Wednesday, October 10, 2018

Idioms about music

Idioms about music
compiled by David Badagnani (rev. 16 April 2024)

A list of chengyu (成语) and other idioms about music, music-making, and musical instruments in the Chinese language.  Those describing the songs of birds and other animals are included.

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● 哀丝豪竹 (āi sī háo zhú) - (literal meaning):  sorrowful silk [and] resounding bamboo; (figurative meaning):  ensemble music (string instruments traditionally had strings made from twisted silk, and most wind instruments were made from bamboo)

Notes:

From 唐·杜甫《醉为马坠诸公携酒相看》诗:  「酒肉如山又一时，初筵哀丝动豪竹。」

More information:

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● 八音迭奏 (bā yīn dié zòu) - the instrumental music is complete

Notes:

From《晋书·乐志下》:  「八音迭奏，雅乐并作。」


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● 八音遏密 (bā yīn è mì) - (literal meaning):  eight kinds of musical instruments stop playing and the music falls silent; (figurative meaning):  music ceases to be played after the emperor's death; describes the death of the head of state

Notes:

From《尚书·舜典》:  「三载，四海遏密八音。」

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● 悲歌击筑 (bēi gē jī zhù)

Notes:

From 西汉·司马迁《史记·刺客列传》载：「战国时，荆轲受燕太子丹托付，入秦刺秦王，太子及朋友们送别于易水，高渐离击筑，荆轲歌“风萧萧兮易水寒，壮士一去兮不复还”，登车不顾而去。」

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● 悲歌慷慨 (bēi gē kāng kǎi)

Notes:

From《史记·项羽本纪》：「于是项王乃悲歌慷慨。」

Also:  晋·陶潜《怨诗楚调示庞主簿邓治中》：「慷慨独悲歌，钟期信为贤。」

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● 悲歌易水 (bēi gē yì shuǐ)

Notes:

From《史记·刺客列传》载：「战国时，荆轲受燕太子丹托付，入秦刺秦王，太子及朋友们送别于易水，高渐离击筑，荆轲歌“风萧萧兮易水寒，壮士一去兮不复还”，登车不顾而去。」

See also:  悲歌击筑 (bēi gē jī zhù)

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● 彼唱此和 (bǐ chàng cǐ hè)

Notes:

From《明史·刘世龙传》：「仕者日坏于上，学者日坏于下，彼唱此和，靡然成风。」

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● 笔歌墨舞 (bǐ gē mò wǔ)

Notes:

From 清·文康《儿女英雄传》第三十四回：「只见当朝圣人出的是三个富丽堂皇的题目，想着自然要取几篇笔歌墨舞的文章。」


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● 闭门酣歌 (bì mén hān gē)

Notes:

唐·李延寿《南史·徐绲似》：「绲为梁湘东王，镇西谘议参军，颇为声色，侍妾数十，……，便醉而闭门，尽日酣歌。」


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● 别抱琵琶 (bié bào pípá) - (figurative meaning):  to remarry, or to empathize with others

Notes:

From 清·纪昀《阅微草堂笔记·槐西杂志四》：「故人情重，实不忍别抱琵琶。」


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● 別抱琵琶 (bié bào pípá) - see 别抱琵琶 (bié bào pípá)


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● 伯歌季舞 (bó gē jì wǔ)

Notes:

From 汉·焦赣《易林·否之损》：「秋风牵手，相提笑语。伯歌季舞，燕乐以喜。」


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 ● 伯埙仲篪 (bó xūn zhòng chí)

 Notes:

From《诗经·小雅·何人斯》：「伯氏吹埙，仲氏吹篪。」

 More information:
https://baike.baidu.com/item/%E4%BC%AF%E5%9F%99%E4%BB%B2%E7%AF%AA

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 ● 不知肉味 (bù zhī ròu wèi), also 三月不知肉味 (sān yuè bù zhī ròu wèi) - (literal meaning):  did not know the taste of meat for three months

 Notes:

 When Confucius was in Qi (齐, modern-day Shandong province), he heard the Shao music (shaoyue, 韶乐), and for three months he did not know the taste of meat.  He said, "I never knew music could reach this level of excellence!"

From the Analects of Confucius, Chapter 7 (Shu Er) 《论语·述而》.

 More information:
https://baike.baidu.com/item/%E4%B8%8D%E7%9F%A5%E8%82%89%E5%91%B3
https://soundcloud.com/teacupmedia/s2e10-you-smell-that

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● 唱筹量沙 (chàng chóu liáng shā)

Notes:

From《南史·檀道济传》：「道济夜唱筹量沙，以所余少米散其上。及旦，魏军谓资粮有余，故不复追。」

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● 长笛邻家 (cháng dí lín jiā)

From 晋向秀《思旧赋序》

More information:
https://baike.baidu.com/item/%E9%95%BF%E7%AC%9B%E9%82%BB%E5%AE%B6

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● 唱对台戏 (chàng duì tái xì)

Notes:

From Deng Xiaoping (邓小平, 1904-1997)《共产党要接受监督》：“毛主席说，要唱对台戏，唱对台戏比单干好。”

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● 唱反调 (chàng fǎn diào)

More information:
https://www.zdic.net/hans/%E5%94%B1%E5%8F%8D%E8%B0%83

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● 唱高调 (chàng gāo diào)

More information:
https://www.zdic.net/hans/%E5%94%B1%E9%AB%98%E8%B0%83

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● 唱高和寡 (chàng gāo hé guǎ)

Notes:

From 战国楚宋玉《对楚王问》：「客有歌于郢中者，其始曰《下里》《巴人》，国中属而和者数千人；其为《阳阿》《薤露》，国中属和者数百人；其为《阳春》《白雪》，国中属而和者不过数十人；引商刻羽，杂以流徵，国中属而和者不过数人而已。是其曲弥高，其和弥寡。」

More information:
https://www.zdic.net/hans/%E5%94%B1%E9%AB%98%E5%92%8C%E5%AF%A1

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 ● 长歌当哭 (cháng gē dàng kū) - to sing loudly in order to give vent to one's grief

Notes:

From 宋·郭茂倩《乐府诗集·杂曲歌辞·悲歌》：「悲歌可以当泣，远望可以当归。」

 More information:
https://baike.baidu.com/item/%E9%95%BF%E6%AD%8C%E5%BD%93%E5%93%AD/1523543

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● 唱沙作米 (chàng shā zuò mǐ)

Notes:

From 清·李渔《闲情偶寄·词曲·宾白》：「予所谓多，谓不可删逸之多，非唱沙作米、强凫变鹤之多也。」

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● 晨钟暮鼓 (chén zhōng mù gǔ) - (literal meaning):  bell at daybreak, drum at dusk (symbolizing monastic practice); (figurative meaning):  encouragement to study or progress

Notes:

From 唐·李咸用《山中》诗：「朝钟暮鼓不到耳，明月孤云长挂情。」

 More information:
https://baike.baidu.com/item/%E6%99%A8%E9%92%9F%E6%9A%AE%E9%BC%93/80791

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● 重振旗鼓 (chóng zhèn qí gǔ) - (literal meaning):  to reorganize flags and drums; (figurative meaning):  to regroup after a setback; to prepare for new initiatives; to attempt a comeback

Notes:

From 清·湘灵子《轩亭冤·惊梦》：「侬欲重振旗鼓，烦你拟篇男女平权文劝戒女子。」

 More information:
https://baike.baidu.com/item/%E9%87%8D%E6%8C%AF%E6%97%97%E9%BC%93

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● 楚歌四合 (Chǔ gē sì hé)

Notes:

From 唐·李白《拟恨赋》：「若乃项王虎斗，白日争辉。拔山力尽，盖世心违。闻楚歌之四合，知汉卒之重围。」

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● 楚歌四面 (Chǔ gē sì miàn) - see 楚歌四合 (Chǔ gē sì hé)

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● 楚歌四起 (Chǔ gē sì qǐ)

Notes:

From 元·马致远《庆东原·叹世》曲之二：「帐前滴尽英雄泪，楚歌四起，乌骓漫嘶。」

More information:
https://baike.baidu.com/item/%E6%A5%9A%E6%AD%8C%E5%9B%9B%E8%B5%B7

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● 楚歌之计 (Chǔ gē zhī jì)

Notes:

From《汉书·高帝纪下》：「扞刘邦呴围羽垓下。羽夜闻汉军四面皆楚歌，知尽得楚地，羽与数百骑走，是以兵大败。」

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● 楚舞吴歌 (Chǔ wǔ Wú gē)

Notes:

From 元·萨都刺《江南乐》诗：「翡翠冠高罗袖阔，楚舞吴歌劝郎酌。」

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 ● 吹篪乞食 (chuī chí qǐ shí) - (literal meaning):  blowing the chi (transverse bamboo flute) and begging for food; refers to Wu Zixu (伍子胥, 559 BC-484 BC), a general and politician of the Wu kingdom in the Spring and Autumn period who, as a destitute refugee from the state of Chu in approximately 520 BC, played the chi (transverse bamboo flute) on the street in the city of Wu (modern-day Suzhou)

Notes:

From Shiji (Western Han)《史记·范睢蔡泽列传》：「伍子胥橐載而出昭關，夜行晝伏，至於陵水，無以糊其口，厀行蒲伏，稽首肉袒，鼓腹吹篪，乞食於吳市，卒興吳國，闔閭為伯。」
Wu Zixu hid in a sack to get through the Zhao Pass [in modern-day Hanshan County, Ma'anshan, east-century Anhui], traveling at night and hiding during the day until he arrived at Lingshui [modern-day Liyang, Changzhou, southern Jiangsu]. With no way to sate his hunger, he crawled about on his knees, bowed his head on the ground while half naked, puffed up his stomach and played the chi [transverse bamboo flute], begging for food in the markets of Wu [modern-day Suzhou]; finally, he rejuvenated the state of Wu and made Helü [r. 514 BC-496 BC] [its] hegemon.

More information:
https://baike.baidu.com/item/%E5%90%B9%E7%AF%AA%E4%B9%9E%E9%A3%9F

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 ● 吹吹打打 (chuī chuī dǎ dǎ) - (literal meaning):  blow, blow [wind instruments], hit, hit [percussion instruments], referring to chuida (吹打) wind-and-percussion ensembles which traditionally perform for festive events in Chinese culture; (figurative meaning):  to boast, tout oneself, or exaggerate one's deeds (compare the English-language idiom "toot one's own horn")

Notes:

From 明·天然智叟《石头点·郭挺之榜前认子》：「忙忙与女儿说知，叫老妈央人相帮打点。早鼓乐吹吹打打，迎人村来了。」

 More information:
https://baike.baidu.com/item/%E5%90%B9%E5%90%B9%E6%89%93%E6%89%93

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● 吹唇唱吼 (chuī chún chàng hǒu)

Notes:

From《南史·侯景传》：「丑徒数万，同共吹唇唱吼而上。」

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 ● 吹角连营 (chuī jiǎo lián yíng)

Notes:

From 宋·辛弃疾《破阵子·为陈同甫赋壮语以寄》：「醉里挑灯看剑，梦回吹角连营。」

 More information:
https://baike.baidu.com/item/%E5%90%B9%E8%A7%92%E8%BF%9E%E8%90%A5

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● 吹拉弹唱 (chuī lā tán chàng) - (literal meaning):  blow, bow, pluck, sing; refers to the skills of blowing wind instruments, bowing string instruments, plucking string instruments, and singing

Notes:

From《作品与争鸣》1983年第11期：“她同时也非常喜欢他的那一身本事：吹拉弹唱，样样在行；会装电灯，会开拖拉机，还会给报纸上写文章哩！”


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 ● 吹弹歌舞 (chuī tán gē wǔ) - (literal meaning):  blowing [wind instruments], plucking [string instruments], singing, and dancing; refers to entertainment activities comprising ensemble music, singing, and dance

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元·无名氏《来生债》第二折：「居士，如今那高楼上吹弹歌舞，饮酒欢娱，敢管待那士大夫哩。」

 More information:
https://baike.baidu.com/item/%E5%90%B9%E5%BC%B9%E6%AD%8C%E8%88%9E

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● 吹箫女子 (chuī xiāo nǚzǐ)

Notes:

From 清 厉荃《事物异名录·神鬼·井神》：《缉柳编》：「井神曰吹箫女子……观状如美女，好吹箫，以其名呼之即去。」


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 ● 吹箫乞食 (chuī xiāo qǐ shí) - (literal meaning):  blowing the xiao [flute] and begging for food; refers to Wu Zixu (伍子胥, 559 BC-484 BC), a general and politician of the Wu kingdom in the Spring and Autumn period who, as a destitute refugee from the state of Chu in approximately 520 BC, played the xiao (bamboo flute) on the street in the city of Wu (modern-day Suzhou)

Notes:

From《史记·范睢蔡泽列传》：「伍子胥橐载而出昭关，夜行昼伏，至于陵水，无以糊其口，膝行蒲伏，稽首肉袒，鼓腹吹篪，乞食于吴市。」

 More information:
https://baike.baidu.com/item/%E5%90%B9%E7%AE%AB%E4%B9%9E%E9%A3%9F

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● 吹箫散楚 (chuī xiāo sàn chǔ) - (literal meaning):  blowing the xiao to disperse/scatter [the army of] Chu

Notes:

From 明沉采 《千金记》


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● 吹箫吴市 (chuī xiāo Wú shì)

Notes:

From the Shiji 《史记·范睢蔡泽列传》：「伍子胥橐载而出昭关，夜行昼伏，至于陵水，无以糊其口，膝行蒲伏，稽首肉袒，鼓腹吹篪，乞食于吴市，卒兴吴国，阖闾为伯。」

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● 吹箫引凤 (chuī xiāo yǐn fèng)

Notes:

From an ancient traditional folk tale, recorded by Liu Xiang (刘向, 77 BC-6 BC) in his "Liexian Zhuan"《列仙传》 (Biographies of Immortals).


