What are the characteristics of China's northern and southern folk songs?

There are many classifications of China folk songs. According to genre classification, it can be roughly divided into three categories: chant (including carrying chant, boatman chant, workshop chant, etc. ), folk songs (including general folk songs, grazing folk songs, Tian Yang folk songs, etc. ) and minor (including ballads, seasonal tunes, custom ceremony songs, dance music, etc. ). In some scholars' works, folk songs are divided into chant, folk songs, pastoral songs, field yangko, boat songs, nursery rhymes, minor songs, custom ceremony songs and so on. Genre classification is helpful to understand and study the relationship between folk songs and people's lives, the social functions of folk songs, and the methods and characteristics of music expression.

Classification by ethnic and regional styles and colors. There are 56 nationalities in China. Due to the differences in historical traditions, language characteristics and living customs, the styles and colors of folk songs of various ethnic groups are far apart. Some ethnic groups with a large number and a wide living area, such as Han, Mongolian, Tibetan, Zhuang and Uygur, can also be divided into several color areas according to the musical characteristics of folk songs in different regions. For example, Han folk songs can be roughly divided into eight color zones: Northwest, North China, Northeast China, Southwest China, Jiangsu, Zhejiang, Fujian, Guangdong, Taiwan Province, Hunan, Hubei and Jianghuai, among which the first three zones belong to the north, the fourth to sixth zones belong to the south, and the seventh and eighth zones belong to the transition zone between north and south. There are four other regions, namely, Yunnan, Guangxi, Guizhou, Sichuan, Hunan, Hubei, Jiangsu, Zhejiang, Fujian, Guangdong and Taiwan Province. There are different points, each with its own basis.

The classification of style and color is helpful to understand and study the style and color of folk songs and the relationship between music and folk customs. Classifying according to theme content is helpful to understand and study the relationship between content and form of folk songs. In addition, there are special classifications based on historical development periods or for the needs of a special study.

-the distribution of China folk songs:

According to different national cultural backgrounds and different styles and colors of folk songs, China folk songs can be divided into six different styles and colors.

1. Northern Grassland Cultural Folk Song Area;

2. Xinjiang Folk Song Area under the influence of Western Islamic culture:

3. Tibetan folk song areas under the influence of western Buddhist culture:

4. Multi-ethnic ancient primitive culture folk song area in southwest plateau;

5. Folk song areas of hunting culture under the influence of Shamanism in Northeast China:

6. Northwest Plateau multi-ethnic, semi-agricultural and semi-pastoral cultural folk song area;

7. Han folk song areas with ancient traditional culture in the Central Plains and the eastern coast.

As for the classification of folk songs in various folk song areas. Due to different nationalities, each has its own traditional division method, so it is impossible to unify, and only differences can be preserved.

1. Northern Grassland Cultural Folk Song Area

This folk song area is mainly located in the present Inner Mongolia Autonomous Region, represented by Mongolian folk songs. Mongolians have always been called "music nation" and "poetry nation". Folk songs can be divided into "long tune" and "short tune". "Long tune" folk songs are mainly popular in eastern pastoral areas and areas north of Yinshan Mountain. They are characterized by short words, rich decorations, loud and melodious tones and free rhythm, which embodies the momentum of the vast grassland and the broad mind of herders. Pastoral songs, homesick songs, hymns, etc. Mostly long tunes. Well-known tracks include "the vast grassland" and "the countryside". "Short tune" is mainly popular in western and southern semi-agricultural and semi-pastoral areas, characterized by short structure and regular rhythm. Many ballads, love songs and wedding songs belong to "short tune". The famous short-tune folk songs are Senjidema and Little Huang Ma. The essence of grassland cultural folk songs is to express the simple, cheerful, enthusiastic and bold feelings and character of grassland herders. In addition, there is a "Mongolian-Chinese tune" in Simon, which is the product of mutual absorption and exchange between Mongolian and Chinese music cultures. The "Climbing Mountain Tune" popular in Hetao area is also a favorite song of Mongolian and Han nationalities.

