objects was given to Korea by Emperor Huizong upon request by the Emperor Yejong of Goryeo. As a result, elements of Song dynasty yayue music such as melodies are still preserved in Korea. Some forms of yayue survived for imperial ceremonies and rituals until the fall of the Qing dynasty when the imperial period of China came to an end. Yayue however was still performed as part of a Confucian ritual in China until the Communist takeover in 1949 when it completely disappeared. There has been a revival in yayue in Confucian ritual in Taiwan since the late 1960s, and in mainland China since the 1990s. A major research and modern reconstruction of yayue of the imperial court was initiated in Taiwan in the 1990s, and in mainland China a performance of yayue music in 2009 by Nanhua University's yayue music ensemble in Beijing also spurred interest in this form of music. There are however questions over the authenticity of these revived and recreated yayue music and dances, especially the use of modern forms of instruments and various substitutions rather than the more ancient and original forms, nonetheless some argued that such music and dances have always changed over time through succeeding dynasties, and that any changes introduced in the modern era should be seen in this light. Performance The court yayue orchestra may be divided into two separate ensembles that may represent the yin and yang, a smaller one (the yin) that was meant to play on the terraces of a building and called dengge (登歌), and a larger one (the yang) that performed in the courtyard called gongxian (宮懸). The smaller ensemble consisted of mainly chordophones (such as qin and se zithers) and aerophones (such as the dizi and xiao flutes, and panpipes), as well as singers. The larger ensemble was primarily instrumental and contained all the categories of musical instruments with the musicians arranged in five directions (four points of the compass and the center) in the courtyard. The wind instruments occupied the center, and the bronze bells and stone chimes (known collectively as yuexuan 樂悬) at the four sides, while the drums occupied the four corners. At the front were two wooden instruments, used to mark the start and end of a piece. The 'outside' music in the courtyard was meant for the praise of heaven, and the size and disposition of the orchestra varied with