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● 吹竹调丝 (chuí zhú tiáo sī) - (literal meaning):  blowing bamboo [and] tuning/plucking silk; (figurative meaning):  instrumental musical ensemble activities (most wind instruments were made from bamboo, and the strings of string instruments were traditionally made from twisted silk)

Notes:

From 清·纪昀《阅微草堂笔记·滦阳续录》:  「吹竹调丝，行炙劝酒。」

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● 吹竹弹丝 (chuī zhú tán sī) - (literal meaning):  blow bamboo, pluck silk; (figurative meaning):  to play wind instruments (most wind instruments were made of bamboo) and pluck string instruments (whose strings were traditionally made of twisted silk)

Notes:

From 唐·韩愈《代张籍与李浙东书》:  「阁下凭几而听之，未必不如听吹竹弹丝、敲金击石也。」

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● 此唱彼和 (cǐ chàng bǐ hè)

Notes:

清陈田《明诗纪事·己签序》：「与前七子隔绝数十年，而此唱彼和，声应气求，若出一轨。」

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● 村歌社鼓 (cūn gē shè gǔ)

Notes:

From 元·姚守中《粉蝶儿·牛诉冤》套曲：「为伍的是伴哥王留，受用的是村歌社鼓。」


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● 村歌社舞 (cūn gē shè wǔ)

Notes:

From 宋·杨万里《宿新市徐公店》诗：「春光都在柳梢头，拣折长条插洒楼。便作在家寒食看，村歌社舞更风流。」

More information:
https://baike.baidu.com/item/%E6%9D%91%E6%AD%8C%E7%A4%BE%E8%88%9E

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● 村箫社鼓 (cūn xiāo shè gǔ)

Notes:

From 宋·辛弃疾《沁园春》词：「被西风吹尽，村箫社鼓，青山留得，松盖云旗，吊古秋浓，怀人日暮，一片心从天外归。」

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 ● 大张旗鼓 (dà zhāng qí gǔ)

Notes:

From 清·张春帆《宦海》：「李参戎带着这些人陆续出了镇南关，便大张旗鼓，排齐队伍，浩浩荡荡地向前进发。」

 More information:
https://baike.baidu.com/item/%E5%A4%A7%E5%BC%A0%E6%97%97%E9%BC%93/33765

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● 到什么山上唱什么歌 (dào shénme shān shàng chàng shénme gē)

Notes:

From 毛泽东《反对党八股》：“俗话说：‘到什么山上唱什么歌。’……我们无论做什么事都要看情形办理，文章和演说也是这样。”

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● 德音雅乐 (dé yīn yǎ yuè)

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● 低唱浅斟 (dì chàng qiǎn zhēn)

Notes:

From 宋·无名氏《湘湖近事》：「陶谷学士，尝买得党太尉家故妓。过定陶，取雪水烹团茶，谓妓曰：“彼粗人也，安有此景，但能销金暖帐下，浅斟低唱，饮羊羔美酒耳。”谷愧其言。」

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● 低唱浅酌 (dì chàng qiǎn zhuó)

Notes:

From 元·关汉卿《望江亭》第三折：「则这今晚开筵，正是中秋令节。只合低唱浅酌，莫待他花残月缺。」

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● 低吟浅唱 (dī yín qiǎn chàng)

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● 断弦 (duànxián) - (literal meaning):  broken string (on a musical instrument) or bowstring; (figurative meaning):  to become a widower; to lose one's wife; bereavement

Notes:

This idiom is based on the chengyu 琴瑟和鸣 (qín sè hè míng), which uses the metaphor of the qin and se zithers to represent a happily married couple

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● 断弦再续 (duàn xián zài xù) - (literal meaning):  resuming/continuing [after a] broken string; (figurative meaning):  refers to a man remarrying after losing his wife

Notes:

From 明·熊龙峰《四种小说·张生彩鸾灯传》：「二人缺月重圆，断弦再续，大喜不胜。」

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● 对酒当歌 (duì jiǔ dāng gē)

Notes:

From 汉·曹操《短歌行》:「对酒当歌,人生几何!譬如朝露,去日苦多。」

More information:
https://baike.baidu.com/item/%E5%AF%B9%E9%85%92%E5%BD%93%E6%AD%8C/83994

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 ● 对牛弹琴 (duì niú tán qín) - (literal meaning):  to play the qin for a cow; (figurative meaning):  to cast pearls before swine; to preach to deaf ears; to talk to a post; to whistle jigs to a milestone

Notes:

From 汉·牟融《理惑论》：「公明仪为牛弹清角之操，伏食如故。非牛不闻，不合其耳矣。」

 More information:
https://baike.baidu.com/item/%E5%AF%B9%E7%89%9B%E5%BC%B9%E7%90%B4/3490

● 遏密八音 (è mì bā yīn) - (literal meaning):  eight kinds of musical instruments stop playing and the music falls silent; (figurative meaning):  music ceases to be played after the emperor's death; describes the death of the head of state

Notes:

From《尚书·舜典》:  「三载，四海遏密八音。」


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● 遏云 (èyún) - (literal meaning):  stop [the motion of] clouds; (figurative meaning):  describes singing so beautiful that it can stop the movement of clouds in the sky

Note:

From《列子》卷五《汤问》


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 ● 二缶钟惑 (èr fǒu zhōng huò)

Notes:

From 战国·宋·庄周《庄子·天地》：「以二缶钟惑，而所适不得矣。」

 More information:
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● 繁丝急管 (fán sī jí guǎn) - (literal meaning):  numerous silk [strings], rapid pipes; (figurative meaning):  a lively scene where a variety of musical instruments are played together

From 唐·韦应物《酒肆行》：「桃花飘俎柳垂筵，繁丝急管一时合。」

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https://baike.baidu.com/item/%E7%B9%81%E4%B8%9D%E6%80%A5%E7%AE%A1/23307793

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● 反弹琵琶 (fǎn tán pípá) - (literal meaning):  playing the pipa behind the back, a dance of Central Asian origin that enjoyed popularity in Tang China; (figurative meaning):  a kind of thinking or behavior that breaks with convention, or approaches a problem from the opposite angle

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● 繁弦急管 (fán xián jí guǎn) - (literal meaning):  numerous strings, rapid pipes; (figurative meaning):  a lively scene where a variety of musical instruments are played together

Notes:

From 宋·晏殊《蝶恋花》词:  「绣幕卷波香引穗，急管繁弦，共爱人间瑞。」

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● 放歌纵酒 (fàng gē zòng jiǔ)

Notes:

From 唐·杜甫《闻官军收河南河北》

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 ● 焚琴煮鹤 (fén qín zhǔ hè) - (literal meaning):  to burn a qin [as firewood] and cook a crane to eat; (figurative meaning):  to be unappreciative of art or beauty

Notes:

From 宋·胡仔《苕溪渔隐丛篆集》引《西清诗话》：「义山《杂纂》，品目数十，盖以文滑稽者。其一曰杀风景，谓清泉濯足，花下晒裈，背山起楼，烧琴煮鹤，对花啜茶，松下喝道。」

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● 凤歌鸾舞 (fèng gē luán wǔ)

Notes:

From 宋·陈亮《点绛唇》词：「凤歌鸾舞。玉斝飞香醑。」

Also:  宋·赵善括《醉蓬莱》词：「桂子兰孙，凤歌鸾舞，介我公眉寿。」

More information:
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● 凤管鸾箫 (fèng guǎn luán xiāo)

Notes:

From 明·兰陵笑笑生《金瓶梅词话》第四十六回：「听一派凤管鸾箫，见一簇翠围珠绕。」

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● 凤舞鸾歌 (fèng wǔ luán gē)

Notes:

From 唐·宋之问《太平公主山池赋》：「凤舞鸾歌兮俨欲飞，披烟弄月兮宵未归。」


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● 凤箫龙管 (fèng xiāo lóng guǎn)

Notes:

From 清·黄永《龙衣舟行》诗：「凤箫龙管穿云去，锦缆牙樯映日月。」


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● 凤箫鸾管 (fèng xiāo luán guǎn)

Notes:

From 明·谢谠《四喜记·大宋毕姻》：「歌动迎仙，声袅凤箫鸾管。」

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https://baike.baidu.com/item/%E5%87%A4%E7%AE%AB%E9%B8%BE%E7%AE%A1/5986160

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 ● 夫倡妇随 (fū chàng fù suí) - (literal meaning): the husband leads [the song], and the wife follows; (figurative meaning):  in traditional Chinese culture, a wife was supposed to be obedient and obey her husband; in this light, this idiom is a metaphor for harmony between husband and wife, or a couple getting along well

Notes:

From《关尹子·三极》：「天下之理，夫者倡，妇者随。」

 More information:
https://baike.baidu.com/item/%E5%A4%AB%E5%94%B1%E5%A6%87%E9%9A%8F/1435443

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 ● 夫唱妇随 (fū chàng fù suí) - (literal meaning): the husband sings, and the wife follows; (figurative meaning):  in traditional Chinese culture, a wife was supposed to be obedient and obey her husband; in this light, this idiom is a metaphor for harmony between husband and wife, or a couple getting along well

Notes:

From《关尹子·三极》:  「天下之理，夫者唱，妇者随。」

 More information:
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● 负手之歌 (fù shǒu zhī gē)

Notes:

From《礼记·檀弓上》：「孔子蚤作，负手曳杖，消摇於门，歌曰：“泰山其颓乎？梁木其坏乎？哲人其萎乎？”既歌而入，当户而坐。子贡闻之曰：“泰山其颓，则吾将安仰；梁木其坏，哲人其萎，则吾将安放。夫子殆将病也。”遂趋而入。夫子曰：“赐，尔来何迟也……夫明王不兴，而天下其孰能宗予，予殆将死也。”盖寝疾七日而没。」

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 ● 改弦更张 (gǎi xián gēng zhāng) - (literal meaning):  change strings [of a musical instrument], restring one's bow; (figurative meaning):  to cut loose from the past and make a fresh start

Notes:

From 东汉·班固《汉书·董仲舒传》：「窃譬之琴瑟不调，甚者必解而更张之，乃可鼓也。」

Also:  清·阮葵生《茶余客话》卷七：「不～，使吏有士君子之行，而欲民生蒙福，教化淳美，犹欲其入而闭之门也。」

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https://baike.baidu.com/item/%E6%94%B9%E5%BC%A6%E6%9B%B4%E5%BC%A0

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● 高唱入云 (gāo chàng rù yún)

Notes:

From 晋·葛洪《西京杂记》卷一：「后宫齐首高唱，声入云霄。」

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 ● 高歌猛进 (gāo gē měng jìn)

Notes:

From《解放日报》1996.6.13：「我国广告业高歌猛进。」

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● 高山流水 (gāo shān liú shuǐ)

Notes:

From《列子·汤问》：「伯牙鼓琴，志在登高山，钟子期曰：“善哉，峨峨兮若泰山。”志在流水，曰：“善哉，洋洋兮若江河。”」

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https://baike.baidu.com/item/%E9%AB%98%E5%B1%B1%E6%B5%81%E6%B0%B4/5587
https://soundcloud.com/teacupmedia/s2e06-i-love-you-man

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● 歌功颂德 (gē gōng sòng dé)

Notes:

From《史记·周本纪》：「民皆歌乐之，颂其德。」

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● 歌楼舞榭 (gē lóu wǔ xiè)

Notes:

From 唐·吕令问《云中古城赋》：「歌台舞榭，月殿云堂。」

More information:
https://baike.baidu.com/item/%E6%AD%8C%E6%A5%BC%E8%88%9E%E6%A6%AD/4667302

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● 歌扇舞衫 (gē shàn wǔ shān)

Notes:

From 南朝·陈·徐陵《杂曲》：「舞衫回袖胜春风，歌扇当窗似秋月。」


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● 歌声绕梁 (gē shēng rào liáng) - (literal meaning):  the sound of one's singing winds around the rafters; (figurative meaning):  sonorous and resounding (esp. of singing voice)

Notes:

From 战国·郑·列御寇《列子·汤问》：「昔韩娥东之齐，匮粮，过雍门，鬻歌假食，出 处既去，而余音绕梁欐，三日不绝。」


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● 歌台舞榭 (gē tái wǔ xiè)

Notes:

From 唐·吕令问《云中古城赋》：「歌台舞榭，月殿云堂。」


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 ● 歌舞升平 (gē wǔ shēngpíng)

Notes:

From《左传·襄公三十一年》：「文王之初，天下诵而歌舞之。”汉·张衡《东京赋》：“躬自菲薄，治致升平之德。」

 More information:
https://baike.baidu.com/item/%E6%AD%8C%E8%88%9E%E5%8D%87%E5%B9%B3/2100

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● 歌莺舞燕 (gē yīng wǔ yàn)

