釋氏稽古略 3.521

3.521

周殿庭鐘磬有設而不繫者。帝問樂工皆不能對。樞密使王朴素曉音律。帝以樂事詢之。朴上疏曰。禮以檢形。樂以治心。形順於外心和於內。然而天下不治未之有也。是以禮樂修於上。而萬國化於下。聖人之教不肅而成其政。不嚴而治用此道也。夫樂生於人心而聲成於物。物聲既成。復能感人之心。昔者黃帝吹九寸之管得黃鍾正聲。半之為清聲。倍之為緩聲。三分損益之。以生十二律。十二律旋相為宮以生七調為一均。凡十二均八十四調而大備。遭秦滅學。歷代治樂者罕能用之。唐太宗之世祖孝孫張文收考正大樂備八十四調。安史之亂器與工什亡八九。至于黃巢蕩盡無遺。時有太常博士殷盈孫。按考工記。鑄鎛鐘十二編鐘二百四十。處士蕭承訓校定石磬。今之在縣者是也。雖有鐘磬之狀。殊無相應之和。其鎛鐘不問音律。但循環而擊。編鐘編磬徒縣而已。絲竹匏土僅有七聲。名為黃鐘之宮。其存者九曲。考之三曲協律。六曲參涉諸調。蓋樂之廢缺無甚於今。陛下武功既著切意禮樂。以臣甞學律呂宣示古今樂錄。命臣討論。臣謹如御當以秬（日許反）黍（黑黍也）定尺。長九寸徑三分為黃鐘之管。與今黃鐘之聲相應。因而推之得十二律。以為眾管互吹用聲不便乃作律。準十有三絃其長九尺皆應黃鐘。律聲以次設柱為十一律。及黃鐘清聲旋用七律以為一均。為均之主者官也。徵商羽角變官變徵次焉。發其均主之聲歸乎本音之律。迭應不亂乃成其調凡八十一調。此法久絕出臣獨見。乞集百官校其得失。詔從之。百官皆以為然乃行之。注曰鎛鐘者（鎛伯各反）十有二架以當十二辰之位。匏（蒲交反）八音之數。匏笙也。土塤也。

In the Zhou palace courtyard, bells and chimestones were installed but unhung. When the Emperor asked the musicians, none could answer. Bureau of Military Affairs Commissioner Wang Pu had always understood musical pitches, so the Emperor consulted him on musical affairs. Pu submitted a memorial saying: 'Rites serve to regulate outward form; music serves to govern the mind. When outward form is compliant externally and the mind is harmonious internally, the realm has never failed to be governed. Therefore, when rites and music are cultivated above, the myriad states are transformed below. The sagely teaching accomplishes its governance without severity and orders affairs without sternness through this Way. Now, music arises in the human mind and its sounds are realized in instruments. Once the sounds of the instruments are realized, they can in turn move the human mind. Anciently, the Yellow Emperor blew into a pipe of nine inches and obtained the correct sound of the huangzhong tone; half of it was the high sound, and twice it was the slow sound. By adding and subtracting by thirds, the twelve pitches were generated. The twelve pitches circularly alternated as the fundamental tone (gong) to generate seven modes as one octave-scale. With twelve octave-scales and eighty-four modes, the system was complete. After the suppression of learning under Qin, music masters of subsequent dynasties could rarely employ it. In the era of Emperor Taizong of Tang, Zu Xiaosun and Zhang Wenshou verified and corrected the grand music to complete the eighty-four modes. During the An Lushan Rebellion, eighty to ninety percent of the instruments and artisans were lost, and by the time of Huang Chao, they were completely wiped out without remainder. At that time, Court of Imperial Sacrifices Erudite Yin Yingsun, following the Record of Trades, cast twelve bo bells and two hundred and forty bianzhong bells, while the recluse Xiao Chengxun calibrated the stone chimes; these are what hang today. Although they have the appearance of bells and chimes, they have no mutual harmony whatsoever. Their bo bells do not heed musical pitch but are merely struck in succession, and the sets of bells and chimes are hung to no purpose. The strings, pipes, gourds, and pottery only possess seven notes, named the fundamental tone of huangzhong. Among those tunes preserved, there are nine melodies; upon examination, three melodies harmonize with pitch, while six melodies wander into various modes. The decline and defect of music has never been worse than today. Since Your Majesty's military achievements are established and you are earnestly mindful of rites and music, and because your servant once studied pitches, you have shown me ancient and modern musical records and commanded your servant to discuss them. Your servant respectfully submits that, following imperial instruction, we should calibrate the foot-measure by black millet; nine inches in length and three fen in diameter forms the pipe of huangzhong, which corresponds to the current huangzhong pitch. Deducing from this, the twelve pitches are obtained. Considering that blowing into numerous pipes interchangeably is inconvenient for sounding pitches, a pitch-tuner was made: thirteen strings, nine feet long, all corresponding to the huangzhong pitch. By setting bridges in sequence for the twelve pitch sounds, eleven pitches and the high tone of huangzhong were provided. Using seven pitches in turn makes one octave-scale, and the master of the octave-scale is the gong note, followed by zhi, shang, yu, jue, bian-gong, and bian-zhi. Sounding the note of the octave-scale's master and returning to the pitch of the primary sound, mutually corresponding without confusion, the modes are thus formed—eighty-one modes in all. This method has long been discontinued and stems from your servant's own insight. I request that the hundred officials be assembled to deliberate its merits and demerits.' An edict approved this; the hundred officials all deemed it correct, and so it was implemented. Note: The bo bell (bo pronounced like bo/ge) had twelve racks to correspond to the positions of the twelve terrestrial branches. Gourd (pao pronounced like pu/jiao) is one of the eight timbres: gourd is the sheng mouth organ, and pottery is the xun ocarina.