It also applies to clusters of small bells worn by musicians and dancers, sewn onto cloth bracelets and anklets, or laced on a long string to be wrapped around the waist or hung as a necklace.

[7] Bronze bells, which were probably hung on horses, do not appear until the 12th century BC at the earliest in an area from the north of the Iranian highlands to the southern Caucasus.

[8] It was common for the Turkic peoples and Mongolians to use bells made of two differently shaped half-shells on the harness, so that the enclosed balls produced two tones.

[10] The places where bells were used in southern Central Asia the beginning of the 1st millennium B.C., includes the urban settlement of Bactra (Balch).

From two cemeteries laid out between the 7th and 9th centuries A.D. in the Siberian region of Khabarov (Nadezhdinskoje and Korsakova) come bronze bells with a clapper, which were probably attached to a belt.

[11] According to tradition, the Prophet Mohammed was not happy about the bells (Arabic jaras) hanging from the necks of pack animals in Arabia in pre-Islamic times.

One such wall painting from the palace of Old Panjakent depicts a goddess on a throne, holding in her right hand a ladder-like object with numerous bells hanging from its crossbars, which was apparently used to produce sounds.

One is called by Uzbeks, Tajiks and Uyghurs safail, (sapai), and consists of two wooden sticks to which metal rings are attached.

Today, the safail is used as an accompaniment in dance music, similar to the qairāq (two river pebbles hit against each other) and qoschuq (“wooden spoon ”).

[13] The other is the zang used in Tajik dance music: bells attached to a leather strap worn by dancers on their wrists or legs.

[1] A manuscript of the Shahnameh made in Tabriz around 1370 depicts a turbulent battle scene in which the weapons of the Persian troops fighting the Mongols included noise-making devices intended to instill fear in the enemy.

[15] Noise as a weapon of war is much older and already known from antiquity: The Parthians in the Iranian highlands and southern Central Asia gave battle signals with trumpets and drums and frightened their opponents with large, fur-covered hollow bodies, which, in addition to their loud thunderclap, made a shrill noise because of the rattles and bells attached to it, as Plutarch describes the battle of Carrhae in 53 B.C.

In northern Afghanistan, the player of the long-necked lute dambura produces an accompanying rhythm with the zang-i kaftar bells worn on the wrist.

In Uzbekistan, zang stands for a chain of small copper or brass bells that dancing girls wear on their wrists or ankles.

In addition, tschang (chang) is a dulcimer resembling the Persian santur, which is occasionally used by Uzbeks and Tajiks in classical Shashmaqam.

The word has survived in Turkish as çeng-i harbî for a musical genre played by mehterhâne (military bands) and as çengi (belly dancer).

The kettle drum pairs naqqāra, long trumpets nafīr and sanj, along with other loud-sounding musical instruments, formed the Naubat Palace Orchestra in the Mughal Empire.

[22] In South Khorasan, Iran, zang are still made by local blacksmiths for herd animals such as cows, and sheep to wear.

[24] The zang-i kaftar ('dove bell') is a pair of ring-shaped jingles tied together on a short string and used in light music in northern Afghanistan.

A clamp with a diameter of 2.5 centimeters consists of a sheet metal strip that has been bent in a circle so that the long edges meet in the middle of the outside.

A player of the long-necked dambura lute occasionally wears four or five connected pairs of jingles on his right wrist and shakes them while plucking the strings.

Ensembles in tea houses also play the two-stringed fiddle ghichak, the goblet drum zerbaghali and finger cymbals (zang, Uzbek tüsak).