The "Book of Changes" says: "The ancient kings created music to honor virtue, solemnly worship the heavens, and use this to worship their ancestors." From the Yellow Emperor to the three dynasties of Xia, Shang, and Zhou, although the names were different, they all had their own music. However, when the Zhou Dynasty declined, music became chaotic and was tainted by the licentious music from the states of Zheng and Wei. Although Marquis Wen of Wei liked ancient things, he did not understand ancient music very well, and his understanding was somewhat superficial. Therefore, base music gained popularity, while orthodox court music declined. Later, Qin Shihuang famously burned books and buried Confucian scholars, leading to the loss of the "Classic of Music."
After the establishment of the Han Dynasty, although there were some musicians, such as Zhi Shi, who could remember the rhythm of music and the movements of dance, they had lost the ability to grasp the deeper meanings of the music. The six musical traditions from the Zhou Dynasty dwindled down to just two types of music and dance, "Shao" and "Wu," in the Qin Dynasty. Qin Shihuang renamed the dances of the Zhou Dynasty as "Five Elements," and Han Gaozu renamed "Shao Dance" as "Wen Shi," indicating his desire for a departure from the past. He also created the "Wu De Dance," where the dancers held weapons symbolizing peace throughout the realm, and everyone danced with weapons to quell rebellions. So during the court sacrifices of Han Gaozu, the performances were of the "Wu De," "Wen Shi," and "Five Elements" dances. There was also a type of music in the Zhou Dynasty called "Music of the Inner Chambers," renamed "Shou Ren" in the Qin Dynasty, which featured a style from the Chu region that was favored by Han Gaozu; Han Huidi renamed it "An Shi." Han Gaozu also created "Zhao Rong Music" and "Li Rong Music," with "Zhao Rong Music" based on "Wu De Music," and "Li Rong Music" based on "Wen Shi Music" and "Five Elements Music." During the early Han Dynasty, there was also music called "Jia Zhi Music," crafted by Shusun Tong, drawing inspiration from the musicians of the Qin Dynasty, used for ancestral sacrifices to welcome the gods. Emperor Wen of Han also created "Four Seasons Dance" to convey peace and harmony throughout the realm.
In general, continuing the music of the former kings is to show the inheritance of tradition and the presence of established traditions; creating new music and dances is to show the existence of one's own system of norms. Emperor Jing of Han created the "Zhao De Dance" based on the "Wu De Dance" and performed it during sacrifices at the Temple of Emperor Taizong; Emperor Xuan of Han then created the "Sheng De Dance" based on the "Zhao De Dance" and performed it during sacrifices at the Temple of Emperor Wuzong. During sacrifices by the emperors of the Han Dynasty, the dances "Wen Shi," "Four Seasons," and "Five Elements" were performed.
During Emperor Wu of Han's reign, Prince Xian of Hejian and Mao Sheng studied the records of music in "Zhou Guan" and the various schools of philosophy, and wrote the "Yue Ji," presenting the Eight Yao Dance, which was almost identical to the ancient Zhi clan's Eight Yao Dance. Later, Wang Ding, the Minister of Internal Affairs, transmitted the "Yue Ji" to Prince Changshan Liu Yu. Liu Yu, while serving as a court attendant during Emperor Cheng's reign, frequently explained the significance of the "Yue Ji" and presented a twenty-four volume "Yue Ji." When Liu Xiang was reviewing these books, he only found twenty-three volumes; unfortunately, it was not adopted in the end.
When Emperor Ming had just ascended the throne, Prince Xian of Dongping, Liu Cang, gathered the opinions of the court officials and said, "The music for ancestral sacrifices should vary and not be reused, in order to demonstrate the achievements of past emperors. We should use 'Wen Shi,' 'Five Elements,' and 'Wu De' as the foundation, and recompose the 'Da Wu' dance." He also composed a new musical piece and presented it to the temple of Emperor Guangwu.
At the end of the Han Dynasty, there was widespread turmoil, and many music pieces were lost. After Cao Cao pacified Jingzhou, he captured a man named Du Kui, who was skilled in the eight musical tones and had previously been a musician in the Han Dynasty, very knowledgeable about music. So Cao Cao appointed him as the military ritual advisor and asked him to be in charge of restoring the music. At that time, there were also Deng Jing and Yin Shang, who were good at teaching music, the singer Yin Hu, who was able to perform music for ancestral sacrifices, and the dancer Feng Su, skilled in various traditional dances, and Du Kui gathered them all together. They extensively consulted ancient texts and collected various materials; the restoration of ancient music in the Wei Dynasty began with Du Kui. Figures like Zuo Yannian excelled in Zheng Sheng, but only Du Kui insisted on restoring the ancient orthodox music.
In the second year of Huangchu during the reign of Emperor Wen, the music and dance from the Han Dynasty were renamed. The Han Dynasty's "Bayu Dance" was renamed "Zhaowu Dance," the "Anshi Music" for ancestral temples was renamed "Zhengshi Music," "Jia Zhi Music" was renamed "Yingling Music," "Wude Music" was renamed "Wusong Music," "Zhaorong Music" was renamed "Zhaoye Music," "Yunqiao Dance" was renamed "Fengxiang Dance," "Yuming Dance" was renamed "Lingying Dance," "Wude Dance" was renamed "Wusong Dance," "Wenshi Wudance" was renamed "Da Shao Dance," and "Wuxing Dance" was renamed "Da Wu Dance." The lyrics of those songs largely retained the old works from the previous dynasty; only after the establishment of the Wei Kingdom did Wang Can modify and create lyrics for the songs "Deng Ge," "Anshi," and "Bayu."
During the reign of Emperor Ming of the Northern Wei Dynasty, the emperor issued a decree: The creation of ritual music aims to emulate nature, honor achievements, and remain true to its roots. Various forms of music primarily revolve around dance, from the Yellow Emperor's "Yunmen" to the Zhou Dynasty's "Dawu," all of which are the names of dances performed at ancestral temple sacrifices. Therefore, the officials responsible for this music are referred to as "Taile," which is a position overseeing various types of music and cannot be called by a single name. The temple music for Emperor Wu is still incomplete, so you must establish temple music and dance, including the instruments held by the dancers, the structure of the music, and the lyrics of the poems, all must be specified in detail. The title of the music official will continue to be "Taile." Taile was the old name from the Han Dynasty, which was changed to Taivu Yueli during the Eastern Han Dynasty based on divination and astrology, and now it is reverting to the old name.
Therefore, the ministers responded: We have heard that when the country's morals are noble and education is flourishing, music and dance can effectively showcase the prosperity of the nation, and music can express the praise of the country. Therefore, offering music and dance to the suburban temples, the spirits and deities can sense its harmony; using it in the court, both the ruler and the subjects can appreciate its order. In this way, the people across the land can recognize the nation's supreme virtues, and the nation's glory can continue to flourish; this is the function of ritual music. Therefore, the ancient kings offered sacrifices to the heavens to honor their ancestors based on the circumstances of their time. By the end of the Zhou Dynasty, nearly two thousand years had passed since the time of Tang, Yao, and Shun. Although music and dances such as "Shao," "Nine Shao," "Nan Lu," "Yue," "Wu," and "Xiang" have not been widely preserved, they can still be verified. This demonstrates that ritual music cannot be abolished.
The music and dance of Emperor Taizu Wuhuang should be called "The Music of Martial Origins." Martial refers to divine prowess and also signifies achievements. This signifies the inception of divine prowess and the dawn of royal accomplishments. The music and dance of Emperor Gaozu Wenhuang should be called "The Dance of Universal Prosperity." Universal refers to the capital, while prosperity indicates flourishing. This reflects responding to the mandate of heaven, leading to the prosperity of the realm. Regarding the ministers who sing praises of merits and discuss achievements to establish the title of Emperor Liezu, they have yet to create corresponding music and dance; this fails to fulfill the purpose of celebrating merits and documenting achievements. Music serves to celebrate merits, while dance conveys events. The integration of both literary and martial arts is essential for the display of noble virtues. We have created a music and dance titled "The Dance of Zhang Bin."
Historically, "Xiaoshao" was performed nine times at the court of Emperor Yu, while "Wu," "Xiang," and "Dawu" were also performed at the courts of King Wen and King Wu. These musical performances and dances aimed to showcase their moral teachings, so that people everywhere could be educated and emulate their examples. Starting from Emperor Gaozu of Han and Emperor Wen of Han, music and dances like "Martial Virtue" and "Four Seasons" were created in response to the circumstances of the time. We draw from the creations of previous generations and combine them with today's achievements to promote glorious deeds, and "The Dance of Zhang Bin" stands as the grandest. "Yue Zhi" says: "The bells and chimes are used for sacrifices at ancestral temples and for offerings at banquets. In ancestral temples, both rulers and ministers exhibit respect and caution; in families, elders and the young get along harmoniously." So Confucius answered the question of Bin Moujia by saying: "The roads of the Zhou dynasty were extensive, and ritual and music were in harmony." The "Spring and Autumn Annals" says: "The state of Lu has ritual dances for sacrificial offerings, and it is used for guests and sacrifices." These serve as clear records of the grand music and dance used in sacrificial ceremonies.
Now sacrifices to Heaven, Earth, and the ancestral temples should use these three types of ritual dances together; when holding grand ceremonies in the court, these three types of ritual dances should also be performed. This conforms to the ancient system of worshipping spirits and educating the people, which affects future generations and is more clearly defined. We also believe that these three types of ritual dances should have a collective name, which can be called "The Music of Da Jun." Jun means flat, indicating that the achievements of the three dynasties of Da Wei are the same, bringing peace to the world. This name is quite fitting and aligns well with the reality. The Minister of Rites proposed that it should be carried out as stated in the memorial. The Emperor initially disagreed with the production of "The Music of Zhang Bin," but after three requests from the ministers, he finally agreed.
Furthermore, the Minister of Rites reported that for the sacrificial activities below the Round Mound, those who perform the "Wu Shi Dance" wear flat crowns, black headbands, black clothes and pants, with white cuffs, and wear red cuffs under the clothes, red pants, red socks, and black leather shoes. For the "Xian Xi Dance," they wear ceremonial crowns, and their clothing is similar to that of the "Wu Shi Dance." The costumes for the "Zhang Bin Dance" are the same as those for the "Wu Shi Dance" and "Xian Xi Dance."
