The conclusion summarizes the author’s key findings presented in the previous chapters. As an emerging field, experimental music archaeology has garnered increasing academic attention both in and out of China. Drawing on China’s abundant musical relics and modern technological advances, the author has conducted extensive replication and re-creation projects—most notably involving the bianzhong of Marquis Yi of Zeng, the Jiahu bone flutes, and the jade-like glass bianqing from the tomb of King Liu Fei. These efforts highlight China’s long-standing engagement with experimental approaches to musical archaeology. The author also reviews key developments in the field from both global and Chinese perspectives. Case studies such as the experimental music archaeology of the Tomb of the Marquis Yi of Zeng and jade-like glass bianqing excavated from the tomb of King Liu Fei of Jiangdu demonstrate the field’s development in China. The conclusion is a relfection of the author’s commitment to advancing experimental music archaeology and promoting China’s significant contributions to human musical civilization to the world.