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夫音生於人心，心慘則音哀，心舒則音和。然人心復因音之哀和，亦感而舒慘，則韓娥曼聲哀哭，一里愁悲；曼聲長歌，眾皆喜忭，斯之謂矣。是故哀、樂、喜、怒、敬、愛六者，隨物感動，播於形氣，協律呂，諧五聲。舞也者，詠歌不足，故手舞之，足蹈之，動其容，象其事，而謂之為樂。樂也者，聖人之所樂，可以善人心焉。所以古者天子、諸侯、卿大夫無故不徹樂，士無故不去琴瑟，以平其心，以暢其志，則和氣不散，邪氣不干。此古先哲后立樂之方也。周衰政失，鄭衛是興。秦漢以還，古樂淪缺，代之所存，韶武而已。下不聞振鐸，上不達謳謠，但更其名，示不相襲，知音復寡，罕能制作。而況古雅莫尚，胡樂荐臻，其聲怨思，其狀促遽，方之鄭衛，又何遠乎！爰自永嘉，戎羯迭亂，事有先兆，其在於茲。聖唐貞觀初作破陣樂，舞有發揚蹈厲之容，歌有麤和嘽發之音，表興王之盛烈，何謝周之文武，豈近古相習所能關思哉！而人間胡戎之樂，久習未革。古者因樂以著教，其感人深，乃移風俗。將欲閑其邪，正其頹，唯樂而已矣。 |
| | Music originates from human hearts; when the heart is sorrowful, the music becomes mournful, and when the heart is at ease, the music becomes harmonious. Yet human hearts are also affected by the sorrow or harmony of music, feeling moved to either ease or grief. Thus, when Han E sang with a mournful voice and wept bitterly, an entire neighborhood was filled with sorrow and sadness; when she sang in a prolonged melody for a long time, the crowd rejoiced, and this is precisely what is meant. Therefore, the six emotions—sorrow, joy, happiness, anger, respect, and love—are stirred by external things, manifesting in physical expressions and breath, harmonizing with pitch pipes and coordinating with the five musical tones. Dance, in this sense, arises when singing alone is insufficient; therefore, one dances with hands and feet, moves the body, imitates events, and thus it is called music. Music is what sages take pleasure in; it can cultivate human hearts for good. Therefore, in ancient times, emperors, feudal lords, and high-ranking officials would not discontinue music without cause, while scholars would not abandon their qin or se instruments without reason. This was to calm the mind and express one's aspirations; thus harmony prevailed, and evil influences could not intrude. This is how ancient sages and monarchs established the principles of music. As the Zhou dynasty declined and its government failed, the vulgar music of Zheng and Wei gained popularity. Since the Qin and Han dynasties, ancient music had declined and become incomplete; what remained in each dynasty was merely the Shao and Wu. Below, people no longer heard of the rattle's call to attention; above, songs and ballads failed to reach. They merely changed names, pretending not to follow previous styles, yet those who truly understood music became few, and rarely could anyone compose or create. And yet, when ancient elegance was no longer esteemed and foreign music increasingly prevailed, its sounds filled with lamentation and sorrow, its expressions hurried and hasty—compared to the vulgar Zheng and Wei music, how much difference is there! Since the Yongjia period, successive disorders by Rong and Jie tribes occurred; such events had omens beforehand, and they lie precisely in this. In the early years of the Zhenguan era of the Holy Tang dynasty, the musical piece Po Zhen Yue was composed; its dance displayed a bold and vigorous style, its song contained bold, resonant tones, It demonstrates the great achievements of the rising king, how could it be inferior to Zhou's Wen and Wu? How could this be something that recent generations accustomed to imitation could even contemplate! Yet among the people, foreign music from the Hu and Rong tribes has long been practiced without change. In ancient times, music was used to establish moral instruction; its influence on people was profound, thus transforming customs and manners. To restrain evil influences and correct decline, nothing but music can accomplish this.
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第一 歷代沿革上 |
| | First, Historical Evolution I
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第二 歷代沿革下 |
| | Second, Historical Evolution II
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第三 十二律 五聲八音名義 五聲十二律旋相為宮 五聲十二律相生法 歷代製造 |
| | Third, The Twelve Pitch Pipes; Definitions of the Five Tones and Eight Sounds; The Five Tones Rotating as Palaces with the Twelve Pitch Pipes; Methods of Generating the Five Tones from the Twelve Pitch Pipes; Historical Manufacture
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第四 權量 八音 樂懸 |
| | Fourth, Weights and Measures; The Eight Sounds; Musical Instruments
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第五 歌 雜歌曲 舞 雜舞曲 |
| | Fifth, Songs; Miscellaneous Song Tunes; Dances; Miscellaneous Dance Tunes
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第六 清樂 坐立部伎 四方樂 散樂 前代雜樂 |
| | Sixth, Pure Music; Seated and Standing Performance Groups; Music of the Four Directions; Scattered Music; Miscellaneous Music from Previous Dynasties
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第七 郊廟宮懸備舞議 郊廟不奏樂廟諸室別舞議 祭日不宜遍舞六代樂議 舞佾議 宗廟迎送神樂議 散齋不廢樂議 臨軒拜三公奏樂議 三朝行禮樂失制議 三朝上壽有樂議 三朝不宜奏登歌議 徹食宜有樂議 巴渝舞雜武舞議 皇后樂議 東宮宴會奏金石軒懸及女樂等議 皇帝幸東宮鼓吹作議國哀廢樂議： 遏密不設懸議 大喪而弟嗣位未三年廢樂議 大喪在寇梓宮未返廢樂議 皇后崩服未終廢樂議 太后父喪廢樂議 皇后母喪廢樂議 公主喪廢樂議 太子所生喪廢樂議 大臣喪廢樂議 忌月不廢樂議 |
| | Seventh, Discussions on the Preparation of Dances for Ancestral Temple and Imperial Sacrifices; Discussion on Not Playing Music in Various Rooms of the Temple During Sacrifices; Discussion Against Performing Six Dynasties' Music Throughout the Day of a Sacrifice; Discussion on Dance Ranks (Wuyi); Discussion on Music for Welcoming and Sending Off Deities at Ancestral Temples; Discussion on Continuing Music During Preliminary Purification Periods; Discussion on Playing Music When the Emperor Bestows Titles on Three High Officials; Discussion on Loss of Proper Ritual in Musical Performances During the Three Ceremonial Days; Discussion on Having Music During the Offering of Longevity Wishes on the Three Ceremonial Days (San Chao); Discussion Against Playing Ascending Songs at the Three Ceremonial Events; Discussion on Whether Music Should Be Played When Removing Offerings; Discussion on Combining Ba Yu Dance with Martial Dances; Discussion on Music for the Empress; Discussions on Playing Bell and Stone Instruments, as Well as Female Musicians, During Banquets in the Eastern Palace; Discussion on Using Drum and Horn Ensembles When the Emperor Visits the Eastern Palace; Discussions on Suspending Music During National Mourning: Discussion Against Setting Up Musical Instruments During Periods of Muted Grief (E Mi); Discussion on Suspending Music for Three Years After a Brother Assumes the Throne Following a Great Funeral; Discussion on Suspending Music While the Imperial Coffin Has Not Returned from Enemy Territory; Discussion on Suspending Music When the Empress Dies and Mourning Is Still Ongoing; Discussion on Suspending Music Due to the Death of the Empress Dowager's Father; Discussion on Suspending Music After the Death of the Mother of the Empress; Discussion on Suspending Music Following the Death of a Princess; Discussion on Suspending Music Upon the Death of the Emperor's Biological Mother (the Birth Mother of the Crown Prince); Discussion on Suspending Music at the Funerals of High-Ranking Ministers; Discussion Against Suspending Music During Months of Remembrance.