If these dances are performed in the court, the situation differs somewhat. For the "Wu Shi Dance," they wear military crowns, red headbands, and red robes with red cuffs, black cuffs under the clothes, tiger-patterned pants, white socks, and black leather shoes. As for the "Xian Xi Dance," they wear virtuous crowns, black headbands, yellow robes, white pants, with other clothing similar to the previous one. The Emperor agreed.
The historian noted that the hats for the "Wu Shi Dance" and "Xian Xi Dance" differ, but the memorial states that the costumes for the "Zhang Bin Dance" are the same as theirs, which leaves the appropriate hat for the "Zhang Bin Dance" somewhat uncertain.
Minister Miao once again submitted a memorial, saying, "The 'An Shi Ge' was originally a song title from the Han Dynasty. Now the lyrics of this song are different from the previous poems, so it should be given a new name." He continued, "According to the annotations of the 'Zhou Li', it is said that 'An Shi Le' is equivalent to the 'Fang Zhong Zhi Le' of the Zhou Dynasty. In the past, some believed that 'Fang Zhong Zhi Le' praised the virtues of imperial concubines to educate the world and regulate husband-wife relationships, so it has been suggested to rename 'An Shi Ge' to 'Zheng Shi Zhi Le.'"
"However, since the establishment of the Wei Kingdom, the Minister Wang Can composed the poem 'An Shi Shi', the main focus is to praise the gods, express prayers for divine blessings, and celebrate the sacrifices. Later, based on the music score, I reinterpreted 'An Shi Ge' from the Han Dynasty, and the lyrics contain lines like 'Gao Zhang Si Xian, Shen Lai Yan Xiang, Jia Jian Ling Yi, Yong Shou Jue Fu'; it does not carry the same message of praising imperial concubines to educate the world as found in the 'Book of Songs - Er Nan.' So I think those who believed in the past that 'Fang Zhong Zhi Le' praised imperial concubines may have misunderstood its intent. When entertaining the gods, we praise the ancestors' achievements when ascending the hall, and celebrate the feast when descending the hall; there is no need to praise the role of imperial concubines in education! Therefore, this song should be named based on its true context, changing 'An Shi Ge' to 'Xiang Shen Ge'." Ultimately, the emperor approved his proposal.
Oh, speaking of which, before Emperor Wen, the "An Shi Ge" had already been renamed as "Zheng Shi Ge," and now Miao Shizhong has changed it to "Xiang Shen Ge." The meaning behind this is really quite difficult to understand. Wang Can's "An Shi Shi" has now been lost. Miao Shizhong also submitted: "In the temple of Empress Wenzhao, the music performed is from the four counties. The order of the musical instruments should be inscribed, following the naming convention of the ancestral temple, referred to as 'Zhaomiao Zhi Ju Le.'" The Ministry of Rites also reported: "According to the ritual system, women inherit their husband's title, and there is no difference in the lyrics and musical instrument performance of the music played at the same table. Although Empress Wenzhao now has a separate temple, the musical instruments and scales used in the palace and the counties are the same, so we should follow Miao Shizhong's suggestion." The Emperor also approved this proposal.
Cavalier Attendant Wang Su remarked: "Each emperor has his own way of sacrificing to heaven and earth. Now those people regard the brief records in the 'Zhou Guan' as the fundamental principles of governance, only seeing its limitations, but not knowing its breadth. After Emperor Hanwu returned from his eastern tour of Mount Tai, he sacrificed to Taiyi in Ganquan and to Hou Tu in Fenyin, using the most grand music. When it says 'fully use,' it means using all the palace's musical instruments and dances. Heaven and earth value simplicity, which means sacrificial objects should not be overly extravagant, but this doesn't imply that everything else should be plain. According to the ritual system, the emperor sacrifices in the palace and performs the Ba Yi dance. Now when sacrificing at the Round Mound and Square Field, it should also follow the emperor's standard, using the palace's musical instruments and dances, performing the Ba Yi dance." Wei Zhen, Miao Xi, and Zuo Yannian all agreed with Wang Su's opinion. So they requested the Emperor's approval.
Thus, everyone unanimously supported Wang Su's suggestion.
Su You said: "Some people believe that for sacrifices to Heaven, they only performed the 'Cloud Gate' dance, for sacrifices to the Earth, they only performed the 'Salt Pool' dance, and for sacrifices to the ancestral temple, they only performed the 'Great Martial' dance. This seems somewhat off. The Zhou Dynasty's rituals mandated that music be performed at banquets for guests. The 'Zuo Zhuan' records: 'The prince hosted a banquet for five great ministers, with grand music and dance.' This refers to the music of the Six Dynasties period. Therefore, at a banquet, the music of the Six Dynasties would be fully performed. Offering sacrifices to Heaven, Earth, and the ancestral temple are major national events, while banquets are considered less significant. The 'Rites of Zhou - Royal Regulations' states: 'Ordinary dishes should not exceed the sacrificial livestock, and banquet clothing should not exceed the sacrificial clothing.' Can the music at banquets surpass that of the sacrifices to Heaven, Earth, and the ancestral temple? The 'Zhou Guan' records: 'Using six pitches, six modes, five notes, eight sounds, and six dances, a grand music ensemble is performed to summon spirits and gods, harmonize the country, bring joy to the people, satisfy guests, and please visitors from afar.' The six pitches, six modes, five notes, and eight sounds are all performed simultaneously, while the six types of dances are used separately to avoid boring people. Furthermore, the 'Zhou Guan' also records: 'The Maestro is responsible for teaching Ma music, leading his band to dance during sacrifices and large banquets.' Ma music is the music of the Eastern Yi. It is also recorded: 'The Di and Lu tribes are responsible for managing the music and songs of the Four Outsiders, playing and singing during sacrifices and banquets.' The music of the Four Outsiders can be used for ancestral sacrifices, but can the regulations of past generations not be applied? This applies to both large and small banquets, indicating that the music of both ancient and modern tribes, including the Xia, is first used for ancestral sacrifices, and then for other occasions. Therefore, inheriting the music of the ancient kings lies in the ability to integrate and apply it; adopting the music of the Four Outsiders reflects the magnanimity and broad virtue of the country. The Emperor Gao, the Grand Emperor, the Grand Ancestor, the High Ancestor, and the Wen Zhao Temple should all simultaneously use the music and dances of past generations, along with dances like 'Wu Shi' and 'Tai Jun'."
The officials reported, "It should be handled according to Su's advice." The emperor approved it. Su himself composed twelve poems for the sacrificial ceremonies, but they were not utilized. In the second year of the Taishi reign of Emperor Wu of Jin, the music and songs for sacrificial ceremonies at the suburban temples were restructured, but the music and dance continued to adhere to the old traditions. After Emperor Guangwu of Han pacified Longxi and Shu, he expanded the scale of sacrificial ceremonies, including Emperor Gaozu among those to be honored. The music and dances performed during the sacrifices included titles such as "Qingyang," "Zhuming," "Xihao," "Xuanming," "Yunqiao," and "Yuming." The music played during the sacrifices at the northern suburbs and Mingtang was identical to that at the southern suburbs. In harmony with the energies of the four seasons and the five directions, "Qingyang" was performed in spring, "Zhuming" in summer, both accompanied by the dance of "Yunqiao"; "Xihao" in autumn and "Xuanming" in winter, each accompanied by the dance of "Yuming"; and in midsummer, "Zhuming" was performed alongside two dances simultaneously.
In the second year of Emperor Zhang of the Han Dynasty, during the sacrificial music at the ancestral temple, according to the established customs, two pieces of music, "Deer Calls" and "Accepting the Origin," were played when offering food. Three years later, he personally composed four poems entitled "Thinking of Emperor Yao of Qi," "Six Horses," "Respectful and Solemn," and "Ascending the Roots." These four poems were combined with the earlier two pieces of music to be played during the offering of food at the ancestral temple. Later, two more pieces, "Reappearance" and "Ascending the Tomb," were added, bringing the total to eight pieces for the tomb sacrifice. When the emperor dined in the palace, one piece, "Accepting the Origin," was removed, and two pieces, "Only Heaven's Mandate" and "Heaven's Numerical Order," were added, making a total of seven pieces of music. The Han Dynasty's Taoyue sacrificial music consisted of a total of thirteen pieces: "Deer Calls," "Reappearance," "Initial Creation," "Xia'an," "Return," "Distant Future," "Having Thoughts," "Bright Stars," "Cool Breeze," "Crossing the Seas," "Grand Banquet," "Accepting the Origin," and "Sea Light." During the Wei and Jin dynasties, Xun Xu and Fu Xuan both composed lyrics for these music pieces. In the Wei Dynasty, it was felt that three pieces, "Distant Future," "Accepting the Origin," and "Sea Light," were considered less fluid, so they were canceled. The Wei Dynasty's elegant music included only four pieces: one was "Deer Calls," later renamed "Yu He," dedicated to praising Emperor Wu; one was "Zou Yu," later renamed "Wei Wei," dedicated to praising Emperor Wen; one was "Cutting Sandalwood," later canceled; and one was "King Wen," later renamed "Yang Yang," dedicated to praising Emperor Ming. The melodies of "Zou Yu," "Cutting Sandalwood," and "King Wen" were all adapted by Zuo Yannian. During the grand New Year's Day court assembly, the Grand Commandant presented a jade bi, and the court officials paid their respects, with the music played by the Eastern Chamber elegant music attendants. These music pieces are now called the court assembly music, played by the Guxi Chamber. The piece "Deer Calls" was originally used for feasting and was not suitable for playing during court assemblies and sacrifices; it was inappropriate to use it previously.
In the year 269 AD, the emperor ordered the Ministry of Personnel Affairs to have three officials, Fu Xuan, Xun Xu, and Zhang Hua, each compose ceremonial poems for the New Year's greetings, as well as music and poems for the birthday banquets for the nobility. The emperor also ordered Cheng Gong Sui to write one. Zhang Hua stated, "I have examined the birthday celebration poems from the Wei Dynasty as well as those from the Han Dynasty and found that their line lengths vary and do not fully adhere to ancient norms. In fact, these poems were originally composed to align with the rhythm of the music. Passed down through generations, only those who understand music and are proficient in music theory can adapt the melody and rhythm of the music. This is not something just anyone can do. Over several generations and dynasties, these poems have been used continuously. Although the poems have changed and prospered and declined with the times, the rhythm and melody of the music have been preserved from the old traditions for a reason. Therefore, I have fully adhered to the old traditions and have not dared to make any changes."