Notes:

宋·苏轼《锦被亭》词：「烟红露绿晓风香，燕舞莺啼春日长。」


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● 更唱迭和 (gēng chàng dié hé)

Notes:

From 战国·楚·宋玉《高唐赋》：「当年邀游，更唱迭和，赴曲随流。」

Also:  元·李寿卿《度柳翠》

Also:  清·钱泳《履园丛话·园林·逸园》：「太史之女曰蕴玉者，自号生香居士，亦能诗，与在山更唱迭和。」

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● 更唱叠和 (gēng chàng dié hé)

Notes:

From 明·宋濂《寄和右丞温迪罕诗卷序》：「吾昔在中州文物府中更唱叠和者，为何如耶？」

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 ● 更弦易辙 (gēng xián yì zhé), also 易辙更弦 (yì zhé gēng xián) - (literal meaning):  change strings [on a musical instrument], change path [while driving a cart]; (figurative meaning):  to change one's method, attitude, behavior, practice, plan, or direction

 Notes:

 From The History of Ming 《明史．卷二○三．潘埙传》：「今春秋已盛，更弦易辙，此其时也。」

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● 缑岭吹笙 (gōu lǐng chuī shēng)

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● 缑岭吹箫 (gōu lǐng chuī xiāo)

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● 鼓盆而歌 (gǔ pén ér gē)

Notes:

From《庄子·至乐》：庄子妻死，惠子吊之，庄子则方箕踞鼓盆而歌。惠子曰：“与人居，长子老身，死不哭亦足矣，又鼓盆而歌，不亦甚乎！”

庄子曰：“不然。是其始死也，我独何能无概然！察其始而本无生，非徒无生也而本无形，非徒无形也而本无气。杂乎芒芴之间，变而有气，气变而有形，形变而有生，今又变而之死，是相与为春秋冬夏四时行也。人且偃然寝于巨室，而我噭噭然随而哭之，自以为不通乎命，故止也。”


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● 鼓盆之戚 (gǔ pén zhī qī)

Notes:

From《庄子·至乐》：「庄子妻死，惠子吊之，庄子则方箕踞鼓盆而歌。」


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● 酣歌恒舞 (hān gē héng wǔ)

Notes:

From《书·伊训》：「“敢有恒舞于宫，酣歌于室，时谓巫风。”孔传：“常舞则荒淫，乐酒曰酣，酣歌则废德。”」


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● 酣歌醉舞 (hān gē zuì wǔ)

Notes:

From 茅盾 (20th century)《血战后一周年》：“不见他们朝朝暮暮酣歌醉舞么？”

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● 豪竹哀丝 (háo zhú āi sī) - (literal meaning):  resounding bamboo [and] sorrowful silk; (figurative meaning):  ensemble music (most wind instruments were made from bamboo, and string instruments traditionally had strings made from twisted silk)

Notes:

From 宋·陆游《东津》诗:  「打鱼斫脍修故事，豪竹哀丝奉欢乐。」

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● 和而不唱 (hé ér bù chàng)

Notes:

From《庄子·德充符》：「和而不唱，知不出乎四城。」

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● 横吹笛子竖吹箫 (héng chuī dízi shù chuī xiāo) - (literal meaning):  the dizi is played horizontally, [while] the xiao is played vertically

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● 狐唱枭和 (hú chàng xiāo hé)

Notes:

From 宋·王禹偁《杜伏威传赞序》：「由是世充、建德、黑闼、武周之辈，狐唱枭和，蝟芒而来。」

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● 黄钟大吕 (huáng zhōng dà lǚ) - (literal meaning):  in the ancient Chinese 12-tone tuning system, huang zhong (the tonic) was the first in the yang series of six pitches, and da lü was the fourth in the yin series of six pitches; (figurative meaning):  describes music or words as solemn, upright, subtle, and harmonious

 Notes:

From Zhou Li Zhu Shu《周礼注疏》卷二十二〈春官宗伯·大司乐〉

 More information:
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 ● 黄钟毁弃，瓦釜雷鸣 (huáng zhōng huǐ qì, wǎ fǔ léi míng)

Notes:

From 战国·楚·屈原《楚辞·卜居》：「世溷浊而不清，蝉翼为重，千钧为轻；黄钟毁弃，瓦釜雷鸣；谗人高张，贤士无名。」

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 ● 黄钟瓦缶 (huáng zhōng wǎ fǒu) - (literal meaning):  Yellow Bell and pottery fou [a vessel played as a percussion instrument]; (figurative meaning):  elegant and vulgar; wise and mediocre

Notes:

明·谢榛《四溟诗话》第三卷：「试诵我诗一篇或一联，以见黄钟瓦缶，声调同异，则工拙两存乎心，所论公平，靡不服矣。」

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● 击鼓传花 (jī gǔ chuán huā) - (literal meaning):  "beat the drum, pass the flowers"; describes a traditional Chinese game in which one participant would beat a drum while another would pass a spray of blossoms


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● 击鼓催花 (jī gǔ cuī huā)

Notes:

From 唐南卓《羯鼓录》:「上(唐明皇)洞晓音律……尤爱羯鼓玉笛﹐常云八音之领袖﹐诸乐不可为比。尝遇二月初﹐诘旦﹐巾栉方毕﹐时当宿雨初晴﹐景色明丽﹐小殿内庭﹐柳杏将吐。睹而叹曰:“对此景物﹐岂得不为他判断之乎？”左右相目﹐将命备酒﹐独高力士遣取羯鼓。上旋命之﹐临轩纵击一曲﹐曲名《春光好》。神思自得。及顾柳杏﹐皆已发拆。上指而笑谓嫔御曰:“此一事不唤我作天公﹐可乎？”」

More information:
https://baike.baidu.com/item/%E5%87%BB%E9%BC%93%E5%82%AC%E8%8A%B1

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● 急管繁弦 (jí guǎn fán xián) - (literal meaning):  rapid pipes, numerous strings; (figurative meaning):  a lively scene where a variety of musical instruments are played together

Notes:

From 宋·晏殊《蝶恋花》词:  「绣幕卷波香引穗，急管繁弦，共爱人间瑞。」

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● 击筑悲歌 (jī zhù bēi gē)

Notes:

From《战国策·燕策》：「高渐离击筑，荆轲和而歌。」


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● 急竹繁丝 (jí zhú fán sī) - (literal meaning):  rapid bamboo, numerous silk; (figurative meaning):  a lively scene where a variety of musical instruments are played together (most wind instruments were made from bamboo, and string instruments traditionally had strings made from twisted silk)

Notes:

From 宋·翁卷《白紵词》:  「急竹繁丝互催逼，吴娘娇浓玉无力。」

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● 剑胆琴心 (jiàn dǎn qín xīn)

Notes:

From 元·吴莱《寄董与几》诗：「小榻琴心展，长缨剑胆舒。」

More information:
https://baike.baidu.com/item/%E5%89%91%E8%83%86%E7%90%B4%E5%BF%83/3161119

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● 剑气箫心 (jiàn qì xiāo xīn)

Notes:

From 清·龚自珍《已亥杂诗》：「少年击剑更吹箫，剑气箫心一例消。」


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● 剑态箫心 (jiàn tai xiāo xīn)

Notes:

From 柳亚子《自题磨剑室诗词后》：「剑态箫心不可羁，已教终古负初期。」

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 ● 胶柱鼓瑟 (jiāo zhù gǔ sè)

Notes:

From《史记·廉颇蔺相如列传》：「王以名使括，若胶柱而鼓瑟耳。括徒能读其父书传，不知合变也。」

More information:
https://baike.baidu.com/item/%E8%83%B6%E6%9F%B1%E9%BC%93%E7%91%9F

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● 羯鼓催花 (jiégǔ cuī huā)

Notes:

From 唐·南卓《羯鼓录》载：「唐玄宗喜好羯鼓，曾经在内庭击鼓，并且自己做了一曲《春光好》。当时正赶上庭中杏花开放，唐玄宗笑着说：“此一事，不唤我作天公可乎？”」


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● 金鼓齐鸣 (jīn gǔ qí míng)

Notes:

From《左传·僖公二十二年》：「金鼓以声气也。」

More information:
https://baike.baidu.com/item/%E9%87%91%E9%BC%93%E9%BD%90%E9%B8%A3

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● 紧锣密鼓 (jǐn luó mì gǔ)

Notes:

From 刘绍棠《狼烟》四：「绿树葱茏的太子镇里，传出一阵阵紧锣密鼓的喧响。」

More information:
https://baike.baidu.com/item/%E7%B4%A7%E9%94%A3%E5%AF%86%E9%BC%93

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● 金石丝竹 (jīn shí sī zhú) - (literal meaning):  metal, stone, silk, bamboo; (figurative meaning):  refers to the variety of sounds produced by the instruments used in Chinese court ritual music:  bronze bells, stone chimes, string instruments (whose strings were traditionally made from twisted silk), and wind instruments (most of which were made from bamboo)

Notes:

From《庄子·外篇·骈拇》:  「多于聪者，乱五声，淫六律，金石丝竹黄钟大吕之声非乎？而师旷是已。」

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 ● 金声玉振 (jīn shēng yù zhèn)

Notes:

From《孟子·万章下》：「集大成也者，金声而玉振之也。金声也者，始条理也；玉振之也者，终条理也。始条理者，智之事也；终条理者，圣之事也。」

More information:
https://baike.baidu.com/item/%E9%87%91%E5%A3%B0%E7%8E%89%E6%8C%AF/81004

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● 君唱臣和 (jūn chàng chén hè)

Notes:

From《晏子外编》：「君唱臣和，教之隆也。」

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 ● 开台锣鼓 (kāi tái luó gǔ) - (literal meaning):  to begin a theatrical performance with gongs and drums; (figurative meaning):  to kick off an article, speech or event

 Notes:

From the introduction to the revolutionary novel Lüliang Yingxiong Zhuan 《吕梁英雄传》 (The Heroes of Lüliang, 1945), coauthored by Ma Feng (马烽, 1922-2004) and Xi Rong (西戎, 1922-2001)

More information:
https://baike.baidu.com/item/%E5%BC%80%E5%8F%B0%E9%94%A3%E9%BC%93

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● 慷慨悲歌 (kāng kǎi bēi gē)

Notes:

From《史记·项羽本纪》：「于是项王乃悲歌慷慨。」

More information:

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● 亢音高唱 (kàng yīn gāo chàng)

Notes:

From 汉·傅毅《舞赋》：「动朱唇，纡清扬，亢音高唱，为乐之方。」

More information:

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● 可歌可泣 (kě gē kě qì)

Notes:

From《周易·中孚》：「得敌，或鼓或罢，或泣或歌。」

Also:  明·海瑞《方孝孺临麻姑仙坛记跋》：「国初方列之概，无异平原复生。追念及之，可歌可泣。」


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● 可泣可歌 (kě qì kě gē)

Notes:

From 清·袁枚《小仓山房尺牍》第170首：「见案上有见赐于书，哭似村诸绝，情文双至，可泣可歌。」

More information:

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● 扣人心弦 (kòu rén xīn xián) - (figurative meaning):  exciting; soul-stirring; thrilling

Notes:

魏巍《东方》第二部第七章：「据说这人最不爱讲话，但那天的几句话，却是那样扣人心弦，感动得自己当时流下了眼泪。」

More information:
https://baike.baidu.com/item/%E6%89%A3%E4%BA%BA%E5%BF%83%E5%BC%A6/4324139

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Gilt carved wood panel depicting the story of Xiao Shi and Nongyu.  Probably made in the Chaoshan region of eastern Guangdong province, southern China.  Unknown provenance.

● 跨凤吹箫 (kuà fèng chuī xiāo)

Notes:

Based on the legend of Xiao Shi (萧史) and Nongyu (弄玉), the son-in-law and daughter of Duke Mu of Qin (秦穆公, r. 659 BC-621 BC, during the Spring and Autumn Period.  According to the legend, after the couple had retired to the seclusion of the middle peak of Mount Hua, one day Nongyu took her jade sheng and mounted a colorful phoenix, and Xiao Shi took his jade xiao and stepped onto a golden dragon.  For a time, the dragon and the phoenix flew into the air.  People at that time referred to Xiao Shi as "dragon-riding son-in-law" [this expression has evolved into a modern-day Chinese chengyu with the implied meaning of "ideal son-in-law"].

From《太平广记》卷四〈神仙四·萧史〉～25～


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● 滥竽充数 (làn yú chōng shù) - (figurative meaning):  to fill a position without having the necessary qualifications; to be a token member of a group; to masquerade as having an ability; to sell seconds at best-quality prices

 Notes:

From a story in Han Feizi 《韩非子》 (c. 2nd century BC):

 齐宣王使人吹竽必三百人。
Whenever King Xuan of Qi [r. 319 BC-300 BC] had men play the yu [a mouth organ used in ancient times], there had to be 300 men playing simultaneously.
南郭处士请为王吹竽，宣王说之，廪食以数百人。
A reclusive scholar by the name of Nanguo [lit. southern wall of a city], who was unable to play the instrument, asked if he could join the ensemble and play the yu for the king. King Xuan was delighted by this, and dispensed enough food rations for several hundred musicians.
宣王死，湣王立，好一一听之，处士逃。
Then, King Xuan died, and King Min [r. 300 BC-283 BC] took the throne. He preferred to listen [to the yu players] one by one, so the reclusive scholar fled.

