped. Next came twelve musicians in cloud-head crowns, cut-gold scarlet robes, and white skirts, with three dragon flutes, three suona, three zhagu, one hegu, and one paiban, joining the preceding Great Music in 《Mountain Thorn》 with 《Demon Spirit Urgent》. Next came twenty women in phoenix-crest crowns, emerald-flower hairpins, wide-sleeved robes with cloud collars, mist sashes, and jade pendants, each holding a treasure canopy and dancing and singing the preceding melody. Next came thirty women in Jade-Maiden crowns, emerald-flower hairpins, yellow cut-gold wide-sleeved robes with cloud collars, mist sashes, and jade pendants, each with a palm-fiber sun-and-moon fan, dancing and singing in harmony with the preceding formation. Next came eight women in motley robes, wearing oak leaves and carrying fish drums and clappers. Next came eight men in bound-hair crowns, gold heart-guarding armor, cut-gold scarlet robes, and halberds. Next came one tortoise figure and one crane figure. Next came five men in black gauze caps, embroidered crane mantles, red shoes, and dragon-head spray staves, who danced and sang one stanza of the preceding melody together, then the music stopped. Finally three women sang through 《New Water Tune》, 《Buying Fine Wine》, and 《Peace Command》; when the slogans were finished they danced and sang together and withdrew in order.
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禮樂隊： 〈（朝會用之。）〉 引隊禮官樂工大樂冠服，並同樂音王隊。 次二隊，婦女十人，冠黑漆弁冠，服青素袍，方心曲領，白裙，束帶，執圭； 次婦女一人，冠九龍冠，服繡紅袍，玉束帶，進至御前，立定，樂止，念致語畢，樂作，奏《長春柳》之曲。 次三隊，男子三人，冠服舞蹈同樂音王隊。 次四隊，男子三人，皆冠卷雲冠，服黃袍，塗金帶，執圭。 次五隊，男子五人，皆冠三龍冠，服紅袍，各執劈正金斧，同前隊而進，北向立。 次六隊，童子五人，三髻，素衣，各執香花，舞蹈而進，樂止。 次七隊，樂工八人，皆冠束發冠，服錦衣白袍，龍笛三，觱栗三，杖鼓二，與前大樂合奏《新水令》、《水仙子》之曲。 次八隊，婦女二十人，冠籠巾，服紫袍，金帶，執笏，歌《新水令》之曲，與樂聲相和，進至御前，分為四行，北向立，鞠躬拜，興，舞蹈，叩頭，山呼，就拜，再拜，畢，復趁聲歌《水仙子》之曲一闋，再歌《青山口》之曲，與後隊相和。 次九隊，婦女二十人，冠車髻冠，服銷金藍衣，雲肩，佩綬，執孔雀幢，舞唱與前隊相和。 次十隊，婦女八人，冠翠花唐巾，服錦繡衣，執寶蓋，舞唱前曲。 次男子八人，冠鳳翅兜牟，披金甲，執金戟。 次男子一人，冠平天冠，服繡鶴氅，執圭，齊舞唱前曲一闋，樂止。 次婦女三人，歌《新水令》、《沽美酒》、《太平令》之曲終，念口號畢，舞唱相和，以次而出。
The Rites-and-Music Formation: (Used at court assemblies.) The leading ritual officers, musicians, and Great Music dress matched the Music-King Formation. Next came ten women in black-lacquered bian caps, blue plain robes, square-heart curved collars, white skirts, belts, and scepters; then one woman in a Nine-Dragon crown, embroidered red robe, and jade belt advanced to the throne, finished the congratulatory address as the music stopped, then the music resumed with 《Long Spring Willow》. Next came three men whose caps, dress, and dance matched the Music-King Formation. Next came three men, all in curling-cloud crowns, yellow robes, gilt belts, and scepters. Next came five men in Three-Dragon crowns and red robes, each with a rectifying golden axe, who advanced with the preceding formation and stood facing north. Next came five boys with triple topknots and plain dress, each holding fragrant flowers, who danced forward, and the music stopped. Next came eight musicians in bound-hair crowns, brocade jackets and white robes, with three dragon flutes, three suona, and two zhanggu, joining the preceding Great Music in 《New Water Tune》 and 《Water Immortal》. Next came twenty women in cage caps, purple robes, gold belts, and tablets, singing 《New Water Tune》 in time with the music. They advanced to the throne in four rows facing north, bowed, rose, danced, kowtowed, shouted the mountain call, completed their bows, and bowed again. Then they sang one stanza of 《Water Immortal》, followed by 《Green Mountain Pass》, in harmony with the following formation. Next came twenty women in carriage-topknot crowns, cut-gold blue robes, cloud collars, and sashes, with peacock banners, dancing and singing in harmony with the preceding formation. Next came eight women in emerald-flower Tang caps and brocade robes, holding treasure canopies and dancing and singing the preceding melody. Next came eight men in phoenix-wing helmets, golden armor, and golden halberds. Next came one man in a Level-Heaven crown, embroidered crane mantle, and scepter, who with the others danced and sang one stanza of the preceding melody, then the music stopped. Finally three women sang through 《New Water Tune》, 《Buying Fine Wine》, and 《Peace Command》; when the slogans were finished they danced and sang together and withdrew in order.