Xun Xu said, "The poetry of the Wei Dynasty differs from ancient poetry; some have two-character lines, some have three-character lines, some have four-character lines, and some have five-character lines." So he went to ask the Chief of the Law Department, Chen Qi, who said, "Not everything carved in stone is necessarily true." Therefore, Xun Xu created poetry for the Jin Dynasty in a format of four characters per line. Only a noble's birthday banquet poem used a format of three and five characters per line, which explains the disagreement between Zhang Hua and Xun Xu. In the year 273 AD, Xun Xu was appointed to oversee music affairs. He had Guo Qiong, Song Shi, and others create two types of dances, "Zhengde" and "Dayu," while Xun Xu, Fu Xuan, and Zhang Hua each composed songs for these dances. Xun Xu also made twelve new flutes. The Cavalier Attendant Ruan Xian criticized the new flutes for having too high and piercing tones, not in line with the harmonious tone. Due to this disagreement, Xun Xu sent Ruan Xian to serve as a magistrate in Shiping County. The Jin Dynasty also renamed the Wei Dynasty's "Zhao Wu Dance" as "Xuan Wu Dance," and the "Yu Yue Dance" as "Xuan Wen Dance." In the year 275 AD, the court officially designated the ancestral temple name, and the temple music for worship was standardized to include the dances "Zhengde" and "Dayu."
When I first arrived in Jianye (Jiangzuo), I was tasked with establishing a temple. The Ministry of Rites (Shangshu) asked the Ministry of Ceremonies (responsible for sacrificial rituals) what the name of the music used for sacrifices was. He Xun, the Minister of Rites, replied, "The Wei Dynasty made changes to the music of the Han Dynasty, turning it into the ritual music system established by the Wei Dynasty. It is still unclear how the music of the Jin Dynasty differs. Due to the wars, the previous regulations and systems have been completely lost. However, these musical pieces are harmonious according to the tuning of the bells and the established regulations, composed using the pentatonic scale, sung with lyrics, accompanied by dance performances, with low palace music notes below and zithers above, eight kinds of instruments taking turns to play, and elegant music playing together, featuring high-pitched vocals and low-pitched wind instruments, each with fixed music pieces, following the ancient system that has been in place since the Zhou Dynasty. Since the Han Dynasty, this ritual has been followed, only creating some new poems. The previous capital has been abandoned, and now it is also scattered. The music is intricate and complex, and there are no experts anymore, so it is difficult to describe in words."
At that time, because there were no elegant music instruments and musicians, the grand music and trumpet ensembles were disbanded. Later, although some songs and dance pieces were discovered, they were still incomplete. During the reign of Emperor Ming, towards the end of the Taiping period, he ordered Ruan Fu and others to supplement and improve these music pieces. It was not until the reign of Emperor Cheng, during the Xianhe period, that the grand music department was reestablished to collect and organize the lost music pieces, but the metal and stone instruments—specifically, bells and chimes—were still incomplete.
At first, Xun Xu composed two dances using new musical scales and readjusted the tuning of the bells and chimes. Before the task was completed, Xun Xu passed away. In the third year of Emperor Hui's Yuankang reign, the court ordered Xun Xu's son, Xun Fan, who served as a minister of the Yellow Gate, to continue his father's unfinished work, repair the metal and stone instruments for use in sacrificial rituals at the suburban altars. Later, due to the wars, the earlier instruments and musical scales had been lost, and no one was left to remember them.
When Yu Liang served as the Inspector of Jingzhou, he and Xie Shang worked together to restore the court music, but Yu Liang later passed away. Later, Yu Yi and Huan Wen were busy with military campaigns, so the musical instruments were left in storage and ultimately fell into disrepair. During the internal turmoil of the Jin Dynasty, the musicians were taken away by northern nomadic tribes. After the demise of these tribes, some musicians gradually made their way back to Ye City. At that time, Xie Shang served as the Chief of the Imperial Secretariat, and he employed these musicians to recreate the bells and chimes. During the Taiyuan period, after defeating Fu Jian, they captured musicians like Yang Shu, who were well-versed in the old music system, thus completing the court's musical instruments.
In the ninth year of Emperor Wen of the Song Dynasty, the Director of the Imperial Music, Zhong Zongzhi, revised the musical scale of the metal and stone musical instruments. In the fourteenth year, the Director of the Imperial Library, Shi Zong, made additional revisions. These records are found in the "Records of Music and Calendars." During the Jin Dynasty, Cao Pi, Wang Xun, and others also composed some songs for ancestral sacrifices, but there was never a formal musical performance for sacrifices at the suburban temples. He Chengtian said, "Many say that the Wu Dynasty lacked court music. However, according to records, when Sun Hao welcomed his father's coffin back to Ming Tomb, it was only mentioned that the musicians sang day and night, suggesting that metal and stone instruments and sacrificial songs were absent."
He Chengtian also said, "Some people say that the current 'Divine Strings' were the ceremonial music of the Sun Dynasty." Historians have confirmed that Lu Ji wrote in the "Eulogy for Sun Quan" that "'Four Summers' was in the temple, 'Clouds Lifting' bore the burden," and Lu Ji likely had good reason to say this. Wei Zhao also noted that during the reign of Sun Xiu, there were twelve songs of "Drums and Trumpets," stating, "These should be taught to the skilled musicians for performance." Thus, the Wu Dynasty indeed had musicians, and those skilled in singing could perform with the accompaniment of string and wind instruments, so how can we claim that 'Divine Strings' were merely temple music?
In July of the year 420 AD, during the first year of Emperor Wu of Song's Yongchu era, the relevant authorities reported: "Our Song Dynasty has just been established, and we must use refined music when offering sacrifices to our ancestors! Therefore, Tai Chang Zheng Xianzhi and 88 others each created some new songs." Later, the lyrics of seven songs composed by Huangmen Shilang Wang Shaozhi were also approved for use. The emperor approved it.
In December, the relevant authorities reported again: "According to tradition, sacrifices must be accompanied by music on the first day of the lunar new year. We carefully studied and decided to modify the poems of the songs and dances in the Tai Le Department. Huangmen Shilang Wang Shaozhi composed 32 chapters, which everyone must practice. The date is approaching, so we must quickly memorize them and be ready to use them." The emperor also agreed. Additionally, they also changed the name of "Zhengde Dance" to "Front Dance" and "Dayu Dance" to "Back Dance."
In September of the year 441 AD, during the eighteenth year of the Yuanjia era, the relevant authorities reported again: "When offering sacrifices to heaven and earth, the 'Deng Ge' should be played." At that time, the issue of the dances for ancestral sacrifices was also under discussion, and Shangshu Jiangxia Wang Yigong and 12 others were consulted. However, before they could report, a war broke out and the issue was put on hold. By the year 445 AD, during the twenty-second year of the Yuanjia era, the "Deng Ge" was finally performed during the South Suburban sacrifices. The emperor also ordered the Deputy Imperial Censor Yan Yanzhi to compose the lyrics for "Deng Ge," but the dances for ancestral sacrifices were still not finalized.
On a day in September 453 AD, a report was made to the court: "Xun Wanqiu, a court official, believes that according to etiquette, music should be played during sacrifices to heaven and earth, to welcome the deities. The Book of Changes says: 'The sound of thunder comes from the ground and all things flourish.' The ancient kings employed music to uphold virtue; the Yin and Shang dynasties honored the gods and worshipped their ancestors through sacrifices. The Rites of Zhou states: 'Playing music on the round altar will attract the heavenly deities; playing music in the square will summon the earth spirits.' It also says: 'Play the yellow bell, sing the Dali tune, and dance the 'Cloud Gate' to worship the heavenly deities; play the Taicu, sing the Ying bell, and dance the 'Salt Pool' to worship the earth spirits.' It can be seen that the use of music to worship heaven and earth has a long history. Nowadays, there is no music during the suburban sacrifices, which I find quite odd. The 'Ji Tong' says: 'Sacrifice has three levels of meaning; the most important sacrificial item is the guan gui, the most significant in music is the sheng ge, and the most important in dance is the 'Wu Su Night', which is the ritual of the Zhou Dynasty.' During the Qin Dynasty, they performed the 'Five Elements' music; during the Wei Dynasty, they danced the 'Xianxi', these were all performed during sacrifices. Until the Jin Dynasty, during the Taishi period, Fu Xuan created 32 songs for the Jin suburban temples. During the Yuankang period, Xun Fan completed the legacy of his father Xun Xu, using the music and dance of Jinshi Four Counties for suburban temple sacrifices. These serve as evidence of music in suburban temple sacrifices throughout history. Although there are songs during temple sacrifices now, there appears to be a lack of accompanying dances, which may lead to a deficiency in etiquette.
The wise ruler rules the world; while customs and traditions differ across dynasties, ceremonial practices may change. They consistently follow ancient traditions while adapting to the times. We are currently in an era of peace and prosperity, and various cultural relics are now in place. The lost ceremonial practices have been revived, especially when welcoming the arrival of the deities. However, there's a notable absence of music during the suburban sacrifices, and the dances meant to showcase merit are also absent during temple rituals. I believe that suitable music should accompany suburban temple sacrifices.
