| | 歌: |
釋名曰：「人聲曰歌。歌者，柯也。所歌之言，是其質也。以聲吟詠，其上下如草木之有柯葉。」說文曰：「詠，歌也，從言，永聲也。」爾雅曰「徒歌謂謠」，齊歌也。 |
| | Shiming said: "The human voice is called 'ge.'" Ge means ke. The words sung are the essence of it. Through vocal recitation, its rise and fall resemble the presence of branches and leaves on grass and trees." Shuowen said: "Yong means ge (song); it is composed of the radical 'yan' (speech) and takes its sound from 'yong.'" Erya said, "Singing without instrumental accompaniment is called yao," which refers to the singing of Qi.
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| | 歌: |
虞書曰：「九功惟序，九序惟歌。勸之以九歌，俾勿壞。」又：「帝庸作歌曰：『敕天之命，惟時惟幾。』乃歌曰：『股肱喜哉，元首起哉，百工熙哉。』乃賡載歌曰：『元首明哉，股肱良哉，庶事康哉。』又歌曰：『元首叢脞哉，股肱惰哉，萬事墮哉。』」 |
| | The Shangshu (Book of Documents) said: "Nine duties are in order, and nine orders are songs." "Encourage them with nine songs so that they do not fall into disarray." It also says: "The emperor composed a song saying, 'Heed the mandate of heaven; it is timely and subtle.'" Then he sang: "How joyful are the supporting ministers, how noble is the ruler's rise, how harmonious are all officials." Then they continued singing: "How wise is the sovereign! How capable are his ministers! How peaceful are all affairs!" Another song says: 'How petty is the ruler, how lazy are his ministers, and how neglected are all affairs.'"
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| | 歌: |
帝王世紀曰：「舜恭己無為，歌南風之詩。詩曰：南風之時兮，可以阜吾人之財兮；南風之薰兮，可以解吾人之慍兮。」 |
| | Shiwu Ji Shi said: "Shun governed with humility and non-action, composing the poem of Nanfeng." The poem says: "When the southern wind blows in season, it can enrich our people's wealth; the fragrant southern wind brings peace and can relieve our people's anger."
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| | 歌: |
禹省南土，塗山之女令其妾候禹於塗山之陽，女乃作歌，始為南音。 |
| | Yu inspected the southern regions, and his wife, the daughter of Tushan, ordered her concubine to await Yu on the south side of Mount Tushan. The woman then composed a song; this was the beginning of Nanyin (southern music).
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| | 歌: |
夏太康失道，畋游十旬弗反。其弟五人，待于洛汭，述大禹之戒，作五子之歌。 |
| | Tai Kang of Xia lost virtue, hunting and traveling for ten months without returning. His five brothers waited by Luorui, recounting the warnings of Great Yu, and composed the Five Sons' Songs.
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| | 歌: |
周禮春官，太師，大祭祀帥瞽登歌。小師，掌教絃歌。樂師，帥學士而歌徹。 |
| | In the Rites of Zhou, in spring, the Taishi (Grand Master), during great sacrifices, led the gu musicians to ascend and sing. The Xiao Shi (Junior Master) was responsible for teaching stringed instruments and singing. The Yue Shi (Music Master) led the students in singing and completing the songs.
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| | 歌: |
樂記：「師乙曰：『夫歌者，直己而陳德也。寬而靜、柔而正者，宜歌頌；廣大而靜、疏達而信者，宜歌大雅；恭儉而好禮者，宜歌小雅；正直而靜、廉而謙者，宜歌風；肆直而慈愛者，宜歌商；溫良而能斷者，宜歌齊。故商者，五帝之遺聲也，商人識之，故謂之商；齊者，三代之遺聲也，齊人識之，故謂之齊。』又曰：『歌者，上如抗，下如墜，曲如折，止如槁木，倨中矩，句中鉤，纍纍乎端如貫珠。故歌之為言也，長言之也。說之，故言之；言之不足，故長言之；長言之不足，故嗟歎之；嗟歎之不足，故不知手之舞之，足之蹈之也。』」 |
| | The Yueji says: "Shi Yi said, 'Singing is to express oneself and display virtue directly." Those who are broad-minded and calm, gentle yet upright, should sing sheng (hymns of praise); Those who are expansive and tranquil, open-minded and trustworthy, should sing Da Ya (the great elegance); Those who are respectful, frugal, and fond of propriety should sing Xiao Ya (minor elegance); Those who are upright and calm, clean and humble should sing Feng (Ballads); Those who are forthright and compassionate should sing Shang; Those who are warm-hearted yet decisive should sing Qi. Therefore, Shang is the lingering sound of the Five Emperors; the people of the Shang dynasty recognized it, hence its name. Qi is the lingering sound from the Three Dynasties; the people of Qi recognized it, so it was called Qi." It also says: "Singing should rise as if lifting something upward, fall as if dropping downward, turn like a sharp angle, and stop as still as withered wood. It must be upright as the square, curved as the gōu (hook), and flowing smoothly, each note connected like pearls threaded together." Therefore, the meaning of ge is to prolong one's words. To express feelings, hence one speaks; When speech is insufficient, therefore one prolongs the words; When prolonged words are still insufficient, hence one sighs and laments; When sighing and lamenting is still insufficient, thus one cannot help but raise their hands to dance and stomp the feet."'"
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| | 歌: |
周衰，有秦青者，善謳，而薛談學謳於青，未窮青之伎而辭歸。青餞之於郊，乃撫節悲歌，聲振林木，響遏行雲。遂留不去，以卒其業。 |
| | As the Zhou dynasty declined, there was Qin Qing who was skilled in singing. Xue Tan studied singing under Qing but left before mastering all of Qing's techniques. Qing saw him off at the outskirts, and then struck a rhythm and sang sorrowfully; his voice shook the trees and stopped the clouds in their path. Thus Xue Tan stayed without leaving to complete his studies.
