Xunyang folk songs have a long history, rich tunes, a wide variety of styles, and are like other folk art forms. They are a blossoming wonder among Xunyang's brilliant folk art treasures, and are also an indispensable part of Xunyang's profound folk cultural heritage. Xunyang is located in the hinterland of Qinba, with the Han River running east-west and the Xun River running north-south. From the ancient grass and forests to today's fertile fields and fertile soil, from the original barrenness to the modern prosperity and civilization, all of them are the blood and sweat of the vast number of working people who have lived and multiplied on this land for generations. Xunyang folk songs are a portrayal of their lives, the voice of their emotions, the crystallization of the talents and wisdom of the people of Xunyang, and the witness of the economic and cultural development of this hot land of Xunyang. According to the study of the history of ethnic folk music, there are a large number of traditional folk songs, most of which originated from the middle of the Ming Dynasty. Although Xunyang was established as a county in the Western Han Dynasty, it was sparsely populated, remote, with harsh natural conditions and underdeveloped economy. In addition, due to the wars of successive dynasties, until the middle of the Ming Dynasty, there was "political disorder, bandits and robbers were rampant, and the wells were in a state of depression. As the "Han Zhi" said, people who ploughed with fire and hoeed with water, and had enough food and did not worry about freezing and starvation, it was hard to say." (Preface to the "Rebuilt Xunyang County Chronicles" by Emperor Qianlong of the Qing Dynasty). During the Ming and Qing Dynasties, residents from the south and the Central Plains provinces migrated to the Qinba Mountain Area, which was the basis for the modern population development of Xunyang. Immigration and development brought about the development of production and economic prosperity, and also promoted cultural exchanges. The traditional folk songs that we can collect now that are circulated in the county should have been produced and circulated in Xunyang after the Ming Dynasty. To be more precise, they should be folk songs circulated in Xunyang during the late Qing Dynasty and the Republic of China. After the founding of New China, a large number of music workers attached importance to the excavation, protection, collection and arrangement of folk art. Since the mid-1950s, music workers at all levels in the province and the city have come to Xunyang many times to collect folk songs and collect and organize Xunyang folk songs. In particular, the development of folk music integration work across the country from the late 1970s to the mid-1980s created favorable conditions for the collection and compilation of Xunyang folk songs, and Xunyang folk song integration work has achieved remarkable results. The "Xunyang Folk Songs Collection", which was compiled in August 1981, has seven volumes, collecting 868 folk songs (including folk art and small operas), of which 34 were included in the "Shaanxi Folk Songs Collection Volume". It has preserved precious materials for the inheritance and innovation of Xunyang folk songs, and also provided good conditions for us to learn, understand traditional folk songs, and innovate and develop Xunyang folk songs. Xunyang folk songs reflect the characteristics of richness, diversity and compatibility in terms of content and form, subject matter and genre, style and color. 1. Xunyang folk songs are rich in content and cover a wide range of topics. Xunyang folk songs reflect the lives of the working people of all dynasties and express their emotions in an all-round, multi-angle and multi-level manner. There are "Changgong Tune" and "Tortured" that show the hard work of the vast number of farmers all year round but living a life of poverty; there are various "Boatman's Songs" that show the water labor of the Han River boatmen, and "Drinking at Five O'clock" that expresses their grief and indignation against the unequal social system; there are "Mulberry Wood Shoulder Pole" and "Missing My Sister Impatiently" that describe the life and emotions of mountain porters; there are also "Pulling Boards" and "Female Craftsmen" that reflect the labor and interests of various craftsmen. There are "Ten Beatings for the Kid"; there are "Selling Maolan", "Selling Groceries" and "Selling Flatbreads" by street vendors and country peddlers; there are "Entering the Bamboo Forest", "Putting Bamboo Rafts", "Reaping Wheat", "Picking Mulberry and Dates", "Cutting Yellow Pole", "Picking Sichuan Pepper", "Picking Grass for Pigs", "Sweeping the Rice Field", "Picking Tea", "Fishing", "Weaving", "Spinning Cotton", "Water Carrying Song", "Washing Clothes", "Cows Mooing", "Sheep Herding Tune", "Pulling Kudzu Vines", "Picking Dry Firewood", "Forging Hammer", "Opening a Dyeing Factory" and so on, which are close to life and have everything. It can be said