From the very beginning, a person's temperament and physical form are established. Sages drew upon various elements of nature to create different musical instruments. Instruments like bamboo pipes, reed pipes, and the ancient instrument known as yuè (龠) have a long history. Fuxi invented the qin, Shennong created the se, and other instruments such as bells and chimes were all created by Nüwa based on her inspiration. The applications of these instruments have grown increasingly diverse.
During the time of the Yellow Emperor, instruments such as the ruan, yu, and guan were developed, and the "Xiao Yi" musical scale was established, resulting in beautiful compositions such as "Xianchi." Later, there were pieces such as "Liujing," "Wuying," "Dazhang," "Shao," "Xia," "Huo," "Wu," and so on. These served as instruments for sages to educate the populace and transform societal customs. Thus, the "Y" hexagram in the "I Ching" explains the principle of upholding virtue. The "Shangshu" also notes: "Poetry expresses a person's aspirations, songs recite a person's words, with melodious, lingering sounds, harmonious tones, and a coordinated eight-note scale, one can achieve harmony between people and deities."
The "Rites of Zhou" records that using the round bell for the gong sound, the yellow bell as the horn sound, the taizuo as the zhi sound, and the guxi as the feather sound, alongside thunder drums and clappers, bamboo pipes, the yunhe qin se, and the dance of "Yunmen," playing six variations can summon celestial deities to descend. Using the han bell for the gong sound, the taizuo as the horn sound, the guxi as the zhi sound, and the nanlv as the feather sound, along with spiritual drums and rhythm sticks, sun bamboo pipes, the kong sang qin se, and the dance of "Xianchi," playing eight variations can summon earth deities to come and pay homage. Using the yellow bell for the gong sound, the da lv as the horn sound, the taizuo as the zhi sound, and the ying bell as the feather sound, in conjunction with road drums and clappers, yin bamboo pipes, the longmen qin se, and the song of "Jiude," and the dance of "Jiu Zhao," playing nine variations can summon harmony between humans and spirits. This illustrates how music can harmonize the three realms of heaven, earth, and humanity, fostering peace throughout the world.
In conclusion, in music, the Gong tone symbolizes the monarch, the Shang note represents the officials, the Jue note represents the common people, the Zhi note represents events, and the Yu note represents all things. When these five tones are harmonious and orderly, there will be no disorderly sounds. If the Gong note is chaotic, it will lead to chaos in the country and the monarch's arrogance; if the Shang note is chaotic, it will lead to corruption in the government; if the Jue note is chaotic, it will lead to complaints from the people; if the Zhi note is chaotic, it will lead to an abundance of events; if the Yu note is chaotic, it will lead to poverty in the country. Evil sounds can affect people's hearts, leading to the emergence of malevolent influences and resulting in unrestrained indulgence; while positive sounds can affect people's hearts, leading to the cultivation of virtue and resulting in harmonious joy. The ancient sage-kings detested disordered music, so they established refined music and ritual music to guide people towards goodness. This music can make people feel happy without becoming immersed in it; it can make people think without becoming bored; the rhythm, tones, and fluctuations in music can touch people's kind hearts, preventing evil thoughts and malevolent influences from invading. Performing this music in ancestral temples, where rulers and subjects listen together, fosters a sense of harmony and reverence; performing it in villages, where elders and children listen together, fosters a sense of harmony and obedience; performing it in families, where fathers, sons, and brothers listen together, fosters a sense of harmony and intimacy. In addition, there is also music specifically crafted to entertain diverse ethnic communities. This encapsulates the fundamental purpose behind the establishment of music in ancient times.
It is said that, starting from the decline of the Xia, Shang, and Zhou dynasties, the sounds of corruption began to surface, and various decadent sounds started to gain popularity. During the decline of the Zhou dynasty, the feudal lords fought each other, and hypocritical and ostentatious elements began to appear. Immorality and wickedness became increasingly rampant; everyone vied to indulge in improper pursuits, lost sight of the right path, sought after lavish musical instruments, and held the ritual music system in contempt. Some felt discomfort upon hearing those corrupt sounds, while others felt nothing. Duke Ping of Jin reportedly died after hearing the music of the Qing Jiao, and Marquis Wen of Wei dozed off while listening to ancient, refined music. The music from the states of Zheng, Song, Qi, and Wei turned vulgar and indecent, and the orthodox music tradition declined.
As you can see, orthodox music can influence people's hearts, change with the times, and the music that governs a nation is harmonious and auspicious, while the music of a fallen nation is mournful and melancholic. The rise and fall of music reflects the changing times. Ji Zi of Yanling was well-versed in the music of various states and understood the rise and fall of each country, demonstrating his profound insights and extensive knowledge. Later, music completely deteriorated; the Qin dynasty obliterated scholarly pursuits, caused the loss of classical texts, and severed ties with righteousness, leaving no one to carry on the legacy of true music. People began to prioritize secular music, favored melodious music, and the elegant and ancient musical instruments were on the verge of disappearing.
After the establishment of the Han Dynasty, the musicians only recognized the loudness of the instruments and the beauty of the dance moves, but they did not understand the meaning of music. In the sacrificial ceremonies at court, they used newly composed music mixed with songs from the regions of Zhao, Dai, Qin, and Chu. Therefore, Wang Yu and Song Ye submitted memorials to counsel against this, and Bing Qiang and Jing Wu were also quite famous at that time. Many Confucian scholars lamented this. By the Eastern Han period, Wang Cang of Dongping also reformed music and introduced some new elements, but it largely adhered to previous traditions. After the Yellow Turban Rebellion and Dong Zhuo's chaos, the world fell into chaos, and many musical pieces were lost. Emperor Wu of Wei summoned Du Kui to authenticate ancient music, but Chai Yu and Zuo Yanni ultimately gained the emperor's favor with new tunes.
During the Jin Dynasty, Xun Xu oversaw music. He and his colleagues, Guo Xia and Song Shi, compiled ancient music, claiming to restore it, but Ruan Xian challenged their efforts. The Jin Dynasty was short-lived before its downfall, a decline reflected in the state of music. Genuine music should resonate with the harmony of heaven and earth. Without profound insights and exquisite skills, how can one comprehend the mysteries of music? Since the Han Dynasty, the names of dances and songs have evolved over generations, and the styles of clothing have likewise changed, indicating that the transmission of music and dance is not static.
After the Yongjia period, the entire nation was in turmoil, and the performers' instruments were confiscated by Liu Cong and Shi Le. Later, Murong Jun vanquished Ran Min and reclaimed those instruments. Wang Meng conquered Ye City and transported the instruments to the Guanzhong region. After Fu Jian's defeat, Chang'an City was in chaos, and as Murong Yong fled east, many ceremonial musical instruments were entrusted to his eldest son. After Murong Chui triumphed over Murong Yong, all those instruments were transferred to the State of Zhongshan.
Starting from our ancestors' generation, we have fostered good relations with the Wei and Jin dynasties, and both generations received musical instruments from them. The Mu Emperor sent some instruments during the reign of the then king, and the Min Emperor also sent some instruments. Although some gold and stone instruments were incomplete, there is a wide variety of string and wind instruments. When our founding ancestor unified the State of Zhongshan, we also received their musical instruments. At that time, having just quelled the rebellion, there was no time to create new instruments, so we used the existing ones first. Over several generations of warfare and turmoil, many instruments were lost.
