Bianzhong
China was the first country to create and utilize musical chimes, with the bianzhong, or chime bells, being a notable example of these instruments. The bianzhong is a large ancient percussion instrument that originated during the Shang Dynas- ty (1600-1046 B.C.) and flourished in the Spring and Autumn period (770-476 B.C.) and the Warring States period (475-221 B.C.) as well as Qin (221-206 B.C.) and Han (206 B.C. - A.D. 220) dynasties, representing China's traditional ceremonial music culture. The bianzhong were played during occasions such as military expeditions, festivals, court audiences for nobility, and sacrificial ceremonies.
Crafted from bronze, the bianzhong features exquisite patterns on the body of the bells. Bronze bells of various sizes are arranged in order of pitch on a large bell frame and are struck by musicians using T-shaped wooden mallets and rods to create different pitches. The bianzhong is typically accompanied by the bianqing, a percussion instrument made of polished stone. They are primarily played during solemn ritual ceremonies at imperial altars. During the Western Zhou Dynasty (1046-771 B.C.), the bianzhong were commonly arranged in sets of three, and later in the Spring and Autumn period and the Warring States period, they were increasingly grouped in sets of nine or 13. The smaller bells produce high-pitched tones and softer sounds, while larger bells produce deeper and louder notes. The size and shape of the bells determine the specific sounds they produce.
One of the most remarkable bianzhong was unearthed from the tomb of Marquis Yi of Zeng (c. 433 B.C.) in the Warring States period. It consists of 65 bells and has a tonal range of five octaves. In the middle area of the tonal range, it can play all twelve half tones. Compared to a modern piano, it only lacks one octave at the lowest and highest ends and can play almost all modern music. The 3,000+ characters inscribed on the bianzhong bells of the Marquis Yi of Zeng constitute the earliest known text on music theory in the world history. It preserves musical lore from 2,400 years ago through sound and text, representing the highest achievements in the pre-Qin period of ancient China in ritual music and bronze casting technology.
The bianzhong demonstrates the advanced level of ancient Chinese music culture. Its sound quality, pitch accuracy, and timbre match those of contemporary ethnic percussion instruments and Western percussion instruments. In 1957, as China's first man-made satellite was launched into space, the song "The East is Red" was broadcast, played by the first bronze bianzhong unearthed in Xinyang of Henan Province. The music transcended time and space, echoing throughout the vast universe, and bring- ing the sound of China to the world.
编钟
中国是世界上最早制造和使用乐钟的国家。编钟作为中国古代大型打击乐器，最早出现于商朝，盛于春秋战国直至秦汉，集中体现了中国传统礼乐文化。每逢征战、宴享、朝聘、祭祀，都要演奏编钟。
编钟用青铜铸成，钟身有精美图案，大小不同的铜钟按照音调高低依序排列，悬挂在一个巨大的钟架上，用丁字形的木锤和长形的棒分别敲打铜钟，能发出不同的乐音。编钟一般与编磬（一种石头磨制而成的乐器）配合使用，多运用于庄严肃穆的庙堂宫廷雅乐场合。西周时期，编钟多由大小3枚铜钟组合起来。春秋战国时期，编钟数目逐渐增至9枚或13枚一组。编钟的发声原理是钟体小则音调高、音量小，钟体大则音调低、音量大，因而其铸造尺寸和形状一定程度上决定了编钟的发音。
战国时代曾侯乙墓（约前433）出土的编钟最引人注目，它由65个钟组成，总音域横跨五个八度，中心音域十二个半音齐全。与现代钢琴相比，它仅在最低、最高音处各少一个八度，几乎能够演奏现代所有乐曲。曾侯乙编钟上三千多字的铭文是世界文明史上最早的有声音乐理论文献，以声音和文字互相印证的方式，保存了2400年前的音乐记忆，代表了中国先秦礼乐文明与青铜器铸造技术的最高成就。
编钟作为一种古老的打击乐器，展现了中国古代音乐文化的先进水平，其在音质、音准、音色方面不逊于当代民族打击乐器和西洋打击乐器。1957年，由河南信阳出土的最早的青铜编钟演奏的《东方红》乐曲，随着中国第一颗人造卫星发射升空，在浩瀚宇宙中发出了穿越时空的中国声音。