Let's have a discussion. General Piqi and King Dan of Jingling, along with the fifty-one others, all agreed with Wanqiu. The Left Deputy Minister of the Ministry of Rites, King Hong of Jianping, said: Virtuous emperors may share similar qualities, but their ceremonial practices may differ; music cannot be used interchangeably, and ceremonies cannot be copied. Since the founding of our imperial family, the royal lineage has thrived, surpassing that of previous emperors, and the court rituals and national laws follow the systems of earlier generations. Since the relocation of the Later Jin, time is of the essence. Although the main ceremonies are mostly ready, there are still many gaps. As for the names of the music and sacrificial rites in the temples, they have not completely followed the ancient system. Now the emperor's virtues are flourishing, ruling the world through filial piety; we should thoroughly examine the fundamentals of etiquette to guide future generations. Think about the music associated with Emperor Shun, known as "Shao," changed to "Wenshi" in the Han Dynasty, the music of the Zhou Dynasty is "Dawu," and the Qin Dynasty abolished "Wuxing." Our ancestors have merits, and the clan has virtues. Therefore, the temple music for Emperor Han Gaozu is referred to as "Wude," and the temple music for Emperor Taizong is referred to as "Zhaode." The Wei Dynasty stipulated that "Wushi" should be used to dance to worship the Temple of War, and "Xianxi" should be used to dance to worship the Temple of Literature. In this way, the ancestral temples have different names for their music. The music of the Jin Dynasty, "Zhengde" and "Dayu," has not been renamed in the Song Dynasty, but is directly called "Qian" and "Hou," two dances, inheriting the old system of the previous dynasty, both in meaning and in reality. There are discrepancies. Now the names should be modified, changing "Kai Rong" to "Shao Dance" and "Xuan Lie" to "Wu Dance." The music of the ancestral temples is named after virtues. If the temple is not destroyed, the music does not have alternative names, just like the titles of Emperor Han Gaozu, Emperor Wen, and Emperor Wu, all have beautiful titles; Emperor Hui and Emperor Jing, the music does not have other names. In the temple of Empress Zhang, according to the opinions of the Confucian scholars, only ceremonial music is performed. When He Xiu, Du Yu, and Fan Ning interpreted the "initial offering of six feathers," they did not mention the dance, which indicates that women did not participate in military activities. The music for suburban sacrifices also has no alternative names, just like the music of the ancestral temples. Refer to the "Book of Han," "Yongzhi," and other music; each carries its own significance and context, and should remain unchanged.
When it comes to the Eastern Jin Dynasty, the Grand Preceptor only sends off the deities without welcoming them. Recently, some people have said that temples are places for honoring the spirits, and that the spirits are always there, which they deem unreasonable. Temples are established to honor the spirits, with rituals held throughout the year to express respect and remembrance. Since the movement of spirits is unpredictable, why must it be assumed that spirits are always in one place? Therefore, the "Ji Yi" states: "Rejoice when welcoming, mourn when sending off." Zheng Xuan's commentary states: "Rejoicing in welcoming means joy in the arrival of the spirits; mourning in sending off means mourning whether the spirits have enjoyed the offerings, which is unknown." The "Book of Documents" states, "ancestors come and go." The commentary explains: "They return to heaven and earth." All of these indicate that spirits come and go; therefore, it is evident that welcoming and sending off practices exist. The Zhou Dynasty's "Si Xia" features music for both welcoming and sending off. In ancient times, a corpse was used to represent spirits, so the "Book of Rites" includes welcoming and sending off ceremonies for the corpse. Even though there are no corpses nowadays, how can the rituals of welcoming and sending off be overlooked? Fu Xuan also composed songs for welcoming and sending off spirits, suggesting that in the Jiangnan region, the absence of welcoming spirits is not rooted in ancient customs. Yan Jun suggested that moral character and achievements differ, so the corresponding ceremonial standards naturally vary. As times progress, old systems will experience both gains and losses. If etiquette is lost and morals deteriorate, during times of revitalization and reform, some things must be modified, and the flawed systems of the past should be rectified.
The music of sacrifices in the suburbs originated from the Book of Changes and the Zhou Li, and scholarly discussions throughout the ages have referenced these two classics. However, the Zhou Li states: "When sweeping the floor for sacrifices, use pottery and gourds as sacrificial vessels." This emphasizes the simplicity and sincerity of the sacrifices, which serve to demonstrate the virtues of Heaven, rather than suggesting that the sacrificial objects must be simple. The Zhou Li also states: "When the state has important matters, sacrifices must be made to the deities and the Four Directions." It also states: "Use four Gui sacrificial vessels to sacrifice to Heaven and the deities, and use two Gui sacrificial vessels to sacrifice to the Earth and the Four Directions." The Four Directions do not refer to the land, so the term 'God' does not refer to the heavens either.
The Book of Filial Piety states: "After the suburban sacrifice, Hou Ji comes to accompany Heaven, and in the Mingtang worships King Wen to accompany the deities." Therefore, the performance of Yu music is not part of the ritual for sacrificing to Heaven. The Grand Musician's duty is to perform the Huangzhong and Gongyang and to dance the 'Yunmen' in honor of the heavenly deities. Zheng Xuan noted: "Heavenly deities refer to the Five Emperors as well as the sun, moon, stars, and constellations." The emperor sacrifices to the Emperor who commands him from the heavens in the Southern Suburb in the first month of the lunar calendar, so the sacrifices during the winter and summer solstices are not directed towards Heaven and Earth.
Checking various classics, there is no clear record of music associated with suburban sacrifices. The rituals of ancestral temples are recorded very clearly. From Emperor Yuan of Han to the Jin Dynasty, although the system was sometimes changed, it was generally inherited, with the original names often replaced. Now the music has been lost, and few people today understand music theory, and I have heard about the adaptation of music and dance.
The rituals associated with Zhengde and Dayu music and dance have been preserved; the ritual procedures should be modified for continued use. Rename Zhengde as Xuanhua dance and Dayu as Xinghe dance to honor our ancestors and ensure future generations can benefit from their blessings. The ancestral temples of the Western Han Dynasty had different locations; the names of the sacrifices, as well as the music and dance, also changed accordingly. Now the seven temples share sacrifices, and the courtyard halls are shared, so the styles of music and dance can no longer be defined separately based on the temples. Emperor Cang of Dongping in the Eastern Han Dynasty addressed this issue previously.
Wang Su and Han Zhi also believe that since the emperor's virtues are renowned across the land without borders, the music and dance from the six dynasties and the four tribes should be celebrated in the ancestral hall. I believe the perspectives of Cang, Su, and Zhi align with our ceremonial practices and are well-suited to today's circumstances.
Prince Jianping Hong continued: "According to the teachings of the 'Book of Rites' and the 'Classic of Filial Piety,' the terms 'heaven' and 'God' often appear together; therefore, saying that 'God' is not 'heaven,' the 'Book of Changes' does not imply that music is made solely for the purpose of sacrificing to heaven. Look, the 'Book of Changes' states that 'the ancient kings used music to honor virtue, the Yin people offered sacrifices to God and shared those offerings with their ancestors.' The 'Book of Documents' says: 'Offer all kinds of sacrifices to God.' The 'Spring and Autumn Annals' says: 'Report to the Supreme Deity of the Bright Heaven.' Whenever 'God' is mentioned, it refers to 'heaven.' The esteemed title of 'heaven' cannot be captured by a single term, so sometimes it is called the Bright Heaven, sometimes God, and sometimes the Supreme Deity of the Bright Heaven. Just because 'heaven' has multiple terms does not mean that 'God' is not 'heaven.' Xu Miao understood from the 'Book of Rites' that 'when the state faces important matters, sacrifices must be offered to God,' and he recognized that 'heavenly rituals' and 'traveling to God' both refer to sacrifices to heaven. 'Heavenly rituals' refers to regular sacrifices; 'traveling to God' refers to special circumstances. The 'Classic of Filial Piety' says 'there is no father more revered than heaven,' so it is said that 'after the suburban sacrifices to Hou Ji to match heaven, the ancestral temple sacrifices to King Wen in the Ming Tang to match God.' Given this understanding of 'heaven,' 'God' serves as a more specific term. The 'Book of Rites' repeatedly mentions sacrifices to heaven, so Zheng Xuan's annotations refer to the previous heavenly deities as the Five Emperors, while the Winter Solstice sacrifices are to the Bright Heaven. Jianping also said, 'the Winter Solstice sacrifices are not meant for heaven and earth,' so when should sacrifices to heaven and earth be made? The 'Record of Rites' says: 'Sweep the ground for sacrifices, and use pottery and gourds as sacrificial vessels,' meaning that the items used for sacrifices are simple and do not impede the arrival of spirits. Wanqiu believes that suburban sacrifices should incorporate music and dance, a view supported by evidence."
Junhuan said, "Cang, the King of Dongping, believes that the ancestors of the Western Han Dynasty each had their own ancestral temples, which means that their ancestral temples can feature different music and dances. As for the temple of the founding ancestor, only the music and dances of the founding ancestor should be used. Therefore, even though the ancestors of the Eastern Han Dynasty share a temple, different music and dances should not be used, even if separate temples exist for each ancestor." While this was indeed his perspective, he failed to consider the changes that had occurred over time. The Eastern Han Dynasty advocated thriftiness, so the ancestors shared a temple but utilized different rooms to honor each ancestor. After the Jin Dynasty, singing became popular, and all the rooms were used in succession. So, why can't the ancestral music and dances be performed alternately? As long as the song content differs, even in the same temple, there will be no conflict. The three ancestors of the Wei Dynasty each had their own music and dances; do they also have separate temples?" Everyone unanimously agreed with Hong's opinion.
"For the southern suburb sacrifices, the music 'Si Xia' is played to welcome the gods. When the emperor just ascends the altar, the music 'Deng Ge' plays. At the start of the offering, the music 'Kai Rong' and 'Xuan Lie' dances are played. When bidding farewell to the gods, the music 'Si Xia' is played. For temple sacrifices, the music 'Si Xia' is played to welcome the gods. When the emperor enters the temple gate, the music 'Yong Zhi' plays. When the emperor reaches the east wall, the music 'Deng Ge' plays. At the start of the offering, the music 'Kai Rong' and 'Xuan Lie' dances are played. At the end of the offering, the music 'Yong An' is played. When bidding farewell to the gods, the music 'Si Xia' is played." The emperor commanded that this be carried out.
In the year 453 AD (2nd year of the Song Xiaojian era), on a certain day in October, the authorities reported again: "During the sacrificial ceremonies at the temple, His Majesty personally presided over, and from the initial ascent to the altar and entry into the temple to the east wall, the music played did not follow the ceremonial procedures of the Three Dukes (ancient highest-ranking officials)." The Left Chancellor, King Jianping, Liu Hong, seriously discussed: "The ceremonial procedures of the court officials should also include the music played." The authorities reported once more: "During the New Year and ancestral temple sacrifices, the music is still performed in the courtyard according to the old rules. According to the new ceremonial system, during ancestral temple sacrifices, the music is performed in the hall, while the orchestra is positioned below; now, during the New Year, the music is performed in the hall, and the orchestra is below." The Emperor approved this plan.