2. Xinjiang Folk Song Area under the influence of Western Islamic culture.

This folk song area is located in Xinjiang, represented by Uygur and Kazak folk songs. It is influenced by the Islamic traditional culture in Central Asia, and has a certain connection with Arab music culture. Uighurs are good at singing and dancing, and their singing and dancing art is famous in the world as "Twelve Muqams". Folk songs can be divided into four categories: love songs, labor songs, historical songs and life customs songs. In terms of tones, Uygur folk songs, including China music, Arabic music and European music system, are the most prominent sources of diversified tones of China folk songs. Many folk songs are combined with dance, and their styles are lively and interesting. Famous folk songs at home and abroad include Allaben Han, Half Moon Climbing Up, Dabancheng, Send me a Rose, etc. Kazakhs mainly live in northern Xinjiang and are engaged in animal husbandry. Folk songs can be divided into three categories: (l) Folk songs with fixed lyrics (including pastoral songs, hunting songs, love songs, religious songs, etc. ); (2) Impromptu lyrics of folk songs (including folk songs, fishing songs, riddle songs, etc. ); (3) Folk songs (including wedding songs, wedding crying songs, wedding songs, etc.). Among them, the number of love songs is the largest, and most of them show the pain and blessing of lovers' parting. Kazakh folk songs have two systems: China music and European music. China's music system is dominated by Gong Diao and Yu Diao. Maira and Wait for Dawn are famous all over the country.

3. Tibetan folk song areas under the influence of western Buddhist culture.

This folk song area includes some Tibetan areas in Xizang Autonomous Region, Qinghai and Sichuan. Folk songs include folk songs (pastoral songs), labor songs, love songs, phoenix folk songs and poems. The singing activities of folk songs are mostly related to Buddhist festivals, and many folk songs are combined with dances, such as Nangma, Dui Xie, Guo Xie and Guo Zhuang. Music belongs to China's music system, and folk songs generally have the characteristics of enthusiasm, cheerfulness, sincerity, moving, plateau characteristics and strong sense of rhythm. Famous folk songs include "On the Golden Mountain in Beijing". "On the Jinshan Mountain in Beijing" was originally an arrow song (that is, a hunting song), which was first spread in the forest areas in southeastern Tibet. Now it has become a new folk song and spread all over the country.

4. Southwest Plateau multi-ethnic ancient primitive culture folk song area

This folk song area includes ethnic minority areas in Yunnan, Guizhou and Guangxi. There are more than twenty different nationalities living here. Folk songs in this area have different degrees of ancient cultural characteristics and special social functions. Folk songs are mostly a combination of "poetry, song and dance", with complex and diverse contents, and there are folk songs in different historical stages. Because many ethnic groups have no written language, folk songs have become an important means for them to record history, spread knowledge and engage in social activities, and become an indispensable part of their daily lives. All these reflect a special and multi-level cultural phenomenon. The representative folk songs in this area are multi-voice folk songs. Most ethnic groups have two voices and three folk songs. Folk songs are divided into Daqu and Xiaoqu. Da Ge is the most famous among Dong, Buyi and Zhuang. There are three kinds of Daqu: male, female and children's songs. Generally, male songs have a strong sense of rhythm and lively tunes. Girls' big songs have free rhythm and delicate and soft melody. In addition to two parts, there are single-part folk songs. The content is mainly about love. Generally, young men and women sing softly indoors. In addition, there are ancient songs, and the Miao ancient songs have the longest history. The content describes the formation of heaven and earth and the origin of mankind. Travel, etc. The melody is full of chanting, and the singers are mostly elderly people. Dong folk songs were famous all over the country in the 1950s, and other folk songs, such as Gui Ren Kai Gui Hua, Xi Mingyue Song, etc. It is also a representative track.