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歷代沿革上 |
| | Historical Evolution I
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伏羲樂名扶來，亦曰立本。 |
| | Fu Xi's music was named Fulai, also called Liben.
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神農樂名扶持，亦曰下謀。 |
| | Shen Nong's music was named Chichu, also known as Ximou.
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黃帝作咸池。 |
| | Huang Di composed Xianchi.
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少皞作大淵。 |
| | Shao Hao composed Dayuan.
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顓頊作六莖。 |
| | Zhuan Xu composed Liu Jing.
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帝嚳作五英。 |
| | Di Ku composed Wu Ying.
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堯作大章。 |
| | Yao composed Dazhang.
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舜作大韶。書曰：「夔，命汝典樂，教冑子。聲依永，律和聲，八音克諧，無相奪倫，神人以和。夔曰：『於！予擊石拊石，百獸率舞。』」 |
| | Shun composed Dashaoyao. The Book of Documents says: "Kui, I appoint you to oversee music and educate the sons of nobles. The tones should be sustained in a long manner, and pitch pipes harmonize these tones; The eight sounds are perfectly harmonious, none surpassing the others in order; thus, deities and humans achieve harmony. Kui said: "Ah! I strike stones and touch stones, and all the beasts follow in dance.'"
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禹作大夏。 |
| | Yu composed Daxia.
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湯作大護。紂棄先祖之樂，迺作淫聲，書曰：「作奇伎淫巧，以悅婦人。」 |
| | Tang composed Dahu. Zhou abandoned the music of his ancestors and instead created licentious sounds; the Book of Documents says: "He invented strange dances, lewd skills, and clever tricks to please women."
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周武王作大武。周公作勺，又有房中之樂，歌以后妃之德。春官大司樂：「以樂舞教國子，舞雲門、大卷、大咸、大韶、大夏、大護、大武。以六律、六呂、五聲、八音、六舞大合樂，以致鬼神祇，以和邦國，以諧萬人，以安賓客，以說遠人，以作動物。乃分樂而序之，以祭，以饗，以祀；乃奏黃鍾，歌大呂，舞雲門，以祀天神；乃奏太蔟，歌應鍾，舞咸池，以祭地祇；乃奏姑洗，歌南呂，舞大韶，以祀四望；乃奏蕤賓，歌函鍾，舞大夏，以祭山川；乃奏夷則，歌小呂，舞大護，以享先妣；乃奏無射，歌夾鍾，舞大武，以享先祖。王出入，則令奏王夏；尸出入，則令奏肆夏；牲出入，則令奏昭夏。凡日月蝕，四鎮五嶽崩，大傀異災，諸侯薨，令去樂。大札，大凶，大災，大臣死，凡國之大憂，令弛懸。凡建國，禁其淫聲、過聲、凶聲、慢聲。」 |
| | King Wu of Zhou composed Dawu. Zhou Gong composed Shao; There was also the music of Fangzhong, which sang about the virtue of empresses and consorts. The Grand Master of Music under the Spring Official: "To teach the young men of the country through music and dance, They performed dances such as Yunmen, Dajuan, Daxian, Dashao, Daxia, Dahu, and Dawu. Using the six pitch pipes, six Lü (tonal standards), five tones, eight sounds, and the six dances to fully harmonize music, thereby summoning spirits and deities, harmonizing the state, coordinating the people, pacifying guests, delighting distant peoples, and moving living creatures. Then the music was divided and arranged in order for sacrificial rites, banquets, and worship; They played Huangzhong, sang Daliu, and danced Yunmen to worship heavenly gods; They played Taicu, sang Yingzhong, and danced Xianti to worship earth deities; They played Guxian, sang Nanlv, and danced Dashao to worship the four directions; They played Ruibin, sang Hanzhong, and danced Daxia to worship mountains and rivers; They played Yize, sang Xiaolv, and danced Dahou to honor the ancestral mothers; They played Wuye, sang Jiazhong, and danced Dawu to honor the ancestors. When the king entered or left, they would command the playing of Wangxia; When the shi (ritual representative) entered or exited, they were ordered to play Si Xia; When sacrificial animals were brought in or out, they were commanded to play Zhao Xia. In the event of solar or lunar eclipses, collapses of the Four Sacred Mountains and Five Great Mountains, major strange disasters, deaths of feudal lords, orders were given to discontinue music. In cases of major diplomatic affairs, great misfortunes, great disasters, the death of high ministers, or any significant national sorrow, orders were given to remove and store away musical instruments. Whenever a state was established, it prohibited licentious music, excessive sounds, ominous tones, and disrespectful noises."
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夫樂本情性，浹肌膚而藏骨髓，雖經乎千載，其遺風餘烈尚猶不絕。春秋時，陳公子完奔齊。陳，舜之後，韶樂在焉。故孔子適齊聞韶，三月不知肉味，曰：「不圖為樂之至於斯！」美之甚也。周道始衰，怨刺之詩起。王澤既竭，而詩不能作。樂官師瞽，抱其器而奔散於諸侯，益壞缺矣。 |
| | Music originates from human emotions and nature, permeating the skin and reaching deep into the marrow; even after a thousand years, its lingering influence and enduring legacy remain unbroken. During the Spring and Autumn period, Gongzi Wan of the state of Chen fled to Qi. Chen was a descendant of Shun; the music of Xiao Shao originated there. Therefore, when Confucius visited Qi and heard the Xiao Shao music, he did not know the taste of meat for three months. He said: "I never imagined that music could reach such a level!" He greatly praised it. As the Zhou dynasty began to decline, poems of complaint and satire emerged. When royal grace was exhausted, poetry could no longer be created. Music officials and blind musicians carrying their instruments scattered to the feudal lords; thus, music deteriorated further.