 More information:
https://baike.baidu.com/item/%E6%BB%A5%E7%AB%BD%E5%85%85%E6%95%B0

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● 老魚跳波 (lǎo yú tiào bō) - (literal meaning):  old fish leap [among] the waves; (figurative meaning):  a metaphor describing music so exquisite that it could delight members of the animal kingdom

Notes:

From 唐·李贺《李凭箜篌引》：「梦入神仙教神妪，老鱼跳波瘦蛟舞。」

More information:

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● 礼崩乐坏 (lǐ bēng yuè huài) - describes a situation in which the rules and regulations of the feudal rites have been greatly damaged

Notes:

From 清·章炳麟《与简竹居书》：「中唐以来，礼崩乐坏，狂狡有作，自己制则，而事不稽古。」

More information:

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● 礼坏乐崩 (lǐ huài yuè bēng) - describes an era of disordered social discipline and turmoil

Notes:

From《汉书·武帝纪》：「盖闻导民以礼，风之以乐。今礼坏乐崩，朕甚闵焉。」


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● 邻笛 (lín dí)

Notes:

From 晋 向秀 《思旧赋》序：「余与 嵇康、吕安 居止接近；其人并有不羁之才，然 嵇 志远而疏， 吕 心旷而放。其后各以事见法……余逝将西迈，经其旧庐，于时日薄 虞渊，寒冰凄然，邻人有吹笛者，发声寥亮，追思曩昔游宴之好，感音而叹，故作赋云。」


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● 邻家吹笛 (lín jiā chuī dí)

Notes:  

From《昭明文选》


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● 聋者之歌 (lóng zhě zhī gē)

Notes:

From《淮南子·原道》：「夫内不开于中，而强学问者，不入于耳而不着于心，此何以异于聋者之歌也，效人为之而无以自乐也，声出于口则越而散矣。」

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● 楼船箫鼓 (lóu chuán xiāo gǔ)

Notes:

From 明·张岱《陶庵梦忆西湖七月半》：「其一，楼船箫鼓，峨冠盛筵，灯火优傒，声光相乱，名为看月而实不见月者，看之。」

More information:
https://baike.baidu.com/item/%E6%A5%BC%E8%88%B9%E7%AE%AB%E9%BC%93
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● 鸾歌凤吹 (luán gē fèng chuī)

Notes:

From 唐·王勃《临高台》：「临高台，高台迢递绝浮埃。瑶轩绮构何崔嵬，鸾歌凤吹清且哀。」

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● 鸾歌凤舞 (luán gē fèng wǔ)

Notes:

From《山海经·大荒南经》：「爰有歌舞之鸟，鸾鸟自歌，凤鸟自舞。」

More information:
https://baike.baidu.com/item/%E9%B8%BE%E6%AD%8C%E5%87%A4%E8%88%9E

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● 鸾吟凤唱 (luán yín fèng chàng)

Notes:

From 唐·白居易 《王子晋庙》诗：「鸾吟凤唱听无拍，多似霓裳散序声。」

More information:
https://baike.baidu.com/item/%E9%B8%BE%E5%90%9F%E5%87%A4%E5%94%B1

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 ● 锣鼓喧天 (luó gǔ xuān tiān)

Notes:

From 元·尚仲贤《单鞭夺槊》第四折：「早来到北邙前面，猛听的锣鼓喧天，那军不到三千，拥出个将一员，雄纠纠威风武艺显。」

More information:
https://baike.baidu.com/item/%E9%94%A3%E9%BC%93%E5%96%A7%E5%A4%A9/4269312

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● 马融帐 (Mǎ Róng zhàng)

More information:
https://baike.baidu.com/item/%E9%A9%AC%E8%9E%8D%E5%B8%90/565345

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 ● 靡靡之音 (mǐ mǐ zhī yīn) - decadent or obscene music; cheap, low-class tunes; popular music

 Notes:

From《韩非子·十过》：「此师延之所作，与纣为靡靡之乐也。」

 More information:
https://baike.baidu.com/item/%E9%9D%A1%E9%9D%A1%E4%B9%8B%E9%9F%B3/4423669
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● 妙舞清歌 (miào wǔ qīng gē)

Notes:

From 宋·秦观《一丛花》：「谁料久参差，愁绪暗萦丝，想应妙舞清歌罢，又还对秋色嗟咨。」

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● 鸣金收兵 (míng jīn shōu bīng)

Notes:

From《荀子·议兵》：「闻鼓声而进，闻金声而退。」

 More information:
https://baike.baidu.com/item/%E9%B8%A3%E9%87%91%E6%94%B6%E5%85%B5/2294406

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 ● 男唱女随 (nán chàng nǚ suí) - (literal meaning): the man sings, and the woman follows; (figurative meaning):  in traditional Chinese culture, a wife was supposed to be obedient and obey her husband; in this light, this idiom is a metaphor for harmony between husband and wife, or a couple getting along well

Notes:

From《孔丛子·嘉言》：「十五许嫁而后从夫，是阳动而阴应，男唱而女随之义也。」

More information:
https://baike.baidu.com/item/%E7%94%B7%E5%94%B1%E5%A5%B3%E9%9A%8F

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● 能歌善舞 (néng gē shàn wǔ) - (literal meaning):  able to sing [and] skilled at dancing; (figurative meaning):  good at singing and dancing

Notes:

From 清·褚人获《隋唐演义》第29回：「不论才人、美人、嫔妃、彩女，或有色有才，能歌善舞，稍有一技可见者，许报名到显仁宫自献。」

More information:
https://baike.baidu.com/item/%E8%83%BD%E6%AD%8C%E5%96%84%E8%88%9E

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● 你唱我和 (nǐ chàng wǒ hé)

Notes:

From 明·周楫《西湖二集》：「日日的吟诗作赋，你唱我和。」

More information:

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● 牛角之歌 (niú jiǎo zhī gē)

Notes:

From《吕氏春秋·举难》：「“扣牛角疾歌”。桓公闻而赞其为“非常人”，命后车载之，拜为上卿。」

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● 弄管调弦 (nòng guǎn tiáo xián) - (literal meaning):  blowing pipes [and] tuning/plucking strings; (figurative meaning):  to play ensemble (i.e., wind and string) instruments

Notes:

From 清·文康《儿女英雄传》第三十五回:  「论他的才情，填词觅句，无所不能，便是弄管调弦，也无所不会，是个第一等的轻浪浮薄子弟。」

More information:

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● 弄竹弹丝 (nòng zhú tán sī) - (literal meaning):  blowing bamboo [and] plucking silk; (figurative meaning):  to play ensemble (i.e., wind and string) instruments (most wind instruments were made from bamboo, and the strings of string instruments were traditionally made from twisted silk)

Notes:

From 宋·汪元量《潮州歌九十八首》:  「酒边笑谑消长日，弄竹弹丝尽胜流。」

More information:

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● 弄玉吹箫 (Nòngyù chuī xiāo)

Notes:

Based on the legend of Xiao Shi (萧史) and Nongyu (弄玉), the son-in-law and daughter of Duke Mu of Qin (秦穆公, r. 659 BC-621 BC, during the Spring and Autumn Period; Xiao Shi was a fine xiao player and his wife Nongyu played the sheng.

From《列仙传拾遗》


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● 棚车鼓笛 (péng chē gǔ dí)

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● 品箫弄笛 (pǐn xiāo nòng dí) - (literal meaning):  to play the xiao (vertical flute) and the di (transverse flute)

From《大马扁》第七回：「忽听得隔壁嗷嗷嘈嘈，有品箫弄笛的，有猜拳行会的，动得自己心痒。」

More information:

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● 品竹弹丝 (pǐn zhú tán sī) - (literal meaning):  blowing bamboo [and] plucking silk; (figurative meaning):  to play ensemble (i.e., wind and string) instruments (most wind instruments were made from bamboo, and the strings of string instruments were traditionally made from twisted silk)

Notes:

From 元·无名氏《货郎担》第四折:  「又不会卖风流，弄粉调脂；又不会按宫商，品竹弹丝。」

More information:

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● 品竹调丝 (pǐn zhú tiáo sī) - (literal meaning):  blowing bamboo [and] tuning/plucking silk; (figurative meaning):  to play ensemble (i.e., wind and string) instruments (most wind instruments were made from bamboo, and the strings of string instruments were traditionally made from twisted silk)

Notes:

From 元·王子一《误入桃源》第二折:  「品竹调丝，称商换羽。」

More information:

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● 品竹调弦 (pǐn zhú tiáo xián) - (literal meaning):  blowing bamboo [and] tuning/plucking strings; (figurative meaning):  to play ensemble (i.e., wind and string) instruments (most wind instruments were made from bamboo)

Notes:

From 元·武汉臣《玉壶春》第一折:  「一行行品竹调弦。」

More information:

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● 琵琶别抱 (pípá bié bào) - (figurative meaning):  a woman abandoning her husband and remarrying

Notes:

From 唐·白居易《琵琶行》：「千呼万唤始出来，犹抱琵琶半遮面。」

More information:
https://baike.baidu.com/item/%E7%90%B5%E7%90%B6%E5%88%AB%E6%8A%B1

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● 琵琶别调 (pípá bié diào) - (figurative meaning):  a woman abandoning her husband and remarrying 


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 ● 琵琶别弄 (pípá bié nòng) - (figurative meaning):  a woman abandoning her husband and remarrying

Notes:

From 清·李渔《奈何天·计左》：「命短的，做了离魂倩女；命苦的，做了琵琶别弄。」

More information:
https://baike.baidu.com/item/%E7%90%B5%E7%90%B6%E5%88%AB%E5%BC%84
http://chengyu.t086.com/cy22/22447.html

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 ● 琵琶胡语 (pípá hú yǔ)

Notes:

From 唐·杜甫《咏怀古迹》之三：「千载琵琶作胡语，分明怨恨曲中论。」

More information:
https://baike.baidu.com/item/%E7%90%B5%E7%90%B6%E8%83%A1%E8%AF%AD

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 ● 琵琶旧语 (pípá jiù yǔ) - "the old saying [about] the pipa"

Notes:

From a story in the Song Shu:  Yuezhi 《宋书·乐志一》, a history of the Liu Song Dynasty (刘宋, 420-479) written in 492-493 by the historian Shen Yue (沈约, 441-513), during the Southern Qi Dynasty (479-502):

「傅玄《琵琶赋》曰：‘汉遣乌孙公主嫁昆弥，念其行路思慕，故使工人裁筝、筑，为马上之乐。欲从方俗语，故名曰琵琶。’」

According to "Pipa Fu"《琵琶赋》by the Jin Dynasty historian and poet Fu Xuan (傅玄, 217-278), Emperor Wu of Han (汉武帝, r. 141 BC-87 BC), of the Western Han Dynasty (206 BC-9 AD) was concerned that Princess Liu Xijun (刘细君公主, d. 101 BC), whom he had sent to marry Liejiaomi (猎骄靡), the kunmo (昆莫, ruler) of Wusun (乌孙), an Indo-European semi-nomadic steppe people of Central Asia living between Karakol, near the eastern tip of Lake Issyk-Kul in the northern Tian Shan mountains in modern-day eastern Kyrgyzstan and modern-day western Ili Kazakh Autonomous Prefecture (伊犁哈萨克自治州) in Xinjiang, based on the policy of heqin (和亲, the historical practice of Chinese emperors marrying princesses--usually members of minor branches of the royal family--to rulers of neighboring states), would grow homesick and despondent, so he sent craftsmen from Chang'an to build a bridge zither for her to play.  This new instrument combined aspects of both zheng and zhu, but was built smaller in size (and thus more portable), to match the habits of nomadic people, and held at an upright slant when playing (in the manner of a lute).  Because of the similarity in playing technique to the round-bodied pipa (an instrument that was later named Qin pipa, 秦琵琶, beginning in Tang-era sources), which was already popular in China during the Western Han Dynasty, this new zither was also given the name pipa, and it became popular among the Wusun people.  This instrument was eventually referred to more specifically in Chinese sources as hu pipa (胡琵琶) or Han pipa (汉琵琶), although it was never considered a Chinese instrument or played widely by Han Chinese.  Because the name hu pipa was later used to refer to lutes of Central Asian origin, for maximum specificity musicologist Mr. Lin Chiang-san prefers to call the zither played by Liu Xijun Wusun pipa (乌孙琵琶), although this term does not appear in many historical sources.

According to Mr. Lin, the generally understood implication of this story (and chengyu) is the humiliating position, caused by military weakness, which brought the Western Han rulers of China to curry favor with northern nomadic groups such as the Wusun in order to preserve a tentative peace with the Xiongnu, China's powerful rival to the north.  Via their alliance, however, over the next two centuries the Wusun did provide the Han great military assistance against the Xiongnu, and, along with the Yuezhi and the Kangju of the Ferghana Valley, supplied the Han army with many fine warhorses.

 More information:
https://baike.baidu.com/item/%E7%90%B5%E7%90%B6%E6%97%A7%E8%AF%AD

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● 琵琶腿 (pípá tuǐ) - (figurative meaning):  the part of the chicken leg located between the thigh and foot, so called because of its resemblance to the pear-shaped pipa lute


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● 旗鼓相当 (qí gǔ xiāngdāng) - (literal meaning):  the same number of flags and drums; (figurative meaning):  to be well-matched

Notes:

From a letter by Emperor Guangwu of Han (汉光武帝, r. 25-57), written in the early Eastern Han Dynasty.