5. Folk song area of hunting culture under the influence of Shamanism in Northeast China.

This folk song area mainly includes Daxing 'anling and Xiaoxing 'anling areas in Northeast China, represented by Oroqen folk songs (including Ewenki, Hezhe, Daur and Manchu), and Oroqen still retains many traces of primitive society before 1949. This is a nation that loves singing and dancing. In the past, it lived by hunting. Whenever it comes back from hunting, or national festivals, it will hold a song and dance carnival. Their folk songs can be divided into three categories: (1) folk songs, (2) dance music and (3) shaman tune. Folk songs are divided into "long tune" and "short tune". The "long tune" is loud and powerful, and the beat is free. "Short tune" has a smooth tune and a regular rhythm. Most songs and dances are in the form of crowds. Shaman tune is a song sung for inviting gods, jumping, ancestor worship and funeral. Tunes are being sung, mostly to bring peace. Oroqen folk songs are pentatonic. Palace mode and feather mode are the majority. Their favorite folk song is erhu orchid? De Hulan is a song praising nature. In addition, the "Oroqen Singing Method" is also famous throughout the country.

6. Northwest Plateau multi-ethnic, semi-agricultural and semi-pastoral cultural folk song area

This folk song area includes the upper reaches of the Yellow River in Gansu, Qinghai and Ningxia, as well as areas where Han, Hui, Tu, Salar, Baoan, Dongxiang, Tibet, Yugur and other ethnic groups live together. Since ancient times, it belongs to the category of semi-agricultural and semi-pastoral culture. Historically, it was the only place where the "Silk Road" passed, and the cultural exchanges between the East and the West were earlier. Due to the long-term multi-ethnic communication and blending, a song shared by eight ethnic groups-"Flower" was produced. Folk songs in this area can be divided into "family songs" and "wild songs". "Family songs" include all kinds of wine songs, banquet songs, fine print, yangko and so on. "Folk songs" include all kinds of folk songs and pastoral songs, as well as "Flowers". Wild songs can only be sung outdoors. "Flower" is a representative song with a long and high tune, a deep and euphemistic style and a rough and simple temperament. No matter which ethnic group sings in Chinese, each ethnic group has its own words. The famous track at home and abroad is "Going Up the Mountain to See Pingchuan".

7. Han folk song areas with ancient traditional culture in the Central Plains and the eastern coast.

The Han folk song area is the largest of the six areas, from the cold north to the subtropical south, from the northwest plateau and southwest plateau to the eastern coastal plain, with diverse geographical conditions, customs and habits, and ways of life and production. Although the language belongs to Chinese, dialects vary from place to place. There are great differences between the east, the west, the north and the south, and the styles and characteristics of folk songs also show various characteristics. On the other hand, the Han population in the northern grassland folk song area, the northwest semi-agricultural and semi-pastoral folk song area and the southwest plateau multi-ethnic folk song area is above10 million. Therefore, the phenomenon of partial overlapping of folk songs also exists. According to the above situation, the Han folk song area can be divided into ten branches and one special zone.

Folk songs in the northeast metropolitan plain;

(2) the branch of northwest plateau folk songs;

(3) the branch of Jianghuai folk songs;

(4) Folk songs in Jiangsu and Zhejiang Plain;

(5) Fujian and Taiwan folk songs;

(6) the branch of Guangdong folk songs;

(7) The branch of folk songs in Jianghan Plain;

(8) the branch of Hunan folk songs;

(9) Jiangxi Folk Song Branch;

(10) Southwest Plateau Folk Song Branch,

(1 1) Hakka Folk Songs Special Zone.

There are many kinds of Han folk songs, but they can be divided into ten categories according to their different social functions: labor songs, folk songs, minor songs, Tian Ge, fishing songs, tea songs, yangko (including lantern songs), folk songs, nursery rhymes and nursery rhymes.