In the first winter of Tianxing, the emperor ordered the Minister of Personnel, Deng Yuan, to establish a system of musical pitch and tuning and coordinate music. At the same time, several emperors were posthumously honored during the sacrifices, and the Eighty Dance was performed during the sacrifices, with the "Emperor's Beginning" music and dance being performed. The "Emperor's Beginning Dance" was created by the founding emperor to highlight the achievements of the founding ancestor. Later, the ritual for ancestral sacrifices was re-established.
When the emperor entered the temple gate, the "Wang Xia" music was performed, and the Taizhu greeted the spirits at the temple gate, performing the welcoming music, similar to the ancient ceremony of descending the spirits; then the "Deng Ge" was performed on the Qian Dou, similar to the ancient Qing Miao music; after the music ended, the "Shen Zuo" was performed to praise the blessings of the spirits; when the emperor paid his respects at the seven temples, the "Bi Bu" was played as the rhythm of walking; when the emperor left, the "Zong Zhang" was performed, followed by the "Eighty Dance," concluding with the farewell music. In addition, the traditional ritual dictated that during the Autumn Sacrifice to Heaven in the Western Suburbs, on the western side of the altar within the Zhaonei, golden and stone musical instruments were placed, and when the emperor entered the Zhaonei to pay his respects, the "Eighty Dance" had to be performed; during the Summer Sacrifice in the East Temple, the instruments used were comparable to those in the Western Suburb sacrifice. During the Winter Solstice in the Southern Suburbs, the Round Altar was used for the Heaven Sacrifice, the "Emperor Yi" music was performed, the "Yun He" dance was performed, followed by the "Wei Huang" music, then the burning sacrifice; during the Summer Solstice in the Northern Suburbs, the Fangze was used for the Earth Sacrifice, the "Tian Zuo" music was performed, and the "Da Wu" dance was performed.
On the first day of the first lunar month, the emperor hosted a banquet for his officials, where he announced policies and teachings, displayed the ceremonial musical instruments in the palace, and performed music from various regions such as Yan, Zhao, Qin, and Wu, as well as music from different ethnic groups. These musical pieces were also performed during seasonal banquets. All of these musical pieces were related to their origins, and the ritual ceremonies always honored their roots. The palace maidens performed the "Song of the True Man," which narrates the history from the founding of the dynasty to the rise and fall of its rulers and ministers, totaling one hundred and fifty chapters, to be sung every morning and evening, sometimes accompanied by silk and bamboo instruments. This song was also sung during temple banquets.
In the sixth year of winter, the emperor ordered the imperial music, the Grand Chapter, and trumpet bands to add and improve acrobatic performances, creating various props such as the Five Soldiers, Antler Warriors, Qilin, Phoenix, Immortals, Long Snake, White Elephant, White Tiger, as well as various monsters, sea creatures, warding off evil talismans, deer-drawn celestial carriages, ropes that were over a hundred feet long, long bridges, climbing wooden stakes, jumping balls, and other items for various acrobatic performances. These performances would take place in the courtyard during large banquets, in accordance with the customs of the Han and Jin dynasties. After Emperor Taizong ascended the throne, many more performances were added, large music pieces were created, and the rhythm of the bells and drums was improved.
It is said that after Emperor Taiwu of Northern Wei defeated Helian Chang, he captured numerous ancient musical instruments and scores of court music. Later, after pacifying Liangzhou, he brought musicians, costumes, and instruments from Liangzhou and made a deliberate effort to preserve these items. Later, through trade with the Western Regions, he introduced the drum dances from the Yuezhi kingdom, which were placed in the imperial music bureau.
Emperors Gaozong and Xianzu did not make many changes to these musical traditions. Later emperors were preoccupied with wars and governance, so they did not pay much attention to music, resulting in the gradual loss of ancient musical traditions and performance methods. The older generations of musicians had passed away, resulting in the disappearance of many musical pieces.
In the early years of the Taihe era, Emperor Xiaowen of Wei, Tuoba Hong, began to take ancient music seriously, determined to restore orthodox music. At that time, the music official submitted a proposal stating that there were many deficiencies in the regulations concerning music, requesting court officials to come together to discuss and solve this problem, and to find people who understand ancient music among the common people to repair musical instruments and organize music, making it conform to the Eight Sounds' rules. The emperor approved this request. Although everyone discussed together, there were very few people who truly understood music theory at that time, and the music department had yet to be established, so the matter remained unresolved. However, the court orchestra at that time added some musical instruments and songs and dances from the four corners, and decorations like gold, stone, feathers, and banners became even more splendid than before.
Five years later, Empress Dowager Wenzhao and Emperor Xiaowen composed some songs and poems together to educate the court officials and the public, and these songs and poems were performed by the orchestra.
In the autumn of the seventh year, the Director of the Palace Library, Gao Yun, presented lyrics to the Music Office, praising the auspiciousness of the prosperity of the country and the merits of the ancestors, along with some timely folk songs. These folk songs didn't stick to the old styles but took into account the characteristics of both elegant music and popular tunes.
In the spring of the eleventh year, Empress Dowager Wenzhao ordered, "The music created by previous kings was meant to shape customs, and not just any unorthodox music should be played casually in the palace. The new and old musical pieces should be collected, carefully studied for music theory, discard those less refined new songs, and add more harmonious pieces featuring bells and chimes."
In the winter of the fifteenth year of his reign, Emperor Xiaowen issued an edict saying: "Music can move the heavens and the earth, the spirits of the dead, and harmonize yin and yang, connecting humans with the divine. Therefore, music can spread virtue and influence all directions. From this, it is evident that the role of music in governing the country is very significant. However, now, traditional music has fallen into decline, and many people prefer to listen to those frivolous tunes, leading to incomplete musical pieces and musicians losing their skills. Now we must reform the current state of affairs, restore the ancient rites and music traditions, and ensure that elegant music and hymns receive the attention they deserve. We will now establish music officials, who must take their roles seriously and avoid the casual performances of the past." Thus, he restructured the music officials' organization.
In the spring of the sixteenth year of the reign, the emperor issued another decree, saying, "The principles of ritual and music have been of great importance since ancient times, so enlightened rulers composed music to soothe the hearts of their people and established rituals to regulate behavior. The role of music is far-reaching; it can bridge the gap between humanity and the divine and change customs. Look, after the nine performances of 'Xiao Shao', the phoenixes all came to worship; when stones were struck, all the animals followed and danced. By the end of the Zhou dynasty, the principles of ritual and music fell into decline, so Confucius was so captivated by 'Shao Music' that he forgot to eat and was determined to restore the ritual and music of the State of Lu. By the time of the Han and Wei dynasties, musical compositions were again lost; although some melodies were collected, they were roughly compiled into some music scores. After the Wei dynasty was established, Emperor Taizu respected the ancient system of ritual and music, and the old regulations were not abolished. However, there were continuous wars at that time, and cultural education was not prosperous, so the music performed by the Taiyue Bureau lacked the solemnity and elegance of ancient court music, and some irregular and complicated pieces were played. Later, the Taiyue Bureau requested to discuss music matters together with the Ministry of Personnel. When I read their request, I felt ashamed and touched. But I was deeply saddened in my heart and really didn't want to abolish this institution. However, the matters of ritual and music are crucial, as they form the foundation for educating the populace, and it cannot be done without knowledgeable talents. Gao Lu, the supervisor of the Ministry of Personnel, is knowledgeable, ambitious, and broad-minded. He often presents music classics to me, and he also understands musical rhythms well. He can meticulously examine both ancient and modern musical principles with the Taiyue Bureau to improve music classics. If there are competent officials inside and outside, they can also participate in the discussions together."