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| | 歌: |
又有韓娥，東之齊，至雍門，匱糧，乃鬻歌假食，既而去，餘響繞梁，三日不絕，左右謂其人不去也。又過逆旅，逆旅人辱之，韓娥因曼聲哀哭，一里老幼悲愁，垂涕相對，三日不食。遽而追之，韓娥還，復為曼聲長歌，眾皆喜躍抃舞，不能自禁，遺向之悲也。乃厚賂遣之。故雍門之善歌哭，效韓娥之遺聲也。 |
| | There was also a woman named Han E, who traveled east to Qi and arrived at Yongmen. When she ran out of food, she sang for money to buy food. After she left, her lingering voice echoed around the beams for three days without ceasing; those nearby thought she had not gone away. She then passed through an inn, where the innkeeper insulted her. Han E thus sang a sorrowful lament; all the elderly and young in the neighborhood became sad and wept facing each other for three days without eating. They hurriedly went after her, and Han E returned, singing a long song once more. Everyone was overjoyed, leaping and dancing uncontrollably, forgetting the sorrow they had previously felt. They then gave her generous gifts to send her on her way. Therefore, the skill of singing and weeping at Yongmen was modeled after Han E's lingering voice.
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| | 歌: |
衛人王豹處淇川，善謳，河西之人皆化之。齊人綿駒居高唐，善歌，齊之右地亦傳其業。 |
| | Wang Bao of Wei lived by the Qi River, was skilled in singing, and people from the western side of the river were all influenced by him. Mianju of Qi lived in Gaotang, was good at singing, and the noble regions of Qi also passed on his art.
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| | 歌: |
漢有虞公，善歌，能令梁上塵起。 |
| | In the Han dynasty there was Yu Gong, who was skilled in song; he could make dust rise from the ceiling beams.
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| | 歌: |
武帝時，李延年善歌，為協律都尉。 |
| | During Emperor Wu's reign, Li Yannian was good at singing and served as Xielv Duyi (an official in charge of musical pitch).
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| | 歌: |
但歌，四曲，出自漢代。無絃節，作伎最先，一人唱，三人和。魏武帝尤好之。時有宋容華者，清徹好聲，善唱此曲，當時稱妙。自晉以來不復傳，遂絕。 |
| | Dan Ge, the Four Qu, originated from the Han dynasty. It had no stringed accompaniment and was performed first in musical performances; one person sang while three others harmonized. Emperor Wu of Wei especially favored it. At that time, there was a person named Song Ronghua who had a clear and pleasant voice and was skilled at singing this song; he was highly praised in his day. Since the Jin dynasty, it was no longer passed down and eventually became extinct.
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| | 歌: |
齊有朱顧仙，善聲讀曲，齊武朱子尚又善歌，二人遂俱蒙厚賚。 |
| | In Qi there was Zhu Guxian, who was skilled in vocal performance of songs; Zhu Zishang, the Duke of Wu, was also good at singing. The two were thus both richly rewarded.
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| | 歌: |
梁有吳安泰，善歌，後為樂令，精解聲律。方改西曲別江南、上雲樂，內人王金珠善歌吳聲西曲，又製江南歌，當時妙絕。令斯宣達選樂府少年好手，進內習學。吳弟，安泰之子，又善歌。次有韓法秀，又能妙歌吳聲讀曲等，古今獨絕。 |
| | In Liang there was Wu Antai, who was skilled in singing; later he became a music official and thoroughly understood the principles of musical pitch. Fang Gaixi Qu Bie Jiangnan, Shangyun Yue; the palace woman Wang Jinzhu was skilled in singing Wu-style western songs and also composed Jiangnan Ge (Songs of Jiangnan), which were considered unparalleled at that time. Orders were given to Si Xunda to select talented young performers from the music bureau and bring them inside for training. Wu Di, son of Antai, was also skilled in singing. Next there was Han Faxiu, who could also skillfully sing Wu-style songs and readings; his talent was unparalleled in both ancient and modern times.
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| | 歌: |
大唐貞觀中，有尚書侯貴和，妾名麗音，特善唱行天，清暢舒雅，含嚼恣態，有喉牙吐納之異。後改號方等。女亦傳其母伎。方等卒後，有郝三寶亦善歌行天。有人引三寶歌之，諸女隔簾聽之，發聲便笑。三寶初不知，怒曰：「亦堪女郎終身倣效，何忽嗤笑。」女曰：「上客所為，殊有乖越，請一聽之。」始發一聲，三寶便拜伏曰：「真方等聲也，誠遠所不及也。」 |
| | In the middle of the Zhenguan era of the Tang dynasty, there was Shangshu Hou Guihe; his concubine, named Li Yin, was especially skilled at singing Xingtian. Her voice was clear and smooth, her style graceful and relaxed, with a unique way of modulating tone through breath control and articulation. Later she changed her name to Fang Deng. Her daughter also inherited her mother's art. After Fang Deng died, Hao Sanbao was also skilled at singing Xingtian songs. Someone led Sanbao in singing; the ladies listened from behind a curtain, and as soon as he sang, they burst into laughter. Sanbao did not know at first and angrily said: "Is it acceptable for ladies to imitate me all their lives, why suddenly laugh?" The lady said: "What the honored guest did was quite inappropriate. Please allow us to listen once." As soon as she began singing, Sanbao immediately knelt and bowed, saying: "This is truly Fang Deng's voice; I am indeed far from being able to match it."
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| | 雜歌曲: |
白雪，周曲也。平調、清調、瑟調，皆周房中之遺聲也。漢代謂之三調。大唐顯慶二年，上以琴中雅樂，古人歌之，近代以來，此聲頓絕，令所司脩習舊曲。至三年十月，太常寺奏：「按張華博物志云：『白雪，是天帝使素女鼓五絃琴曲名。』以其調高，人和遂寡。自宋玉以來，迄今千祀，未有能歌白雪者。臣今准敕，依琴中舊曲，定其宮商，然後教習，並合於歌。輒以御製雪詩，為白雪歌辭。又，樂府奏正曲之後，皆有送聲，君唱臣和，事彰前史。輒取侍中許敬宗等奏和雪詩十六首，以為送聲，各十六節。」上善之，仍付太常，編於樂府。 |
| | Bai Xue was a native of Zhouqu. Pingdiao, Qingdiao, and Sediao were all remnants of the Zhou palace music. The Han dynasty called them San Diao (Three Tunes). In the second year of Xiangqing era of the Great Tang dynasty, the emperor considered that elegant music in the zither was once sung by ancient people; since recent times, however, this musical style had suddenly disappeared. He therefore ordered the relevant officials to restore and practice the old melodies. By October of the third year, the Taichang Temple presented a report: "According to Zhang Hua's Book of Curiosities: 'Bai Xue is the name of a five-string zither melody performed by Su Nu, an envoy sent by the Heavenly Emperor.'" Because its pitch was high, few people could harmonize with it. Since Song Yu's time, up to now for a thousand years, there has been no one who can sing Bai Xue. We have now followed the imperial decree and based on old zither melodies, determined its pitch and tonal patterns. We then taught and practiced it, which is also suitable for singing. We have taken the emperor's personally composed poem about snow as the lyrics of the Bai Xue song. Also, after the official music was performed in the Music Bureau, there were always concluding tones; when a ruler sang and ministers harmonized, this practice is recorded in previous histories. We have therefore selected sixteen snow-themed poems presented by Shizhong Xu Jingzong and others as the concluding tones, each with sixteen sections." The emperor was pleased with this decision and ordered it to be delivered to Taichang for inclusion in the Music Bureau.
