The concept of Sixteen Pitch presented a unique temperamental challenge in the Song Dynasty,evolving into the practical"Sixteen Bells"during debates on sacrificial music.Proponents argued that the Sixteen Bells system was a time-honored tradition immune to change.In contrast,critics contested that the arrangement of bells and chime stones had never been standardized,advocating for the elimination of the four high pitches that paralleled Zheng Wei's Tone.Commonly perceived as a purely cultural notion,the Sixteen Pitch issue aimed to align musical pitch with the hierarchical social order.This paper initiates its discourse with the perspectives of Li Zhao and Feng Yuan on sacrificial music during the Jing You era,meticulously analyzing Song Dynasty historical music documents and the actual bell arrangements.It scrutinizes the distinctive status of the Hichiriki in the Song Dynasty,postulating that the fixation on Sixteen Tones in sacrificial music discussions,which continued into the Ming and Qing Dynasties,arose from the shift in ancient Chinese musical notation-from the Hichiriki's specific finger position scoring to a more universal phonological system.
Northern Song Dynasty Sacrificial MusicFour High PitchesSu Zi NotationHichiriki NotationHichiriki
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