Gao Lu dedicated many years to research and verification and had basically completed it, but later, due to the relocation to Luoyang, the work could not be fully completed or implemented. Not long after, the founding emperor died, and shortly after, Gao Lu also passed away.
Initially, court musician Lu Yin collaborated with Grand Secretary Gongsun Chong to study music laws. During the Jingming period, Gongsun Chong presented music matters to the court.
In the autumn of the first year of the Zhengshi period, the emperor issued a decree saying: "Gongsun Chong, the Grand Music Minister, is to readjust the metal and stone musical instruments and adjust the musical scales. The two volumes of writings and memorials he has submitted are to be submitted to the Ministry of Rites. The system of rites and music is a matter of great importance to the state, and it can be handled according to his requests. Officials ranked below eight and scholars ranked above four are to gather at the Grand Music Office by the end of this month to discuss and research together, broadly adopting perspectives from both ancient and modern times to create regulations suitable for our time."
In October, Minister Li Chong submitted a report: "Previously, we were ordered to have Gongsun Chong, who concurrently serves as the Grand Music Minister, readjust the metal and stone musical instruments and submit his books and memorials for external review. According to the imperial decree, we have complied with this order. At the beginning of August, we gathered at the Grand Music Office for discussions. However, the concept of the Six Arts is deeply complex, and the intricacies of pentatonic scales are extensive. Only someone with the extensive knowledge of Confucius could set aside personal tastes to critique; only someone as discerning as Wu Qi could engage in debate. Since then, no one has been able to elucidate these matters in detail. We are only just beginning and cannot fully comprehend many issues; although we have discussed some aspects, we have not thoroughly clarified them. We are contemplating how to eliminate indecency in music and leave a model for future generations; how can we simply attempt this once and then document it? We request to reconvene the officials and knowledgeable scholars who previously gathered for another meeting to examine the merits and demerits, delve deeply into musical scales, and weigh the importance of various aspects. If possible, we will report back to the emperor." The emperor approved this. At that time, the musical laws had not yet been definitively established.
In the spring of the year 444 AD, Gongsun Chong presented another memorial, saying: "Your Majesty, you have inherited the foundation of the Wei state, like a dragon soaring as a phoenix dancing, favored by heaven, with a peaceful and prosperous nation. Emperor Taiwu, Tuoba Tao, expanded territories and pacified the four corners, but there are still some unstable factors in the world, with border conflicts occurring from time to time, and the system of rites and music is still not fully developed. Emperor Xiaowen, Tuoba Hong, inherited the benevolence of his predecessor and governed the country in accordance with the way of heaven. He placed great importance on music as a means to cultivate emotions. Therefore, he appointed the learned and talented Zhongshu Jian, Gao Lu, to organize ancient music. Gao Lu extensively collected materials, studied ancient texts, referenced historical documents, and integrated the theories of yin, yang, and the five elements to establish musical scales. He created instruments such as bells, chimes, and orchestral instruments, and initially completed the tones of the eight sounds, but because he was later reassigned to another location, the work could not be completed, and the balance of the musical scales was never finalized. Since then, many musical instruments have been damaged, and the metal and stone instruments have fallen into disrepair, making it impossible to determine the tones of Gong, Shang, Jiao, Zhi, and Yu.
Your Majesty, you are wise and mighty, inheriting the great achievements of the late emperor. In light of the discord in the metal and stone instruments, I hereby instruct my subordinates to carry out repairs. I have gathered materials like millet and barley for making instruments, and selected bamboo from Liang Mountain to create tuning pipes, reestablishing the musical scales, and producing chimes and bells according to the musical scales. However, the discrepancies in balance have persisted for a long time. Recently, fortunately, Wang Xian from Bingzhou presented a set of ancient bronze weights. We assessed it according to ancient standards and current systems and found that this set of bronze weights closely matches the musical scale standards, as if newly created, and completely consistent with the standards of ancient instruments. The Yuefu originally had more than sixty pieces of music, including titles like "Wangxia," "Sixxia," "Dengge," and "Luming," as well as dance music such as "Huangshi," "Wuxing," and "Shaowu." After Emperor Taizu, Tuoba Gui, established the Wei state, he set up the "Huangshi" dance, along with dances from the Wu, Dongyi, and Xirong ethnic groups, which includes seven types of dances in the Yuefu. During the Taihe period, the sacrificial ceremonies at the ancestral temple featured only three dances: "Wenshi," "Wuxing," and "Huangshi."
I believe that the songs and dances of King Wen and King Wu of the Zhou Dynasty were distinct; the temple music and rituals of the emperors of the Han Dynasty also varied. The four founding emperors and three esteemed ancestors of our Wei Dynasty have achievements that far surpass those of the Zhou and Han Dynasties. Therefore, the temple music and hymns should have their own unique style, featuring both civil and martial dances to showcase their accomplishments. Only those with high virtue and extensive knowledge can discern their quality. General Wei Jun, the Right Minister of the Ministry of Personnel, Gao Zhao, is of noble virtue and possesses great discernment, making him ideally suited for this task. He should be put in charge of this work to craft a beautiful chapter in the royal regulations. Xun Xu, the Chancellor of the Central Secretariat during the Jin Dynasty, was also a renowned sage, appointed by the court to establish musical laws, inheriting and promoting the ancient rites and music system. His deeds are recorded in history; isn't this a great example? Moreover, the late emperor also ordered all Confucian scholars, both within and outside the court, to follow Gao Lu's arrangements. What we need to do now is follow the established standards.
Emperor Shizong knew that Gao Zhao did not have this capability, so he issued a decree saying: "Once a king has achieved success and renown, establishing the rites and music system is to educate the people, connect heaven, earth, and humanity, govern all things, honor yin and yang, and celebrate our ancestors. This is the fundamental strategy for governing the nation and should be taken seriously. I command Minister Liu Fang of the Ministry of Rites to also participate in this matter."
In the autumn of the second year of Yongping, Minister Gao Zhao and Minister Qinghe Wang Yi submitted a memorial saying: "After investigating the eight musical instruments and the pentatonic scale created by Duke Gong Sun Chong of Tai Le, along with the five degrees and five measures, the Minister of Rites Liu Fang and the Confucian scholars in the court all used the classics to verify, and found that the measurements differed completely from those in the 'Zhou Li'. When asked why, they insisted that it must strictly adhere to the scriptures, but the resulting sound was quite discordant, and they made unauthorized changes without any basis. We believe that music is a major event used by the royal family to demonstrate a peaceful and prosperous era, to praise the ancestors' achievements, and to pass on to future generations. It is a system that cannot be changed at will, and must strictly follow the regulations set by the sages, carefully referencing the classics. Moreover, since the Han, Wei, and Jin dynasties, scholars of the past have never reported that strict adherence to the scriptures in making musical instruments led to sound errors. After careful deliberation, we request Liu Fang to remake the instruments in accordance with the 'Zhou Li'. After the matter is completed, we will discuss together and adopt good suggestions." The Emperor decreed: "Approved."
