The first iconographic record of the hand bell or ghaṇṭā is not conclusive. As late as the seventh century it is depicted in one of the caves at Aura… - Curt Sachs

The oldest preserved style, the classical Sino-Japanese Bugaku dances […are…] of Indian origin, and Chinese and Japanese music on the whole were under Indian influence in the second half of the first millennium A.D. And yet the most typical trait of Indian music, its sophisticated rhythmical patterns or tālas, had no chance in the East. In 860 A.D., someone wrote a treatise on drumming in China, with over one hundred ‘symphonies’ which doubtless were Indian tālas; but nothing came of this, and not one of the Far Eastern styles has preserved the slightest trace of such patterns. The three rhythms used in Tibetan orchestras, and kept up in percussion even when the other parts are silent, are obviously not Far Eastern, but deteriorated Indian patterns. The elaborate polyrhythm of Balinese cymbal players that Mr. Colin MePhee has recently described is not Far Eastern either.

The strange, never-ceasing drones used in the choral singing of Tibet belong in the Indian, not the Chinese sphere of Tibetan civilization.

[In Siamese (Thai) music,] "the comparatively large share of drums, however, indicates the neighborhood of India"