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秦始皇平天下，六代廟樂惟韶武存焉。二十六年，改周大武曰五行，房中曰壽人，衣服同五行樂之色。 |
| | When Emperor Qin Shi Huang unified the world, only the Xiao Shao and Wu music of the six dynasties remained. In the twenty-sixth year, he changed Zhou's DAWU to Wuxing (Five Elements), FANGZHONG to Shouren, and made clothing colors match those of the Five Elements' music.
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漢興，樂家有制氏，以雅樂聲律，世世在太樂官，但能紀其鏗鏘鼓舞，而不能言其義。高祖時，叔孫通因秦樂人制宗廟樂。太祝迎神於廟門，奏嘉至，猶古降神之樂也。皇帝入廟門，奏永至，以為行步之節，猶古采薺、肆夏也。乾豆上，奏登歌，獨上歌，不以管絃亂人聲，欲在位者遍聞之，猶古清廟之歌也。登歌再終，下奏休成之樂，美神明既饗也。皇帝就酒東廂，坐定，奏永安之樂，美禮已成也。又有房中祠樂，高帝唐山夫人所作也。周有房中樂，至秦名曰壽人。凡樂，樂其所生，禮不忘本。高祖樂楚聲，故房中樂楚聲也。孝惠二年，使樂府令夏侯寬備其簫管，更名曰安世樂。 |
| | When the Han dynasty rose, there was a musical family named Zhi Shi in the field of music. They passed down the pitch standards of refined music through generations at the Taoyue Office, but could only remember the clangs, drums, and dances, without being able to explain their meanings. During Emperor Gaozu's reign, Shusun Tong used Qin dynasty musicians to create temple music for ancestral rites. The Grand Priest welcomed the deities at the temple gate, playing Jia Zhi. This was similar to ancient music used for summoning deities. When the emperor entered the temple gate, Jia Zhi was played to mark his steps; this resembled ancient compositions such as Cai Ji and Si Xia. When the sacrificial food was placed on the altar, Denge (ascending song) was played. Only the vocal part was performed, without wind or string instruments to interfere with human voices; this ensured that all present could clearly hear it, similar to the ancient Qingmiao hymns. After Denge was performed twice, Xiu Cheng music was played below, praising the deities for having accepted the offerings. When the emperor approached the eastern chamber for libations, sat down, and was settled, Yong'an music was played to praise the completion of the rites. There were also Fangzhong sacrificial songs, composed by Empress Tanshan of Emperor Gaozu. The Zhou dynasty had Fangzhong music; by the Qin dynasty, it was called Shouren. All music celebrates its origin; rites never forget their roots. Emperor Gaozu favored Chu melodies, so the Fangzhong music was also in the style of Chu. In the second year of Emperor Xiaohui's reign, he ordered Xuefu Ling Xiahou Kuan to prepare flutes and pipes for it, and renamed it Anshi Music.
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高廟奏武德、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。武德舞者，高帝四年作，以象天下樂己行武以除亂也。文始舞者，曰本舜韶舞也，高祖六年更名曰文始，以示不相襲也。而五行仍舊。四時舞者，孝文所作，以示天下之安和也。蓋樂己所自作，明有制也；樂先王之樂，明有法也。孝景采武德舞以為昭德，以尊太宗廟。至孝宣，采昭德舞為盛德，以尊世宗廟。諸帝廟皆常奏文始、四時、五行舞云。高祖六年又作昭容樂、禮容樂。昭容者，猶古之昭夏也，主出武德舞。禮容者，主出文始、五行舞。舞入無樂者，將至至尊之前，不敢以樂也；出用樂者，言舞不失節，能以樂終也。大抵皆因秦舊事焉。 |
| | At the Gao Temple, Wude, Wenshi, and Wu Xing dances were performed; At the Xiaowen Temple, Zhao De, Wenshi, Sishi, and Wu Xing Dances were performed; At the Xiaowu Temple, Shengde, Wenshi, Sish, and Wu Xing dances wer performed. The Wude Dance was created in the fourth year of Emperor Gaozu's reign, symbolizing that people throughout the land rejoiced as he used military force to quell chaos. The Wenshi Dance was originally the Shao dance of Emperor Shun; in the sixth year of Emperor Gaozu's reign, it was renamed Wenshi to indicate that it did not follow previous traditions. The Wu Xing Dance remained unchanged. The Sishi Dance was composed by Emperor Xiaowen to demonstrate the peace and harmony of the realm. Music that is personally composed signifies clear authority; Performing the music of former kings signifies adherence to established principles. Emperor Xiaojing adopted the Wude Dance and renamed it Zhao De to honor the Taizong Temple. By Emperor Xiaoxuan's reign, the Zhao De Dance was adopted and renamed Shengde to honor the Shizong Temple. The temples of all emperors regularly performed the Wenshi, Sishi and Wu Xing dances. In the sixth year of Emperor Gaozus reign, Zhao Rong Music and Li Rong Music were also composed. Zhao Rong was similar to the ancient Zhao Xia; it mainly accompanied the Wude Dance. Li Rong was mainly used for the Wenshi and Wu Xing Dances. When dancers entered without music, it signified that they were approaching the supreme presence; out of reverence, no music was played. Music accompanied their exit to indicate that the dance maintained its rhythm and concluded properly with music. In general, these were all based on existing practices from the Qin dynasty.
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初，高祖既定天下，過沛，與故人父老相樂，醉酒歡哀，作「風起」之詩，令沛中僮兒百二十人習而歌之。至孝惠時，以沛宮為原廟，皆令歌兒習吹以相和，常以百二十人為員。文景之間，禮官肄業而已。 |
| | Initially, after Emperor Gaozu had pacified the realm, he passed through Pei and rejoiced with his old friends and elders. Drunk on wine and filled with sorrow and joy, he composed a poem titled "Feng Qi" (The Rising Wind) and ordered 120 boys from Pei to learn and sing it. By the reign of Emperor Xiaohui, Pei Palace was designated as a secondary temple for ancestral worship. They ordered the singing boys to learn wind instruments for accompaniment, maintaining a permanent quota of 120 performers. During the reigns of Wendi and Jingdi, ritual officials merely practiced these traditions without active performance.