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| | 雜歌曲: |
明君，漢曲也。漢元帝時，匈奴單于入朝，詔以待詔王嬙配之，即昭君也。及將去，入辭，光彩射人，悚動左右，天子悔焉。漢人憐其遠嫁，為作此歌。晉石崇妓綠珠善舞，以此曲教之，而製新歌曰：「我本漢家子，將適單于庭。昔為匣中玉，今為糞土英。」晉文王諱昭，故晉人謂之明君。 |
| | Mingjun was a Han dynasty melody. During the reign of Emperor Yuan of the Han dynasty, when the Xiongnu chanyu came to court, an imperial decree was issued to match him with Wang Qiang, a woman from the Waiting Officials, who was none other than Zhaojun. When she was about to leave and entered court for her farewell audience, her brilliance dazzled those present, causing alarm among the attendants. The emperor regretted it. The Han people pitied her distant marriage and composed this song for her. In the Jin dynasty, Shi Chong's concubine Luzhu was good at dancing. He taught her this melody and composed a new song: "I am originally a daughter of the Han people, about to be married into the Xiongnu court." "Once I was jade in a casket, now I am an outstanding figure among filth and dirt." The Jin Wenwang emperor's given name was Zhao; therefore, the people of Jin called it Mingjun.
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| | 雜歌曲: |
相和，漢舊曲歌也。絲竹更相和，執節者歌。本一部，魏明帝分為二，更遞相夜宿。本十七曲，朱生、宋識、列和等復合之為十三曲。 |
| | Xianghe was an old Han dynasty song melody. String and bamboo instruments alternately harmonized with each other, while the person holding the rhythm stick sang. Originally one section, Wei Mingdi divided it into two parts for alternating night shifts. It originally had seventeen melodies; Zhu Sheng, Song Shi, Lie He and others combined them into thirteen melodies.
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| | 雜歌曲: |
吳歌雜曲，並出江東，晉、宋以來，稍有增廣。凡此諸曲，始皆徒歌，既而被之絃管。又有因絃管金石，造歌以被之，魏世三調歌辭之類是也。 |
| | Wu songs and miscellaneous tunes all originated from Jiangdong; since the Jin and Song dynasties, they have gradually been expanded. All these melodies originally began as unaccompanied songs, but later were adapted to be played with string and wind instruments. There are also cases where songs were created specifically to accompany string, bamboo, or metal and stone instruments; the San Diao song lyrics of the Wei dynasty are examples of this.
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| | 雜歌曲: |
鳳將鶵，漢代舊歌曲也。應璩百一詩云：「為作陌上桑，反言鳳將鶵。」然則鳳將鶵其來久矣。特由聲曲訛變，以至於此矣。 |
| | Fengjiangchu was an old Han dynasty song and melody. Ying Qu's Baiyi Shi poem says: "It should be Mulan on the roadside, yet it is called Fengjiangchu instead." If so, then the origin of Fengjiangchu has been long-standing. It was merely due to errors and changes in pronunciation and melody that it came to this point.
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| | 雜歌曲: |
碧玉歌者，晉汝南王妾名。寵好，故作歌之。 |
| | The Biyu Ge (Jade Green Song) refers to the name of a concubine of Prince Runan of the Jin dynasty. Because she was favored, songs were composed for her.
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| | 雜歌曲: |
懊壟歌，石崇綠珠所作「絲布澀難縫」一曲而已。東晉隆安初，人間訛謠之曲云：「春草可攬結，女兒可攬擷。」齊高帝謂之中朝歌。 |
| | A long ge (Sorrowful Field Song) is merely one song written by Shi Chong and Luzhu: "Silk fabric is rough and hard to sew." At the beginning of Long'an era in the Eastern Jin dynasty, there was a popular and erroneous folk song circulating among people: "Spring grass can be gathered and tied; daughters can be picked and plucked." Emperor Gao of Qi called it Zhongchao Ge (Central Court Song).
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| | 雜歌曲: |
子夜歌者，有女子曰子夜，造此聲。晉孝武帝太元中，瑯琊王軻之家有鬼歌子夜。殷允為章郡，僑人庾僧虔家亦有鬼歌子夜。殷允為章郡，亦是太元中，則子夜此時以前人也。 |
| | The Ziyega was created by a woman named Ziye. During the Taiyuan period of Emperor Xiaowu of the Jin dynasty, there was ghostly singing of Ziyega in the home of Wang Ke from Langya. Yin Yun served as governor of Zhang Jun, and there was also ghostly singing of Ziyega at the home of Qiao-ren Yu Sengqian. Since Yin Yun served as governor of Zhangjun during the Taiyuan period, then Ziye must have been a person from before this time.
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| | 雜歌曲: |
長史變者，晉司徒左長史王廞臨敗所製。 |
| | Changshi Bian was composed by Wang Xin, the Left Changshi (Attendant Minister) of the Jin dynasty's Siku Tu, on the eve of his defeat.
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| | 雜歌曲: |
阿子歌、歡聞歌者，晉穆帝升平初，童子輩或歌於道，歌畢輒呼「阿子，汝聞否」，又呼「歡聞否」，以為送聲。後人演其聲，以為此二曲。宋、齊時用「莎乙子」之語，稍訛異也。 |
| | Azige and Huanwenge were songs that, at the beginning of the Shengping era of Emperor Mu of the Jin dynasty, were sung by children on the roads. After finishing their singing, they would call out "Azi, have you heard?" and then "Have you heard it joyfully?", using these as concluding tones. Later people developed the melody further, creating these two songs. During the Song and Qi dynasties, the phrase "Sha Yizi" was used, which was a slight distortion of it.