(1) Northeast Plain Folk Song Branch

This area includes the lower reaches of the Yellow River, such as Shandong, Hebei, northeastern Henan, northern Jiangsu, Liaoning, Jilin and Heilongjiang provinces, and is basically a coastal plain. Since ancient times, the lower reaches of the Yellow River belong to culturally developed areas. According to the subtle differences in styles, the area can be divided into two communities, with Shandong, Hebei and parts of Hebei and northern Jiangsu as the first community; Liao, Ji and Hei are the second communities. The second residential area is actually the immigrant area of the first residential area. So folk songs belong to a similar style. Eastern and northern dialects are used throughout the region. The folk songs here are mainly in minor, followed by yangko and chant, and there are few folk songs. Representative folk songs include Chinese Cabbage, Fan Painting, Yimeng Mountain Minor, Watching in a Small Theater, etc.

(2) the branch of northwest plateau folk songs

The region includes Shanxi, Shaanxi Dadu, northwest Henan, Hetao area in Inner Mongolia and Han nationality areas in Gansu, Qinghai and Ningxia. Taihang Mountain and northeast folk in the east, Yinshan Mountain in the south and Qinling Mountain in the north, belong to the middle and upper reaches of the Yellow River. In the past, the traffic was inconvenient, and folk music rarely communicated with other places, using the northern dialect of the northwest capital. The most prominent folk songs are Pilgrim's Progress, Folk Songs, Mountain Climbing Tune and Flowers. Followed by yangko and minor. Famous national tracks include Walking to the West, Sacrifice Spirit, Lanhuahua, Pushing Fried Noodles, Five Brothers Pasturing Sheep, Planing Potatoes, Embroidering Gold Monument and so on.

(3) The branch of Jianghuai folk songs

This area includes northern Jiangsu, most of Anhui, Dabie Mountain and Jianghan folk song area in southeastern and western Henan. This area is located between the Yellow River and the Yangtze River, and its music culture is a transitional feature, which combines North and South factors. In the northern dialect. Tian Ge and minor are the most prominent folk songs, followed by yangko and folk songs. Famous songs include Fengyang Flower Drum, Sister Wang's Fair, Maige, Pigen Luchai Flower and so on.

(4) Folk songs in Jiangsu and Zhejiang Plain

This area, which includes southern Jiangsu, Shanghai and most of Zhejiang, is located in the lower reaches of the Yangtze River and is the land of ancient wuyue. Culture is relatively developed, and people's lives are relatively rich. It has always been called the land of fish and rice in the south of the Yangtze River. The dialect used is Wu dialect. Folk songs are mainly in minor, and the famous tracks are Purple Bamboo Tune, No Tin Scenery, Jasmine Flower, Crying July 7th, Anti-Bird, etc.

(5) Fujian and Taiwan folk songs

This area includes most of Fujian, most of Taiwan Province Province and Chaoshan area of Guangdong. Fujian and Taiwan Province Province have had cultural relations since ancient times. The local Han people in Taiwan Province Province have been using Minnan. In addition, there are some local operas and rap music in the two places. Folk songs are prominently displayed in folk songs, pastoral poems and minor tunes, and the famous tracks include Tea Picking and Butterfly Picking, Tea Children's Songs, Nothing in the Sky and so on.

(6) Guangdong Folk Song Branch

This area includes Guangdong Dadu, southeast of Guangyou and parts of Hainan in the Pearl River basin, and is adjacent to Jiangxi folk song area with Nanling as the boundary in the north. Located in the subtropical zone, the Pearl River runs through the east and west. Cultural exchanges with overseas countries were earlier, and Cantonese dialect was used. In the past, fishermen became an important social stratum in this area. Fishing songs-Saltwater songs are the most prominent folk songs. Famous tracks include Falling into the Water, Spring Cattle Tune, Li Limei and so on.

