Tập ghi âm điệu, tán tụng và nhạc nghi đạo giáo (ngọc âm), dùng trong trai tiếu. Là tư liệu quý về âm nhạc nghi lễ đạo giáo thời Tống, thuộc Động Huyền bộ tán tụng loại.
Ứng dụng: Hát tụng khoa nghi, nghiên cứu nhạc đạo giáo
北宋末道士編集之齋醮讚頌曲譜，三卷，收步虛詞、奉戒頌、白鶴詞、散花詞、三清樂、華夏贊等約五十首。上中卷用「曲線譜」（聲曲折），非工尺、非減字，以蜿蜒線條標示音高起落，為現存最早詞譜兼備之道樂文獻。含真宗、徽宗所製詞曲，體現宮廷道教雅樂與「玉音」觀念：以聲讚通真、步虛法玄都玉京旋繞。下卷有啟經文、三皈依、敷坐讚等科儀銜接。
⚡ Ứng dụng: 齋醮中舉步虛、散花、三清樂等時依譜吟詠，配合巡壇旋繞，以聲讚感通十方聖真。
🔗 Liên quan: 玉京山步虛經；靈寶領教濟度金書；無上黃籙大齋立成儀
Sacred sound is not accompaniment but a causal force that orders qi, summons deities, and seals ritual speech. The text proves that correctly pitched, timed, and worded liturgical music aligns human breath with celestial harmonics, making petition audible to Heaven. Wrong sound breaks efficacy even if intention is pure.
1) In cultivation, treat breath-and-tone (mantra, recitation pitch) as primary yang regulator when chart Metal/Wood are in conflict. 2) Recite scriptures at steady cadence; avoid emotional shouting that breaks 玉音 restraint. 3) Use BaZi luck hours of Metal (voice) or Fire (resonance) for major petitions. 4) Diagnose ritual failure as acoustic disorder: fix tempo and purity of words before adding more talismans. 5) Train 'one sound, one intent'—each phrase carries one clear administrative request.
Unlike silent Zuowang, it claims salvation and command work through disciplined sound. Differing from Beidi mantra scriptures that weaponize syllables against demons, 玉音法事 perfects communal liturgical harmony rather than martial exorcism. Compared with pure literary scripture, it treats performance parameters as doctrinal.