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| | 雜歌曲: |
桃葉歌者，是晉王子敬妾名，緣於篤愛，所以作歌。 |
| | The Taoye Ge (Peach Leaf Song) refers to the concubine's name, a beloved servant of Prince Wang Zhiqing of the Jin dynasty; songs were composed out of deep affection for her.
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| | 雜歌曲: |
前溪歌者，晉車騎將軍沈玩所製也。 |
| | The Qianxi Ge (Qianxi Song) was created by Shen Wan, the Chuqi Jiangjun (General of the Chariot Division) of the Jin dynasty.
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| | 雜歌曲: |
團扇歌者，晉中書令王禄與嫂婢有情，愛好甚篤。嫂鞭撻婢過苦，婢素善歌，而禄好持白團扇，故云：「團扇復團扇，持許自遮面。憔悴無復理，羞與郎相見。」 |
| | The Tuanshan Ge (Round Fan Song) was composed because Wang Lu, a Zhongshu Ling (Minister of the Secretariat) of the Jin dynasty, had feelings for his sister-in-law's servant girl and their affection was very deep. The sister-in-law severely beat the servant girl with a whip. The servant, who was naturally good at singing, and Wang Lu, who liked to hold a white round fan, thus sang: "Round fan, oh round fan, I will use it to cover my face." "I am now disheveled and no longer cared for; I am too ashamed to meet my beloved again."
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| | 雜歌曲: |
督護歌者，彭城內史徐逵之為魯軌所殺，宋武帝使內直督護丁溅收殯殮之。逵之妻，帝長女也，呼溅至閤下，自問殮送之事，每問輒嘆息曰：「丁督護。」其聲哀切，後人因其聲廣其曲焉。歌是宋武帝所製，云：「督護上征去，儂亦惡聞許。願作石尤風，四面斷行旅。」 |
| | Duhu Ge (Supervisor Song) was composed when Xu Kui, the Neishi (Interior Historian) of Pengcheng, was killed by Lu Gui. Emperor Wu of Song sent Neizhi Duhu Ding Jian to collect and bury his remains. Kui's wife was the emperor's eldest daughter. She called Ding Jian to her palace and personally inquired about the funeral arrangements, sighing each time she asked: "Ding Duhu." The tone was sorrowful and poignant; later people expanded this melody into a song based on it. This song was composed by Emperor Wu of Song, who said: "The supervisor has gone to war; I also hate hearing about it." "I wish to become the Shiyou wind that cuts off all travel from every direction."
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| | 雜歌曲: |
讀曲歌者，人為宋彭城王義康所製也。其歌云：「死罪劉領軍，誤殺劉第四。」 |
| | Dvqu Ge (Read Melody Song) was a song composed by people for Prince Yikang, the Pengcheng Wang of the Song dynasty. The lyrics say: "Capital crime upon Liu Lingjun, mistakenly killing Liu Disi."
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| | 雜歌曲: |
烏夜啼，宋臨川王義慶所作也。元嘉十七年，徙彭城王義康於章郡，義慶時為江州，至鎮，相見而哭，為文帝所怪，徵還。義慶大懼，伎妾聞烏夜啼聲，叩齋閤云：「明日應有赦。」其年更為兗州刺史，因作此歌。故其和云：「籠吓吓不開，烏夜啼，夜夜憶郎來。」今所傳歌似非義慶本旨，辭曰：「歌舞諸年少，娉婷無種則。昌蒲花可憐，聞名不相識。」 |
| | Wuyeti (Crying at Midnight) was composed by Prince Yiqing, the Linchuan Wang of the Song dynasty. In the seventeenth year of Yuankai era, Prince Yikang, Pengcheng Wang, was transferred to Zhang Jun. At that time, Yiqing was in Jiangzhou; upon arriving at his post, he met and wept with him, which caused suspicion from Emperor Wen, who summoned him back. Yiqing was greatly frightened; his concubines and attendants heard the sound of Wuyeti (Crying Crows at Midnight) and knocked on the zhai ge, saying: "There should be a pardon tomorrow." That same year he was appointed as the governor of Yanzhou, and thus composed this song. Therefore, its harmony goes: "The cage cannot be opened, the crow cries at midnight; night after night I long for my beloved to come." The songs passed down today seem not to reflect Yiqing's original intent. The lyrics say: "Dancing and singing among the young men, graceful without any rules." "The calamus flowers are lovely; I have heard their names but do not know them personally."
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| | 雜歌曲: |
石城樂，宋臧質所作也。石城在竟陵，質嘗為竟陵郡，於城上眺矚，見群少年歌謠遒暢，因作此曲。云：「生長石城下，開門對城樓。樓中美年少，出入見依投。」 |
| | Shicheng Yue (Shicheng Music) was composed by Zang Zhi of the Song dynasty. Shicheng is located in Jingling; Zhi once served as the governor of Jingling Jun. While looking out from atop the city wall, he saw a group of young men singing songs with vigor and fluency, so he composed this melody. He said: "Growing up beneath Shicheng, opening the door to face the city tower." "The handsome young men in the tower come and go, seen leaning on each other."
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| | 雜歌曲: |
莫愁樂者，出於石城樂。石城女子名莫愁，善歌謠，且石城樂中有「忘愁」聲，故歌云：「莫愁在何處，莫愁石城西。艇子打兩槳，催送莫愁來。」 |
| | Mochou Yue (Mochou Music) originated from Shicheng Yue. A woman named Mochou from Shicheng was good at singing songs and ballads. Moreover, there is a "Wangchou" (Forget Sorrow) melody in the Shicheng Yue music; thus, the song says: "Where is Mochou? Mochou is west of Shicheng." "The boatman rows with two oars, hurrying to send Mochou over."