During the reign of Emperor Wen of the Song Dynasty, there were no designated musical pieces for the Temple of Empress Zhang. It was not until the reign of Emperor Xiaowu of the Song Dynasty that the Minister of the Left, Yin Dan, created new music pieces, and Emperor Ming of the Song Dynasty personally composed music for the sacrifices to Empress Zhao and Empress Xuan.
During the Later Han period, on the first day of the first lunar month, the Emperor received New Year's greetings in the Deyang Hall, when suddenly, some Buddhist relics flew in from the west, frolicking in front of the hall, creating splashes of water, turning into flounders, playing in the water, splashing water mist that obscured the sunlight; after a while, it turned into a yellow dragon, approximately eight or nine zhang in length, playing in the water, shining in the sunlight. People even tied two thick ropes between two pillars, several zhang apart, with two female performers dancing on the ropes, intertwining their shoulders without tilting at all, displaying exquisite skills!
From the Wei and Jin periods to the Eastern Jin period, there were still performances such as "Xia Yu Carrying the Cauldron," "Giant Elephant Nursing," "Divine Turtle Dance," "Carrying the Northern Ling Mountain," "Gui Tree White Snow," and "Drawing a River on the Ground."
In the seventh year of the Xiankang era under Emperor Chengdi of the Jin Dynasty, Gu Zhen, a cavalier attendant, presented a memorial stating: "I have heard that a wise monarch establishes music to praise the principles of governing the country, to cultivate the people with benevolence and righteousness, and to deter evil and immoral behavior. This approach allows for ancestor worship and the education of the populace. Music should align with the qi of the five elements and harmonize people's emotions with the eight winds. Palatial music can cultivate uprightness and kindness in people, while the music of the horn mode can encourage adherence to etiquette. All kinds of musical instruments, including bells, drums, and metal and stone instruments, are complete. Therefore, music can communicate with the divine, instill a sense of awe, change customs, and achieve the highest level of harmony. However, nowadays, the music and performances of the end times are all strange and bizarre, featuring erratic movements and chaotic displays. It's akin to shoving one's head into a box, leading to discomfort and harming both body and mind! Even wild grass is left untouched, much less living beings. How can anyone not feel heartbroken?"
Moreover, now that the four seas are pacified and envoys come to court to see the emperor, they come to witness the grandeur of the court, listen to the 'Ya' and 'Song' melodies from the Book of Songs, observe the ceremonial rituals, only to see chaos instead. Isn't this leaving the envoys greatly disappointed, tarnishing the emperor's reputation, disregarding the principles of yin and yang harmony, and damaging ritual propriety? Currently, our country's borders are being invaded by barbarians; external defense is the top priority. Those soldiers receive so little every day, shedding blood and sacrificing for the country, while the court is busy with these frivolous things. Is this really appropriate? We are currently sweeping the Central Plains, pacifying all directions; how can we show these crude performances to envoys from afar? The Ministry of Rites should reorganize the elegant music, play the "Xiao Shao" music to match the current prosperous era, extol the court's merits, and hand it down to future generations. Just as the Book of Songs says, "The swallow reaches the heavens, and then flourishes afterward"! Those tasteless acrobatics should be eliminated! We should promote the value of frugality, like the song "Kang Zai" praising the prosperous era; when the gentle breeze blows, the people will flourish like plants and trees. That's what I'm saying. All of this is out of loyalty, and I hope Your Majesty will consider my suggestions."
So, Emperor Cheng ordered the cancellation of the performances "Gao Geng," "Purple Deer," "Qi Xing," "Turtle Feeding," as well as "the Prince of Qi Rolling Up His Sleeves" and "Zuo Er," and reduced the salaries of these musicians. However, later on, he reinstated the performances "Gao Geng" and "Purple Deer."
In the year 436 AD, in the 13th year of Emperor Wen of the Song Dynasty, Prince Yikang of Pengcheng hosted a grand banquet in the East Palace, as usual, arranging for song and dance performances. The official in charge of overseeing the song and dance performances, Feng Da, reported to the Emperor, "As per custom, we need to prepare fourteen types of song and dance performances for the princes, which will total thirty-six dancers."
Grand Preceptor Fu Long raised an objection, saying, "I am not very clear about the source of this number of dancers. Du Yu said in the annotations of 'Zuo Zhuan' that the feudal lords' dance consists of six rows of six, totaling thirty-six people. I have always believed this interpretation is flawed. Dance is intended to accompany the music of the eight tones, and only when the eight tones are harmonious can a complete musical composition be formed. Therefore, the number of rows and columns in the dance should be a multiple of eight, decreasing by two columns at each level, from the Son of Heaven down to the commoner. In other words, with each level of descent, two columns are reduced. Du Yu suggests that two people should be subtracted from each column, so that only four people remain at the commoner level. How can harmonious music be produced in this manner? Looking at Fu Qian's annotations on 'Zuo Zhuan' makes it clear: 'The Son of Heaven has eight rows of eight, the feudal lords have six rows of eight, the great officers have four rows of eight, and the commoners have two rows of eight.' This interpretation makes much more sense. Nowadays, the princes no longer use the dance of the feudal lords; the dancers at their banquets are essentially the ancient female musicians. The imperial palace's dance formation consists of sixty-four dancers arranged in eight rows of eight, so the princes should have forty-eight dancers in six rows of eight, which is very clear. Furthermore, the 'Spring and Autumn Annals' record that Duke Zheng accepted twenty-six female musicians sent by Duke Dao of Jin, and Jin sent a column of eight people to Wei Jiang, which proves that ancient dance formations were based on groups of eight. According to Feng Da's interpretation, only the Son of Heaven has eight rows, so the state of Zheng should have accepted sixteen people sent by the state of Jin, and Jin's gift to Wei Jiang should have been six people, half of eight. From the Son of Heaven to the commoner, all kinds of ceremonial systems and hierarchical differences decrease by two at each level, and it has never been heard that the number of rows and columns of the feudal lords not only decreases by two columns, but also reduces by another two people in each column, almost halving it. Not only are the eight tones incomplete, but it also violates the principle of reducing by two columns. It's clear that Du Yu made a significant error. National rites and regulations are crucial and must be meticulously verified and corrected." However, Fu Long's suggestion was ultimately not adopted.
Hello everyone, let's talk about the origin of music. Where we come from is a mystery to everyone, right? We're born with emotions like joy, anger, sadness, and happiness. We love to gain and hate to lose; these feelings are innate and instinctive, and we don’t even know why. When we're angry, we argue and fight; when we're happy, we sing. Singing is really just the start of our happiness. But just singing isn't enough, so we start dancing, which is like singing taken to the next level. Singing and dancing are all about expressing our inner joy. However, if you get too carried away with happiness, it can easily go overboard and become hard to manage. That's why the sages used the pentatonic scale to balance people's emotions and the eight musical tones to control this excessive joy. This is what true music is all about; it can change customs, soothe the heart, and promote both physical and mental well-being.
Long ago, there was a family called Shun, with two daughters living on a nine-tiered platform. One night, the Heavenly Emperor sent a swallow to them, and the two girls covered it with a jade basket. When they uncovered it, the swallow had left behind two colorful eggs before flying off, never to return. Inspired by this event, the two girls created a song, which marks the origin of northern music. Later, when Yu the Great was in charge of the south, there was a girl at Mount Tu who told her maid to wait for him on the south side of the mountain. This girl also wrote a song, which is considered the origin of southern music.
King Kong Jia of the Xia Dynasty went hunting on Xianshan Mountain in Dongyang, but encountered a strong wind and got lost in the darkness. He ran into a peasant's home where the host was feeding his child. Some said, "The arrival of this nobleman is a good omen; he is sure to have good luck!" while others said, "If it's not his own son, there's bound to be trouble!" Later, Kong Jia took the child back to the palace, saying, "I will raise him as my own son; who dares to harm him?" As a result, while Kong Jia was constructing the palace, an axe accidentally severed the child's foot. Kong Jia sighed, "Sigh! It's all fate!" and composed the song titled "Broken Axe," which is the origin of Eastern music. During the southern expedition of King Zhao of the Zhou Dynasty, he died in Hanzhong. His minister Xin Yumi, who was quite strong, brought King Zhao's body back to the north. Zhou Gong then granted him a fief in Xizhai and relocated him to Xihe. Feeling homesick, he composed songs, which is the origin of Western music. This is the origin of what we call the music of the four directions.
During the time of the Yellow Emperor and Emperor Yao, the world was peaceful, and the people lived happily and contentedly. They used the joy of playing a game called guirang and the auspicious clouds to create songs. Later, the traditional "Feng" and "Ya" music began to decline, and various flashy and seductive music emerged.
During the decline of the Zhou Dynasty, there was a talented singer named Qin Qing who sang very well. Xue Tan followed Qin Qing to learn to sing, but before he had fully mastered Qin Qing's skills, he returned on his own. Qin Qing saw him off in the outskirts, singing sadly while keeping the beat, his voice resonating through the trees and echoing among the drifting clouds. Upon hearing this, Xue Tan instantly resolved not to leave and was determined to master the art of singing.
There was a woman named Han'e who traveled from the state of Qi in the east to Yongmen. When she ran out of food, she sang to trade for food. After she left, her enchanting voice lingered in the air for three days, and people around thought she hadn't left yet. Later, she passed by an inn where the owner mistreated her. Han'e cried out loud, making everyone within a mile weep and go without food for three days. They quickly ran after her, and when Han'e returned, she sang a joyful song. This time, everyone within a mile was overjoyed, dancing and jumping without a care, forgetting their previous sadness. In the end, they gave her a lot of money and sent her away. Therefore, the people of Yongmen are quite skilled at singing dirges, all imitating the voice left by Han'e. Wang Bao, a resident of Wei who lived by the Qi River, was also good at singing, influencing the people on the west bank of the Yellow River. Mian Ju, a man from the state of Qi who lived in Gaotang, was also an exceptional singer, and his songs became popular in the nearby regions. In the Western Han Dynasty, there was a man named Yugu who was also a skilled singer. Legend has it that his singing could shake the dust off the rooftops! These were some of the popular folk songs of the era. According to "Erya," ordinary folk songs are called "yao."