Liu Fang submitted a memorial to the Minister of Works, saying: "Adjusting the musical instruments is not my expertise, and this is a significant national matter that cannot be decided lightly by just a few individuals. Now I would like to request to convene the talented individuals in the court again, to collectively discern right from wrong based clearly on the classics, and ask for the Emperor's ruling before proceeding with the production." Gao Zhao, Minister Xing Luan, and others submitted another memorial concurring, and the Emperor decreed: "Approved." So Liu Fang began to oversee the production of the musical instruments. At that time, seven individuals including Zhang Yangzi from Yangzhou, Er Fengming from Yiyang, Chen Xiaosun, Dai Dangqian, Wu Dian, Chen Wenxian, and Chen Cheng, who were knowledgeable about court music and dance, were invited by Liu Fang to guide and assess the accuracy of the music and dance performances, including the 'Ba Yi' dance, civil and martial dances, bell chimes, orchestral music, and vocal performances.
In the winter of the third year of the Yongping era, Fang submitted a memorial: "Looking at ancient emperors, none of them established the names of dances and various musical pieces based on their achievements and virtues. Now I wish to take part in naming these two dances, literary and martial dances, to be used during sacrificial ceremonies at suburban temples. From my observations, since the Han and Wei dynasties, the music played has lacked coherence. Now there is a need for new music to be created to celebrate the virtues and grandeur of the royal family." The emperor issued an edict summoning Fang, along with Cui Guang, Guo Zuo, Huang Mengyou Zhao, Sun Huiwei, and others, to discuss the naming of the dances and the accompanying music.
In the winter of the same year, Fang once again submitted a memorial, saying, "I have heard that music has the power to move everything, change customs, and educate the people. This was the way ancient kings educated the people, and it was also the way in which Kings Tang and Wu displayed their merits. The rule of the Jin Dynasty was flawed, and the Central Plains were in chaos. Liu Yao and Shi Le, relying on their momentary bravado, acted with arrogance in Wei and Zhao; Fu Jian and Yao Chang, relying on the strength of their subordinates, acted tyrannically in the Guanzhong region. As a result, the rituals and music fell into disrepair and were abandoned, with no one to care for them. The Northern Wei rose to power and unified the country, and although busy with state affairs, always placed rituals and music first. The ancient music has become incomplete, and cannot be found anywhere, so in recent years, we have created many new pieces of music, but when we compare them with the classics, they often do not conform to ancient systems. This has led to the solemn musical rituals not being properly performed in temple sacrifices; and the expressive styles are also lacking in the court. As the Zongbo, responsible for rituals and music, I always feel ashamed and unable to work in peace. Since Xian Chun was granted by the Emperor, ordering me to extensively collect classical texts, remake ancient musical instruments, and create both literary and martial dances, including pieces like Deng Ge and Gu Chui. Now these pieces of music have been preliminarily completed, and following the previous instructions, I have convened the officials and famous scholars of the time to discuss, and no one has objected. Therefore, I submit this memorial, requesting that these new pieces of music be presented to the Emperor along with the old pieces. If the pieces of music we have created conform to ancient systems, with harmonious rhythms, they will be required for the grand New Year's Day sacrifice. The year is coming to an end, and New Year's Day is just around the corner, so I request permission to present a trial performance with my department's ministers and the Langzhong. If the Emperor agrees, please issue a decree in response." The Emperor issued a decree saying, "Dances can be new, but for other matters, let's temporarily continue using the old ones." And so, the miscellaneous pieces of Gu Chui were put on hold. Initially, the Imperial Censor Yuan Kuang and Fang debated the issue of musical tuning. In the winter of the second year of the Xiaoping era under Emperor Xiaoming, Yuan Kuang once again submitted this matter, and the Grand Preceptor, Prince Gaoyang Yong, and others requested that this matter be stopped.
Once, there was a man named Chen Zhongru who had just returned from Jiangnan and was feeling quite relaxed. He thought about studying the music theory of Jing Fang, hoping to use it to tune musical instruments. In the summer of the second year of Shengui, the officials came to check on his research progress. Zhongru said:
Someone once asked me, saying: "Although some instruments still remain from Jing Fang's sixty tones, very few people truly grasp them. By the time of the Xiping period, Zhang Guang and his peers still struggled with the tension of the instrument strings and the clarity of the sound. Which teacher did you learn from, Chen Zhongru? Which book did you read that made you dare to say you understand?" In fact, when I was in Jiangnan, I really enjoyed teaching others how to play the qin. I had read Sima Biao's "Book of the Later Han," which recorded Jing Fang's theories on music and tuning. Those calculations seemed fairly straightforward, yet Zhang Guang and the others couldn't figure it out. I know I have limited knowledge, but I was quite interested and racked my brain, dedicating a lot of time to research. Although I didn't fully grasp the intricacies, I still gained some insights into sound theory. Measurements and calendars are derived from the Huangzhong tuning system. Historical records mention measuring air with bamboo pipes; air fluctuates, and millet varies in size; a slight error can lead to a significant discrepancy. If the bamboo pipes are not adjusted based on the specific circumstances of the time, using sound to predict good or bad fortune, then it becomes very difficult to establish standards for right and wrong. This isn’t something someone with my limited knowledge should comment on lightly. As for 'zhun,' it originally replaced 'lü'; it uses fractions to fine-tune musical instruments, making it easier to differentiate between the gong and shang notes. If the dimensions are slightly longer, then the sixty gong and shang tones will sound somewhat muddled; if slightly shorter, then the sixty zhi and yu tones will sound somewhat crisp. Ultimately, there are subtle distinctions. When instruments harmonize, they achieve a cohesive sound. Although measuring air with millet determines the fundamental sound, achieving harmony in clarity and muddiness also requires a method. If you only grasp the meaning of 'zhun,' you can differentiate the clarity and muddiness of the pentatonic scale; if you are skilled at playing the qin, you can master the tonal principles of the five pitches. By combining these two approaches to tune the instruments, you can achieve natural harmony without conflict. If this isn’t done, there will definitely be discrepancies.
In October of the second winter of Emperor Huan's reign, the emperor held a sacrificial ceremony at the Piyong Hall and played bell orchestral music. This performance restored the use of the Huangzhong as the fundamental tone, and the instruments were also adjusted according to the twelve pitches. The twelve pitches must be arranged in order, starting with the Gong tone, followed by the Shang, Jue, Zhi, and Yu tones in succession. Upon careful study of the rules of these pitches, the Gong and Shang tones should be relatively deep, while the Zhi and Yu tones should be relatively bright.
