Taiyuan gongs and drums are a kind of traditional gongs and drums music of the Han nationality popular in Taiyuan and Jinzhong, Shanxi. They are often played in rural areas and factories. It is the general name of seven gongs and drums music routines. In 2008, it was selected into the second batch of national intangible cultural heritage protection list of my country. Taiyuan gongs and drums have many kinds of music routines, such as "Liu Shui" and "Yi Er Wu". "Liu Shui" in Taiyuan gongs and drums is said to have started in 947 AD, in Guzhai Village in the southern suburbs of Taiyuan, where the sister of Liu Zhiyuan, the founder of the Later Han Dynasty, lived. It is said that when the emperor's aunt went out, she was greeted and sent off with gongs and drums. The tune played was passed down from today's "Liu Shui", which means "blessings are as long as the East China Sea". In fact, this legend may not stand up to scrutiny, and "Liu Shui" may not mean "blessings are as long as the East China Sea", but from these legends, at least we can know that Taiyuan gongs and drums have been passed down from generation to generation, and have produced rich music routines. "Yi Er Wu" is named after the rhythm of the horse gong. The instruments used in Taiyuan gongs and drums are divided into two groups, large and small, and the big ones are famous. The instruments are big drums (some with a diameter of about five feet), big cymbals, and big drums are the leading ones. The small ones are war drums, horse gongs, and two cymbals. The notable features of the musical structure and percussion art are: repeated sentences, staggered lengths, and sentences similar to the sentence structure of classical poetry, giving people a heavy, compact, and repetitive impression. In the performance, sudden stops are often used, such as the rest in the score, giving people a deep impression of cleanliness. When playing slowly, it is like a gurgling stream, and when it is fast, it is like a rushing wave; when it is tapped lightly, the phoenix bells jingle, and when it is hit hard, the thunder roars. The performers are excited, and suddenly throw the cymbals to appear, and suddenly embrace the golden melon. The sound, emotion, and performance are intertwined and integrated, which is fascinating. Playing together and hitting separately, they beat out various tunes such as "single two five", "double one two five", and "dog bite". When the tide is high, the waves are rolling, one after another, and when it is calm, the stream is gurgling, like flowing clouds and water. When the cymbals are fighting against each other, it is called "chaos". Once the cymbals and cymbals are fighting, the clanging of the cymbals and the clacking of the cymbals are one after another, which is pleasant and crisp, beautiful and melodious. The biggest feature of Taiyuan gongs and drums is that the two teams set up their positions and confront each other. This confrontation often occurs on festive days, when the two teams meet on the streets. Whenever this happens, both sides will not give in to each other, and each will show their skills, one song after another, one after another, one after another, and will never stop until they have fought to the top. This kind of performance sometimes lasts for five or six hours without giving up. This kind of confrontation and competition has become a traditional custom of Taiyuan gongs and drums. The skill of their performance and the intensity of the scene are rare in China. It reflects the rough and brave local characteristics of Taiyuan people since ancient times, and also reflects the national characteristics of Taiyuan people's indomitable spirit, yearning for and pursuit of victory. It constitutes the local characteristics of the majestic sound and color of Taiyuan gongs and drums, and also establishes the unique position of Taiyuan gongs and drums in the folk fire customs of Taiyuan Han nationality.