Most of the ancient music and songs that have survived are folk tunes popular in the marketplaces of the Han Dynasty, such as "Jiangnan Kecailian," "Wusheng," "Shiwuzi," and "Baitou Yin." The songs and tunes from the Wu region originated in Jiangdong and gradually incorporated new elements during the Jin and Song Dynasties.
"The Midnight Song" is a song created by a woman named Ziyue in ancient times. During the reign of Emperor Xiaowu of the Jin Dynasty, there were hauntings in the home of Sima Ke, the Prince of Langye, and they sang "The Midnight Song." When Yin Yun served as the Prefect of Yuzhang, there were hauntings in the family of the expatriate Yu Sengqian in Yuzhang, and they also sang "The Midnight Song." Since Yin Yun served as the Prefect of Yuzhang during the Taiyuan period, this suggests that Ziyue likely existed before the Taiyuan era. "The Phoenix Bringing Chicks" is also quite old. Ying Ju wrote in his "One Hundred and One Poems": "For the creation of 'Mulberry Trees on the Road', it actually refers to 'The Phoenix Bringing Chicks'." It can be seen that the history of "The Phoenix Bringing Chicks" is also quite old; perhaps it went through distortions and changes to become what it is now. "The Song of Qianxi" was created by Shen Wan, the General of Chariots and Cavalry during the Jin Dynasty. Now, about "Azi" and "Huanwen Ge," these two songs were produced during the reign of Emperor Mu of the Jin Dynasty. Back then, there was this guy who kept shouting, "Azi! Did you hear?" This story is mentioned in the "Wu Xing Zhi." Next up is "Tuanshan Ge." This story is about Wang Min, the Minister of the Imperial Secretariat during the Jin Dynasty, who got involved with his sister-in-law's maid, and they had a very good relationship. His sister-in-law would beat the maid hard, and the maid was quite a singer, so that's how "Tuanshan Ge" came to be. Now, let's discuss "Du Hu Ge." Xu Kui, the Internal Historian from Pengcheng, was killed by Lu Gui, so Song Gaozu sent Prefect Ding Guang to handle the burial. Xu Kui's daughter-in-law was actually Gaozu's eldest daughter! She called Ding Guang to the attic and asked him about how to handle the body and burial arrangements. Every time she asked, she would sigh, "Du Hu Prefect!" Her voice was particularly sad, and later, people expanded and refined this song based on her lament.
The song "Aonao Ge" is a folk song passed down during the Long'an era of the Jin Dynasty, recorded in the "Wuxing Zhi." Later, Emperor Shao of Song created a new song, which Emperor Taizu referred to as "Zhongchao Song." There are also songs like "Liubian," inspired by contemporary events. For example, "Changshi Bian" was created when Wang Xin, the Left Minister Changshi, was defeated in battle; "Duqu Ge" was written by the people for Prince Yikang of Pengcheng, with lyrics that sing, "Death penalty for General Liu, who mistakenly killed Liu the Fourth." Initially, these songs were simple folk tunes, later accompanied by string instruments. Some songs were created based on the sounds of the instruments, like the lyrics of the "San Diao Ge" from the Wei Dynasty. In ancient times, the emperor ruled while ministers presented poems, which were revised by elder statesmen, and the emperor carefully considered them. By the time of the Qin and Han dynasties, official positions dedicated to collecting poetry had disappeared. At that time, most songs inherited from previous generations did not align with contemporary events and failed to be passed down to future generations. Although Emperor Wu of Han composed many new songs, he did not prioritize honoring ancestors or promoting virtue. Most of these songs celebrated sacrificial rites and auspicious occasions. The style of "Ya Song" from the Shang and Zhou dynasties has been lost to history.
The exact origins of the "Bi Dance" are unclear, but it is believed to have begun at some point. However, it was already performed in the sacrificial activities in the Yan region during the Han Dynasty. Fu Yi and Zhang Heng both wrote poems about it. Cao Zhi mentioned in his "Preface to the Bi Dance": "In Emperor Ling of Han's 'Stories of the Western Garden', there is a record of a man named Li Jian, who was skilled in dancing the 'Bi Dance'. Later, due to war, he followed Duan Wei to the west. The former emperor heard that he used to dance this dance, so he summoned him. However, Li Jian was no longer able at that time, and many of the old tunes had become inaccurate. Music and dance from different eras may not be fully preserved, so I have adapted five new songs based on the old tunes. I wouldn't call them elegant court music, but rather simple local tunes." During the Jin Dynasty, there were also five "Bi Dance Songs" in circulation, and one "Duo Dance Song," one "Fan Dance Song," and six "Drum Dance Melodies," all performed during grand festivals like New Year's Day. The lyrics of the "Fan Dance Song" and "Drum Dance Melodies" are still preserved, but the dance movements have been lost. The "Bi Dance" is now known as the "Bi Fan Dance." It is also said that in the early Jin Dynasty, there were the "Cup and Plate Dance" and the "Gong Mo Dance." Historical records state that the "Cup and Plate Dance" is now the "Qi Shi Ning" dance. Zhang Heng wrote in his "Dance Ode": "Dance among seven plates and leap." Wang Can wrote in his "Seven Explanations": "Seven plates laid out in the wide courtyard." Later literati Yan Yanzhi said: "Passing through the plates and fans." Bao Zhao said: "Seven plates lift long sleeves." All of these references suggest that this dance involves seven plates. In the "In Search of the Supernatural," it is recorded: "During the Taikang period of the Jin Dynasty, the 'Jin Shi Ning Dance' became popular throughout the country, with dancers showing off their skills, catching cups and plates with both hands, and repeatedly flipping them." Therefore, it can be concluded that during the Han Dynasty, there was only plate dancing, and it wasn't until the Jin Dynasty that cups were incorporated, along with flipping movements.
"The Gong Mo Dance" is what we now call scarf dance. According to legend, Xiang Zhuang intended to perform a sword dance to assassinate Emperor Gaozu of Han, but Xiang Bo blocked him with his sleeve, preventing him from harming Emperor Gaozu. He told Xiang Zhuang, "Gong Mo." In ancient times, people referred to each other as "gong," meaning "do not harm the King of Han." The modern performance of scarf dance is probably imitating Xiang Bo's sleeve movements. In the "Qin Cao," there is a piece called "The Gong Mo Crossing River Tune," indicating that this tune has a long history, although its connection to Xiang Bo is likely inaccurate.
Initially, in the Jiangzuo region, there was also a dance called "Fu Dance." It was once believed that "Fu Dance" originated from the Wu region. However, a closer examination of its lyrics reveals they are not in the Wu dialect, but rather consist of words and phrases that would only appear in palace halls. Yang Hong wrote in the preface of "Fu Dance," "Since arriving in Jiangnan, I have seen the 'White Fu Dance,' also known as the 'White Dove Dance.' It is said that this dance has a history of several decades. Upon careful study of its lyrics, it turns out that the common people of the Wu region suffered under Sun Hao's tyranny, longing to align with the Jin dynasty!" Additionally, there is another dance called "White Zhu Dance," which references headscarves and robes; since Zhu silk is produced in the Wu region, it should also be a dance from the Wu region. The "Huai Ge" of the Jin dynasty also states, "Bright white threads, tied in pairs." In the Wu region, "threads" is pronounced as "zhu," so I suspect that "White Zhu" in the "White Zhu Dance" actually refers to "White Threads."
"The Bi Dance" was originally performed by teams of only sixteen people (two rows of eight). When Huan Xuan was about to declare himself emperor, the Taile Bureau dispatched numerous musicians to perform. Yuan Mingzi, a minister from the Ministry of Rites, suggested increasing the number to sixty-four people (eight sets of eight), and this number has remained unchanged ever since. Emperor Ming of Song personally revised the lyrics of the dance and ordered his courtier, Yu He, to collaborate on new lyrics. Additionally, various dances from the Western Regions, the Cang, Qiang, Hu, and other ethnic groups were also present. During the reign of King Sui Wang in Xiangyang, the "Xiangyang Music" was composed; during the reign of King Nanping Mu in Yuzhou, the "Shouyang Music" was composed; and the Governor of Jingzhou, Shen Youzhi, created the "Xiwufei Ge Qu." These music pieces were all included in the repertoire of the music officials. However, most of these lyrics were deemed vulgar and inappropriate.
In the past, people would drink and revel in music at banquets, and when the wine elevated the mood, they would definitely stand up and dance. The "Book of Songs" says "dancing and dancing repeatedly," which means just that. Dancing at banquets was normal, but one couldn't dance non-stop. Criticism was directed at the frequency of dancing, not the act of dancing itself. During a drinking banquet hosted by Emperor Wu of Han, Prince Ding of Changsha also danced in this manner. Since the Wei and Jin dynasties, people have especially valued using dance to express respect. Guests would take turns dancing, just as guests take turns toasting while drinking. Xie An’s use of dance to show respect to Huan Si serves as an example. However, this custom has faded away in recent years.
During the reign of Emperor Xiaowu of the Southern Dynasty, dances like "Bi" and "Fu" were performed in the palace courtyard, accompanied by bells and stone instruments in front of the hall.
In the second year of Shundi's reign, Wang Senqian, the Grand Secretary, submitted a memorial to the Emperor discussing court music and the matter of "San Diao Ge." He said: "I have heard that the music of 'Feng' and 'Ya' has a long history and profound influence. Great music reflects a nation's fortunes, while ordinary music mirrors the social climate. Music can move people's hearts and change social customs. Therefore, when the prime minister of Zheng State goes out to offer sacrifices, he can judge the monarch's mood through the music; when the envoy from Yanling visits the State of Wu, he can learn about Wu's customs by observing their music. It can be seen that music is not created casually, and music is not played casually. Now, in the court music, the performance of 'Ge' has been formalized, the signs of the country's rise and fall have also appeared, the quality of the music has been harmonized, and the Shan Qin will naturally respond. This reflects the harmony between heaven and earth, as well as the laws of rise and fall. Now the Emperor's virtuous rule extends to all directions, and the rites and music have been widely disseminated. As someone of humble background, I hesitate to make any bold claims. However, I want to say that ancient music has been lost to time, and there have been nearly no remnants since the Six Dynasties. Those dances and music have disappeared with the passage of time, and the skilled craftsmen who played this music have also vanished. Whenever I think back to this music, I feel a deep sense of nostalgia, and seeing the remnants of those musical instruments makes me sigh. Alas, it truly is a pity!"
