The purpose of this study is to investigate types, use, and characteristics of Amu (雅舞), as recorded in Akseo (『樂書』, Book on Music) written by Jinyang (陳暘). We focused on how Jinyang accepted Amu of the previous generations in his Akseo, investigated how Amu was divided into several types used in Gyomyo (郊廟) and Johoe (朝會 a morning assembly) in Northern Song, and then presented constructional patterns of Amu and significance of using dancing tools. Amu is a dance performed in grand rituals such as memorial services in Confucian congratulatory ceremonies or National New Year’s fests, indicating a type of dance performed to Aak music. As a form of Ilmu (佾舞, line dance), Amu has a coexistence of civil and military dance and is performed according to the order of a ceremony. The representative titles for pieces of civil and military dance music in Gyosa (郊祀 Border Sacrifice) in Song Dynasty are and . In Ilmu for Johoe, Mundeok and Mukong were selected as civil and military dance but were changed by and , and again by and . Amu indicates a type of Ilmu by standing in lines of four sides. Jinyang argued that two, four, six, and eight days of Amu were for dividing classes such as emperor, lords, nobility, and scholar, while thinking that different grades of Ilmu should be applied on the basis of scales of memorial services. Jinyang perceived that the lines of the dance were a method of expressing succession of the way of Heaven by a ruler. According to him, the dancing tools were objects describing and symbolizing virtues and contribution, and there should be Abstract 54 제41호grades in the tools based on the virtues and contribution of a ruler. In this study we attempted to pave the way to expand denotation of dance studies by researching Aak music, a music that has not been much studied in Korean dance field. The results of this study may serve as basic data for understanding Akmu performed in ritual ceremonies in Joseon related to ceremony culture of Ancient China.