From《后汉书·隗嚣传》：「如令子阳到汉中、三辅，愿因将军兵马，鼓旗相当。」

More information:
https://archive.shine.cn/sunday/now-and-then/%E6%97%97%E9%BC%93%E7%9B%B8%E5%BD%93-qi2-gu3-xiang1-dang1-Uniting-flags-drums/shdaily.shtml

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● 前歌后舞 (qián gē hòu wǔ)

Notes:

From《尚书大传·大誓》：「师乃慆，前歌后舞。」

More information:
https://baike.baidu.com/item/%E5%89%8D%E6%AD%8C%E5%90%8E%E8%88%9E

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● 千古绝唱 (qiān gǔ jué chàng)

Notes:

From 明·李贽《与汪鼎甫书》：「所谓水中盐味，可取不可得，是为千古绝唱，当与古文远垂不朽者也。」

Also:  清·采蘅子《虫鸣漫录》卷二：「‘茶龟’对‘酒鳖’，真千古绝唱也。」

More information:

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● 千人唱，万人和 (qiān rén chàng, wàn rén hè)

Notes:

From 汉·司马相如《上林赋》：「千人唱，万人和。山林为之震动，川谷为之荡波。」

More information:

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● 千日管子百日笙 (qiān rì guǎnzi bǎi rì shēng) - [it takes] a thousand days [to learn the] guanzi, [but only] 100 days [to learn the] sheng

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 ● 千日管子百日笙，笛子吹响一五更 (qiān rì guǎnzi, bǎi rì shēng; dízi chuī xiǎng yīwǔ gēng) - [it takes] a thousand days [to learn the] guanzi [and] 100 days [to learn the] sheng; to make (literally "blow") a sound on the dizi [it takes] just one night

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 ● 千日管子百日笙，要学云锣一五更 (qiān rì guǎnzi, bǎi rì shēng; yào xué yún luó yī wǔ gēng) - [it takes] a thousand days [to learn the] guanzi [and] 100 days [to learn the] sheng; to learn the yunluo [it takes] just one night

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● 浅斟低唱 (qiǎn zhēn dī chàng)

Notes:

From 宋·柳永《鹤冲天》词：「忍把浮名，换了浅尝低唱。」

More information:

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 ● 敲锣打鼓 (qiāo luó dǎ gǔ) - (literal meaning):  strike the gongs, hit the drums; (figurative meaning):  to celebrate, to congratulate, describing the great momentum of vigorously promoting public opinion

Notes:

From Mao Zedong's 《做革命的促进派》：「我们取得那么大的胜利，人家服服贴贴，敲锣打鼓。」

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● 巧舌如簧 (qiǎo shé rú huáng) - (literal meaning):  [to have a] clever tongue, [producing "music"] like a reed (i.e., the free reed of a Jew's harp, yu, or other mouth organ); one's tongue is dextrous [and can make a pleasant sound] like that of a reed (i.e., the free reed of a Jew's harp, yu, or other mouth organ); (figurative meaning):  to have a glib tongue; this idiom carries the implication that the rhetoric produced by someone with this quality is possibly deceitful

 Notes:

 From the Shi Jing 《诗经·小雅·巧言》:  「巧言如簧，颜之厚矣。」

 More information:
https://baike.baidu.com/item/%E5%B7%A7%E8%88%8C%E5%A6%82%E7%B0%A7

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 ● 巧言如簧 (qiǎo yán rú huáng)

 Notes:

 From the Shi Jing 《诗经·小雅·巧言》:  「巧言如簧，颜之厚矣。」

More information:
https://baike.baidu.com/item/%E5%B7%A7%E8%A8%80%E5%A6%82%E7%B0%A7

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 ● 琴断朱弦 (qín duàn zhū xián) - (literal meaning):  a qin whose cinnabar/vermilion strings have broken (figurative meaning):  a woman whose husband has died

 Notes:

From the "Imperial Favor" (恩宠, Enchong) scene of the Kunqu play "Changsheng Dian" 《长生殿·幸恩》 (The Palace of Eternal Youth), written by Hong Sheng (洪昇 1645-1704) during the early Qing Dynasty:  「琴断朱弦，不幸文君早寡。」.

Zhuxian (朱弦, "cinnabar/vermilion strings") were silk strings reputed to be of exceptionally high quality.

More information:
https://baike.baidu.com/item/%E7%90%B4%E6%96%AD%E6%9C%B1%E5%BC%A6

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● 琴歌酒赋 (qín gē jiǔ fù)

Notes:

From 宋·韩元吉《武夷精舍记》：「读书肄业，琴歌酒赋，莫不在是。」

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 ● 琴剑飘零 (qín jiàn piāo líng)

 Notes:

 From 明·钱晔《赠周歧凤》：「琴剑飘零西复东，旧游清兴几时同？」

More information:
https://baike.baidu.com/item/%E7%90%B4%E5%89%91%E9%A3%98%E9%9B%B6

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 ● 琴棋书画 (qín qí shū huà) - the Four Arts of the Chinese Scholar (Si Yi, 四艺):  the guqin zither, the strategy game of Go, Chinese calligraphy, and Chinese painting)

Notes:

From 宋·孙光宪《北梦琐言》卷五：「唐高测，彭州人。聪明博识，文翰纵横。至于天文历数，琴棋书画，长笛胡琴，率梁朝朱异之流。」

More information:
https://baike.baidu.com/item/%E7%90%B4%E6%A3%8B%E4%B9%A6%E7%94%BB/3733279

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 ● 琴瑟不调 (qín sè bù tiáo) - (literal meaning):  qin and se [zithers], not tuned [together]; (figurative meaning):  impropriety, lack of regulation, discord, a relationship (esp. between husband and wife) being out of balance

Notes:

From《汉书·礼乐志》：「辟之琴瑟不调，甚者必解而更张之，乃可鼓也；为政而不行，甚者必变而更化之，乃可理也。」

More information:
https://baike.baidu.com/item/%E7%90%B4%E7%91%9F%E4%B8%8D%E8%B0%83

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● 琴瑟和好 (qín sè hé hǎo)

Notes:

From《诗经·小雅·常棣》：「妻子好合，如鼓瑟琴。」

More information:
https://baike.baidu.com/item/%E7%90%B4%E7%91%9F%E5%92%8C%E5%A5%BD

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● 琴瑟和鸣 (qín sè hè míng) - (literal meaning):  qin and se [small and large zithers] sound together; (figurative meaning):  refers to a harmonious relationship between husband and wife

Notes:

From《诗经·小雅·棠棣》：「妻子好合，如鼓琴瑟。」

 More information:
https://baike.baidu.com/item/%E7%90%B4%E7%91%9F%E5%92%8C%E9%B8%A3/7854761
https://soundcloud.com/teacupmedia/csp-s2e09-whole-lotta-love

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● 琴瑟和谐 (qín sè hèxié) - (literal meaning):  qin and se [small and large zithers] together harmoniously; (figurative meaning):  refers to a harmonious relationship between husband and wife

Notes:

From《诗经·周南·关雎》：「窈窕淑女，琴瑟友之。」

Also:  明·沈受先《三元记·团圆》：「夫妻和顺从今定，这段姻缘夙世成，琴瑟和谐乐万春。」

More information:
https://baike.baidu.com/item/%E7%90%B4%E7%91%9F%E5%92%8C%E8%B0%90/3592433

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 ● 琴瑟失调 (qín sè shī tiáo) - (literal meaning):  qin and se [zithers], improperly tuned; (figurative meaning):  impropriety, lack of regulation, discord, a relationship (esp. between husband and wife) being out of balance

Notes:

From《汉书·董仲舒传》：「窃譬之琴瑟不调，甚者必解而更张之。」

More information:
https://baike.baidu.com/item/%E7%90%B4%E7%91%9F%E5%A4%B1%E8%B0%83

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● 琴瑟调和 (qín sè tiáo hé)

Notes:

From《诗经·小雅·常棣》：「妻子好合，如鼓琴瑟。」

More information:
https://baike.baidu.com/item/%E7%90%B4%E7%91%9F%E8%B0%83%E5%92%8C

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● 琴瑟相调 (qín sè xiāng tiáo)

Notes:

From《诗经·小雅·常棣》：「妻子好合，如鼓琴瑟。」

More information:
https://baike.baidu.com/item/%E7%90%B4%E7%91%9F%E7%9B%B8%E8%B0%83

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● 琴瑟友之 (qín sè yǒu zhī)

Notes:

From《诗经·周南·关雎》：「窈窕淑女，琴瑟友之。」

More information:

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 ● 琴瑟之好 (qín sè zhī hǎo)

Notes:

From《诗经·周南·关雎》：「窈窕淑女，琴瑟友之。」

Also: 《诗经·小雅·常棣》：「妻子好合，如鼓瑟琴。」

 More information:
https://baike.baidu.com/item/%E7%90%B4%E7%91%9F%E4%B9%8B%E5%A5%BD

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● 琴心剑胆 (qín xīn jiàn dǎn)

Notes:

From 元·吴莱《寄董与几》诗：「小榻琴心展，长缨剑胆舒。」

More information:
https://baike.baidu.com/item/%E7%90%B4%E5%BF%83%E5%89%91%E8%83%86/2136776

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 ● 轻歌曼舞 (qīng gē màn wǔ)

Notes:

From 元·乔孟符《两世姻缘》第一折：「似大姐这般玉质花容，清歌妙舞，在这歌妓中可是少也。」

More information:
https://baike.baidu.com/item/%E8%BD%BB%E6%AD%8C%E6%9B%BC%E8%88%9E

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● 清歌曼舞 (qīng gē màn wǔ)

Notes:

From 瞿秋白《乱弹·代序》：「‘乾嘉以降’不久，昆曲的清歌曼舞的绮梦，给红巾长毛的‘叛贼’揭乱了。」

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● 清歌妙舞 (qīng gē miào wǔ)

Notes:

From 唐·宋之问《有所思》：「此翁白头真可怜，伊昔红颜美少年。公子王孙芳树下，清歌妙舞落花前。」

More information:

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 ● 磬石之固 (qìng shí zhī gù)

More information:
https://www.zdic.net/hans/%E7%A3%AC%E7%9F%B3%E4%B9%8B%E5%9B%BA

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● 轻重疾徐 (qīng zhòng jí xú) - the light or the heavy, the swift or the slow [touch of the right hand on the qin zither]

Notes:

From 清·曹雪芹《红楼梦》第89回：「还要知道轻重疾徐、卷舒自若、体态尊重方好。」

Earlier, this idiom appears in qin handbooks dating to as early as the Ming Dynasty, such as this one:

From 明·杨表正《重修真传琴谱》(1585)：又曰：「左手吟、揉、綽、注，右手輕重、疾徐，更有一般難說，其人須要讀書。」
Also it is said: "The vibrato, the vibrato ritardando, the ascending and the descending attack of the left hand, the light or the heavy, the swift or the slow touch of the right hand, all these things can hardly be explained in words.  They can be understood only by a man of learning."

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● 穷唱渭城 (qióng chàng Wèichéng)

Notes:

From 明·王世贞《艺苑厄言》：「贵后，不能复唱《渭城》。」

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 ● 曲高和寡 (qǔ gāo hè guǎ)

 Notes:

 From the writing of Song Yu (宋玉, fl. 298 BC-263 BC):  战国·楚·宋玉《对楚王问》：「引商刻羽，杂以流徵，国中属而和者，不过数人而已。是其曲弥高，其和弥寡。」

● 曲尽奇妙 (qǔ jìn qí miào)

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● 曲尽其妙 (qū jìn qí miào)

From 晋·陆机《文赋序》：「故作《文赋》以述先士之盛藻，因论作文之利害所由，他日殆可谓曲尽其妙。」


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● 绕梁三日 (rào liáng sān rì) - (literal meaning):  [the sound] winds around the rafters for three days; (figurative meaning):  sonorous and resounding (esp. of singing voice)

Notes:

From 战国·郑·列御寇《列子·汤问》：「昔韩娥东之齐，匮粮，过雍门，鬻歌假食，既去而余音绕梁，三日不绝，左右以其人弗去。」

More information:
https://baike.baidu.com/item/%E7%BB%95%E6%A2%81%E4%B8%89%E6%97%A5/2627972
https://www.zdic.net/hans/%E7%BB%95%E6%A2%81%E4%B8%89%E6%97%A5

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 ● 人琴俱亡 (rén qín jù wáng) - (literal meaning):  both man and qin have been lost; (figurative meaning):  a dear friend has died

Notes:

From a story about the grief of Wang Huizhi (王徽之) at the untimely death of his younger brother Wang Xianzhi (王献之, who was a fine qin player), which appears in the Book of Jin 《晋书·王徽之传》 (《晋书．卷八○．王羲之传》), which was compiled in 648:  「取献之琴弹之，久而不调，叹曰：‘呜呼子敬，人琴俱亡。’」

The same story is also mentioned in "Shi Shuo Xin Yu" 《世说新语·伤逝》 (A New Account of the Tales of the World), a book of anecdotes from the Jin Dynasty (266-420), which was compiled during the Liu Song Dynasty (420-479), the first of the Southern Dynasties during the Northern and Southern Dynasties period

