Comparing the Shin-ko-in version with the Gu Yi version, it is evident that the Gu Yi version is derived from the Shin-ko-in version. Due to errors during the reengraving of the Gu Yi version, it evidently contains mistakes. For example, in the twenty-fourth line, the third character in the Shin-ko-in version is "九" (nine), while it is mistakenly altered to "尤" in the Gu Yi version. Additionally, at the end of the piece, the Shin-ko-in version lists one of the titles as "上上舞" (Shang Shang Wu), whereas the Gu Yi version omits a character, resulting in "上舞" (Shang Wu). Therefore, this compilation adopted the Shin-ko-in version for reproduction.

The qin tablature records string names, finger positions, and techniques for each hand. In the fourth century, when qin tablature was first created, all qin pieces were described using longhand text. Because there was no printing technology at that time, the early qin scores existed only in handwritten scrolls, which later musicians referred to as "longhand scores." Starting in the Tang dynasty, text scores began to be simplified into the "jianzi pu" (simplified tablature) that we have from after the Song dynasty. The preface to "Jieshi Diao Youlan" states that it is an old piece from the Six Dynasties, but its characters and finger techniques suggest that it was transcribed during the Tang dynasty. According to research by Mr. Kakui at the Tokyo Museum, the character "年" (year) in the preface is consistently written as "(q.v.)". This character was invented for use during the early Tang dynasty under the rule of Empress Wu Zetian. After her death, its use was prohibited. Therefore, it can be inferred that the writing of this score likely dates back to that period.

碣石調幽蘭

這是一個從我國流傳到日本的唐人卷子。一八八四年黎庶昌在日本曾借得寶素堂藏本，慕刻後收人了他所輯印的「古逸叢書」裏。這裏影印的是京都神光院藏本。一九七四年，日中文化交流協會基於日中兩國人民的友好情誼，熱情贈送了原本的照片。這次就是用所贈照片影印的。中日兩國自古以來在文化上就有着友好交往的悠久歷史，幽蘭諧就是一個最好的見證。

神光院本與古逸本相較，可以看出古逸本的母本，實際上就是神光院本。古逸本由於經過暮刻，顯然有誤刻失寶之處。如第二十四行第三字，神光院本原爲「九」，古逸本則誤刻爲「尤」。再如末尾所附曲目，神光院本爲「上上舞」，古逸本則爲「上舞」，中間漏刻一字。因此，本编改用神光院本影印。

古琴譜記的是絃次、徽位和兩手各指的技法。在第四世紀創制琴譜之初，|首琴曲全部都是用文字來叙述的。因爲當時還没有印刷技術，故早期的琴曲譜祇有手寫的卷子本，後世彈琴家稱之爲「文字譜」。唐代中藥起，文字譜逐漸簡化成爲宋以後的「减字譜」。《碣石調幽蘭》卷首小序著明是六朝的舊曲，而從字迹和指法來看，疑是在唐代轉寫的。據東京博物館角井先生研究，卷首小序凡是「年」字均寫作「本」。此字是初唐武則天當政時創制的。 武氏死後，此字即不准使用。由此推測，該譜的書寫年代大約就在這個時候。

二 白石道人歌曲 古怨 《白石道人歌曲》是南宋姜夔（字堯章，鄱陽人，號白石道人）的歌詞集，祇刊載了他自己作的一個古琴曲譜，名日《古怨》。姜夔的生卒年月不甚詳，祇知道他的詩詞歌曲多作於南宋孝宗淳熙三年（一一七六）至寧宗慶元三