Adopted from the translation by Thomas F. Aylward of the JieJi BianFang Shu 协纪辨方书...
This section discusses two issues: the associations of the NaYin with the 60 JiaZi pairs and the pairs' poetic names.' The compilers explain the musical-note associations by quoting a long passage written by the Famous Song dynasty Confucian scholar, Zhu Xi (1130-1200 CE). The explanation provided by Zhu Xi adds little to what has been said above, aside from his point about the WuXin correlate of the NaYin being the process produced by the process of the musical note in question. The five traditional Chinese musical notes were associated with the WuXin as follows:
1. Palace Note (gong) — earth,
2. Exchange Note (shang) — metal,
3. Horn Note (jue) — wood,
4. Summoning Note (zhi) — fire, and
5. Feather Note (yu) — water.
The explanations of the 'poetic' names of the NaYin were penned by an early-Ming dynasty (late-fourteenth century) scholar named Tao Zongyi. These explanations draw heavily on the twelve-stage life-cycle principle. The reasoning is, however, highly erratic. At times, the author bases his justifications on the WuXin
1. correlate of the branch,
2. at other times on that of the stem,
3. and at still other times on that of a related trigram.
Clearly, the NaYin WuXin correlates and their poetic names do not derive systematically from the stems or branches of the 60 JiaZi pairs, but the author felt a need to demonstrate that they do. It is noteworthy that the compilers of the Treatise could not locate another better-known or older reference to these poetic names, which suggests that the system was neither very old nor of great significance.
Zhu Xi said, `The musical sounds are earth, metal, wood, fire, and water. In the Great Plan, these are water, fire, wood, metal, and earth. The NaYIn system takes each of the sixty stem-branch pairs and matches it with one of the WuYin. The process to which the WuYin gives birth serves as the musical note that the stem-branch pair receives.