 More information:
https://baike.baidu.com/item/%E4%BA%BA%E7%90%B4%E4%BF%B1%E4%BA%A1/395079
https://www.zdic.net/hans/%E4%BA%BA%E7%90%B4%E4%BF%B1%E4%BA%A1
https://chinesesayings.libsyn.com/s2e07-double-sorrow
https://soundcloud.com/teacupmedia/s2e07-double-sorrow

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 ● 如埙如篪 (rú xūn rú chí)

 Notes:

From《诗·大雅·板》：「天之牖民，如埙如篪。”毛传：“如埙如篪，言相和也。」

 More information:
https://baike.baidu.com/item/%E5%A6%82%E5%9F%99%E5%A6%82%E7%AF%AA

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 ● 三月不知肉味 (sān yuè bù zhī ròu wèi) - see 不知肉味 (bù zhī ròu wèi)

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● 桑间之音 (sāng jiān zhī yīn) - (literal meaning):  sounds heard among the mulberries; (figurative meaning):  obscene music; "popular" music used for entertainment or pleasure, which was disparaged by some conservative Confucians as immoderate or lascivious

Notes:

From《吕氏春秋·季夏纪》：「郑卫之声，桑间之音，此乱国之所好，衰德之所说。」

More information:
https://baike.baidu.com/item/%E6%A1%91%E9%97%B4%E4%B9%8B%E9%9F%B3
https://www.zdic.net/hant/%E6%A1%91%E9%97%B4%E4%B9%8B%E9%9F%B3 

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 ● 山崩钟应 (shān bēng zhōng yìng) - (literal meaning):  the bells tolled as the mountain collapsed

 Notes:

From 南朝·宋·刘敬叔《异苑》第二卷：「此蜀郡铜山崩，故钟鸣应之耳。」

 More information:
https://baike.baidu.com/item/%E5%B1%B1%E5%B4%A9%E9%92%9F%E5%BA%94

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● 山吟泽唱 (shān yín zé chàng)

Notes:

From 明·吴承恩《〈留思录〉序》：「夫兔人葛妇，不班于黼芾；山吟泽唱，无谐于律吕。」

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● 山阳笛 (Shānyáng dí)

Notes:

From《昭明文选》卷十六


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● 山阳笛声 (Shānyáng dí shēng)

Notes:

From 北周·庾信《伤王司徒褒》：「唯有山阳笛，凄余《思旧篇》。」

More information:

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● 山阳闻笛 (Shānyáng wén dí)

Notes:

From 北周·庾信《伤王司徒褒》：「唯有山阳笛，凄余《思旧篇》。」

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● 声多韵少 (shēng duō yùn shǎo)


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 ● 笙歌鼎沸 (shēng gē dǐng fèi) - describes singing accompanied by musical instruments, lively and extraordinary

 Notes:

 笙歌 (shēng gē), literally "sheng (mouth organ) song," is an ancient term referring to singing accompanied by sheng (mouth organ) or other instruments; 鼎沸 (dǐng fèi), literally "cauldron boiling," is a metaphor meaning "clamorous"

From 宋·吴自牧《梦粱录·卷二·清明节》：「此日又有龙舟可观，都人不论贫富，倾城而出，笙歌鼎沸，鼓吹喧天。」

Also:  元·高明《琵琶记·新进士宴杏园》：「黄旗影里，笙歌鼎沸。」

More information:
https://baike.baidu.com/item/%E7%AC%99%E6%AD%8C%E9%BC%8E%E6%B2%B8

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 ● 笙磬同音 (shēng qìng tóng yīn) - (literal meaning):  sheng (mouth organ) and stone chimes sound together (in unison); (figurative meaning):  a metaphor for good coordination between personnel, with a harmonious relationship

Notes:

 From《诗经·小雅·鼓钟》：「鼓瑟鼓琴，笙磬同音。」

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● 笙箫 (shēng xiāo) - (literal meaning):  sheng (mouth organ) and xiao (vertical flute); (figurative meaning):  generally refers collectively to wind instruments

Notes:

This expression occurs in several Tang Dynasty poems, such as this one:  唐·曹唐《小游仙诗》：「忽闻下界笙箫曲，斜倚红鸾笑不休。」


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● 笙箫管笛 (shēng xiāo guǎn dí) - (literal meaning):  sheng (mouth organ), xiao (vertical flute), guan (double-reed pipe), and di (transverse flute with buzzing membrane); (figurative meaning):  generally refers collectively to wind instruments

Notes:

From《儒林外史》第二四回：「他（ 鲍文卿 ）到家料理了些柴米，就把家里笙箫管笛、三弦琵琶，都查点了出来，也有断了弦，也有坏了皮的，一总尘灰寸壅。」


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● 首唱义兵 (shǒu chàng yì bīng)

Notes:

From 晋·陈寿《三国志·魏志·荀彧传》：「自天子播越，将军首唱义兵，……虽御难于外，乃心无不在王室。」

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● 首倡义兵 (shǒu chàng yì bīng)

Notes:

From《三国志·魏志·荀彧传》：「自天子播越，将军首唱义兵，徒以山东扰乱，未能远赴关右，然犹分遣将帅，蒙险通使，虽御难于外，乃心无不在王室，是将军医天下之素志也。」

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● 首唱义举 (shǒu chàng yì jǔ)

Notes:

From《晋书·刘弘传》：「诏惟令臣以散补空缺，然沐乡令虞潭忠诚烈正，首唱义举，举善以教，不能者劝，臣辄特转潭补醴陵令。」

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● 水调歌头 (shuǐ diào gē tóu)

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 ● 四面楚歌 (sì miàn Chǔ gē) - (literal meaning):  songs of Chu [coming from] [all] four directions

Notes:

From《史记·项羽本纪》：「项王军壁垓下，兵少食尽，汉军及诸侯兵围之数重。夜闻汉军四面皆楚歌，项王乃大惊，曰：“汉皆已得楚乎？是何楚人之多也。”」

 In 206 BC, after the fall of the Qin Dynasty, a war broke out between Xiang Yu, the king of the Chu state, and Liu Bang, the king of the Han state.  In history, this was called the Chu-Han Contention.  At first, Xiang Yu's side was winning, but later Liu Bang gradually gained the advantage.  In 202 BC, Liu Bang surrounded Xiang Yu's army in what is now Anhui province.  At that time, Xiang Yu had few soldiers and they were running out of food.  Liu Bang thought of a clever strategy, now called "Songs coming from all directions."

 One night, Xiang Yu heard sounds all around him, and he awoke with a start. The sounds were the songs of the Chu state, Xiang Yu's home.  The lyrics were sad and filled Xiang Yu with homesickness.  The sound of the songs spread through the whole army, reminding the soldiers of their home.  They couldn't help joining in the songs.  Some soldiers were moved to tears and none of the soldiers felt like fighting anymore.

 Xiang Yu wondered if Liu Bang had already captured the Chu state.  If he hadn't, why was his army filled with Chu soldiers?  When Xiang Yu thought of this, he felt certain that he would lose the war.  He ordered his men to set a banquet for him in his tent and said goodbye to his beloved concubine Yu Ji.  He said sadly, "Yu Ji, how shall I provide for you?"  Later, he asked Yu Ji to do the sword dance with him.  As they were dancing, Yu Ji suddenly thrust the sword into her stomach, and died instantly.

 Xiang Yu was overwhelmed with sorrow, and led his few hundred soldiers to break through Liu Bang's army.  But the Han army continued to follow them closely until they arrived at the Wu River.  Xiang Yu had no way to escape and could think of no way to redeem himself from his failure. There was no way he could face his family after this defeat, so he took out his sword and killed himself by the riverside.

 "Songs coming from all directions" comes from this story.  The "songs" in the idiom are the songs of the Chu state.  This refers to being surrounded by obstacles on all sides with no one to turn to, and to being in a state of extreme isolation.

More information:
https://baike.baidu.com/item/%E5%9B%9B%E9%9D%A2%E6%A5%9A%E6%AD%8C/465
https://soundcloud.com/teacupmedia/s2e04-surrounded
https://chinesepod.com/community/conversations/post/4353

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● 丝竹八音 (sī zhú bā yīn)

Notes:

From 晋·陈寿《三国志·魏志·杜夔传》:  「夔善钟律，聪思过人，丝竹八音，靡所不能。」

More information:
https://baike.baidu.com/item/%E4%B8%9D%E7%AB%B9%E5%85%AB%E9%9F%B3

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● 丝竹陶写 (sī zhú táo xiě) - (literal meaning):  silk [and] bamboo cultivate temperament; (figurative meaning):  instrumental ensemble music (which was traditionally played using string instruments with strings made from twisted silk and wind instruments, most of which were made from bamboo) cultivate [one's] temperament

Notes:

From《世说新语·言语》:  「年在桑榆，自然至此，正赖丝竹陶写，恒恐儿辈觉，损欣乐之趣。」

More information:

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● 丝竹之音 (sī zhú zhī yīn) - (literal meaning):  the sound of silk and bamboo; (figurative meaning):  the sound of instrumental ensemble music (string instruments traditionally had strings made of twisted silk, and most wind instruments were made of bamboo)

Notes:

From 春秋·齐·管仲《管子·七臣七主》:  「材女乐三千人，钟石丝竹之音不绝。」

More information:

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● 颂德歌功 (sòng dé gē gōng)

Notes:

From《史记·周本纪》：「民皆歌乐之，颂其德。」

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● 随者唱喁 (suí zhě chàng yóng)

Notes:

From《庄子·齐物论》：「前者唱于,而随者唱喁。泠风则小和,飘风则大和。」

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● 弹剑作歌 (tán jiàn zuò gē)

Notes:

From 唐·李白《行路难·其二》：「弹剑作歌奏苦声，曳裾王门不称情。」

More information:

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 ● 弹丝品竹 (tán sī pǐn zhú) - (literal meaning):  to pluck silk [strings] and blow bamboo [flute]; (figurative meaning):  to play a musical instrument and be familiar with music

Notes:

From the following sources:
Song Dynasty:  宋·无名氏《张协状元》戏文开场 (《永乐大典戏文三种．张协状元．第一出》):  「但咱们，虽宦裔，总皆通。弹丝品竹，那堪咏月与嘲风。」

 Ming Dynasty:  明·杨柔胜《玉环记·皋谒延赏》(《玉环记．第一○出》): 「尽称我弹丝品竹，沉李浮瓜，此处当追赏。」

More information:
https://baike.baidu.com/item/%E5%BC%B9%E4%B8%9D%E5%93%81%E7%AB%B9

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● 镗鎝 (táng dā)

More information:
https://www.zdic.net/hans/%E9%95%97%E9%8E%9D

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● 镗鞳 (tāngtà)

More information:
https://www.zdic.net/hans/%E9%95%97%E9%9E%B3

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● 铁板歌喉 (tiě bǎn gē hóu)

Notes:

From 清·郑燮《道情》曲之七：「撮几句盲辞瞎话，交还他铁板歌喉。」

More information:

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 ● 同工异曲 (tóng gōng yì qǔ)

Notes:

From 唐·韩愈《进学讲》：「子云相如，同工异曲。」

 More information:
https://baike.baidu.com/item/%E5%90%8C%E5%B7%A5%E5%BC%82%E6%9B%B2

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● 铜琶铁板 (tóng pā tiě bǎn)

Notes:

From 宋·俞文豹《吹剑续录》：「东坡在玉堂日，有幕士善歌，因问：“我词何如柳七（柳永）？”对曰：“柳郎中词，只合十七八女郎，执红牙板，歌‘杨柳岸晓风残月’；学士词，须关西大汉，铜琵琶，铁绰板，唱‘大江东去’。”东坡为之绝倒。」

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● 涂歌里抃 (tú gē lǐ biàn)

Notes:

From 南朝·梁·沈约《贺齐明帝登祚启》：「涂歌里抃，载怀凫藻。」

More information:

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● 涂歌里咏 (tú gē lǐ yǒng)

Notes:

From 南朝·梁·沈约《齐故安陆昭王碑》：「老安少怀，涂歌里咏。莫不欢若亲戚，芬若椒兰。」

More information:

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● 涂歌巷舞 (tú gē xiàng wǔ)

Notes:

From 明·袁宗道《顾使君考绩序》：「一温然长者，兀坐而泣之，可立使民涂歌巷舞。」

More information:

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● 涂歌邑诵 (tú gē yì sòng)

Notes:

From 南朝·宋·颜延之《三月三日曲水诗序》：「增类帝之宫，饬礼神之馆，涂歌邑诵，以望属车之尘者久矣。」

More information:

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 ● 瓦釜雷鸣 (wǎ fǔ léi míng) - (literal meaning):  earthen pots make a thundering noise [rather than the classical bells]; (figurative meaning):  mediocre or uncultured people are in power; good men have been discarded in favor of bombastic ones

Notes:

From a passage in the "Bu Ju" section of the Chu Ci 《楚辞·卜居》:  「黄钟毁弃，瓦釜雷鸣。」

More information:
https://baike.baidu.com/item/%E7%93%A6%E9%87%9C%E9%9B%B7%E9%B8%A3

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● 文章绝唱 (wén zhāng jué chàng)

Notes:

From 宋·罗大经《鹤林玉露·伯夷传·赤壁赋》：「太史公《伯夷传》，苏东坡《赤壁赋》，文章绝唱也。」

More information:

