The Pangong Liyue Quanshu,authored during the Shunzhi era of the Qing Dynasty,stands as a semi-formal treatise on rites and music compiled by educational authorities of the time.Its principal focus lies on the'Shidian Ritual music'.The text documents traditional song scores following the metaphysical'Song Theory'from Yue Ji,embodied through symbolic curve notations.These notations were implemented in the musical rendition of Confucian rituals,thereby continuing and expanding upon the pictographic scoring methods('Ge Tu')established by predecessors such as Zhu Zaiyu and Li Zhizao.The dynamic nature of these scores is particularly notable within the auspicious ceremonial music currently observable,with the curve symbols suggesting a'condensed character'interpretation of Yue Ji's'Song Theory'.This interpretation illustrates the multifaceted sonic representation of Ya music,where a single character can denote multiple sounds.
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