Bells and chimes, these instruments were originally used to perform court music, and the norms for court music and dance were all based on the Eightfold Dance. Therefore, the coordination of feathered pipes and struck instruments is necessary for harmony. The Ji family was criticized for their music not adhering to the proper etiquette, which is the underlying reason. Most of the music performed in the court today follows the style of the ancient Eightfold Dance, but the clothing and melodies differ significantly from those of ancient times. The differences between modern and ancient music are strikingly clear. Moreover, playing the 'ge' alongside bells and chimes is to coordinate with female musicians; referring to it as 'ge' is inappropriate for court music instruments. During the Ming Dynasty, the court used its own bells and chimes to perform "Bi" and "Fu"; although the rhythm of the music may align, it may contravene the standards of court music. In the future, those who understand music may critique the present age.
If the Zhongwu dance is already harmonious and you wish to keep it, then establish a separate 'ge' alongside the bell and stone chimes to be used for performing the Yuyi dance. This should only be performed at informal gatherings, not at court meetings or ceremonial events. Music performed in the four counties must strictly follow the standards of Ya music, in order to inherit the tradition of ancient music and dance and prevent it from being lost. I have already crafted a 'ge' and stone chimes, which are currently held by the music officials and can be used to complement the bell, forming a complete set of instruments, which is both sensible and fitting. Furthermore, the present-day "Qingshang music" actually traces its origins back to the Copper Sparrow Terrace, and was favored by the emperors of the Wei dynasty for three generations. It was elegant and deserves to be remembered. The Jingluo region values it highly, while the Jiangzuo region even reveres it. However, instruments such as the jin and xian ganqis have now been lost. Due to shifts in people's tastes, the music has gradually declined. In just over a decade, half of it has vanished. Recently, every household has taken a liking to new and trendy music, and people prefer popular folk music, only chasing novelty and excitement, without considering musical rhythm and norms. Music has become increasingly chaotic, and it’s uncertain how far it will go, rejecting traditional music in favor of complex and decadent styles. Scholars are ranked and cannot casually disregard etiquette; similarly, music has its hierarchy, and elders and youth cannot appreciate it together. As a result, loud and vulgar music is gaining popularity among the masses, while refined music is reserved for the elite.
The Sichuan earthquake resulted in many casualties, a reminder of the impact of disasters. People should mourn those who have passed while avoiding the blind pursuit of pleasure. The signs of impending disasters are similar, yet people respond with both joy and fear, which is truly hard to understand. Now that the world is peaceful and the borders are secure, there is now space for performances of music like "Ya" and "Song." Now is the time to revitalize our music. I believe that officials in charge of music should be encouraged to diligently study, compile ancient music, engage in exchange and learn from one another, and recover the lost music. Those who play music well should be rewarded generously; those with outstanding skills should be given higher positions. By incentivizing them with rewards, people will be motivated to learn; by fostering a positive atmosphere, they will naturally improve themselves. Only by returning to the source can there be progress." The emperor decreed, "Monk Qian's memorial is well said. The bells and drums are set and ready, and the 'Ya' and 'Song' have been clearly identified. Only in this way can we move people's hearts and stabilize society. Since the disappearance of the Jin and Yue instruments and the decline of the feather dance, it’s time to improve our social environment. Ruan Xian and Wang Du were known for their insight in the past, and they made contributions to the development of music. The memorial can now be forwarded to the appropriate departments for action."
There are a total of eight musical instruments, which are metal, stone, clay, leather, silk, wood, gourd, and bamboo. Let's start with "metal." "Metal" refers to instruments such as bells, kua, chime, brace, nao, and duo. According to ancient books, bells were invented by craftsman Chui during the reign of the Yellow Emperor. Large bells are called yong, as recorded in the "Book of Documents" with the phrase "sheng yong yi jian," meaning using sheng and yong for coordinated performance. Medium-sized bells are called piao, pronounced as piāo, and small ones are called zhan, pronounced as zhàn. The Jin Dynasty in the Jiangzuo region first discovered these small bells. The frame for hanging bells and chimes is called sunju, with horizontal ones called sun and vertical ones called ju. Cai Yong once said, "Carve the shapes of birds and animals on the sunju; the one with a loud and powerful sound is called ju, while the one with a clear and weak sound is called qingxu. By striking the frame that suspends them, you can tell which one is making the sound." Kua is similar to bells but larger. Historical records mention ancient large bells, such as the Wusheng bell of the Zhou Dynasty, which were all called bells; however, there are few mentions of kua in modern times. Yun (yú), shaped like a pestle, with a wider top and a narrower bottom, is still occasionally seen in folk music. The "Book of Rites" records the use of metal yun to accompany drum performances. Zhuo, also known as zheng, is shaped like a small bell and is used to command rhythm during military marches. The "Book of Rites" records the use of metal zhuo to regulate the rhythm of the drums. Nao is similar to a bell but without a clapper, with a handle for striking to produce sound. The "Book of Rites" records the use of metal nao to silence the drums. The Han Dynasty's "Drum Music" includes pieces featuring nao. Duo is a large bell. The "Book of Rites" records the use of metal duo to accompany drum performances. Next, we have "stone." "Stone" refers specifically to chimes. The "Shiben" states that they were invented by a figure named Shu, but it is unclear which era this "Shu" belonged to. The "Erya" states, "Shaped like a plow handle, made of jade or stone." Large chimes are called xiao, pronounced as xiāo.
Finally, there is the character for "Earth." The "Shiben" states that it was invented by Bao Xin Gong, but his dynasty remains unknown. In the capital of the Zhou Dynasty, there was a country named Bao. Could he have been from that time? The xun is made of fired clay, about the size of a pebble, with a pointed top, a flat bottom, and a shape resembling a balance scale, featuring six holes. According to "Erya," the larger ones are referred to as "qi" (pronounced "jiào"), and the smaller ones are described as "resembling chicken eggs."
One ancient musical instrument is referred to as "Ge," which encompasses three types of instruments: drums, "mang" (a small drum), and "jie" (a percussion instrument). The larger ones are called drums, and the smaller ones are called "ying" (pronounced "yíng"). According to "Fengsutong," the inventor of the drum is now unknown. The drum is struck with a drumstick, while the "mang" is played with the hands. Drums and "mangs" are categorized by the number of faces: eight-faced ones are called "leigu" or "leitao," six-faced ones are called "linggu" or "lingtao," and four-faced ones are called "lugu" or "luta." "Zhou Li" records that "leigu" is used to worship the heavenly gods, "linggu" is used to worship the earth gods, and "lugu" is used to worship the ghost gods.
An eight-foot-long drum is called a "fenggu" (pronounced "yáo") drum, used for military purposes; one that is twelve feet long is called a "gujiu" (the character "jiu" here should be "tao," pronounced "yóu") drum, used for guarding and labor. Today, it is referred to as "xiao" (pronounced "yáo"). "Zhou Li" is recorded as "qi," but nowadays it is read as "qiè chǐ fǎn." A drum that is six feet six inches long is called a "jin gu," used for playing golden tunes. The "ying" drum is placed next to the big drum, as mentioned in the "Book of Songs." A small drum with a handle is known as a "pu" (pronounced "pū"), and the larger one is called a "bi" (pronounced "bì"). According to "Yueling," it says, "In midsummer, repair the 'pu' and 'bi'," suggesting that "pu" and "bi" are also types of "mangs." Another type of drum is the "tuogu," made of turtle skin.
The inventor of the Jie instrument remains unverified. Fu Xuan wrote in "Jie Fu": "Huang Zhong sings; 'Nine Songs' dance. Without the Jie, there is no song; without the Jie, there is no rhythm." It can be seen that the history of this instrument is quite long.
Next, let’s discuss the category of 'silk' instruments, including qin, se, zhu, zheng, pipa, and konghou. According to Ma Rong's "Di Fu," the qin was invented by Fu Xi; "Shiben" also states it was invented by Shen Nong. "Erya" mentions that a large qin is called "li," with twenty strings; however, this type of qin is no longer in existence. The qin of Qi Huan Gong is referred to as "haozhong," Chu Zhuang Wang's qin is called "raoliang," Sima Xiangru's qin is called "jiaowei," and Cai Yong's qin is called "luqi." These records are all from Fu Xuan's "Qin Fu." It is said that the jiaowei qin belongs to Cai Yong, and this is also written in Cai Yong's biography, but according to Fu Xuan, the jiaowei qin does not belong to Cai Yong.
According to Ma Rong's "Di Fu," the se was invented by Shen Nong; "Shiben" also states it was invented by Fu Xi. "Erya" notes that a se with twenty-seven strings is called "sa," but this type of se no longer exists. The origins of the zhu's invention remain unclear, and historical records only mention that Gao Jianli was skilled at playing the zhu.
The zheng, you see, is an instrument from the Qin dynasty. Fu Xuan said in the preface to "Zheng Fu": "People generally believe it was invented by Meng Tian. But just look at its design: so precise, so melodious—clearly, only a person of great wisdom could have created such an instrument. How could it possibly come from a minister of a fallen state?" However, "Fengsuting" states: "The zheng evolved from zhu (a type of instrument), just changing the strings." The true origin of this transformation remains uncertain.
The pipa, as Fu Xuan said in "Pipa Fu": "During the Han Dynasty, the Wusun princess was married off to the kingdom of Kunmi. The princess missed her hometown, so craftsmen made an instrument based on the styles of the Zheng and Zhu, which could be played while riding a horse. To help it spread abroad, it was named pipa." "Customs and Traditions" states: "It is a hand-played instrument, so it is called pipa." Du Zhi also mentioned: "The pipa was used as accompaniment during the construction of the Great Wall." Which statement is true is now unclear. Anyway, the pipa, it seems, had no place in the court music of earlier times.