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● 舞裙歌扇 (wǔ qún gē shàn)

Notes:

From 宋·晁补之《南歌子》词：「东园捶鼓赏新醅，唤取舞裙歌扇，探春回。」

More information:

● 舞衫歌扇 wǔ shān gē shàn

Notes:

From 南朝陈·徐陵《杂曲》：「舞衫回袖胜春风，歌扇当窗似秋月。」

More information:

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● 吴市吹箫 (Wú shì chuī xiāo)

Notes:

From the Shiji 《史记·范睢蔡泽列传》：「伍子胥橐载而出昭关，夜行昼伏，至于陵水，无以糊其口，膝行蒲伏，稽首肉袒，鼓腹吹篪，乞食于吴市，卒兴吴国，阖闾为伯。」

More information:
https://baike.baidu.com/item/%E5%90%B4%E5%B8%82%E5%90%B9%E7%AE%AB

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● 吴市之箫 (Wú shì zhī xiāo)

Notes:

From 清·杨昭《〈闲止书堂集钞〉跋》：「沉冤望雪，曾传吴市之箫；急难号天，爱下秦庭之泪。」

More information:

● 舞榭歌楼 (wǔ xiè gē lóu)

Notes:

From 宋·沈唐《望海潮》词：「松偃旧亭，城高故国，空余舞榭歌楼。」

Also:  元·关汉卿《救风尘》第二折：「他每待强巴劫深宅大院，怎知道摧折了舞榭歌楼？」

More information:

● 舞榭歌台 (wǔ xiè gē tái)

Notes:

From 南宋·辛弃疾《永遇乐》词：「舞榭歌台，风流总被雨打风吹去。」


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● 五音不全 (wǔ yīn bù quán) - (literal meaning):  the five tones are incomplete; (figurative meaning):  tone deaf; unable to sing in tune

Notes:

From 莫应丰《将军吟》第四章：「至于邬中，则完全是一个五音不全的人。」

More information:
http://www.chengyuw.com/doc-view-4390.html

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● 五音六律 (wǔ yīn liù lǜ)

Notes:

From《尚书·益稷》：“予欲闻六律，五声，八音，在治忽；以出纳五言，汝听。” 

Also:  《孟子·离娄上》：“不以六律，不能正五音。”


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 ● 下里巴人 (Xià Lǐ Bā Rén) - (literal meaning):  villagers from the countryside of Ba (巴国 or 巴州), an ancient state located in modern-day eastern Sichuan and western Hubei; (figurative meaning):  simple and crude folk songs; later, the term was extended to apply to popular literature or art (tongsu wenyi, 通俗文艺) in general

Notes:

战国楚·宋玉《对楚王问》：「客有歌于郢中者，其始曰：“下里巴人”，国中属而和者数千人。」

From a story about the late Warring States poet Song Yu (宋玉, fl. 298 BC-263 BC), which appears in "Dui Chu Wang Wen" 《对楚王问》 (Responses to Questions from the King of Chu):

「楚襄王问于宋玉曰：“先生其有遗行与？何士民众庶，不誉之甚也？”宋玉对曰：“唯！然！有之。愿大王宽其罪，使得毕其辞。客有歌于郢中者，其始曰《下里》、《巴人》，国中属而和者数千人；其为《阳阿》、《薤露》，国中属而和者数百人；其为《阳春》、《白雪》，国中属而和者，不过数十人；引商刻羽，杂以流征，国中属而和者，不过数人而已。是其曲弥高，其和弥寡。故鸟有凤而鱼有鲲。凤凰上击九千里，绝云霓，负苍天，足乱浮云，翱翔乎杳冥之上；夫藩篱之鷃，岂能与之料天地之高哉？鲲鱼朝发昆仑之墟，暴鬐于碣石，暮宿于孟诸；夫尺泽之鲵，岂能与之量江海之大哉？故非独鸟有凤而鱼有鲲也，士亦有之；夫圣人瑰意琦行，超然独处，世俗之民，又安知臣之所为哉？”」

Since the original source does not use the word "and" to separate the several pairs of song titles mentioned in the passage, it is likely that "Xia Li"  《下里》 (Lower Village) and "Ba Ren" 《巴人》 (Man from Ba) were actually the names of two separate songs.
More information:
https://baike.baidu.com/item/%E4%B8%8B%E9%87%8C%E5%B7%B4%E4%BA%BA
http://www.silkqin.com/09hist/qinshi/songyu.htm
http://www.silkqin.com/02qnpu/07sqmp/sq07yc.htm

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● 弦外之意 (xián wài zhī yì)

Notes:

From《南史·范晔传》:  「其中体趣，言之不可尽。弦外之意，虚响之音，不知所从而来。」


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 ● 弦外之音 (xián wài zhī yīn)

Notes:

From 南朝宋·范晔《狱中与诸甥侄书》:  「弦外之意，虚响之音，不知所从而来。」

 More information:
https://baike.baidu.com/item/%E5%BC%A6%E5%A4%96%E4%B9%8B%E9%9F%B3/15412

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● 湘灵鼓瑟 (Xiāng Líng gǔ sè)

From《楚辞·远游》：「使湘灵鼓瑟兮，令海若舞冯夷。」

https://tinyurl.com/2eb2csus

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 ● 箫韶九成 (xiāo sháo jiǔ chéng)

Notes:

From《尚书·益稷》：「箫韶九成，凤凰来仪。」

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● 箫心剑态 (xiāo xīn jiàn tài)

Notes:

From 龚自珍 《湘月》词自注引 洪子骏 《金缕曲》词：「侠骨幽情箫与剑，问箫心剑态谁能画？」

More information:

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● 西陵歌舞 (Xīlíng gēwǔ)


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● 雄唱雌和 (xióng chàng cí hé)

Notes:

From 唐·韩愈《司徒兼侍中书令赠太尉许国公神道碑铭》：「盗连为群，雄唱雌和，首尾一身。」

More information:

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● 雄鸡一唱天下白 (xióngjī yī chàng tiān xià bái)

Notes:

From 唐·李贺《致酒行》：「我有迷魂招不得，雄鸡一声天下白。」

More information:

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● 选歌试舞 (xuǎn gē shì wǔ)

Notes:

From 宋·周密《露华·次张岫云韵》：「选歌试舞，连宵恋醉珍丛。」

More information:

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● 选妓征歌 (xuǎn jì zhēng gē)

Notes:

From 唐·李白《宫中行乐词》之二：「选妓随雕辇，征歌出洞房。」

More information:

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● 选色征歌 (xuǎn sè zhēng gē)

Notes:

From 清余怀《板桥杂记·雅游》：「结驷连骑，选色征歌。」

More information:

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● 选舞征歌 (xuǎn wǔ zhēng gē)

Notes:

From 清·张问陶《读〈桃花扇传奇〉偶题》：「布衣天子哭荒陵，选舞征歌好中兴。」

More information:

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● 悬羊击鼓，饿马提铃 (xuán yáng jī gǔ, è mǎ tí líng)


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● 埙唱篪应 (xūn chàng chí yìng)

Notes:

From 宋·叶适《国子祭酒赠宝谟阁待制李公墓志铭》：「公义顺而理和，埙唱篪应，璋判圭合，得于自然。」

More information:

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● 埙篪相和 (xūn chí xiāng hè) - (literal meaning):  xun (ocarina) and chi (transverse bamboo flute) [playing] together in harmony (figurative meaning):  refers to a good relationship between brothers

 Notes:

From the Shi Jing 《诗经·小雅·何人斯》:  「伯氏吹埙，仲氏吹篪。」


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● 埙篪相合 (xūn chí xiāng hé) - see 埙篪相和 (xūn chí xiāng hè)

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● 雅乐并作 (yǎ yuè bìng zuò) - see 八音迭奏 (bā yīn dié zòu)

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● 掩耳盗铃 (yǎn ěr dào líng) - (literal meaning):  "cover ears, steal bell"; (figurative meaning):  to fool oneself; to bury one's head in the sand

 Notes:

《吕氏春秋·自知》：「范氏之亡也，百姓有得钟者，欲负而走，则钟大不可负。以锤毁之，钟况然有音。恐人闻之而夺己也，遽掩其耳。」

 From a story in Lüshi Chunqiu 《吕氏春秋》 (compiled c. 239 BC):

「范氏之亡也，百姓有得钟者，欲负而走。则钟大不可负，以椎毁之，钟况然有音。恐人闻之而夺己也，遽揜其耳。」

When the Fan family was wiped out, there was a thief who wanted to carry the bell on his back and leave.  Since the bell was too big for him to carry, he smashed it with a hammer, but the bell clanged loudly.  For fear that people would hear it and take it from him, he quickly covered his ears.

More information:
https://baike.baidu.com/item/%E6%8E%A9%E8%80%B3%E7%9B%97%E9%93%83

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● 燕歌赵舞 (yān gē zhào wǔ)

Notes:

From 唐·卢照邻《长安古意》诗：「罗襦宝带为君解，燕歌赵舞为君开。」


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● 偃旗息鼓 (yǎn qí xī gǔ) - (literal meaning):  lower the flags and silence the drums; (figurative meaning):  call off the army maneuvers; cease all military activities and lay low

Notes:

From《三国志·蜀书·赵云传》裴松之注引《云别传》：「云入营，更大开门，偃旗息鼓，公军疑云有伏兵，引去。」

More information:
https://baike.baidu.com/item/%E5%81%83%E6%97%97%E6%81%AF%E9%BC%93/1489373

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● 燕市悲歌 (yān shì bēi gē)

Notes:

From《史记·刺客列传》：「荆轲既至燕，爱燕之狗屠及善击筑者高渐离。荆轲嗜酒，日与狗屠及高渐离饮于燕市，酒酣以往，高渐离击筑，荆轲和而歌于市中，相乐也，已而相泣，旁若无人者。」

More information:

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● 燕舞莺歌 (yàn wǔ yīng gē)

Notes:

From 宋·朱淑真《春日行》：「燕舞莺歌昼晷永，帘幕无人门宇静。」

More information:

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 ● 阳春白雪 (yáng chūn bái xuě) - the names of two songs:  "Yang Chun" and "Bai Xue"

Notes:

From 战国楚宋玉《对楚王问》：「客有歌于郢中者，其始曰：《下里》《巴人》，国中属而和者数千人。……其为《阳春》《白雪》，国中属而和者不过数十人。」

 More information:
https://baike.baidu.com/item/%E9%98%B3%E6%98%A5%E7%99%BD%E9%9B%AA/84775
http://www.silkqin.com/02qnpu/07sqmp/sq07yc.htm

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● 夜夜笙歌 (yè yè shēng gē)

More information:

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 ● 一板三眼 (yī bǎn sān yǎn)

Notes:

From 清·吴趼人《糊涂世界》卷六：「老弟你看，如今的时势，就是孔圣人活过来，一板三眼的去做，也不过是个书呆子罢了。」

 More information:
https://baike.baidu.com/item/%E4%B8%80%E6%9D%BF%E4%B8%89%E7%9C%BC

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● 一板一眼 (yī bǎn yī yǎn)

Notes:

From 清。吴研人《糊涂世界》：「如今的时势，就是孔圣人活过来，一板三眼地去做，也不过是个书呆子罢了。」

More information:

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 ● 一唱百和 (yī chàng bǎi hé)

 Notes:

From 清·曾朴《孽海花》第三十五回:  「哪一个不是宋诗呢？那也是承了乾嘉极盛之后，不得不另辟蹊径，一唱百和，自然的成了一时风气了。」

 Also:  《野叟曝言．第五二回》:  「项挂百八念珠，手执九龙锡杖，一唱百和，宣卷谭空，铙钹钟鼓，声喧若沸。」

 More information:https://baike.baidu.com/item/%E4%B8%80%E5%94%B1%E7%99%BE%E5%92%8C

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 ● 一倡百和 (yī chàng bǎi hé), - (literal meaning):  [when] one leads [a song], hundreds [of others] join in; (figurative meaning):  [when] one person makes a proposal, hundreds [of others] agree; to meet with general approval

 Notes:

From 清·江藩《汉学师承记·惠周惕》:  「郢书燕说，一倡百和。」

 Also:  桓宽《盐铁论．结和》：「人罢极而主不恤，国内溃而上不知，是以一夫倡而天下和。」

More information:
https://baike.baidu.com/item/%E4%B8%80%E5%80%A1%E7%99%BE%E5%92%8C

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 ● 一唱三叹 (yī chàng sān tàn) - (literal meaning):  one song calls forth three exclamations of praise

 Notes:

From 先秦·荀况《荀子·礼论》 (c. 3rd century BC)：「清庙之歌，一唱而三叹也。」

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● 雄鸡一唱天下白 (xióngjī yī chàng tiān xià bái)

Notes:

From 唐·李贺《致酒行》：「我有迷魂招不得，雄鸡一声天下白。」

More information:

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● 一唱一和 (yī chàng yī hè)

Notes:

From《诗经·郑风·萚兮》：「叔兮伯兮，倡予和女。」

More information:

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● 一唱众和 (yī chàng zhòng hè)

Notes:

From 汉·桓宽《盐铁论·结和》：「人罢极而主不恤，国内溃而上不知，是以一夫倡而天下和。」

More information:

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● 一吹一唱 (yī chuī yī chàng)

Notes:

From 明·冯梦龙《醒世恒言》第三十五卷：「二人一吹一唱，说得颜氏心中哑口无言，心下也生疑惑，委决不下，把一天欢喜，又变为万般愁闷。」

More information:

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● 一鼓作气 (yī gǔ zuò qì) - (literal meaning):  the first drumbeat (figurative meaning):  to get something done in one vigorous effort; to press on to the finish without letup while energy is high (compare the English-language idiom "strike while the iron is hot")

Notes:

From《左传·庄公十年》：「夫战，勇气也。一鼓作气，再而衰，三而竭。」

From a story from the 7th century BC, during the Spring and Autumn period, which is recounted in the Zuo Zhuan 《左传·庄公十年》 (c. late 4th century BC), in which it explained that it takes courage to fight a battle:  the first time the drum beats, the courage of the soldiers is aroused, but the second time it beats, the soldiers will have weakened; the third time the drum beats, the courage of the soldiers has dried up entirely

More information:
https://baike.baidu.com/item/%E4%B8%80%E9%BC%93%E4%BD%9C%E6%B0%94/1727
https://soundcloud.com/teacupmedia/csp-s2e08-give-it-all-you-got

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● 一拉一唱 (yī lā yī chàng)

Notes:

From 明·罗贯中《平妖传》第十八回：「你两个一吹一唱，同谋同伙，硬要人的钱钞，好没来由。」

More information:

 ● 一琴一鹤 (yī qín yī hè) - (literal meaning):  "one qin, one crane"; (figurative meaning):  describes simple equipment or light baggage, characteristics of an honest and incorruptible official

 Notes:

From 宋·沈括《梦溪笔谈》卷九：「赵阅道为成都转运史，出行部内，唯携一琴一鹤，坐则看鹤鼓琴。」

Based on the story of Zhao Bian (赵抃, 1008-1084), an official of the northern Song Dynasty who is said, on a trip to Sichuan, to have taken with him only one qin and one crane.