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| | 雜歌曲: |
襄陽樂者，劉道彥為襄陽太守，有善政，百姓樂業，人戶豐贍，蠻夷順服，悉緣沔而居，由此有襄陽樂歌也。隨王誕又作襄陽樂。誕始為襄陽郡，元嘉末仍為雍州刺史，夜聞群女歌謠，因而作之。所以歌和中有「襄陽來夜樂」之語也。其歌云：「朝發襄陽城，暮至大隄宿。大隄諸女兒，花豔驚郎目。」 |
| | Xiangyang Yue (Xiangyang Music) was composed during the time when Liu Daoyan served as governor of Xiangyang. He governed with good policies, and the people were content in their work; every household prospered, and the barbarian tribes submitted willingly, all living along the Mian River. Thus, there arose the Xiangyang Yue song. Prince Sui Wang Dan also composed a Xiangyang Yue. Dan first served as the governor of Xiangyang Jun, and at the end of Yuankai era still held the position of Yuzhou Cishi. One night he heard a group of women singing songs, so he composed it based on their melody. This is why the song and its harmony include the phrase "Xiangyang comes with night music." The lyrics say: "Departing from Xiangyang city at dawn, arriving to stay at Dadi by dusk." "The daughters of Dadi are blooming beautifully, their splendor startling the eyes of my beloved."
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| | 雜歌曲: |
壽陽樂者，南平穆王為荊河州作也。 |
| | Shouyang Yue (Shouyang Music) was composed by Prince Nanping Muwang for Jinghe Zhou.
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| | 雜歌曲: |
棲烏夜飛者，荊州刺史沈攸之所作也。攸之舉兵發荊州來，未敗之前，思歸京師，所以歌云：「日落西山還去來。」 |
| | Qiwuye Fei (Raven Flying at Night) was a composition of Shen Youzhi, the Cishi (Governor) of Jingzhou. Before his defeat, Youzhi raised an army from Jingzhou and was about to march forward. He longed to return to the capital city, hence the song says: "The sun sets behind the western hills; I come back and go again."
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| | 雜歌曲: |
三洲歌者，諸商客數由巴陵三江口往還，因共作此歌。又因三洲曲而作采桑。 |
| | Sanzhou Ge (Three Isles Song) was composed by various merchants who frequently traveled to and from the Sanjiangkou area of Balin. They collectively created this song. They also composed Caisang (Harvesting Mulberry Leaves) based on the Sanzhou Qu melody.
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| | 雜歌曲: |
估客樂者，齊武帝之所製也。布衣時，常游樊、鄧，登祚已後追憶往事，而作歌：「昔經樊鄧後，假楫梅根渚。感昔追往事，意滿情不敘。」使太樂令劉瑤教習，百日無成。或啟釋寶月善音律，帝使寶月奏之，便就。敕歌者常重為感憶之聲。梁改其名為商旅行。 |
| | Guke Yue (Merchants' Music) was a composition by Emperor Wu of Qi. When he was still a commoner, he often traveled to Fan and Deng. After ascending the throne, he recalled these past events and composed a song: "Once I passed through Fan and Deng afterward, borrowing a boat at Meigen Zhou." "Reflecting on the past and chasing memories of yesteryear, my feelings are full but words cannot express them." He ordered Taiyue Ling Liu Yao to teach and practice it, yet after a hundred days there was no success. Someone recommended that Shizhao Baoyue was skilled in music and pitch, so the emperor ordered Baoyue to perform it, and he succeeded immediately. The imperial decree ordered singers to often perform this song as a voice of nostalgic remembrance. The Liang dynasty changed its name to Shanglv Xing (Merchants' Journey).
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| | 雜歌曲: |
楊叛兒，本童謠也。齊隆昌時，女巫之子曰楊旻，隨母入內，及長，為太后所寵愛。童謠云：「楊婆兒，共戲來。」所歌語訛，遂成楊叛兒。歌云：「暫出白門前，楊柳可藏烏。歡作沈水香，儂作博山鑪。」 |
| | Yang Paner was originally a children's rhyme. During the Longchang era of Qi, there was a son of a female shaman named Yang Min. He followed his mother into the palace and, as he grew up, became favored by the empress dowager. The children's rhyme says: "Yang Poer, come play together." Due to errors in the lyrics sung, it eventually became Yang Paner. The song says: "Briefly stepping out before Baimen Gate, willows can hide crows." "Joy makes the incense of Shen Shui; I make the Boshan incense burner."
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| | 雜歌曲: |
襄陽蹋銅蹄者，梁武西下所作也，沈約又作其和。 |
| | Xiangyang Tadongti (Treading Copper Hooves in Xiangyang) was composed by Emperor Wu when he marched westward; Shen Yue also composed its harmony.
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| | 雜歌曲: |
上聲歌者，此因上聲促柱得名。或用一調，或用無調，名如古歌辭。所謂哀思之音，不合中和。梁武因之改辭無邪句。 |
| | Shangsheng Ge (High Tone Song) got its name because of the quick pressing of the zither's pillars to produce a high tone. Sometimes it uses one tune, sometimes no specific tune; the names resemble those of ancient song lyrics. These are so-called sorrowful and melancholic tones that do not conform to harmony. Emperor Wu of Liang therefore revised the lyrics, removing any improper lines.
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常林歡者，蓋宋、梁間曲。宋代荊、雍為南方重鎮，皆王子為之牧。江左辭詠，莫不稱之，以為樂土。故宋隨王誕作襄陽之歌，齊武帝追憶樊、鄧。梁簡文樂府歌云：「分手桃林岸，遂別峴山頭。若欲寄音信，漢水向東流。」又曰：「宜城投酒今行熟，停鞍繫馬暫棲宿。」桃林在漢水上，宜城在荊山北。荊州有長林縣。江南謂情人為歡。「常」「長」聲相近，蓋樂人誤「長」為「常」。 |
| | Changlin Huan is presumably a song from between the Song and Liang dynasties. During the Song dynasty, Jing and Yong were important strongholds in the south, both governed by princes of the royal family. Poems and songs from Jiangzuo never failed to praise them, regarding these regions as a land of joy. Therefore, Prince Suiwang Duan of the Song dynasty composed the Xiangyang song, and Emperor Wu of Qi recalled Fan and Deng. A Liang Jianwen Yuefu song says: "Parting at the Peach Forest shore, we finally separate at Xianshan Hill." "If you wish to send a message or news, it will follow the Han River as it flows eastward." It also says: "The Yicheng wine we now drink is already mature; dismount and tether the horse for a brief rest." Tao Lin lies on the Han River, while Yicheng is located to the north of Jing Mountain. Jingzhou has a Changlin Xian (county). In the south of the Yangtze River, lovers are called "huan." The pronunciations of "Chang" and "Zhang" are similar; it is likely that musicians mistakenly used "Chang" for "Zhang."