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至武帝，乃立樂府，采詩夜誦，有趙、代、秦、楚之謳。以李延年為協律都尉，多舉司馬相如等數十人造為詩賦，略論律呂，以合八音之調，作十九章之歌。以正月上辛用事甘泉圓丘，使童男女七十人俱歌，昏祠至明。然未有本於祖宗之事，八音調均，又不協於鍾律，而內有掖庭才人，外有上林樂府，皆以鄭聲施於朝廷。昔殷周之雅頌，上本有娀、姜嫄，镨、稷始生，玄王、公劉、古公、太伯、王季、姜女、太任、太姒之德，乃及成湯、文、武、受命，武丁、成、康、宣王中興，下及輔佐阿衡、周、召、太公、申伯、召虎、仲山甫之屬，君臣男女有功德者，靡不褒揚。功德既信美矣，褒揚之聲盈乎天地之間，是以光名著於當世，遺譽垂於無窮。漢之樂有異於此，故無得而稱焉。 |
| | It was not until Emperor Wudi's reign that the Yuefu (Music Bureau) was established. They collected poems and recited them at night, 략 There were songs from Zhao, Dai, Qin, and Chu regions. They appointed Li Yannian as Xielv Duyi (Inspector of Musical Harmony) and recruited dozens of figures such as Sima Xiangru to compose poetry and fu. They briefly discussed pitch pipes and tuning, harmonizing them with the eight tones, and composed nineteen chapters of songs. In the first month on an Xinx day, rituals were conducted at Ganhuan Yuanqiu (the round altar in Ganhuan). Seventy boys and girls were ordered to sing together, with the dusk sacrifice continuing until dawn. However, these practices were not rooted in ancestral traditions. The eight tones and tuning were also inconsistent with the standard pitch pipes. Internally, there were talented women from Yeting; externally, there was Shanglin Yuefu. All of them introduced Zheng music (decadent music) into court ceremonies. In the past, the elegant odes of Yin and Zhou dynasties traced their origins to You Song (Yong), , Jiang Yuan, and others. They recounted how Hou Ji was born, as well as Xuanwang, Gong Liu, Gu Gong, Taibo, Wang Ji, Jiangnv, The virtues of Tai Ren and Tai Si were praised, extending to Cheng Tang, Wendi, Wu Di who received their mandate, as well as Wuding, Cheng Wang, Kang Wang, and Xuan Wang who revived the dynasty. It also extended downward to those who assisted them—Awang, Zhou Gong, Zhao Gong, Taigong, Shen Bo, Zhao Hu, Zhong Shanfu—and others; no male or female ruler or minister with virtue and merit was left unpraised. With such virtuous achievements, the praises resounded throughout heaven and earth; thus their illustrious names became renowned in their time, leaving a legacy of honor that endured eternally. The music of the Han dynasty differed from this; therefore, it could not be praised in the same way.
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是時，河間獻王有雅才，亦以為治道非禮樂不成，與毛生等共采周官及諸子言樂事者，以著樂記，因獻所集雅樂。天子下太樂官，常存肄之，歲時以備數，然不常御。 |
| | At that time, Hejian Xianwang possessed refined talents and also believed that governance could not be achieved without rites and music. Together with Mao Sheng and others, he collected passages from the Zhouguan and other classical texts discussing musical matters to compose a treatise on music (Yue Ji), and thus presented his compilation of elegant music as an offering. The Son of Heaven ordered the Tai Yue Guan (Grand Music Office) to preserve and practice it, maintaining its presence for seasonal occasions, yet it was not regularly performed.
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至成帝時，謁者常山王禹世受河間樂，能說其義，其弟子宋廚等上書言之，下大夫博士平當等考試。當以為「河間王所獻雅樂，立之太樂。春秋鄉射，作於學官，希闊不講。故自公卿大夫觀聽者，但聞鏗鏘，不曉其意，而欲風諭眾庶，其道無由。是以行之百有餘年，德化至今未成。宜風示海內。」事下公卿，以為久遠難分明，當議復寢。是時，鄭聲尤甚。黃門名倡丙強、景武之屬富顯於世，貴戚五侯、定陵、富平外戚之家淫侈過度，至與人主爭女樂。哀帝自為定陶王時疾之，又性不好音，及即位，下詔曰：「惟世俗奢泰文巧，而鄭衛之聲興。夫奢泰則下不遜而國貧，文巧則趨末背本者眾，鄭衛之聲興則淫僻之化流，而欲黎庶敦朴家給，猶濁其源而求其清流，豈不難哉！孔子不云乎，『放鄭聲』，『鄭聲淫』。其罷樂府官。郊祭樂及古兵法武樂，在經非鄭衛之樂者，條奏，別屬他官。」丞相孔光、大司空何武奏：「樂人員大凡八百二十九人，其三百八十八人不可罷，可領屬大樂；其四百四十一人不應經法，或鄭衛之聲，皆可罷。」奏可。然百姓漸漬日久，又不制雅樂有以相變，豪富吏民沈湎自若，陵夷壞於王莽也。 |
| | By the time of Emperor Chengdi, Yezha Changshan Wang Yu inherited the Hejian music through generations and could explain its meaning. His disciples, such as Song Chu, submitted a petition about it, which was examined by officials including Dafu Bohan Pingdang. Dang believed that "the elegant music presented by Prince Hejian should be established at the Tai Yue (Grand Music Office). The archery rituals of Spring and Autumn were performed in schools, but they were rarely practiced or discussed. Therefore, even high-ranking officials and scholars who observed or listened only heard the resounding music without understanding its meaning; thus, there was no way to use it as a means of moral instruction for the common people. Therefore, after more than a hundred years of practice, moral transformation has still not been achieved to this day. It should be used as an example and influence throughout the realm." The matter was referred to the high officials, who considered it too distant in time and difficult to clarify clearly. They decided that the proposal should be postponed for further discussion. At this time, Zheng music had become especially prevalent. Famous court musicians such as Huangmen Mingchang Bing Qiang and Jing Wu became wealthy and prominent in society, while powerful relatives of the imperial family—such as the Five Marquises, Dingling, and Fuping from the outer 戚 families Their licentiousness and extravagance went to such extremes that they even competed with the emperor for female entertainers. Emperor Aidai had already disapproved of this when he was Prince Dingtao, and by nature he did not favor music. Upon ascending the throne, he issued an edict stating: "I have observed that in society there is excessive luxury and elaborate artifice, which has led to the rise of Zheng and Wei music. Luxury and excess lead to the people becoming disrespectful and the state impoverished; elaborate artifice causes many to pursue trivialities while abandoning fundamentals. When Zheng and Wei music prevails, licentious and deviant influences spread. To hope for a simple and virtuous populace with sufficient households is like trying to purify water from an already polluted source—how difficult this must be! Did not Confucius say, "Expel Zheng music," and that "Zheng music is licentious"? Therefore, the Yuefu (Music Bureau) officials should be dismissed. Those who submit lists of sacrificial music for the suburban rites and ancient military music, which are found in classical texts and not part of Zheng or Wei music, should be assigned separately to other officials." Chengxiang Kong Guang and Daskong He Wu submitted: "The total number of personnel in the Yuefu is 829. Of these, 388 cannot be dismissed; they may be placed under the jurisdiction of Taiyue (Grand Music Office); the remaining 441 people do not conform to classical principles or are associated with Zheng and Wei music; they may all be dismissed." The proposal was approved. However, the common people had long been gradually immersed in this culture. Without measures to promote elegant music and bring about change, wealthy officials and civilians continued indulging as before. This decadence eventually led to decline and collapse during Wang Mang's reign.
