沂水纪王崮M1是春秋中期阶段莒国国君级别的贵族墓葬，墓内共出土了馎钟4件、甬钟9件与钮钟9件，是典型的三元组合编钟。通过对其整理与测音后发现，馎钟虽具有较为明确的音律设计理念，但音高不准，调音不善，实用性能较低；甬钟则由两组不同时代的乐钟以5+4的组合拼凑而成，但音列结构混乱，且还有重音现象，可见拼凑的目的并不是为了达到音律上的和谐完整，而主要体现的是该地区常见乐钟数量组合的约束；钮钟同样是由不同特征的三组乐钟以5+2+2的形式拼凑而成，但补足9件之后，正契合这一时期9件组钮钟组合最常用的“徵—羽—宫—商—角—羽—商—角—羽”的音列结构，可见其拼凑的目的是以旋律性为主的，承担主要的演奏功能。墓主人同时采用三元组合编钟与三面折曲的轩悬陈设制度，又与其丧葬礼俗及青铜礼器等反映出的诸侯身份是相吻合的，由此折射出丧葬乐钟强烈的礼制性特征。

The M1 tomb at Jiwanggu in Yishui,Shandong Province,dates to the middle Spring and Autumn period and is a high-ranking noble burial at the level of the ruler of the state of Ju.A total of 4 Bozhong(馎钟),9 Yongzhong(甬钟),and 9 Niuzhong(钮钟)were unearthed from this tomb,forming a typical ternary combination Bianzhong(chime bells).After systematic analysis and sound measurement,it was found that while the Bozhong displayed a relatively clear design concept for musical scales,they were poorly tuned with inaccurate pitches,rendering them of limited practical use.The Yongzhong were assembled from two groups of chime bells from different eras in a 5+4 configuration.However,their tone sequence was disordered,with overlapping notes,indicating that the assembly did not aim for harmonic completeness but rather adhered to regional conventions regarding the numerical combinations of common chime bells.Similarly,the Niuzhong were combined in a 5+2+2 arrangement from two sets of chime bells with distinct features.Upon completing the set of 9 pieces,it perfectly matched the most commonly used tone sequence“zhi-yu-gong-shang-jue-yu-shang-jue-yu”(徵-羽-宫-商-角-羽-商-角-羽)for nine-piece Niuzhong sets during this period.This suggests that the purpose of their assembly was primarily melodic,serving as the main performance component.The tomb owner's use of both the ternary combination Bianzhong and the three-sided folded chime-displaying system aligns with the funeral customs and bronze ritual vessels indicative of a feudal lord's status,thereby reflecting the strong ceremonial characteristics of funerary Bianzhong.