This chapter is an overview of the present monograph, published as a comprehensive collection of the author Wang Zichu’s experimental music archaeological research findings of replicating and re-creating musical instruments in the past decades. The author elaborates the significant role played by musical artifacts themselves and the work of replicating and re-creating them in advancing the discipline of music archaeology. Similar looking but different concepts of replication, reproduction, and re-creation are clarified. “Replication” should be strictly based on the original state of the cultural artifacts as they were unearthed, be the appearance shabby or incomplete; “Reproduction” is not so strict, as long as it can reflect the main characteristics of the original cultural relics, it can be regarded as “reproduction”; Re-creation copies the original state of unearthed cultural artifacts, the state before they were eroded throughout the long period of history. To illustrate the process of re-creation, the author discusses the example of Xuyi glass-made bianqing, including the re-creation of the artificially made chimes material, the craftsmanship of the ancient jade-like material, and the physical properties and musical function of the jade-like material needed.