Bianzhong

Etymology and Alternative Spellings

Chinese: 編鐘
Korean: 편종

Types

Bianzhong comes in different sizes and configurations depending on its historical period and intended use. The primary types include:

Small-scale Bianzhong – This consists of a limited number of bells, usually ranging from 8 to 16. It was used in smaller ceremonies or personal musical enjoyment.

Medium-scale Bianzhong – These sets typically contain 20 to 40 bells and were used in regional courts and religious rituals.

Large-scale Bianzhong – These are the grand, fully developed sets with 50 to 64 bells, like the one found in the tomb of Marquis Yi of Zeng. Such instruments were used in imperial court music and grand Confucian ceremonies.

History

The Bianzhong originated in China and dates back to the Zhou Dynasty (1046–256 BCE). It was used extensively in ancient Chinese music, particularly in the courts of emperors and aristocrats. Archaeological discoveries suggest that the instrument played a significant role in Confucian rituals and royal ceremonies during the Warring States period (475–221 BCE). The most famous discovery of Bianzhong was in the tomb of Marquis Yi of Zeng, dating back to 433 BCE. This tomb contained an elaborate set of 64 bronze bells, demonstrating the sophistication of ancient Chinese metallurgy and musical theory. These bells were tuned with remarkable precision, capable of producing harmonious sounds that followed ancient Chinese musical scales. The instrument continued to be used throughout the Qin and Han dynasties (221 BCE–220 CE), with various refinements and improvements in its design. However, during later dynastic periods, its use declined due to the changing musical styles and the rise of other instruments. In the modern era, Bianzhong has been revived for cultural performances, museum exhibitions, and historical reenactments. It remains a symbol of China’s rich musical heritage and advanced craftsmanship in ancient metallurgy.

Technique

The Bianzhong is played by striking the bells with wooden or ivory mallets. Musicians use two primary techniques to produce sound:

Center Striking – Hitting the middle of the bell produces one distinct tone.

Edge Striking – Striking the edge of the bell creates a different pitch.

Musicians must carefully control the force and angle of the strike to maintain pitch accuracy and tonal quality. Unlike Western bells that resonate in a uniform manner, Bianzhong bells are crafted to generate harmonious sounds that align with the traditional Chinese pentatonic and heptatonic scales. Bianzhong is usually played in ensembles, often accompanied by flutes, stringed instruments and other percussion. The instrument requires significant skill to master, as performers must memorize the correct striking techniques and sequences to produce a fluid and melodious performance.