This handbook is now quite rare. Of the three known surviving copies, two are held by the Music Research Institute of the Chinese Academy of Arts, and one is in the custody of the Cultural Heritage Administration of Qu County, Zhejiang. This edition is a facsimile of one preserved at the Music Research Institute.

The first volume contains prefaces by Kong Yinzhi (dated the fifth year of Tianqi, i.e., 1625), and others by ....

The other four volumes contain music tablature, each accompanied by lyrics. There are thirty-six pieces in total. According to the colophon “Revised by the son Chen Yuanzhen,” found at the end of the Dayatang Revisions, this version appears to be a later, expanded edition by Chen Yuanzhen. The Table of Contents in this particular edition is not divided into volumes. It begins the articles on general qin theory. The remaining sections list pieces according to tuning or mode, including:

However, this catalog’s sequence does not match the actual order of the pieces in the handbook. There are also discrepancies in content—for example, Qin Jing, Feiming Yin, Wuyun Yin, and Yufeng Heping are listed in the catalog but do not appear in the body. Conversely, the Daya Tang Revisions of Names and Surnames appears in the text but not in the catalog.

Additionally, Feng Rujing’s preface mentions pieces such as Zheng Qi Ge, Zui Weng Ting, Yueyang Lou, Fenghuang Yin, Han Gong Chun, Jing Ye Tan Xuan, Wuyun Yin, Guilai Le, Tian Feng Ge and Zong Yi Yin that are not found in the actual score.

These discrepancies likely resulted from additions and deletions made during Chen Yuanzhen’s revision.

This handbook is quite unique. The thirty-six pieces are accompanied by introductory essays and (some also have) afterwords, which provide a wealth of information about qin players from the Jiajing era (1522–1566) onward, their lineages, and their compositions. Although the pieces all include lyrics, they are not entirely based on the earlier Jiang school traditions of Yang Biaozheng and Yang Lun. The compositions of Li Shuinan from the Jiajing period and of Chen Taixi (Chen Dabin) from the Tianqi period are especially valuable for understanding qin composition during this era.

《太音希聲》已不多見。現存三本中，兩本藏中國藝衍研究院音樂研究所，一本藏浙江省衢縣文管會。本編用音樂研究所藏本影印。

此本首冊有天啓五年（公元一六二九）孔胤植序及熊文燦、馮汝京、錢士晉、謝謂、解允淑、錢繼登、楊如泉各序。後有《聖賢流授曲操名氏目綠》、《目綠》、《左手指法》、《右手指法》、《琴說集》、《大雅堂集綠》及《大雅堂較訂姓氏》。其餘四冊收有曲譜，各譜一律有旁詞，共計三十六曲。據《大雅堂較訂姓氏》下有「男復生陳元貞重訂」的行款來看，此本應是經陳元貞增補的重訂本。

此本目綠不分卷，首列琴序，次列《琴經》、《琴說》、《左手指法》、《右手指法》、《大雅堂集》，其餘按各調調意列有《陽春》、《廣寒遊》、《梅花三弄》、《漢宮春》、《墨子悲絲》、《歸來樂》、《復聖操》、《客窗新語》、《猿鶴雙清》、《凌虛吟》、《列子御風》、《蒼梧引》、《鳳皇吟》、《泣顏回》、《縱意吟》、《天放歌》、《漢官秋》、《鸞鳳和鳴》、《孤猿嘯月》、《五蘊吟》、《搗衣》、《飛鳴吟》等二十二曲，與本譜實際次序不合，且內容也互有出人，如目錄中《琴經》與《飛鳴吟》、《五蘊吟》、《鬻鳳和鳴》三曲不見於本譜；而譜內《大雅堂較訂姓氏》也不見於目 。此外，馮汝京序曾稱「如《正氣歌》、《醉翁亭》、《岳陽樓記》、《瓜皇吟》、《漢宮春》、《靜夜談玄》、《五蘊吟》、《歸來樂》、《天放歌》、《縱意吟》諸曲則出於已思」云云。 其中《正氣歌》、《醉翁亭》、《岳陽樓記》均不見於本譜。凡此種種，可能都是陳元貞重訂時增刪所致。

這也是一部很有特點的古琴譜集。三十六曲的解題和後序中，透露了許多從明嘉靖以來的琴家，和他們的師承淵源及創作情況。此譜所刊之曲，雖全面都有文詞，但它已不全是前期江派二楊之舊了。其中嘉靖間李水南和天啓間陳太希所作各曲，對瞭解這一時期創作情況頗有價值。