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| | 雜歌曲: |
玉樹後庭花、堂堂、黃鸝留、金釵兩臂垂，並陳後主所造。恆與宮女、學士及朝臣相唱和為詩，太樂令何胥采其尤輕豔者，以為此曲。 |
| | Yushu Houtinghua, Tangtang, Huangli Liu, and Jinchai Liangbi Chui were all composed by Emperor Houzhu of Chen. He often composed poetry in call-and-response with palace ladies, scholars, and court officials. Taiyue Ling He Xu collected the most frivolous and sensuous among them to form this tune.
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| | 雜歌曲: |
驍壺者，蓋是投壺樂也。隋煬帝所造。以投壺有躍矢為驍壺，今謂之驍壺是也。 |
| | Xiaohu is presumably a drinking game song. It was composed by Emperor Yang of Sui. When an arrow jumps during the game of 壶, it is called Xiaohu; this is what is now known as Xiaohu.
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| | 雜歌曲: |
汎龍舟，煬帝幸江都宮所作。又令太樂令白明達造新聲期萬歲樂、藏鉤樂、七夕樂、相逢樂、舞席同心髻、玉女行觴、神仙留客、擲磚縛命、鬥雞子、鬥百草、還舊宮樂，掩抑摧藏，哀音斷絕。 |
| | Fanlongzhou was composed when Emperor Yang visited Jiangdu Palace. He also ordered Taiyue Ling Bai Mingda to compose new music, including Qi Wan sui Yue (Ten Thousand Years of Longevity Music), Canggou Yue (Hook-Hiding Music), Qi Xi Yue (Qixi Festival Music), Xiangfeng Yue (Meeting Joy Music), Wuxi Tongxin Ji (Braided Hair on the Dance Mat), Yvnu Hangshang (The Jade Lady Serves Wine), Shenxian Liu Ke (Immortals Retain Guests), Zhibao Fu Ming (Brick-Throwing Fate-Binding), Dou Jizi (Chick Fights), Dou Bai Cao (Hundred Grasses Fight), and Huan Jiu Gong Yue (Return to the Old Palace Music). These pieces were subdued and repressed, with sorrowful tones that seemed on the verge of breaking.
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| | 舞: |
夫樂之在耳者曰聲，在目者曰容。聲應乎耳，可以聽知；容藏於心，難以貌觀。故聖人假干戚羽旄以表其容，發揚蹈厲以見其意，聲容選和，則大樂備矣。詩序曰：「詠歌之不足，不知手之舞之，足之蹈之也。」然樂心內發，感物而動，不覺手之自運，歡之至也。此舞之所由起也。 |
| | The part of music that is perceived by the ear is called "sheng," and the part perceived by the eye is called "rong." Sounds respond to the ear, and can be known through listening; Expressions are hidden in the heart, and difficult to observe merely by appearance. Therefore, sage rulers used shields, axes, feathers, and banners to express their expressions, and through vigorous dancing and determined steps revealed their intentions. When sounds and expressions are harmonized, the great music is complete. The "Shi Xu" says: "When singing proves insufficient to express one's feelings, one cannot help but raise one's hands in dance and stomp the feet." However, when music arises from within the heart and is stirred by external things, one moves one's hands unconsciously—it is the utmost joy. This is how dance originates.
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| | 舞: |
虞書曰：「帝乃誕敷文德，舞干羽于兩階。七旬，有苗格。」 |
| | The Shangshu (Book of Documents) says: "The emperor widely spread the virtue of culture, and performed the shield and feather dance on both sides of the palace steps." After seventy days, the Youmiao submitted."
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樂記：「孔子曰：『夫樂者，象成者也。總干而山立，武王之事也；發揚蹈厲，太公之志也；武亂皆坐，周召之治也。且夫武，始而北出，再成而滅商，三成而南，四成而南國是疆，五成而分，周公左，召公右，六成復綴以崇。天子夾振之，而四伐，盛威於中國也。」 |
| | The Yueji says: "Confucius said: 'Music is a representation of accomplishments. Standing firm as a mountain while holding shields, this was the case with King Wu; dancing vigorously and stepping powerfully reflected Duke Tai Gong's aspirations; When the dance ended and all sat down, it reflected the governance of Zhou Gong and Zhao Gong. Moreover, regarding the Wu dance: it began with a northern movement, it was completed twice to bring about Shang's downfall; The third performance turned south, the fourth performance marked the establishment of boundaries in southern territories, the fifth performance marked division, with Duke of Zhou on the left and Zhao Gong on the right, The sixth performance returned in a pattern to honor virtue. The Son of Heaven assisted in performing it, and struck four times, displaying great authority within China."
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周禮地官：「舞師掌教兵舞，帥而舞山川之祭祀；教帗舞，帥而舞社稷之祭祀；教羽舞，帥而舞四方之祭祀；教皇舞，帥而舞旱暵之事。」春官：「樂師掌國學之政，以教國子小舞。凡舞，有帗舞，有羽舞，有皇舞，有旄舞，有干舞，有人舞。旄人，凡四方之以舞仕者屬焉。凡祭祀、賓客，舞其燕樂。籥師掌教國子舞羽吹籥。祭祀則鼓羽籥之舞，賓饗則亦如之。」 |
| | The Rites of Zhou, Di Guan section: "The Dance Master was in charge of teaching military dances and led the performance of mountain and river sacrificial rites; taught feather dances to lead performances for ancestral shrine sacrifices; taught feathered dance, leading the performance of sacrificial rites for the four directions; and taught Huang dance to lead performances in response to droughts." The Chun Guan says: "The Music Master was in charge of the national school's administration, to teach young nobles basic dances. In general, there are several types of dance: feathered dance, feather and plume dance, Huang dance, Mao dance, shield dance, and human dance. The Mao Ren were responsible for all those from the four directions who served as dancers. During sacrifices and when receiving guests, they performed their leisurely music dances. The Yue Shi was in charge of teaching young nobles to dance with feathers while playing the yue flute. During sacrifices, they performed dances with feathers and yue flutes; The same was done during banquets for guests."