As for Gongsun Chong, he only knew how to use the twelve pitches and claimed that any of the twelve could serve as the Gong tone, with both bright and deep sounds present, which is a grave mistake! He did not grasp the tuning method of the pentatonic scale, let alone the order of the pentatonic scale. Why do I say this? It is because the Huangzhong is the fundamental sound, and its tube is the longest, so the Huangzhong serves as the Gong tone, the Taicuo as the Shang tone, and the Linzhong as the Zhi tone, thus harmonizing the Gong and Zhi tones. If one wants to evenly distribute the eight sounds, one must cleverly select various tones to create a beautiful melody.
If one uses the Yingzhong as the Gong tone, the Dalu as the Shang tone, and the Ruibin as the Zhi tone, then the Zhi tone becomes overly deep, while the Gong tone is excessively bright; although there is a certain appeal, it fails to create a proper scale. If one uses the Yize as the Gong tone, then among the twelve pitches, only the Zhonglu can be selected as the Zhi tone, resulting in a complete lack of coordination among the Shang, Jue, and Yu tones. If one uses the Zhonglu as the Gong tone, one will find it impossible to identify a suitable tone among the twelve pitches. Why is that? It is because the Zhonglu represents both the conclusion of the twelve pitches and the beginning of the changing pitches. According to Jingfang's writings, if one uses the Zhonglu as the Gong tone, one must use the Quemie as the Shang tone and the Zhishi as the Zhi tone to achieve harmony. Yet Gongsun Chong stubbornly uses the Zhonglu as the Gong tone, the Linzhong as the Shang tone, and the Huangzhong as the Zhi tone—how can that possibly be harmonious?
Zhongru harmonizes musical instruments, embellishes the pentatonic scale, is very particular about adhering to the standards, and pays great attention to precision. It is too difficult to judge the clarity of sound based solely on personal preferences, as Yan Song and his son did. By adjusting the tightness of the strings according to the standards recorded in the files, one can deduce the clarity of the sound according to their own understanding.
Ah, the method for crafting this ancient musical instrument is described far too briefly! The old texts only state that this zhun (a type of instrument) resembles a se, has thirteen strings, is nine feet long, corresponds to the nine-inch pitch of the yellow bell, and one string is the main string that must match the tone of the yellow bell. I put in a great deal of effort trying to figure out how its sound is produced, but the more I pondered, the more confused I became. But do we really need the string pillar? The pillar varies in height, the strings differ in thickness, and how should the remaining twelve strings be tuned? I couldn't figure it out at all, so I could only sigh in frustration.
Upon closer examination, this nine-foot-long zhun is divided into 177,147 segments, with one foot being 19,683 parts, and further divided into ten parts, meaning there are 19,683 parts in one inch! Just imagine, each segment is further divided into two thousand parts, or even finer, to distinguish the strength of the sound. Even with eyes as sharp as Li Zhu's, the subtle variations in sound can't be clearly perceived or distinguished! However, I've tried it on my own, and by adjusting the central pillar to the proper scale, harmonious tones emerge. The precision required is incredibly high, and the craftsmanship must be exceedingly meticulous.
The surface of this zhun instrument must be flat, like a calm water surface; the height of the central zhun pillar must be even with both ends. When moving the pillar, ensure the string remains taut and avoid plucking it. In addition, the thickness of the middle string should be comparable to that of the qin's gong string, ensuring it matches the pitch of the yellow bell. This main string can produce a variety of distinct and muted tones among the sixty pitches. The other twelve strings should be secured with string pillars, similar to a zither. All strings must be pre-tuned and should not be adjusted during performance. First, adjust the pitch of the middle string, then adjust the other twelve strings according to this pitch to achieve the shang and zhi notes among the twelve pitches. After setting the shang and zhi notes, balance the overall tone of the instrument using the qin's five-tone scale tuning method. The tuning of the se primarily relies on the gong tone, the qing tuning primarily depends on the shang tone, while the ping tuning is primarily based on the jiao tone. These five tuning styles center around a primary tone, then skillfully incorporate various tones for embellishment, as splendid as brocade. It is said that in the past, the methods for adjusting musical scales, as mentioned in historical texts, were all devised by Zhongru himself. If the approach deviates from his methods, the sound becomes unpleasant. Zhongru's precision in studying musical scales is exceptionally meticulous; determining the tension of the strings is even more challenging. Although Zhang Guang and his colleagues are directly responsible for this task, they have no understanding of the underlying standards. If they can't even identify the instrument, how can they tune the strings? Moreover, Sui Ren Shi learned to make fire by himself without a teacher, and Cang Jie created characters without a teacher. Thus, "those who understand wish to teach but struggle to find suitable students; those who grasp it internally can comprehend on their own, without needing a teacher." As long as you possess even a bit of insight, treasure it like gold. Must you be taught by a teacher to be deemed remarkable?! However, Zhongru is also conscious of his limited skills and shallow knowledge; at best, he only has a rough understanding of musical scales and discusses their principles.
At that time, the Minister of Personnel, Xiao Baoqin, submitted a memorial stating: "The principles of metal and stone, the rules of music, and the system of regulation have rarely been truly understood since ancient times. Although Zhongru wrote some articles somewhat and put forward some views, he had no formal teacher and claimed to have figured it out on his own; he also said that the old musical instruments were not suitable and must be remade to achieve harmony. This contradicts the Emperor's intention to use the traditional instruments and is merely relying on his own ideas, recklessly wanting to create new instruments. I believe we should not agree to him." The Emperor said, "Matters of ritual and music are not something ordinary people can understand; let's do as you say."
During the Zhengguang period, the Chamberlain and Prince of Anfeng, Yanming, was ordered to supervise the compilation of metal and stone, widely collecting materials on ancient and modern music matters, allowing his student, Xindu Fang, to perform calculations and verify findings. Unfortunately, the times were turbulent, and in the end, new instruments could not be created. Later, Xindu Fang compiled more than twenty articles collected by Yanming, including "On Music" and "Standards for Various Instruments," and added annotations, but he was also unable to visit the Music Bureau to verify the tuning and rhythm.
During the Putai period, the former Emperor Xuan ordered the Minister of Personnel, Changsun Zhi, and the Minister of Rites, Zu Ying, to oversee the management of metal and stone musical instruments. During the spring of the second year of Yongxi, Changsun Zhi and Zu Ying submitted a memorial stating:
I heard that in order to enable the common people to live and work in peace, and to govern the country well, there's nothing better than ritual and music. To change customs and habits, there is nothing more effective than music. The I Ching states: "The wise kings of ancient times used music to elevate morality, solemnly worshiped the heavens, and used this to pay tribute to their ancestors." The Book of Documents also says: "Playing musical instruments, singing and playing the zither, using this to worship the ancestors, the ancestors will accept the offerings." Poetry expresses thoughts and emotions, music harmonizes tones, and can enhance family harmony, making the people peaceful, so that the heavens will bless, and the earth spirits will accept the worship. Therefore, music is used to display virtue, dance is used to display achievements, ancient musical instruments are used to display appearance, and in the ancestral temple, the gods will enjoy this harmonious music; in the court, the ruler and ministers can coordinate their wills. The importance of music is immense! Although times change and positions differ, the Zhou Dynasty continued the ritual music traditions of the Shang Dynasty, and this principle has remained unchanged for centuries.