Konghou, originally called Kanhou. When Emperor Wu of the Han Dynasty destroyed the Southern Yue country and made sacrifices to Taichi and Hou Tu, he had the musician Hou Hui imitate the shape of the Qin to create the Kanhou, claiming its sound was clear and resonant, almost like it was responding to the rhythm. "Hou" is because the musician's surname is Hou. Later, "Kan" came to be pronounced as "Kong," which was a misreading. Originally, Konghou was mainly used in court music, but it later became primarily associated with the music of the Chu region. During the reign of Emperor Xiaowu of the Song Dynasty, Shen Huaiyuan from Wuxing was exiled to Guangzhou, where he made an instrument called Raoliang, which was very similar to Konghou. Unfortunately, Shen Huaiyuan died later, and the Raoliang instrument was lost.
The "six" in the eight sounds refers specifically to wooden instruments. Wooden instruments refer to Zhu and You. The inventors of these two instruments remain unknown. The "Le Ji" states: "The sage created Kong, Jie, Xun, and Chi these instruments." The origins of these instruments date back even further. Zhu resembles a lacquered tube, 2 feet 4 inches wide and 1 foot 8 inches deep, with a handle at the bottom. Striking the bottom handle produces sound, while being played alongside You. You is shaped like a crouching tiger, with 27 small teeth on its back. Using a one-foot-long bamboo strip known as "Zhi," it is stroked horizontally to signal the end of the musical piece.
It is said that the seventh instrument in the eight sounds is 'páo' (匏). '匏' refers to the sheng and yu. As for the sheng, it's hard to say when it was invented. It is made by inserting many bamboo pipes into a gourd, with reeds attached to the pipes. The middle pipe is the Gong pitch; if it has thirty-six reeds, it is called the yu. The Gong pitch is on the left, and with nineteen to thirteen reeds, it is called the sheng. Other sheng and yu are similar. The yu has since been lost. "The large sheng is called Chao, and the small one is called He." Legend has it that the reeds in the sheng were crafted by the goddess Nuwa! The Book of Songs says: "Playing the sheng produces a sound akin to drumming," referring to the reeds in the sheng. The Erya also records: "A sheng with nineteen reeds is called Chao." During the time of Emperor Zhang of Han, the scholar Xi Jing from Lingling obtained a sheng in the shrine of Emperor Shun, with pipes made of white jade. Later, people started using bamboo pipes.
Next is the eighth instrument in the eight sounds—bamboo. Bamboo instruments include lu, lv, xiao, guan, chi, yue, and di. Records of lu and lv can be found in the "Records of Music and Calendars." Xiao, as mentioned in the "Shiben," was invented by Emperor Shun. The Erya says: "Twenty-three pipes are called yan, fourteen inches long; sixteen pipes, twelve inches long, are called jiao." Jiao is the same as yao. All xiao instruments are referred to as lai. There used to be a type of dongxiao, which is now lost. Cai Yong noted that "Xiao is made of bamboo and has a base." It can be seen that during Cai Yong's time, there were no dongxiao.
As for guan instruments, the Erya says: "One foot long, one inch in circumference, painted with lacquer, with a base." The large one is called jiao, pronounced jiao; the medium one is called zhuo; the small one is called mao, pronounced mao. In ancient times, the pipes were made of jade, and the white jade pipes presented by the Queen Mother of the West during the time of Emperor Shun are an example. The "Monthly Ordinance" also mentions "equalizing qin, se, guan, and xiao." Cai Yong's annotations say: "Guan, with a length of one foot, a circumference of one inch, featuring holes and no base." This type of pipe has also been lost.
Chi, as noted in "Shiben," was invented by Baoxingong. The old texts also state that Chi is a type of pipe. Historians believe this assertion is incorrect. Although it is not known which dynasty Baoxingong belonged to, he definitely did not exist before Emperor Shun. The pipes offered by the Queen Mother of the West during Emperor Shun's era indicate that pipes already existed at that time, so how could Baoxingong have invented Chi? "Erya" states: "Chi, the large one is fourteen inches long, three inches in circumference, and is called Yi." Yi is pronounced as Yin, also known as Qiao. The smaller one measures twelve inches in length. Today, there is the Hu Chi, an instrument brought from the Hu region, which is not regarded as part of elegant music.
This instrument is called Yue, and it remains unclear who invented it. "Zhou Li" records officials specifically tasked with teaching the Guozi to play the Yue, known as Yue Shi, teaching them to play in autumn and winter. In the "Kai Rong Dance" and "Xuan Lie Dance" that we see now, the feathered pipes held by the dancers are indeed the Yue. As noted in the "Book of Songs," the phrase "holding the Yue in the left hand and the Zhai in the right hand" refers to this. "Erya" describes the Yue as resembling a flute, but with only three holes, and being short and small. Conversely, "Guangya" states it has seven holes. The large one is called "Chan," the medium one is called "Zhong," and the small one is called "Bì," pronounced the same as "wo."
Regarding the flute, Ma Rong's "Ode to the Flute" indicates that this instrument only emerged in recent years, brought over from the Qiang ethnic group, and Jing Fang even matched it with the five tones. Some sources suggest that Qiu Zhong was also adept at making flutes, though it does not specify that he invented them. "Fengsutong" claims that Qiu Zhong invented the flute, and he lived during the time of Emperor Han Wu. Later, the Qiang flute also appeared. These three claims differ, making it challenging to ascertain which one is true.
As for the xiao (a traditional Chinese bamboo flute), in "Jia Fu," Du Zhi wrote: "Invented by Li Boyang in the Western Rong region." Han Dynasty annotations refer to the xiao as chuibian. The annotations in "Jin Shu · Xian Can Ji" state that when the carriage stops, a smaller xiao is played, and when it sets off, a larger xiao is played. The xiao is actually a type of gu. There is also the Hu Jia (a type of wind instrument), which is recorded in the "Zheng Di Lu" before the Han Dynasty, but it does not say where it came from. Speaking of this gu-chui music, it is actually a piece performed by the combination of the xiao and the nao. Cai Yong noted that this military music was invented by the Yellow Emperor and Qi Bo to promote virtues, build achievements, boost morale, and intimidate enemies. "Zhou Li" also states: "After the army wins a battle, music should be played to celebrate." "Zuo Zhuan" records that after Duke Wen of Jin defeated the State of Chu, "he organized the troops, returned in triumph with joy and excitement." "Sima Fa" also says: "After achieving victory, music should be played to celebrate." When the scholar Yongmen Zhou persuaded Meng Changjun, he also mentioned "playing music in the deep and unfathomable abyss." Some scholars suggest that the term gu-chui refers to a category of musical instruments, with gu referring to one type of instrument and chui referring to yu and lai instruments, not just a simple combination of xiao and nao. Thus, at that time, the pairing of the xiao and nao had not yet been referred to as gu-chui.
In the "Lu Bu Tu" written by Ying Shao in the Han Dynasty, only cavalry holding horns were depicted, without mentioning the drummers, but there were indeed drummers in the Han Dynasty. At banquets in the Han Dynasty, there were thirteen pieces of music performed, similar to the music of the trumpet and flute from the Wei Dynasty. Long and short flutes, as written in the "Ji Lu," are an ensemble of string and bamboo instruments, with the leader, known as "ge." The "Jian Chu Lu" also mentions that "Wu Cheng," "Huang Jue," "Xuan Yun," "Yuan Qi," and others are music played by cavalry, not drumming music. Therefore, music performed in the palace is called "drumming," while music played during military expeditions is called cavalry music; these two types of music are distinct. Sun Quan went to see Cao Cao's army, and upon his return, he also played drumming music, which should be what we now call drumming music.
In the Wei and Jin periods, generals and military officers in the barracks were equipped with drumming bands, and at this time the term "drumming" was officially adopted. The drumming bands assigned to generals during the Wei and Jin periods were relatively small in size, with military officers and the supervisors of the five camps each having their own drumming band. In the early Eastern Jin Dynasty, when Xie Cheng, the Prefect of Linchuan, was asleep, he often dreamed of hearing the sound of drumming. Someone told him in a divination that "You will not enjoy the glory of drumming while alive, but only after death." As a result, Xie Cheng died in battle against Du Tao and was posthumously appointed as the Chief Water Officer, enjoying the treatment of drumming after death. When Xie Shang was the Prefect of Jiangxia, he went to Wuchang to meet with the General of Anxi, Yu Yi, to discuss various matters. Yu Yi compared archery skills with Xie Shang, saying, "If you hit the bullseye, I will reward you with a drumming band." Xie Shang hit the bullseye, so Yu Yi provided him with a drumming band. Nowadays, the status of drumming bands has risen significantly!
Speaking of this musical instrument, it is not recorded in official historical accounts. Some say it originated from the Qiang and Hu regions, specifically intended to frighten the horses of the Central Plains; others say it originated from the area of Wu and Yue. Old texts mentioned: "In ancient musical instruments, there were Lai and Fu." These instruments are no longer found. Historians note here: The Erya states that Lai is actually a type of Xiao. The Book of Songs states: "Strike the Fu." The Mao commentary explains: "A tile pot is called Fu."
Now, let's discuss the sound of pounding earth during city construction, initiated by Prince Xiaowang of Liang. Prince Xiaowang built Suiyang City, which had a perimeter of twelve li, and he gathered a group of people to sing and boost morale, using small drums to keep the beat. The workers pounding the earth followed the rhythm of the drumming. This kind of sound later became known as the "Suiyang Song," which has been passed down to this day.
During the Wei and Jin dynasties, several musical experts emerged, such as Sun Shi who excelled at performing ancient music, Song Shi who was skilled at keeping the beat and harmonizing with the music, Chen Zuo who had a clear singing voice, Lie He who was skilled at playing the flute, Hao Suo who was adept at playing the zither, and Zhu Sheng who was skilled at playing the pipa, and they created many new musical pieces. The renowned writer Fu Xuan noted in his work: "If one only values what they hear while neglecting what they see, wouldn't that be rather foolish? If these six individuals lived in ancient times, they would indeed be remarkable figures, not just comparable to Kui and Ya!" Therefore, the music of later generations has been inherited from Sun Shi, Zhu Sheng, and others.