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後漢光武平隴、蜀，增廣郊祀，高帝配良，樂奏青陽、朱明、西皓、玄冥、雲翹、育命之舞。北郊及祀明堂，並奏樂如南郊。迎時氣五郊：春歌青陽，夏歌朱明，並舞雲翹之舞；秋歌西皓，冬歌玄冥，並舞育命之舞；季夏歌朱明，兼舞二舞。 |
| | After the Later Han Emperor Guangwu pacified Long and Shu, he expanded and enhanced suburban sacrifices. High Emperor was honored as a companion to Liang, and music accompanied dances such as Qingyang, Zhuming, Xi Hao, Xuanming, Yun Qiao, and Yu Ming. At the northern suburban rites and sacrifices at Mingtang (Hall of Illumination), music was performed in a manner similar to that of the southern suburbs. At the five suburban rites for welcoming seasonal qi: in spring, Qingyang was sung; in summer, Zhuming was sung, both accompanied by the Yun Qiao dance; in autumn, Xi Hao was sung; in winter, Xuanming was sung, both performed with the Yu Ming dance; In midsummer, Zhuming was also sung, accompanied by performances of both dances.
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明帝永平三年，東平王蒼總定公卿之議，曰：「宗廟宜各奏樂，不應相襲，所以明功德也。」遂采文始、五行、武德為大武之舞，薦之光武之廟。時樂四品：一曰大予樂，郊廟、上陵之所用焉；二曰雅頌樂，辟雍、鄉射之所用焉；三曰黃門鼓吹樂，天子宴群臣之所用也；四曰短簫鐃歌樂，軍中之所用也。又采百官詩頌，以為登歌。 |
| | In the third year of Emperor Mingdi's Yongping reign, Dongping Wang Cang summarized and finalized discussions among high officials, stating: "Each ancestral temple should perform its own music; it should not follow previous ones. This is to clarify their respective virtues and achievements." Thus, they adopted Wenshi, Wu Xing, and Wude dances to create the Da Wu (Great Martial) dance, which was presented at the temple of Emperor Guangwu. At that time, music was divided into four categories: first, Dayu Music, used for suburban temples and ancestral tombs; second, Ya Song Music, used in Biyong (Imperial Academy) and archery rituals; third, Huangmen Guchui Music, performed at banquets where the Son of Heaven entertained his ministers; fourth, Duan Xiao Nao Ge Music, used by the military. They also collected poems and odes from officials to be performed as Denge (ascending songs).
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章帝元和元年，籍田，玄武司馬班固奏：「籍田，歌辭用商頌載芟，祠先農。」自東京大亂，絕無金石之樂，樂章亡缺，不可復知。 |
| | In the first year of Emperor Zhangdi's Yuanhe reign, during the jietian (plowing) ceremony, Xuanwu Sima Ban Gu submitted: "During the jietian rite, the lyrics should use Shang Song Zai Shan to honor Xian Nong." Since the great turmoil in Dongjing, there has been no bronze or stone music; musical compositions were lost and incomplete, making them impossible to recover.
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魏武帝平荊州，獲杜夔，善八音，常為漢雅樂郎，尤悉樂事，於是使創定雅樂。時又有散騎郎鄧靜、尹商，善調雅樂，歌師尹胡能歌宗廟郊祀之曲，舞師馮肅能曉知先代諸舞，夔悉領之。遠考經籍，近采故事，考會古樂，始設軒懸鍾磬，復先代古樂，自夔始也。而柴玉、左延年之徒，妙善鄭聲被寵，唯夔好古存正。 |
| | After Wei Wudi pacified Jingzhou, he captured Du Kui, who was skilled in the eight tones and had previously served as a Han dynasty official responsible for elegant music. He especially understood musical matters; thus, Wei Wudi ordered him to create and establish refined music. At that time, there were also Sanqi Lang Deng Jing and Yin Shang, who were skilled in tuning refined music; the singing master Yin Hu could sing temple and suburban sacrifice songs; the dance master Feng Su understood various dances of previous dynasties; Du Kui oversaw them all. By examining ancient texts and recent precedents, and by compiling ancient music, they first established the Xuanxuan bells and chimes. The revival of ancient music from previous dynasties began with Du Kui. Meanwhile, figures such as Chai Yu and Zuo Yannian were favored for their exquisite skill in Zheng music; only Du Kui cherished antiquity and preserved the orthodox tradition.
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文帝受禪後，改漢巴渝舞曰昭武舞，改安世樂曰正世樂，嘉至樂曰迎靈樂，武德樂曰武頌樂，昭容樂曰昭業樂，雲翹舞曰鳳翔舞，育命舞曰靈應舞，武德舞曰武頌舞，文始舞曰大韶舞，五行舞曰大武舞。其眾歌詩，多則前代之舊，使王粲改作登歌、安世及巴渝詩而已。 |
| | After Emperor Wendi received the mandate, he changed the Han dynasty Bayu Dance to Zhao Wu Dance; Anshi Music to Zhengshi Music; Jia Zhi Music to Yingling Music; Wude Music to Wusong Music; Zhao Rong Music to Zhao Ye Music; Yun Qiao Dance to Fengxiang Dance; Yu Ming Dance to Lingying Dance; Wude Dance to Wusong Dance; Wensi Dance to Dashao Dance; and Wu Xing Dance to Dawu Dance. Most of the songs and poems were inherited from previous dynasties, with only Wang Can commissioned to revise the Denge (ascending song), Anshi, and Bayu poetry.