Therefore, using music to educate the people is truly the best method. You see, in ancient times, those wise kings used music to elevate morality and to worship the heavens and ancestors. This is not something I made up; it is written in the I Ching and the Book of Documents! Poetry can express human emotions, music can harmonize tones, not only can it make the family harmonious, but it can also allow the common people to live and work in peace, let the heavens bless, and make the earth spirits delighted. Music can display the virtue of the king, dance can display the achievements of the country, and various musical instruments can express different meanings. When played in the ancestral temple, the spirits will be delighted; when played in the court, the ruler and ministers can work together in harmony. You see, music plays a vital role! Even though times and positions are different, the Zhou Dynasty continued the ritual music traditions of the Shang Dynasty, and this principle has remained unchanged for centuries.
Speaking of our ancestors, starting from Emperor Taizu of the Daowu era, they diligently governed and unified the country. This merit is undeniable and is in accordance with the heavenly principles! Our ancestors, from Emperor Taizong, Emperor Shizong to Emperor Gongzong and Emperor Xianzong, were all wise and mighty, continuously consolidating and developing the nation, devoting themselves tirelessly. By the time of Emperor Gaozu of the Xiaowen era, he inherited the peaceful and prosperous times and established a hands-off approach to governance, with the country's territory expanding and politics becoming clearer.
During the Taihe period, the emperor ordered the Minister of the Imperial Secretariat, Gao Lu, to organize ancient music, but Gao Lu passed away before completing the task. Later, the Minister of Music, Gongsun Chong, took over and it took him more than ten years to finish the work. However, Minister Liu Fang felt that what Gongsun Chong produced was disorganized and did not align with ancient meanings, so he requested a revision, which the emperor approved. Liu Fang spent a long time reorganizing and finally submitted the revised version. At that time, Prince Dongping, Yuan Kuang, also participated in the discussions, but everyone held their own opinions and argued with each other, with no one able to sway the others, ultimately leading to no conclusion.
Later, during the Xiaochang period, the world was in turmoil, facing both internal and external strife, and the situation was very dire. During the Yong'an period, nomadic tribes invaded the capital, burning down the music storehouse, and all the bells were stolen, while other stone instruments and qing were reduced to ashes. It was not until the first year of Putai that we were ordered to remake the musical instruments and inquired with the Taiyue Temple about the arrangement and use of instruments in past sacrificial ceremonies. Minister of Music Zhang Qiangu said that among the six groups of instruments made by Liu Fang, the Huangzhong pitch from the northern wing was actually the Yize pitch, and the other three groups of instruments were out of tune, all using the same flute placed in the front hall, which the musicians still recalled; there were also two groups of instruments, Gu Xi and Tai Cu, used in the rear palace, and their tones were also Yize pitch, which are still preserved to this day.
Liu Fang is a true scholar, and he definitely knows a lot about this. When the discussion took place, he must have carefully verified it, and the evidence must be solid. What Zhang Qiangu mentioned could be because of how long ago it was, and the musicians may have remembered it incorrectly. Plus, Liu Fang has been gone for quite a while, and his materials have all been destroyed, which makes it hard to verify. Therefore, we have carefully studied the "Rites of Zhou" and rearranged the sequence of instruments and music according to ancient rules.
When it comes to music, if you use the round bell for the Gong tone, the Huang bell for the Jiao tone, the Tai Cu for the Zhi tone, and the Gu Xia for the Yu tone, then playing these six variations can help you connect with heaven; if you use the Han bell for the Gong tone, the Tai Cu for the Jiao tone, the Gu Xia for the Zhi tone, and the Nan Lü for the Yu tone, then performing with these eight variations can help you connect with the earth; if you use the Huang bell for the Gong tone, the Da Lü for the Jiao tone, the Tai Cu for the Zhi tone, and the Ying bell for the Yu tone, then playing these nine variations can help you connect with humans and spirits. When arranging the instruments, you shouldn’t follow the order of tones that create one another; you need two different tunes, and there shouldn't be a Shang tone, but all should be Zhi tone. The "Book of Documents" states: "I strike the stone and clap the stone, and all the beasts dance along; the eight tones are harmonious, and the gods and humans are harmonious." It follows that if the five tones are incomplete, how can the sound form a melody; if the seven rules are incomplete, then there is no harmonious rhythm in principle. The eight tones are harmonious, but no one really gets the reasoning behind it. The teachings of the sages are deep and enigmatic, and their brilliant words have faded away; ever since the Han and Wei dynasties, no one has managed to do it.
As I flip through the "Spring and Autumn Annals," in the twentieth year of Duke Zhao of Lu, Yan Zi said to Duke Huan of Qi: "The former kings harmonized the five flavors and five sounds to cultivate tranquility and achieve effective governance. Sounds, much like flavors, work together: one breath, two entities, three categories, four elements, five sounds, six pitches, seven tones, eight winds, and nine songs all complement one another." According to Fu Zi Shen's commentary, it is stated: "The Huangzhong is tuned uniformly; Huangzhong serves as the gong tone, Taizuo serves as the shang tone, Guxi serves as the jiao tone, Linzhong serves as the zhi tone, Nanlv serves as the yu tone, Yingzhong serves as the bian gong, Ruibin serves as the bian zhi. There are nineteen suspended bells, with a total of two hundred twenty-eight bells across twelve sets, and eighty-four pitches." Only through this explanation can we gain a clear understanding. Now looking at the "Rites of Zhou," the duties of the Xiao Xu and the methods for hanging musical instruments, Zheng Xuan's commentary states: "The arrangement and hanging of bells and chimes consist of twenty-eight pieces." During Emperor Cheng's reign of the Han Dynasty, sixteen ancient chimes were found near the water in Qianwei County and presented to the court. The Han Dynasty regarded this as an auspicious sign and arranged the sixteen pieces according to the "Rite Diagram." By the Zhengshi period, sixteen jade chimes were sent from Xuecheng in Xuzhou, which were also a set of musical instruments. Upon examining the bells and chimes used in Taiyue Temple, it appears that each set consists of fourteen pieces, but the reasoning behind this remains unclear.
Miao Xi, the Imperial Attendant of Wei, said: "The 'Rites of Zhou' states that a grand ensemble using the six pitches, six harmonies, five tones, eight sounds, and six dances should be used to worship the gods and spirits. The current music officials only know that such a system existed in ancient times, but there is no true understanding. He also said that the musical system has been lost; the Han Dynasty believed that 'Shao,' 'Wu,' 'Wu De,' 'Wu Shi,' and 'Da Jun' could represent the music of the four dynasties. They would play Huang Zhong and perform the 'Wen Shi' dance to worship heaven and earth; play Tai Cu and perform the 'Da Wu' dance to worship the five outer regions and the Ming Hall; play Gu Xia and perform the 'Wu De' dance to offer sacrifices to the mountains and rivers of the four directions during inspections; play Rui Bin and perform the 'Wu Shi' and 'Da Jun' dances to worship the ancestral temple. During the joint sacrifices at the Round Mound, Square Marsh, and other temples, all four dynastic dances could be performed simultaneously. The Han Dynasty also had two dances, 'Yun Qiao' and 'Yu Ming,' the origins of which are unknown, which were used to worship heaven. The Wei Dynasty used 'Yun Qiao' to worship both the Round Mound and the heavenly suburbs, and 'Yu Ming' to worship the Square Marsh and the earthly outer regions. These two dances have now been lost, and no one knows them anymore.
