Baijiachun is a widely spread piece among civil society of Minnan, Hakka and Chauchou area, and exists in many musical genres. The study started from deep discussions concerning aspects of ethnic backgrounds, genre dissemination, performing techniques and artistic traits, probing into the developing process and results of the zheng piece Baijiachun which has derived from qupai of other genres, and made a version comparison on the performing essences and contents among the zheng scores of the three different schools. The result reveals that the tunes of the three Baijiachun scores are almost the same, but the number and pattern of ban, performing techniques and rhythmic details rather have respective differences. Specifically, the spread of the three zheng versions of Baijiachun has its historical reasons, backgrounds of cross-border transmission and acculturation, and has inherited and absorbed in respective system of genre and been poured in with zheng-ized techniques and vocabulary. The historical background has consolidated the similar foundation of the skeleton tonal structure, the influence of distinct genre has enriched respectively regional style and characteristics, and zheng-ized techniques has brought details of instrumental performances into full. The mentioned reasons provide the shaping and development of three versions of Baijiachun with a proper condition, and further form the identity and evolvement of three versions of Baijiachun in Minnan, Hakka and Chauchou area.