Wuyue (now Jiangsu and Zhejiang) during the Spring and Autumn Period accepted the influence of Zhou culture and inherited the original bronze cymbals of Baiyue. However, on the other hand, they still retained the traditional sacrificial customs, forming a culture similar to that of the Central Plains. A musical style that completely contradicts customs. This can be seen from the story in "Lu's Spring and Autumn Period: Yuhe Chapter" that the King of Yue loved to listen to "wild sounds".
In addition, the Chu State, which still retains the custom of headhunting and praying to the gods, also accepted the bell chime as a symbol of Zhou culture very early. This can be seen from the Warring States musical instruments unearthed in Ji Nancheng. The "Songs of Chu" at that time was not only an epoch-making milestone in the history of Chinese literature, but also a masterpiece with a strong classical romanticism in the history of ancient Chinese music. For example, Qu Yuan's "Nine Songs: Donghuang Taiyi" is a aria in which a witch performs and praises the god Donghuang Taiyi. It sang:
"Raise the drumsticks and beat the big drum, soothing rhythm and peaceful singing, playing the sheng, leise and harp in unison and singing loudly. The witches are dancing, the costumes are bright, the fragrance is filling the air In the hall, the five tones are lingering and mingling, the Emperor of the East is happy and healthy!"
This poem vividly depicts the meeting of gods and humans in a romantic and glorious sacrificial scene.