We followed the dimensions set by Emperor Gaozu. In the 'Zhou Guan' and 'Kao Gong Ji,' the Wu family was responsible for crafting bells and drums, while the Qing clan was responsible for making stone chimes. The principle of the five tones and twelve pitches in the 'Li Yun' serves as the basis for the palace music, using these pitches as standards to establish a system and coordinate production. According to the method of hanging used in the Wei and Jin periods, sixteen bells and stone chimes were hung each, with distinct sounds and rhythms for the xun, chi, zheng, and zhu instruments. After three years of effort, we finally completed the project: the five-tone system was harmonious, the eight sounds were flawless, and the sheng and yong were in harmony without conflict. Everything was prepared for New Year's Day, and all the officials came to watch. While it may not have achieved everlasting brilliance, it was still a grand event of the time."
So, our ancestors, those emperors and statesmen, all liked to have some music and dance, each with its own unique style. The Yellow Emperor had a piece of music called "Xian Chi," Zhuanxu developed a dance known as "Cheng Yun," "Da Zhang" and "Da Shao" were famous songs from the time of Yao and Shun, "Da Xia" and "Da Hui" were representative works from the time of Yu and Tang, the Zhou Dynasty popularized "Da Wu," and the Qin Dynasty liked "Shou Ren." Later, with the burning of books and burying of scholars, those old things were lost, and there was little left to draw from.
During Emperor Gaozu of Han's reign, there was a man named Shusun Tong, who composed music for ancestral sacrifices inspired by the musicians of the Qin Dynasty. When entering the temple, "Jia Zhi" was played, and when the emperor entered, they played "Yong Zhi," then they sang and danced, and finally played "Xiu Cheng," all of which were works of Shusun Tong. In the sixth year of Gaozu's reign, there were also "Zhao Rong Le," "Li Rong Le," and a "Fang Zhong Ci Le," which were created by Gaozu's wife, Empress Lü Zhi. In the second year of Emperor Xiaohui, the music director Xiahou Kuan reorganized the instruments and renamed this collection of music "An Shi Le." In Gaozu's temple, they showcased the dances of "Wu De," "Wen Shi," and "Wu Xing"; in Emperor Xiaowen's temple, they showcased "Zhao De," "Wen Shi," "Si Shi," and "Wu Xing"; and in Emperor Xiaowu's temple, they showcased "Sheng De," "Wen Shi," "Si Shi," and "Wu Xing." Among these, "Wu De" was created in the fourth year of Gaozu's reign, signifying peace throughout the realm, with everyone happily practicing martial arts and getting rid of bad people; "Wen Shi Dance" is essentially the "Shao Dance" from Emperor Shun's era, renamed in Gaozu's sixth year to indicate a new interpretation; "Wu Xing Dance" is a dance from the Zhou Dynasty, renamed "Wu Xing" in the twenty-sixth year of Qin Shihuang; and "Si Shi Dance" was created by Emperor Xiaowen, representing peace and harmony in the world. Later, Emperor Xiaojing renamed "Wu De Dance" to "Zhao De," and Emperor Xiaxuan renamed "Zhao De Dance" to "Sheng De." Emperor Guangwu's temple performed "Da Wu," while in the temples of subsequent emperors, they performed dances like "Wen Shi," "Wu Xing," and "Si Shi."
Later on, the world fell into chaos, and Cao Cao, the Emperor of Wei, took power. He changed the temple music to "Shao Wu," which is a combination of Yu Shun's "Da Shao" and the Zhou Dynasty's "Da Wu," collectively referred to as "Da Jun." After Cao Cao's death, chaos ensued once again, and the music of the Jin Dynasty was renamed "Zheng De." You see, from ancient times to the present, emperors have been changing names back and forth, and the names are always different. However, the Wei Dynasty ruled for more than 130 years, and up to now, there is still no formal music and dance. This is unacceptable; how can it embody royal grandeur, honor achievements, set a standard, and be remembered for generations?
Nowadays, the music used in palace banquets and sacrifices is Ling Xuan music. I carefully examined the ancient texts and discovered numerous errors. In ancient times, the ritual system stipulated that the emperor used the Gong Xuan, the vassals used the Xuan Xuan, the officials used the Pan Xuan, and the scholars used the Te Xuan. The empress holds a noble status, and her virtues should align with those of the emperor. How can her ceremonial standards be on par with those of an official? The "Classic of Filial Piety" says, "There is no greater duty than serving one's father." Sacrificing to King Wen in the Ming Tang is to match him with God, the Heavenly Emperor among the Five Sovereigns. The "Book of Rites - Royal Regulations" says, "Ordinary dishes should not exceed the sacrificial animals, and everyday clothes should not exceed the clothes used for sacrifices." The "Analects" says, "Emperor Yu's palace was simple, focusing all energy on controlling floods." "Wear coarse clothes and eat coarse food, leaving the best clothes for sacrifices." How can the music in the palace be more grand than the music between heaven and earth! The discrepancy in these rituals is staggering! Emperor Han Wudi went on a hunting expedition to the east, offered sacrifices to Mount Tai, and upon his return, he offered sacrifices to Taiyi in Ganquan and to Hou Tu in Fenyin, using the most grandiose ritual music. This clearly demonstrates that there was no simplification.
In the first year of the Putai reign, I (Minister Fu) and other officials submitted a request to create twelve suspended bells. Six of them have already been completed, and we are continuing to produce the others. Later, we received imperial approval. Now that the six suspended bells are ready, we believe it is sufficient to prepare four chimes for each type of instrument, along with the corresponding metal fittings, making a total of sixteen for the palace bells. We now request to manufacture two more, totaling eight suspended bells, so that there will be two sets for the palace. One set will be placed in the Taiji Palace, and the other in the Xianyáng Hall. This way, for the sacrifices at the Round Mound, Square Marsh, Shangxin, the Four Seasons, the Five Suburbs, and the State and Earth, even if the timings overlap, we can ensure that there are enough musical instruments available. Confucius said, "The roads of the Zhou Dynasty were extensive, and rites and music circulated among each other." The "Spring and Autumn Annals" states, "The State of Lu had musical instruments for sacrificial rites, which were also used by guests during sacrifices." This sets a precedent for using the same set of instruments for both the heavens and ancestral temples. As for weights and measures standards, they had not yet been established at that time; we request immediate calibration to serve as the standard in the future.
The music of the Zhou Dynasty has been passed down for six generations, with dances such as "Yunmen," "Xianchi," "Shao," "Xia," "Huo," and "Wu" all used in the sacrifices at the ancestral temples, each serving its own purpose. However, over time, many of these have been lost. During the Han Dynasty, only the "Shao" from the time of Yushun and the "Wu" from the time of King Wu of Zhou were preserved. In the Wei Dynasty, there were also the "Wushi" and "Xianxi" dances, which took turns performing and became the ceremonial music of that era. The Jin Dynasty continued the practices of the Wei Dynasty, merely changing the name to "Zhengde." Currently, the court dances have not yet been officially named, and the dancers' costumes lack a unified standard, merely referred to as civil and martial dances.