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明帝太和初，詔曰：「凡音樂以舞為主，自黃帝雲門以下，至於周大武，皆太廟舞名也。然則其所司之官，皆曰太樂，所以總領諸物，不可以一物為名。樂官自如故為太樂。」太樂，漢舊名，後漢依讖改為太予樂官，至是改復舊。於是公卿奏：「今請太祖武皇帝樂宜曰武始之舞。武，神武也。武，又跡也。言神武之始，又王跡所起也。高祖文皇帝宜曰咸熙之舞。咸，皆也。熙，興也。言應受命之運，天下由之皆興也。夫歌以詠德，舞以象事。於文，文武為斌。臣等謹製樂舞名章斌之舞。今有事於天地宗廟，則此三舞宜並以薦享，及臨朝大享，並宜舞之。臣等思惟，三舞宜有總名，可名大鈞之樂。鈞，平也。言大魏三代同功，以至崇平也。」又奏：「祀圓丘以下，武始舞者，平冕，黑介幘，玄衣裳，白領袖，絳領袖中衣，絳合幅蔥，絳远，黑韋鞮。咸熙舞者，冠委貌，其餘服如前。章斌舞者，與武始、咸熙同服。奏於朝廷，則武始舞者，武冠，赤介幘，生絳袍單衣，絳領袖，皁領袖中衣，絳合幅蔥，白布远，黑韋鞮。咸熙舞者，進賢冠，黑介幘，生黃袍單衣，白合幅蔥。此三舞皆執羽籥，其餘服如前。」侍中繆襲又奏：「安世歌本漢時歌名。今詩非往歌之文，則宜變改。安世樂，猶同房中之樂也。往昔議者以房中歌后妃之德，以風天下，正夫婦焉，宜改安世之名而為正始之樂。襲又省安世歌詩有后妃之義，方今享先祖，恐失禮意，可改安世歌曰享神歌。」奏可。文帝已改安世為正始，而襲至是又改為享神。王肅議：「高皇至高祖、文昭廟，皆宜兼用先代及武始、大鈞之舞。」 |
| | In the early Tahe period of Emperor Mingdi, an edict stated: "All music is centered on dance. From Huangdi's Yunmen to the Zhou dynasty's Dawu, these were all names of dances performed at the Grand Temple." Therefore, the officials in charge were called Taoyue (Grand Music), a title that comprehensively oversaw all matters and could not be named after any single item. The music officials remained as before, serving under the Grand Music office." Taoyue was an old Han dynasty title; during the Later Han, it had been changed to Taiyu Yueguan (Grand Yu Music Officials) based on prophetic texts. Now, it was restored to its original name. The marquises and ministers then submitted: "We now request that the music for Emperor Tai Zu Wu Huangdi be named Wushi Dance. Wu means divine martial valor. Wu also refers to achievements or footprints (of accomplishments). It signifies the beginning of divine martial valor and also marks where a king's achievements began. For Emperor Gao Zu Wen Huangdi, it should be named Xianxi Dance." Xian means "all" or "comprehensive." Xi means prosperity or flourishing. It signifies that the mandate of heaven has been accepted, and through this, all under heaven will flourish. Songs are used to extol virtue, while dances depict events symbolically. In terms of writing, the combination of Wen (culture) and Wu (martial valor) forms Bin. We humbly propose that the name of the music and dance be Bingzhi Dance." Whenever there are rituals to heaven, earth, and ancestral temples, these three dances should be performed together as offerings; during grand court ceremonies, they should also all be danced. We have considered that the three dances should have an overall name and suggest naming it Dajun Music. Jun means balance or equality. It signifies that the Three Dynasties of Great Wei achieved equal merit, leading to great peace and prosperity." They also submitted: "For the rites at Yuanqiu and below, those performing the Wushi Dance should wear a píng miǎn (a type of ceremonial headdress), black jiejie headpiece, black robes with white collars and sleeves, red-lined inner garments with red collars and sleeves, solid red trousers, and black leather shoes. Those performing the Xianxi Dance should wear guan weimao (a type of cap), with all other attire as previously described. Those performing the Bingzhi Dance should wear the same attire as those in Wushi and Xianxi Dances. When performed at court, those performing the Wushi Dance shall wear a wuguan (military cap), red jiejie headpiece, unbleached crimson robe and single garment with red collars and sleeves; black-lined inner garments with black collars and sleeves; solid red trousers; white cloth trousers; and black leather shoes. Those performing the Xianxi Dance shall wear jinxian guan (a cap symbolizing virtue), black jiejie headpieces, unbleached yellow robes and single garments, white solid trousers. Those performing these three dances all hold feathers and yue (a type of wind instrument), with the rest of their attire as previously described." Shizhong Miu Xi also submitted: "Anshi Song is originally a Han dynasty song title. Since the current poetry differs from the original lyrics, it should be revised accordingly." 𝑙𝑜𝑎𝑑𝑖𝑛𝑔... Anshi Music is still similar to Fangzhong Music. In the past, scholars argued that Fangzhong Songs praised the virtue of empresses and consorts to set an example for all under heaven and regulate marital relations; therefore, it is appropriate to change the name Anshi Music to Zheng Shi Music. Xi also examined the lyrics of Anshi Songs and found references to empresses. Considering that now we are offering sacrifices to ancestors, it might be inappropriate; thus, he suggested changing Anshi Song to Xiangshen Song (Song for Honoring Deities)." The proposal was approved. Emperor Wendi had already changed Anshi to Zheng Shi, but Xi later proposed changing it again to Xiangshen at this time. Wang Su argued: "For the temples of Emperor Gao Huang to Emperor Gao Zu and Wen Zhao, both ancestral dances from previous dynasties as well as Wushi and Dajun Dances should be used concurrently."
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按漢時有短簫鐃歌之樂，其曲有朱鷺、思悲翁、艾如張、上之回、雍離、戰城南、巫山高、上陵、將進酒、君馬黃、芳樹、有所思、雉子班、聖人出、上邪、臨高臺、遠如期、石留、務成、玄雲、黃雀、釣竿等曲，列於鼓吹，多序戰陣之事。及魏受命，改其十二曲，使繆襲為詞，述以功德，言代漢之意。 |
| | According to Han dynasty records, there was the Duan Xiao Nao Ge music. Its melodies included Zhulu, Sibiweng, Airuzhang, Shangzhihui, Yongli, Zhan Chengnan, Wushanga, Shangling, Jiang Jin Jiu, Junmahuang, Fangshu, Yoususi, Chizi Ban, Shengrenchu, Shangye, Lin Gaotai, Yuan Qi Qi, Shiliu, Wucheng, Xuyun, Huangque, and Dianguan. These were listed under the Guchui (drum and bugle) music category and mostly depicted matters related to warfare and military formations. When Wei received the mandate, twelve of these melodies were revised; Miu Xi was commissioned to compose new lyrics that recounted virtue and merit, expressing the intent of succeeding the Han dynasty.