(7) Folk songs in Jianghan Plain

This area includes Hubei, southwestern Henan and parts of northern Hunan, and is the center of ancient Chu culture. Use southwest dialect. Ancient culture is relatively developed and folk art has a long history. So far, it still retains the antique local characteristics in many aspects. Tian Ge folk songs are the most prominent, followed by lantern songs, minor, folk songs and folk songs. Well-known tracks include Sister Huang and Honghu Fishing Song.

(8) Xiang Folk Song Branch

This area includes several counties in the northeast corner of Hunan and Guangxi. Located in the south bank of the middle reaches of the Yangtze River, it is also the ancient Chu land. People are advocating and attacking Chu style, which is inextricably linked with Jianghan folk song area, but the dialects used are different, and Hunan dialect is widely used in this area. The most representative folk songs are folk songs and Tian Ge. Well-known tracks include "Children in Sang Ma Village Playing Lampstands", "Lotus Pond" and "Going to Sichuan".

(9) Jiangxi folk songs branch

This area takes the central, northern and eastern parts of Jiangxi as the basic scope, and uses Gan dialect. The culture located between ancient Wu Chu has a certain influence on it, and it has the nature of a transitional zone for cultural exchanges between the East and the West in the Yangtze River Basin, with strong blending of folk songs. Tea songs are the most distinctive, followed by minor and lantern songs. Tian Ge's "Drum Song" is also excellent. Well-known tracks include "Azalea Blossoms", "Picking Tea Seeds" and "Sending Lang to the Red Army".

(10) Southwest Plateau Folk Song Branch

The region includes Sichuan, Yunnan, Guizhou, parts of southwestern Shaanxi and northwestern Guangxi. The northern part is bounded by Qinling Mountains, and southwest dialect is commonly used. The representative folk songs are folk songs, followed by lantern songs. In addition, Chuanjiang boatman's chant is also very distinctive. Well-known tracks include Streaming, Catching Horses, When will Sophora flowers bloom, and I live in Guiyang, Guizhou.

(1 1) Hakka Folk Songs Special Zone

Hakkas are widely distributed, with a population of more than 80 million in China. The Central European Special Zone mainly includes the border areas of northeast Guangdong, southwest Fujian and southeast Jiangxi. Hakka people are concentrated here. Hakka people immigrated from the northern Central Plains in ancient times because of the war. They keep the ancient legacy and use Hakka dialect. Folk songs are mainly folk songs, and the famous tracks are Red Light Song and Wind Blowing Bamboo Leaves.

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The development track of China folk songs;

Because folk songs are the songs of working people, working people were looked down upon in feudal society and semi-feudal and semi-colonial old China, and their songs suffered the same fate. Even in the Yuan, Ming and Qing Dynasties, it was repeatedly forbidden by the emperor. There are few written records about its history. From the unearthed cultural relics, there are many ancient musical instruments, but there are few singing activities. The singing and dancing pottery pots unearthed in Datong County, Qinghai Province are really precious. It shows the totem worship song and dance activities in matriarchal society 6000 years ago. In primitive times, song and dance were combined. To this day, many ethnic minority areas still maintain the ancient tradition of singing and dancing. In the book Huainanzi recorded in ancient times, it is mentioned that the ancients sang labor trumpets when lifting wood, which shows that early folk songs are closely related to labor. From the perspective of the two brothers, such as the song and dance images in Yinshan rock paintings, Yao's songs, Miao's ancient songs and Manchu's shaman tune, we can see that primitive folk songs are related to primitive religious activities such as witches.

It is impossible to reproduce the actual voice of ancient folk songs, and we can only see its lyrics from ancient literary works. As for music score, there is no music score, because folk songs have always been sung orally, even after notation, working people do not need it. Fortunately, it was not until the end of 19 that folklorists recorded several folk songs with Gongchi notation. Collecting, arranging, recording and publishing folk songs in a comprehensive and planned way can only become a reality in New China. Historically, folk songs have many different names, such as minor, slang, poetry, folk songs, time words and Ming and Qing folk songs.