We refer to the clothing system of Wei Jingchu over the past three years to establish the attire for the worship of heaven, earth, and ancestral shrines: those performing martial dances hold ceremonial halberds, wear plain crowns and black caps, and are dressed in dark clothing with white collars, crimson inner garments, crimson trousers, and black shoes; those performing literary dances hold feathered flutes, wear ceremonial caps, and their clothing is similar to that of the martial dancers. When performing in the temple courtyard, the martial dancers wear military hats and red caps, and are dressed in red robes, under garments, featuring textured collars, black inner garments, tiger-striped trousers, white socks, and black shoes; the literary dancers wear honorary caps and black caps, dressed in yellow robes, under garments, and white trousers, with other attire similar to that of the martial dancers. These customs have been passed down since the Wei and Jin dynasties and have remained unchanged. Ancient temples were independent, so the music and dances varied from one another. Now that the architecture of the Grand Ancestral Temple is connected, it is reasonable for music and dance to be performed together.
Since experiencing the turmoil of the restoration period, the rule of the Jin dynasty has been unstable, and after the Yongjia years, the previous system of rites and music has largely disappeared. Emperor Taiwu defeated the Tongwan and acquired some ancient elegant music, which includes fifty pieces of proper songs; the skills of these music and dances have been passed down and are occasionally used. Since Emperor Gaozu moved the capital, and following the passing of Emperor Shizong, court affairs have been hectic, and many matters could not be dealt with in time. Currently, we still have twenty-three pieces of music, including "Wangxia" and "Sixxia," that can still be performed; these are sufficient to demonstrate Your Majesty's great accomplishments and reflect the beauty of the prosperous era.
We earnestly request Your Majesty to emulate Yao and Shun, restore the flourishing era of civil and military affairs, improve the system of rites, and help the people live and work in peace, ensuring peace across the land and prosperity in all things. The names of the music and dance, we humbly seek Your Majesty's wise judgment. We, these humble subjects, feel anxious and uneasy when participating in discussions on these matters and presenting them to Your Majesty.
The imperial decree was proclaimed: "The names of the music and dance will be discussed by the Ministry of Rites and reported back to me."
That summer, the court summoned officials to discuss the creation of new music and dance. Pei Ying restated his views, stating: "Music is to express auspiciousness and impart education, dance serves to imitate all things and showcase achievements. Metal and stone instruments carry the sound of music, while silk and bamboo instruments produce melodies. Offering sacrifices to heaven and earth, honoring the spirits, and teaching the people principles will remain unchanged even after hundreds or thousands of years. Therefore, the Yellow Emperor created the piece 'Xianchi', Zhuanxu had the dance 'Chengyun', Yao created 'Dazhang', Shun created 'Dasha', Yu created 'Daxia', Tang created 'Dahuo', the Zhou dynasty had 'Dawu', the Qin dynasty had 'Shouren', the Han dynasty had 'Dayu', the Wei dynasty had 'Dajun', and the Jin dynasty had 'Zhengde'. Although dynasties change and eras rise and fall, the creation of these music and dances has been inherited from one another, though their names may differ."
The Wei Dynasty followed the way of heaven, educating the world and accumulating virtues through generations, and its brilliance continued. Some relied on civil governance to enrich the state, while others relied on military achievements to quell chaos. These musical dances emerged as a result of successful governance. Now, the emperor soars through the skies, establishing a prosperous era, with laws and systems similar to those of previous dynasties, and the penal code unchanged, bringing peace to the world, with blessings spreading far and wide. The five tones are in order, and the eight sounds are harmonious, so the names of the musical dances should be carefully determined. The Zhou Dynasty continued the musical dances of the six generations, with the application of musical rules following a specific order. Since the Qin Dynasty burned books and buried scholars, the texts on rites and music have been nearly lost. By the time of the Han Dynasty, only two types of dances were retained. Therefore, I propose to collectively call the "Shao Dance" "Chongde" and the "Wu Dance" "Zhanglie," together referred to as "Jiacheng." The Han musical chapter states: 'High above the four counties, the spirits come to feast.' The method of hanging instruments used during ancestral sacrifices is already well established. The five suburbs sacrifice to the heavenly deities, holding a status above that of human spirits; the six palaces sacrifice to the yin spirits, holding a status equal to that of the supreme. Therefore, there is no reason to lower the standards; we should use the palace hanging method. The dancers' crowns and attire should adhere to traditional styles. This way, we can more effectively celebrate the emperor's achievements and promote the grand endeavors of this prosperous era."
Then, the Minister of Works, Changsun Zhi, along with more than sixty officials, agreed with this opinion and jointly submitted it to the court. The emperor issued an edict declaring: "It is fitting for a ruler to create musical dances following their successes and to establish rituals after governing well, using the character 'Cheng' as the name for the musical dances. Moreover, the dances from the six generations have all been named with the character 'Da.' Now we can follow the ancient system and name it 'Dacheng.' All music and dances, with dance being the main focus, have no distinction in terms of weapons, feather fans, ritual vessels, etc.; they are still divided into civil and military dances. Everything else will be executed according to Pei Ying's memorial."
At first, the Chamberlain Cui Guang and Prince Linhuai Yu both wrote lyrics for the suburban temple sacrifices, but none were used. The musicians continued to use the old tunes, which were passed down incorrectly, resulting in a chaotic jumble of lyrics that became completely unrecognizable.
Later, Tai Le instructed Cui Jiulong to speak with Tai Changqing and Zu Ying: "Music has seven tones, and melodies also have seven. We can combine these seven melodies with seven-character regulated verse, beginning with the Huangzhong mode and concluding with the Zhonglü mode. Now there is a variety of ancient and modern mixed tunes, with all kinds of modes, amounting to around five hundred pieces. I'm concerned that the names of these pieces might be lost in the future, so I have recorded them all and stored them in the music office." Zu Ying thought this idea was good and reported it to the court.
The pieces recorded by Cui Jiulong include both refined and popular ones, as well as folk tunes and songs from ethnic minorities, but he only recorded the melodies and had no knowledge of the original lyrics. Additionally, many song titles were inaccurately recorded, and he did not know where the errors were; he simply assigned names based on the perceived elegance or popularity of the melodies. Among the pieces still sung by the music office today, many have already been lost, with even more having been lost, especially those ancient and elegant tunes.
Initially, Emperor Gaozu subdued the Huai River and Han River regions, and Emperor Shizong stabilized Shouchun, incorporating the musicians from those areas. The traditional songs from the Central Plains that became popular in Jiangnan, such as "Ming Jun," "Sheng Zhu," "Gong Mo," "Bai Jiu," etc., along with the Wu songs from Jiangnan and the four-tone songs from the Jingchu region, are collectively known as "Qing Shang." These songs are performed during court banquets and sacrificial ceremonies. For sacrificial events at places like the Round Mound, Square Marsh, Shangxin, Earth God, Five Suburbs, Four Seasons Temple Worship, San Yuan, Winter Solstice, State and Land, Horse Shooting, and Land Registration, there are specific regulations governing the number of musicians participating in these performances.