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五經通義曰：「王者之樂有先後者，各尚其德也。以文得之，先文樂，持羽毛而舞；以武得之，先武舞，持朱干玉戚，所以增威武也。戚，斧；干，楯也。玉取其德，干取其仁，明當尚德行仁，以斷斬也。」又曰：「東夷之樂持矛舞，助時生也；南夷之樂持羽舞，助時養也；西夷之樂持鉞舞，助時殺也；北夷之樂持干舞，助時藏也。」 |
| | Wu Jing Tong Yi says: "The music of the Son of Heaven has a sequence, each emphasizing its virtue. If one attained power through civil virtues, then civil music was performed first, with dancers holding feathers; if one attained power through military might, martial dances were performed first, holding red shields and jade axes, to enhance majesty and valor. Qi refers to an axe; Gan is a shield. Jade symbolizes virtue, and the shield represents benevolence; this signifies that one should value virtue and practice benevolence in order to make decisive judgments." It also says: "The music of the eastern Yi people involved holding spears while dancing, assisting in promoting growth; the music of the southern Yi people used feather dances to assist timely nurturing; the music of the western Yi people performed axe dances, assisting in timely killing; and the music of the northern Yi people used shield dances to assist in timely storage."
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蔡邕月令章句曰：「天子省風以作樂，所以節八音而行八風。天子八佾，諸侯六，大夫四，士二。佾，舞列也，每佾八人。每服冕而執戚，有俯仰張翕之容，行綴長短之制，所以受命而歌王者之功也。人之動而有節者莫若舞，肆舞所以動陽氣而導物也。」 |
| | Cai Yong's Yue Ling Zhang Ju says: "The Son of Heaven observed the winds to compose music, in order to regulate the eight tones and harmonize with the eight winds. The Son of Heaven had eight rows of dancers (eight yi), feudal lords six, high officials four, and commoners two. Yi refers to a row of dancers; each yi consists of eight people. Each dancer, wearing ceremonial caps and holding axes, displayed postures of bowing, rising, expanding, and contracting; the length of their steps followed established rules. This was to receive the mandate and sing praises of the Son of Heaven's achievements. Among human movements with rhythm, none is superior to dance; thus, dancing stirs yang energy and guides the growth of things."
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公莫舞，即巾舞也。相傳云，項莊劍舞，項伯以袖隔之，使不得害高帝，且語莊云「公莫」。古人相呼曰「公」，言公莫害漢王也。後之用巾，蓋像項伯衣袖之遺式。按琴操又有公莫渡河曲，然則其聲從來已久。俗云項伯，非也。 |
| | Gongmo Wu is the same as Jinwu. It is said that when Xiang Zhuang performed a sword dance, Xiang Bo used his sleeve to block it so that Emperor Gaozu would not be harmed. He also told Zhuang, "Gongmo." In ancient times, people called each other "gong," meaning "do not harm King Han." Later use of the cloth was probably modeled after Xiang Bo's sleeve as a legacy. According to Qincao, there is also a musical piece called Gongmo Du He; thus, its melody has existed for a long time. The common belief that it refers to Xiang Bo is incorrect.
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巴渝舞者，漢高帝自蜀漢將定三秦，閬中范且率賨人以從帝，為前鋒，號「板楯蠻」，勇而善鬥。及定三秦，封且為閬中侯，復賨人七姓。其俗喜舞，高帝樂其猛銳，觀其舞，後使樂人習之。閬中有渝水，因以為名，故曰巴渝舞。舞曲有矛渝、安臺、弩渝、行辭本歌曲，有四篇。其辭既古，莫能曉其句度。魏初，使王粲改創其調。晉及江左皆製其辭。 |
| | The Bayu dance refers to the time when Emperor Gao of Han was about to pacify the Three Qins from Shuhan. Langzhong Fanqie led Song people in following the emperor, serving as vanguard troops and being called "Bansheng Man," brave and skilled in combat. After pacifying the Three Qins, he was enfeoffed as Langzhong Hou (Marquis of Langzhong), and seven clans of Song people were restored. The local custom favored dancing, and Emperor Gao appreciated their bravery; he watched their dance and later ordered musicians to learn it. Langzhong has the Yu River, so they named it after that river, hence the name Bayu Dance. The dance music includes Mao Yu, Antai, Nu Yu, and Xingci Benge Qu, consisting of four pieces. Its lyrics are ancient, and no one can fully understand their structure or rhythm. At the beginning of the Wei dynasty, Wang Can was commissioned to revise and create new tunes for it. During the Jin dynasty and in Jiangzuo (the southern regions), they all composed lyrics for it.
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槃舞，漢曲，至晉加之以杯，謂之世寧舞也。張衡舞賦云：「歷七槃而縱躡。」王粲七釋云：「七槃陳於廣庭。」顏延之云：「遞間開於槃扇。」鮑昭云：「七槃起長袖。」皆以七槃為舞也。干寶云：「晉武帝太康中，天下為晉代寧舞，矜手以接槃反覆之。」至宋，改為宋世寧。至齊，改為齊代昌舞。今謂之槃舞，隸清部樂中。 |
| | Panwu is a Han dynasty melody; by the Jin dynasty, cups were added to it, and it was called Shening Wu. Zhang Heng's "Wu Fu" says: "Crossing seven pans while leaping forward." Wang Can's Qi Shi says: "Seven pans are arranged in the grand courtyard." Yan Yanzhi said: "Alternately opening between the pan and fan." Bao Zhao said: "Seven pans raise long sleeves." All of these refer to the seven-pan dance. Gan Bao said: "During the Taikang period of Emperor Wu of Jin, people throughout the empire performed the Jindaingwu dance, carefully using their hands to lift and turn the pans." By the Song dynasty, it was renamed "Song Shining." In the Qi dynasty, it was changed to Qidai Changwu. It is now called Panwu and belongs among the Qingbu music category.