The Book of Songs is the earliest collection of people's lyric poems in China. It is a collection of folk songs of 15 vassal countries that were popular in the northern part of the Yellow River basin for 500 years from the Western Zhou Dynasty to the middle of the Spring and Autumn Period (1 1 century-6th century BC). Its remarkable feature is that it truly reflects many aspects of social life, class contradictions and working people's lives at that time with realistic artistic techniques. In the unity of form and language, it is not difficult to see that it has been selected and processed. In the 4th century BC, another collection of folk songs, Chu Ci, appeared in the Yangtze River valley, which was a collection of lyrics compiled and processed by the great poet Qu Yuan on the basis of ancient witch songs in the middle reaches of the Yangtze River. Its outstanding feature is that it is full of ancient myths and legends, full of imagination, and begins to use romantic expression techniques to develop the four-character folk songs in The Book of Songs into "Sao" style songs with free sentence patterns and changeable phonology, with strong local color. By the Han, Wei and Six Dynasties (206 BC-420 AD), most of the folk songs were kept in Yuefu, and the folk songs in Hanfu were actually the confluence of folk songs in Huaihe River basin, the lower reaches of Yangtze River and the middle and lower reaches of Yellow River. At this time, there are already story songs, such as Peacock flying southeast and Ben Lan joining the army. Most of them reflect the suffering brought by the war and the family tragedy under the feudal ethics. This story has been circulating since the beginning of the advertisement, and it is almost a household name. Not only is it sung in the form of folk songs, but it has also become a famous repertoire of China traditional operas, which shows its far-reaching influence. The outstanding feature of Yuefu folk songs is that not only the lyrics are sorted out, but also the music is processed by Li Yannian, a famous musician in the Han Dynasty at that time, accompanied by silk and bamboo instruments, which is called Song Xianghe.

From the folk songs in The Book of Songs to the folk songs in Han Yuefu, it can be said that China folk songs are in the early ancient times, and their rich content and powerful expressive force have been quite perfect. It is conceivable that before this, folk songs still had a long primitive era. There was no major in music and culture in primitive times. In slave society, slave owners have happy slaves to enjoy for them, and then they begin to divide. It is actually divided into two categories: professional music and folk music. In feudal society, there were people who played and sang for the emperor, people who sacrificed to nobles, people who had ceremonies, people who had banquets, people who had entertainment, especially those who had notation and professional composers, and gradually formed obvious literary boundaries. In China, from the Han Dynasty to Zhejiang, there were professional music and folk music. After the Han Dynasty, there were few folk songs compiled by official organizations. It's hard to confirm whether the tones of early folk songs still exist today, but the tones of dragon boat songs (including Paddling, River Swimming and Race Crossing) and ancient boat songs (including Odin and Pulling the Fiber) circulating in Zigui County, Hubei Province are probably more than a thousand years old! Maybe this is an eternal legacy.

From the Han Dynasty to the Sui and Tang Dynasties, there was a period of Northern and Southern Dynasties (420-589 AD), which was a period of great ethnic integration in China. Folk songs are clearly divided into two parts: southern folk songs (southern folk songs) and northern folk songs (northern folk songs). The distinctive feature of folk songs in this period is the exchange and integration of multi-ethnic music culture. Regardless of the roughness and boldness of northern folk songs; Or the freshness and liveliness of southern folk songs are not a single national style. This different style of north-south folk songs can still distinguish its far-reaching influence among the existing north-south folk songs.