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晉武帝初，郊廟明堂禮樂權用魏儀，蓋遵周室肇稱殷禮之義，但改樂章，而使傅玄為之詞。又令荀勖、張華、夏侯湛、成公綏等，各造郊廟諸樂歌詞。九年，荀勖以杜夔所製律呂，校太樂、總章、鼓吹八音，與律呂乖錯，依古尺作新律呂，以調聲韻。律成，遂頒下太常，使太樂、總章、鼓吹、清商施用。荀勖遂典知樂事，啟朝士解音者共掌之。使郭夏、宋識等造正德、大悅二舞，其樂章亦張華所作。又改魏昭武舞曰宣武舞，羽籥舞曰宣文舞。傅玄又作先農、先蠶歌詩。咸寧元年，詔定祖宗之號，而廟樂同用正德、大悅之舞。 |
| | At the beginning of Emperor Jin Wu Di's reign, the rites and music for suburban temples and Mingtang were temporarily based on Wei dynasty protocols. This followed the Zhou dynasty tradition of initially adopting Yin (Shang) rituals; however, only the musical compositions were changed, with Fu Xuan commissioned to write new lyrics. He also ordered Xun Xu, Zhang Hua, Xiahou Zhan, Cheng Gong Sui, and others to compose lyrics for various temple and suburban rituals. In the ninth year, Xun Xu used the pitch pipes created by Du Kui to examine the eight tones of Taoyue (Grand Music Office), Zongzhang, and Guchui. He found them inconsistent with the standard pitch pipes; thus, he crafted new pitch pipes based on the ancient measurement system to regulate musical tones. Once the pitch pipes were completed, they were issued to Taichang (Ministry of Rites), instructing Taoyue, Zongzhang, Guchui, and Qingshang to implement them. Xun Xu then took charge of musical affairs and invited officials from the court who understood music to assist him in managing them. He commissioned Guo Xia and Song Shi to create the Zhengde and Dayue Dances, with their musical compositions also authored by Zhang Hua. They also changed the Wei dynasty Zhao Wu Dance to Xuanwu Dance. The Yu Yue Dance was renamed Xuwen Dance. Fu Xuan also composed songs and poems for the worship of Xian Nong (the god of farming) and Xian Can (the goddess of sericulture). In the first year of Xianning, an edict was issued to determine ancestral titles, and temple music used the Zhengde and Dayue dances concurrently.
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自武帝受禪，命傅玄改漢鼓吹鐃歌，還為二十二曲，述以功德代魏。鼓角橫吹曲，按周禮「以鼖鼓鼓軍事」，說者云蚩尤氏帥魑魅與黃帝戰於涿鹿，帝乃命吹角為龍吟以禦之。其後魏武王北征烏丸，越沙漠，而軍士多思，於是減為半鳴，而尤更悲矣。胡角者，本以應胡笳之聲，後漸用之橫吹，有雙角，即胡樂也。張騫入西域，傳其法於西京，唯得摩訶兜勒一曲。李延年因胡曲更造新聲二十八解，乘輿以為武樂。後漢以給邊將，和帝時萬人將軍得用之。魏晉以來，二十八解不復具存，用者有黃鵠、隴頭、出關、入關、出塞、入塞、折楊柳、黃覃子、赤之楊、想行人十曲。 |
| | Since Emperor Wu Di received the mandate, he commissioned Fu Xuan to revise Han dynasty Guchui Nao Ge songs. They were restructured into twenty-two melodies, describing virtue and merit in succession of Wei. The Gua Jiao Hengchui Qu (Horn and Trumpet Melodies) are based on Zhou Li's description: "Use the Feng drum to command military affairs." Commentators say that Chiyou led ghosts and spirits to battle Huangdi at Zhuolu, so the Yellow Emperor ordered horns to be blown in a dragon-like cry to repel them. Later, when Wei Wuwang led a northern campaign against the Wuhuan across deserts, many soldiers felt homesick. Thus, the horn calls were shortened to half-length, making them even more sorrowful. The Hu Jiao (barbarian horn) was originally used to accompany the sound of the Hujia (a reed instrument). Later, it gradually came to be played in a horizontal manner. It has two horns and is considered Hu music. Zhang Qian traveled into the Western Regions and transmitted its methods to Xijing, but only one melody, Mohu Doule, was obtained. Li Yannian adapted the Hu melodies and created twenty-eight new compositions, which were adopted by the imperial court as martial music. During the Later Han dynasty, it was provided to border generals; during Emperor Hedi's reign, the Ten Thousand Men General was authorized to use them. Since the Wei and Jin dynasties, the twenty-eight compositions no longer existed in full; those used included ten melodies: Huanghu, Longtou, Chuguan, Ruguan, Chusaai, Rusaai, Zheyangliu, Huangqinzi, Chizhiyang, and Xiangxingren.
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懷帝永嘉之末，伶官樂器皆沒於劉、石。至江左初立宗廟，尚書下太常祭祀所用樂名，太常賀循答云：「魏氏增損漢樂，以為一代之禮，未審大晉樂名所以為異。遭離喪亂，舊典不存。然此諸樂，皆和之以鍾律，文之以五聲，詠之以歌詞，陳之於舞列，宮懸在庭，琴瑟在堂，八音迭奏，雅樂並作，登歌下管，各有常詠，周人之舊也。自漢以來，依於此禮，自造新詩而已。舊京荒廢，今既散亡，音韻曲折，又無識者，則於今難以意言。」於時以無雅樂器乃伶人，省太樂并鼓吹令。是後頗得登歌，食舉之樂，猶有未備。明帝太寧末，又詔阮孚等損益之。成帝咸和中，乃復置太樂官，以戴綬為令，鳩集遺逸，而尚未有金石也。 |
| | At the end of Emperor Huaidi's Yongjia reign, all musicians and musical instruments were lost to Liu and Shi (the rulers of Han Zhao). When the southern dynasty of Jiangzuo first established ancestral temples, the Ministry of Rites asked Taichang for the names of music used in sacrifices. Taichang He Xun replied: "The Wei dynasty modified Han dynasty music to create its own ritual system; I am unsure what distinguishes the musical titles of the great Jin dynasty." Due to war and chaos, old records no longer exist. Nevertheless, these various musical pieces were all harmonized with bells and pitch pipes, structured according to the five tones, sung through lyrics, arranged in dance formations. Bells hung in the courtyard; qin and se instruments stood on the hall; eight types of music alternated in performance; refined music was played concurrently; ascending songs and lower wind instruments each had fixed melodies—this followed the traditions of the Zhou people. Since the Han dynasty, this ritual has been followed, with only new poetry composed accordingly. The old capital has been ruined, and now the music is lost; its melodies and rhythms are no longer understood by anyone. Therefore, it is difficult to describe accurately today." 𝑙𝑜𝑎𝑑𝑖𝑛𝑔... ... At that time, since there were no refined musical instruments or musicians, the Taoyue and Guchui Ling offices were merged. After this, some ascending songs and Shiju (table-lifting) music were recovered, but they were still not fully complete. At the end of Taoning period under Emperor Mingdi, another edict was issued commissioning Ruan Fu and others to revise and improve them. During the Xianhe period of Emperor Chengdi, the Taoyue office was reestablished, with Dai Shou appointed as its head. He gathered lost musical traditions and remnants, but there were still no bronze or stone instruments.