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鞞舞，未詳所起，然漢已施於燕享矣。傅毅、張衡所賦，皆其事也。魏曹植鞞舞歌序曰：「漢靈帝西園鼓吹有李堅者，能鞞舞，遭亂西隨段煨。先帝聞其舊伎，召之。堅既中廢，兼古曲多謬誤，異代之文，未必相襲，故依前曲改作新歌五篇。不敢充之黃門，近以成下國之陋樂焉。」 |
| | The origin of Pingwu is unknown, but it was already used in banquets during the Han dynasty. Fu Yi and Zhang Heng both wrote about it; these are accounts of its practices. Cao Zhi of the Wei dynasty wrote in his preface to "Pingwu Ge" that during Emperor Ling of Han's Xiyuan drum and pipe ensemble, there was a man named Li Jian who could perform Pingwu. He encountered turmoil and fled west with Duan Wei. The late emperor heard of his former skills and summoned him. Since Jian had fallen from favor, and many of the ancient melodies were erroneous or inconsistent with later generations' texts (which might not have been passed down), he revised and composed five new songs based on previous tunes. "He dared not present it to the Huangmen officials, so recently it became a crude music of minor states."
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明之君，漢代鞞舞曲也。梁武帝時，改其曲詞以歌君德也。 |
| | Mingzhi Jun is a Pingwu melody from the Han dynasty. During Emperor Wu of Liang's reign, they revised its lyrics to sing praises of the ruler's virtue.
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鐸舞，漢曲也。晉鞞舞歌亦五篇，及鐸舞歌一篇、幡舞一篇、鼓舞伎六曲，並陳於元會。鞞舞故二八，桓玄將即真，太樂遣眾伎，尚書殿中郎袁明子啟增滿八佾。相承不復革。宋明帝自改舞曲，歌詞猶存，舞並闕。其鞞舞，梁謂之鞞扇舞也。幡舞、扇舞今並亡。 |
| | Duo Wu is a Han dynasty melody. During the Jin dynasty, there were five Pingwu Ge songs, as well as one Duo Wu song, one Fan Wu piece, and six Gu Wu Ji melodies; all of these were performed at the Yuankui ceremony. Pingwu originally had two groups of eight dancers; when Huan Xuan was about to assume the throne, Taile ordered all performers to be sent. The Shangshu Dianzhong Lang Yuan Mingzi proposed increasing it to a full eight yi (eight rows). It was continued without further change. Emperor Ming of Song revised the dance music himself; although the lyrics still exist, the dances are missing. Its Pingwu was called Pingshan Wu by the Liang dynasty. Fanwu and Shanwu are now both lost.
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| | 雜舞曲: |
白鳩，吳朝拂舞曲也。楊泓拂舞序云：「自到江南，見白符舞曲，或云白鳧鳩，云有此來數十年。察其詞旨，乃是吳人患孫皓虐政，思屬晉也。」隋牛弘請以鞞、鐸、巾、拂舞陳之殿廷，帝從之，而去其所持巾拂等。 |
| | Baijiu is a Fowu melody from the Wu dynasty. Yang Hong's preface to "Fowu" says: "Since arriving in Jiangnan, I have seen the Baidu Wu melody; some say it is Bai Fujiu. It has been around for several decades." Examining its lyrics, it appears to be a work by Wu people who suffered under Sun Hao's tyrannical rule and longed for allegiance to the Jin dynasty." During the Sui dynasty, Niu Hong proposed presenting Pingwu, Duowu, Jinwu, and Fowu in the palace courtyard; the emperor agreed but removed the cloths and fans they held.
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| | 雜舞曲: |
白紵舞，按舞辭有巾袍之言。沈約云，紵本吳地所出，疑是吳舞也。晉俳歌云：「皎皎白緒，節節為雙。」吳音呼「緒」為「紵」，疑即「白緒」也。梁武帝又令沈約改其辭，曰有四時白紵之歌，約集所載是也。今中原有白紵曲，辭旨與此全殊。 |
| | Bai Zhu Wu—according to the lyrics of the dance, there are references to jinpaos (cloaks with attached cloths). Shen Yue said that Zhu is originally produced in Wu region, and he suspected it to be a Wu dance. Jin Paise Ge says: "Bright and white threads shine, each section paired in rhythm." In Wu dialect, "xu" is pronounced as "zhu," so it is likely referring to "Bai Xu." Emperor Wu of Liang also ordered Shen Yue to revise its lyrics, resulting in the "Four Seasons Bai Zhu" songs; this is recorded in Yueji. Nowadays, there are still Bai Zhu melodies in Zhongyuan, but their lyrics and themes differ completely from these.
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| | 雜舞曲: |
前代樂飲，酒酣，必起自舞。詩云「屢舞仙仙」是也。宴樂必舞，但不宜屢耳。前代譏在屢舞，不譏舞也。漢武帝樂飲，長沙定王舞是也。魏晉已來，尤重以舞相屬，謝安以屬桓嗣是也。近代以來，此風絕矣。宋孝武帝大明中，以鞞、拂、雜舞合之鐘石，施於廟庭。 |
| | In previous dynasties, during musical drinking sessions, when the wine was flowing freely, people would inevitably rise to dance themselves. This is what the poem means by "Lü Wu Xianxian." Dancing was a must at banquets, but it should not be done too frequently. In previous dynasties, criticism was directed at dancing too often, not at dancing itself. Emperor Wu of Han enjoyed drinking and music; the dance performed by Prince Ding of Changsha is an example. Since the Wei and Jin dynasties, dancing to pass drinks became especially emphasized; this was exemplified by Xie An passing a drink to Huan Si. In recent times, however, this custom has disappeared completely. During the Daming period of Emperor Xiaowu of Song, Pingwu, Fowu, and various other dances were combined with bells and stone chimes and performed in temple courtyards.
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| | 雜舞曲: |
鶴舞、馬舞，竹書、穆天子傳亦有之。宋鮑昭又有舞鶴賦。此舞或時而有，非樂府所統。今翔麟、鳳苑廄有蹀馬，俯仰騰躍，皆合曲節，朝會用樂，則兼奏之。 |
| | Hewu (crane dance) and Ma Wu (horse dance) are also mentioned in the Zhu Shu and the "Mu Tianzi Zhuan." Bao Zhao of the Song dynasty also wrote a Fu titled "Wuhe Fu" (Ode to the Dancing Crane). This dance occasionally appeared, but was not under the jurisdiction of the Yuefu. Nowadays, in Xianglin and Fengyuan stables, there are horses performing die ma (graceful horse movements), bowing, rising, leaping—all synchronized with the musical rhythm. During court assemblies involving music, these performances are also included alongside other pieces.
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