 More information:

 ● 异曲同工 (yì qǔ tóng gōng) - (literal meaning):  different songs can be performed equally well; (figurative meaning):  to use a different approach but achieve equally satisfactory results

Notes:

From 唐·韩愈《进学解》：「子云相如，同工异曲。」

More information:
https://baike.baidu.com/item/%E5%BC%82%E6%9B%B2%E5%90%8C%E5%B7%A5/1638672

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● 沂水弦歌 (yí shuǐ xián gē)

Notes:

From 先秦·孔子《论语·先进》：「扞曾点呴曰：“莫春者，春服既成，冠者五六人，童子六七人，浴乎沂，风乎舞雩，咏而归。”」

More information:

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 ● 易辙改弦 (yì zhé gǎi xián) - (literal meaning):  change path [while driving a cart]; change strings [on a musical instrument]; (figurative meaning):  to change one's method, attitude, behavior, practice, plan, or direction

 Notes:

From 清·王韬《〈火器略说〉后跋》:  「若一旦易辙改弦，以其材力聪明置之于有用之地，安见其必逊于西人也哉？」

 More information:
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● 引吭悲歌 (yǐn háng bēi gē)

Notes:

From 冰心《樱花赞》：「墓地里尽是些阴郁的低头扫墓的人，间以喝多了酒引吭悲歌的醉客。」


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● 引吭高唱 (yǐn háng gāo chàng)

Notes:

From 王蕙玲《人间四月天》第二卷一：「一个叫花子又从后台我来一根连响棍，边敲边唱。志摩也引吭高唱一曲英国民歌。」

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 ● 引吭高歌 (yǐn háng gāo gē)

Notes:

From 晋·张华《禽经》：「鸣则引吭。」
Also:  宋·吕希纯《朱氏园》：「殷勤更谢华亭鹤，引吭高声送我归。」

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 ● 引商刻羽 (yǐn shāng kè yǔ) - (figurative meaning):  to compose or play strictly according to the rules of the tune

 Notes:

From 战国楚·宋玉《对楚王问》：「引商刻羽，杂以流徵，国中属而和者不过数人而已；是其曲弥高，其和弥寡。」

 Shang (商) and yu (羽) were two of the notes in the ancient Chinese pentatonic scale.

More information:
https://baike.baidu.com/item/%E5%BC%95%E5%95%86%E5%88%BB%E7%BE%BD

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● 莺歌蝶舞 (yīng gē dié wǔ)

Notes:

From 唐·鲍君徽《惜花吟》诗：「莺歌蝶舞韶光长，红炉煮茗松花香。」

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● 莺歌燕舞 (yīng gē yàn wǔ)

Notes:

From 宋·苏轼《锦被亭》词：「烟红露绿晓风香，燕舞莺啼春日长。」

More information:
https://baike.baidu.com/item/%E8%8E%BA%E6%AD%8C%E7%87%95%E8%88%9E/1636039

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● 莺歌燕语 (yīng gē yàn yǔ)

Notes:

From 清《白雪遗音·马头调·春景》：「见了些，红红绿绿桃共杏，最喜春日晴。莺歌燕语，云淡风轻，水秀山明。」

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 ● 有板有眼 (yǒu bǎn yǒu yǎn) - (figurative meaning):  methodical; orderly; rhythmical; measured

Notes:

From 明·王骥德《曲律》：「凡盖曲，句有长短，字有多寡，调有紧慢，一视以板眼为节制，故谓之板眼”。」

More information:
https://baike.baidu.com/item/%E6%9C%89%E6%9D%BF%E6%9C%89%E7%9C%BC

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● 玉人吹箫 (yù rén chuī xiāo)

Notes:

From 汉·刘向《列女传》


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● 余音绕梁 (yú yīn rào liáng) - (literal meaning):  a lingering sound winds around the rafters; (figurative meaning):  sonorous and resounding (esp. of singing voice)

Notes:

From《列子·汤问》：「昔，韩娥东之齐，匮粮，过雍门，鬻歌假食，既去而余音绕梁，三日不绝，左右以其人弗去。」

● 韵多声少 (yùn duō shēng shǎo)


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● 载歌且舞 (zài gē qiě wǔ)

Notes:

From《乐府诗集·北齐南郊乐歌·昭夏乐》：「饰牲举兽，载歌且舞，既舍伊腯，致精灵府。」

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● 载歌载舞 (zài gē zài wǔ)

Notes:

From 宋·郭藏倩《乐府诗集·北齐南郊乐歌·昭夏乐》：「饰牲举兽，载歌且舞，既舍伊腯，致精灵府。」


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● 朝歌暮弦 (zhāo gē mù xián)

Notes:

From 宋·周密《武林旧事·歌馆》：「外此诸处茶肆，清乐茶坊、八仙茶坊……各有等差，莫不靓妆迎门，争妍卖笑，朝歌暮弦，摇荡心目。」

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● 赵歌燕舞 (Zhào gē Yàn wǔ)

Notes:

From《赵王·赵简子》赵王与燕王在大殿之中赏乐歌舞曰：「真可谓是赵歌燕舞，赵歌燕舞！」

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● 朝歌夜弦 (zhāo gē yè xián)

Notes:

唐·杜牧《阿房宫赋》：「妃嫔媵嫱，王子皇孙，辞楼下殿，辇来于秦。朝歌夜弦，为秦宫人。」

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● 正始之音 (zhèng shǐ zhī yīn)

Notes:

《晋书·卫玠传》：「昔王辅嗣吐金声于中朝，此子复玉振于江表，微言之绪，绝而复续。不意永嘉之末，复闻正始之音。」


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 ● 郑卫之曲 (Zhèng Wèi zhī qǔ) - "popular" music used for entertainment or pleasure, which was disparaged by some conservative Confucians as immoderate or lascivious; Zheng (卫) and Wei (郑) were states during the Spring and Autumn period and Warring States period

Notes:

From《史记·乐书》：「故云雅颂之音理而民正，嘄噭之声兴而士奋，郑卫之曲动而心淫。」

Also:  汉·荀悦《前汉纪·宣帝纪三》：「臣闻秦王好淫声，华阳后为之不听郑卫之曲。」

More information:
https://baike.baidu.com/item/%E9%83%91%E5%8D%AB%E4%B9%8B%E6%9B%B2

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 ● 郑卫之声 (Zhèng Wèi zhī shēng) - "popular" music used for entertainment or pleasure, which was disparaged by some conservative Confucians as immoderate or lascivious; Zheng (卫) and Wei (郑) were states during the Spring and Autumn period and Warring States period

Notes:

From《吕氏春秋·季夏纪》：「郑卫之声，桑间之音，此乱国之所好，衰德之所说。」

More information:
https://baike.baidu.com/item/%E9%83%91%E5%8D%AB%E4%B9%8B%E5%A3%B0

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 ● 郑卫之音 (Zhèng Wèi zhī yīn) - "popular" music used for entertainment or pleasure, which was disparaged by some conservative Confucians as immoderate or lascivious; Zheng (卫) and Wei (郑) were states during the Spring and Autumn period and Warring States period

Notes:

From《礼记·乐记》：「魏文侯问于子夏曰：“吾端冕而听古乐，则惟恐卧；听郑卫之音，则不知倦。敢问古乐之如彼，何也？新乐之如此，何也？”」

More information:
https://baike.baidu.com/item/%E9%83%91%E5%8D%AB%E4%B9%8B%E9%9F%B3

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● 钟鼎人家 (zhōng dǐng rén jia)

Notes:

From 清·文康《儿女英雄传》第一回：「虽然算不得簪缨门第、钟鼎人家，却倒过得亲亲热热，安安静静。」

More information:
https://baike.baidu.com/item/%E9%92%9F%E9%BC%8E%E4%BA%BA%E5%AE%B6

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 ● 钟鼎之家 (zhōng dǐng zhī jiā) - (literal meaning):  house of zhong (bells) and ding (bronze cauldrons); (figurative meaning):  living an extravagant life

Notes:

From 清·曹雪芹《红楼梦》第二回：「虽系钟鼎之家，却亦是书香之族。」

More information:
https://baike.baidu.com/item/%E9%92%9F%E9%BC%8E%E4%B9%8B%E5%AE%B6

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● 钟鼓乐之 (zhōng gǔ lè zhī)

Notes:

From《诗经·周南·关雎》：「窈窕淑女，钟鼓乐之。」


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 ● 钟鼓之色 (zhōng gǔ zhī sè)

Notes:

From《管子·小问》：「夫欣然喜乐者，钟鼓之色也。」

More information:
https://baike.baidu.com/item/%E9%92%9F%E9%BC%93%E4%B9%8B%E8%89%B2

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● 钟鼓之乐 (zhōng gǔ zhī yuè)

Notes:

From 汉·贾谊《论时政疏》：「劳智虑，苦身体，乏钟鼓之乐。」


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● 钟鼓馔玉 (zhōng gǔ zhuàn yù)

Notes:

From 唐·李白《将进酒》诗：「钟鼓馔玉不足贵，但愿长醉不复醒。」

More information:
https://baike.baidu.com/item/%E9%92%9F%E9%BC%93%E9%A6%94%E7%8E%89

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● 钟鸣鼎列 (zhōng míng dǐng liè)

Notes:

From 清·曹寅《题铜官秋色图》：「都尉起家勋戚，钟鸣鼎列，极福终其身。」

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● 钟鸣鼎食 (zhōng míng dǐng shí) - (literal meaning):  when zhong (bells) ring, food is served in a ding (cauldron); (figurative meaning):  living an extravagant life

Notes:

From《史记·货殖列传》：「洒削，薄技也，而郅氏鼎食。马医浅方，张里击钟。」

Also:  唐·王勃《滕王阁序》：「闾阎扑地，钟鸣鼎食之家。」

 More information:
https://baike.baidu.com/item/%E9%92%9F%E9%B8%A3%E9%BC%8E%E9%A3%9F/2354026

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● 珠歌翠舞 (zhū gē cuì wǔ)

Notes:

From 宋·周邦彦《尉迟杯·离恨》词：「冶叶倡条俱相识，仍惯见珠歌翠舞。」

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● 煮鹤焚琴 (zhǔ hè fén qín) - (literal meaning): to cook a crane [to eat] and to burn a qin [as firewood]; (figurative meaning): to be unappreciative of art or beauty

Notes:

From 宋·胡仔《苕溪渔隐丛篆集》引《西清诗话》：「义山《杂纂》，品目数十，盖以文滑稽者。其一曰杀风景，谓清泉濯足，花下晒裈，背山起楼，烧琴煮鹤。」

More information:
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● 庄周鼓盆 (Zhuāng Zhōu gǔ pén)

More information:
https://baike.baidu.com/item/%E5%BA%84%E5%91%A8%E9%BC%93%E7%9B%86/1625186

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● 字正腔圆 (zì zhèng qiāng yuán) - to sing or speak with a clear and rich tone

More information:
https://www.zdic.net/hans/%E5%AD%97%E6%AD%A3%E8%85%94%E5%9C%86

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● 醉舞狂歌 (zuì wǔ kuáng gē)

Notes:

From 宋·范成大《玉楼春》词：「蓝桥仙路不崎岖，醉舞狂歌容倦客。」

More information:

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 Thanks to Jim Binkley, Chan Hon Meng, Tak Kwong Ko, Lin Chiang-san, Jeff Loh, Laszlo Montgomery, Daniel Sund, Juni Yeung, and Zhang Yanchen for assistance with this page.

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