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初，荀勖既以新律造二舞，又更修正鐘磬，未竟，而勖薨，惠帝元康三年，詔其子黃門郎蕃修定金石，以施郊廟。尋遇喪亂，遺聲舊制，莫有記者。庾亮為荊州，與謝尚共為朝廷修復雅樂，亮尋薨。庾翼、桓溫專事軍旅，樂器在庫，遂至朽壞焉。及慕容俊平冉閔，兵戈之際，而鄴下樂人頗有來者。謝尚時鎮壽陽，於是採拾樂人，以備太樂，并製石磬，雅樂始頗具。而王猛平鄴，慕容氏所得樂聲又入關右。孝武太元中，破苻堅，獲其樂工楊蜀等，閑習舊樂，於是四廂金石始備焉。乃使曹毗、王珣等增造宗廟歌詩，然郊祀遂不設樂。 |
| | Initially, Xun Xu had already created the two dances using his new pitch system and also began revising the bells and chimes; however, he did not complete this work before passing away. In the third year of Yuankang under Emperor Huidi, an edict was issued for his son Huangmen Lang Fan to continue and finalize the bronze and stone instruments for use in suburban temples. Soon after, war and chaos arose; lost melodies and old regulations were no longer recorded by anyone. Yu Liang, while serving as governor of Jingzhou, collaborated with Xie Shang to restore refined music for the court; however, Yu Liang soon passed away. Yu Yi and Huan Wen focused solely on military affairs, so musical instruments stored in the warehouse eventually rotted and deteriorated. When Murong Jun defeated Ran Min, during the turmoil of war, many musicians from Yeh (the capital) came to his side. At that time, Xie Shang was stationed in Shouyang; he gathered musicians to replenish the Taoyue Office and also produced stone chimes. Refined music thus began to be somewhat restored. When Wang Meng captured Ye, the musical traditions acquired by the Murong clan were once again introduced into Guanyou (the western Guan region). During the Ta yuan period of Emperor Xiaowu, when Fu Jian was defeated, his musicians such as Yang Shu were captured. These individuals were well-versed in traditional music; thus, for the first time, all four sides (directions) of bronze and stone instruments became complete. They then commissioned Cao Bi, Wang Xun, and others to create additional songs and poetry for ancestral temple rituals; however, music was no longer used in suburban sacrifices.
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宋武帝永初元年，有司奏：「皇朝肇建，廟祀應設雅樂，乃晉樂也，太常鄭鮮之等各撰立新歌。黃門侍郎王韶之撰歌辭七首，並合施用。」十二月，又奏：「依舊正朝設樂，改太樂諸歌辭詩。」王韶之又撰二十二章。改正德舞曰前舞，大悅舞曰後舞。 |
| | In the first year of Yongchu under Emperor Song Wudi, officials submitted: "Now that our dynasty has been newly established, refined music should be set up for temple sacrifices. This is the Jin dynasty's music; Taichang Zheng Xianzhi and others each composed new songs." Huangmen Shilang Wang Shaohui composed seven song lyrics, which were all adopted for use together." In the twelfth month, they also submitted: "Following precedent, music should be arranged at the New Year's ceremony and the lyrics of Taoyue songs revised." Wang Shaohui also composed twenty-two chapters. The "Gengzheng De Wu" was renamed Qianwu, and the "Dayue Wu" was renamed Houwu.
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文帝元嘉九年，太樂令鍾宗之更調金石。至十四年，治書令史奚縱又改之。二十二年，南郊，始設登歌，詔顏延之造歌詩，廟舞猶闕。 |
| | In the ninth year of Yuangjia under Emperor Wendi, Taoyue Ling Zhong Zongzhi adjusted the tuning of bronze and stone instruments. By the fourteenth year, Zhishu Ling Shi Xi Zong revised it again. In the twenty-second year, at the southern suburban sacrifice, sung music was first introduced; an edict ordered Yan Yanzhi to compose songs and poetry. Temple dances were still lacking.
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孝武孝建二年，有司奏：「前殿中曹郎荀萬秋議，郊廟宜設樂。」於是使內外博議。竟陵王誕等並同萬秋議。建平王宏議：「以凱容為韶舞，宣烈為武舞。祖宗廟樂，總以德為名。章皇太后廟，奏文樂。永至等樂，仍舊。皇帝祠南郊及廟迎神、送神，並奏肆夏。皇帝入廟門，奏永至。皇帝南郊初登壇，及廟門中詣東壁，奏登歌。其初獻，奏凱容、宣烈之舞。終獻，奏永安之樂。郊廟同。」孝武又使謝莊造郊廟舞樂、明堂諸樂歌辭。二年，有司又奏：「先郊廟舞樂，皇帝親奉，初登壇及入廟詣東壁，並奏登歌，不及三公行事。」左僕射建平王宏重議：「公卿行事，亦宜奏登歌。」有司又奏：「元會及二廟齋祠，登歌依舊並於殿庭設作。廟祠，依新儀注，登歌人上殿，絃管在下；今元會，登歌人亦上殿，絃管在下。」 |
| | In the second year of Xiaojian under Emperor Xiaowu, officials submitted: "Previously, Dianzhong Cao Lang Xun Wanqiu proposed that music should be established for suburban and temple sacrifices." Thus, they ordered extensive discussions to take place both within the court and among outside scholars. Prince Jingling Wang Dan and others all agreed with Xun Wanqiu's proposal. Jianping Wang Hong argued: "The 'Kaierong' should be designated as the Shao Wu, and 'Xuanlie' as the Wu Wu. Ancestral temple music should generally be named after virtue. For the Temple of Empress Dowager Zhang Huang, Wen Yue (civilian music) was performed. The "Yongzhi" and other musical pieces remained unchanged as before. When the emperor performed sacrifices at the southern suburbs or when welcoming and sending off deities in temple rituals, "Si Xia" was played on both occasions. When the emperor entered the temple gate, "Yongzhi" was performed. When the emperor first ascended the altar at the southern suburbs and when he approached the eastern wall inside the temple gate, "Dengge" was performed. At the initial offering ceremony, the dances "Kaierong" and "Xuanlie" were performed. During the final offering, the music "Yongan" was played. "The suburban and temple rituals were the same." Emperor Xiaowu also commissioned Xie Zhuang to compose dance music, songs, and lyrics for suburban and temple rituals as well as those of the Mingtang. In the second year, officials again submitted: "Previously, for dance and music at suburban and temple rituals, when the emperor personally performed the rites, upon first ascending the altar or entering the temple to approach the eastern wall, 'Dengge' was played; however, it did not extend to the Three Dukes performing their duties." Zuo Puye and Prince Jianping Wang Hong resubmitted: "When high officials perform their duties, 'Dengge' should also be played." Officials again submitted: "At the New Year's assembly and at ancestral temple purification ceremonies, 'Dengge' will continue to be performed in the palace courtyard as before. For temple sacrifices, following the new ritual instructions, singers performing 'Dengge' would ascend to the hall, while string and wind instruments remained below; now at the New Year's assembly, performers of 'Dengge' also ascend to the hall with string and wind instruments remaining below."
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按廢帝元徽五年，太樂雅鄭共千餘人，後堂雜伎不在其數。 |
| | According to records, in the fifth year of Yuanhui under Emperor Anfei, there were over a thousand people in the Taoyue and Ya departments combined; performers of miscellaneous arts at the back hall were not included in this number.
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