The Tang Dynasty (6 15-967) and the Song Dynasty (960- 1279) were the heyday of China's feudal culture. Especially in the prosperous Tang Dynasty, the song and dance art of frontier nationalities was introduced into the Central Plains in large quantities, which had a great influence on the music of the Central Plains. Obviously, cultural exchanges between China and foreign countries promoted the development of music, and professional music in the Tang Dynasty made great achievements. During the Tang and Song Dynasties, rap and opera in folk music in the Song Dynasty were all formed in Zhejiang. Regarding the folk songs of the Tang Dynasty, we can find some songs in Dunhuang, such as Wu Gengyue. In addition, we can learn a thing or two from the Song of Zhi Zhu, which was circulated at that time. Zhi Zhu Song is a kind of free-singing lyrical folk song that rises in Bayu area in the middle and upper reaches of the Yangtze River. Liu Yuxi and Bai Juyi, famous poets in the Tang Dynasty, both absorbed this folk song factor and created Zhi Zhu Songs created by some literati. Today, the musical structure of Zhi Zhu songs is still found in western Hubei, Tian Ge and eastern Sichuan. "Quci" was very popular in the Song Dynasty, when it was a new form of singing from the people. The Yuan Dynasty (A.D.1221-1368) was famous for its "Xiao Ling", which is a kind of folk songs. Today, there are still folk songs named after "Ling" in northwest China. Poems in the Yuan Dynasty rarely spread to later generations, and the rulers of the Yuan Dynasty regarded folk songs that were dissatisfied with and satirized current affairs as a scourge and prohibited them from being sung.

Ming Dynasty (A.D. 1368- 1684) and Qing Dynasty (A.D.1-1911) were the end of feudal society, and the emerging capitalist economy began to sprout. In the late Qing Dynasty (after 1848), China entered a semi-feudal and semi-colonial society. Anti-feudalism and resistance to foreign aggression have become the characteristics of modern folk songs. During this period, there appeared a collection of folk songs collected and edited by many writers, such as Hakka Folk Songs by Huang Zunxian, Wu Ge by Feng Menglong, Yuefu by Li Diaoyuan and Snow Heritage by Hua Guangsheng. Due to personal preference, most of these folk songs are folk lyric folk songs. Many of these folk songs are still sung among people today. What's more worth mentioning is that "Liaozhai Folk Songs" written by Pu Songling, a famous folk writer in the Qing Dynasty, featured more than 50 popular folk songs in the late Ming and early Qing dynasties. Some of them are still sung by folk artists, so that we can hear folk songs that have lasted for three or four hundred years, which is very precious.

Since the 20th century, folk songs have entered a new stage, and anti-imperialist and anti-feudal folk songs reached their climax after the 19 1 Xinhai Revolution and the19/954 New Culture Movement. 192 1 China * * * after the establishment of the production party, folk songs have been revitalized with the awakening of farmers and herdsmen. The remarkable sign of folk songs in this period is that a large number of mainland new folk songs spread to the eastern coastal areas, and some frontier brothers' folk songs also spread to the Central Plains, reflecting the theme of people's revolution and unity against Japan, and new folk songs flourished unprecedentedly. In addition, there are many folk songs such as fighting for freedom of marriage, brave women's equality and opposing drug abuse. Around the May 4th Movement, the Collection of Beiping Folk Songs compiled by Li Jiarui came out, and there were already records of folk songs. What's more worth mentioning is that the movement of learning from folk music, which rose in Yan 'an after 1942, played an epoch-making significance and turned a new page in the history of modern music.

1949 after the founding of new China, the working people got real respect, and China folk songs entered a new period. A large number of folk songs reflecting people's new life have sprung up like mushrooms after rain, which are not only novel in theme, but also more lively, enthusiastic, cheerful and lively in music style, full of upward passion and optimistic spirit. Due to the unbalanced social, economic and cultural development of various ethnic groups in the past, many ethnic groups even have no writing, and folk songs still exist. In contrast, due to the rapid development of traditional operas and rap in China, the singing activities of Han people are not as active as those of their brothers, and there are not as many folk songs sung in coastal areas as in the mainland. This is also a remarkable feature of folk songs in the new historical period.