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說法隊：引隊禮官樂工大樂冠服，並同樂音王隊。 次二隊，婦女十人，冠僧伽帽，服紫禪衣，皂絳； 次婦女一人，服錦袈裟，余如前，持數珠，進至御前，北向立定，樂止，念致語畢，樂作，奏《長春柳》之曲。 次三隊，男子三人，冠、服、舞蹈，並同樂音王隊。 次四隊，男子一人，冠隱士冠，服白紗道袍，皂絳，執麈拂； 從者二人，冠黃包巾，服錦繡衣，執令字旗。 次五隊，男子五人，冠金冠，披金甲，錦袍，執戟，同前隊而進，北向立。 次六隊，男子五人，為金翅雕之像，舞蹈而進，樂止。 次七隊，樂工十有六人，冠五福冠，服錦繡衣，龍笛六，觱栗六，杖鼓四，與前大樂合奏《金字西番經》之曲。 次八隊，婦女二十人，冠珠子菩薩冠，服銷金黃衣，纓絡，佩綬，執金浮屠白傘蓋，舞唱前曲，與樂聲相和，進至御前，分為五重，重四人，曲終，再起，與後隊相和。 次九隊，婦女二十人，冠金翠菩薩冠，服銷金紅衣，執寶蓋，舞唱與前隊相和。 次十隊，婦女八人，冠青螺髻冠，服白銷金衣，執金蓮花。 次男子八人，披金甲，為八金剛像。 次一人，為文殊像，執如意； 一人為普賢像，執西番蓮花； 一人為如來像； 齊舞唱前曲一闋，樂止。 次婦女三人，歌《新水令》、《沽美酒》、《太平令》之曲終，念口號畢，舞唱相和，以次而出。
The Dharma-Preaching Formation: the leading ritual officers, musicians, and Great Music dress matched the Music-King Formation. Next came ten women in Sangha caps, purple Chan robes, and black cords; then one woman in a brocade kasaya, otherwise as before, with prayer beads, advanced to the throne facing north, finished the congratulatory address as the music stopped, then the music resumed with 《Long Spring Willow》. Next came three men whose caps, dress, and dance matched the Music-King Formation. Next came one man in a recluse cap, white gauze Daoist robe, black cord, and fly-whisk; with two attendants in yellow wrapped caps and brocade robes bearing command-character banners. Next came five men in gold crowns, golden armor, brocade robes, and halberds, who advanced with the preceding formation and stood facing north. Next came five men costumed as golden-winged eagles, dancing forward, and the music stopped. Next came sixteen musicians in Five Blessings crowns and brocade robes, with six dragon flutes, six suona, and four zhanggu, joining the preceding Great Music in 《Gold-Letter Western Barbarian Sutra》. Next came twenty women in pearl Bodhisattva crowns, cut-gold yellow robes, tassels and sashes, with golden stupa white parasols, dancing and singing in time with the music. They advanced to the throne in five ranks of four, and when the piece ended rose again in harmony with the following formation. Next came twenty women in gold-and-emerald Bodhisattva crowns and cut-gold red robes, with treasure canopies, dancing and singing in harmony with the preceding formation. Next came eight women in blue-snail-topknot crowns and white cut-gold robes, holding golden lotuses. Next came eight men in golden armor costumed as the Eight Vajra Guardians. Next came one as Manjusri, holding a ruyi scepter; one as Samantabhadra, holding a Western lotus; and one as the Tathagata; all together danced and sang one stanza of the preceding melody, then the music stopped. Finally three women sang through 《New Water Tune》, 《Buying Fine Wine》, and 《Peace Command》; when the slogans were finished they danced and sang together and withdrew in order.
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凡吉禮，郊祀、享太廟、告謚，見《祭祀志》。 軍禮，見《兵志》。 喪禮五服，見《刑法志》。 水旱賑恤，見《食貨志》。 內外導從，見《儀衛志》。
For auspicious rites—suburban sacrifice, offerings at the Imperial Ancestral Temple, and posthumous title announcements—see the 《Treatise on Sacrifice》. Military rites are covered in the 《Treatise on Military Affairs》. Mourning rites and the five grades of mourning dress are covered in the 《Treatise on Penal Law》. Flood, drought, and relief measures are covered in the 《Treatise on Food and Goods》. Inner and outer escorts and attendants are covered in the 《Treatise on Ceremonial Guards》.