that "all things in the world are in tune, and the scenery and meaning are blended together". Of course, love songs that express the working people's yearning for a happy life and the pursuit of free love occupy a considerable proportion in Xunyang folk songs. There are "I Miss My Sister So Much That I Can't Get Tired", "Picking Dry Firewood", "Osmanthus Ridge", "Love My Sister White", and "Wrapping Pepper" by tough and bold young men; there are also "Persuading My Husband", "Sending My Husband", and "Looking Forward" by young women with youthful spirit; there are "The Young Widow Going to the Grave" and "Suffering" that lament the unhappy marriage; there are "The Moon Shining on the Woodcutter's Tower", "Fireflies", "Ten Hates", and "Ten Writings" that boldly pursue free love; there is "A Sophora Tree on the Door of My Sister's House", etc. In addition to love songs expressing love between men and women, there are also "Fairy Tune", "Orchid Flower", and "White Cloud Head" that express love for nature and enjoyment of pastoral life; there are also "The Sky is Full of Stars and the Moon is Unclear", "Swinging", "A Body Full of Orchids", "Picking Tea", and "Four Strips of Straw Sandals Are Rotten", etc. that express the fickleness of the world and the summary of life experience; there are "Little Pai Wang", "Rolling Up the Curtain", "Embroidering a Purse", and "Twenty-Eight Mansions in Kunyang", etc. that praise sages and heroes and impart historical stories. It should also be pointed out that in different historical periods, folk songs, as the voice of the working people, produced and circulated revolutionary folk songs in different historical periods. There are many examples in Xunyang folk songs: the Red Army ballads "Ten Farewell Songs for the Red Army" and "Pulling Young Men" circulated in Shuanghe and the Red Army area of the county in the 1930s; "It's Good That the Eighth Route Army Came", "Women Joining the Army Songs", and "Girls Standing Guard Songs" circulated along the Han River during the War of Liberation; "Five Thousand Years of Feudalism", "Living King of the Old Society", and "Women's Suffering Songs" during the land reform period; "Reservoir Songs" for water conservancy construction in the 1930s all reflected the revolution, production, and life at the time to varying degrees, leaving a historical mark. The richness of the content and themes of Xunyang folk songs provides us with a cultural window to understand Xunyang's past and show Xunyang's history. 2. Xunyang folk songs are complete in variety and diverse in form. From the classification of its folk songs, Xunyang folk songs are complete in variety and diverse in form, with its remarkable diversity characteristics: although there are not many calls in Xunyang folk songs, their practicality and expressiveness in reflecting the working life are reflected. The Hanjiang boatmen's calls accompany the boatmen's various working lives. There are "Shangtan Calls" for going up the water and pulling the beach, "Chepeng Calls" for going up the water with the wind, "Xiatan Calls" for going downstream through rapids and dangerous shoals, "Crossing the Street Calls" for going on flat water and passing through villages and towns, "Anchor Raising Calls" at the beginning of the boat, "Bending Boat Calls" when the boat docks, etc. There are also "Oil-beating Calls", "Tamping Calls", "Gongs and Drums", "Pulling Yangko" and other calls that are generated and accompany the labor of other industries. These labor songs have neat rhythms, sonorous and powerful tunes, simple tunes, intense emotions, and heroic characters. They are mostly sung by one person and sung by many people. The lead singers are mostly the organizers or conductors of the labor. The lyrics are mostly improvised and related to labor. The workers respond with the uniform and consistent songs. The momentum is magnificent and the emotions are passionate. As a musical expression, it organically combines practicality and expressiveness. Mountain songs are folk songs that are produced in the labor life in the mountains and express the emotions of the workers directly and freely. The mountain songs in Xunyang folk songs are also called "shouting tunes". Xunyang is mountainous and has various forms of labor, such as chopping wood, grazing, hunting, planting, climbing on the mountain road, or taking a rest on the stalks of the field. In order to express their inner feelings or convey their feelings to people far away, they answer and express their feelings, and improvise. The tone is high and loud, the rhythm is relaxed and free, and it is often accompanied by free extension of the sound. People in the mountains call it "Yao Haozi". The song "Missing My Sister So Much That I Can't Wait" vividly expresses the strong emotional contrast of the porters who carry heavy loads, climb mountains and wade through water, and when they are lonely, "even a little wick of grass is hard to carry", but when they yearn for love, they can "climb over nine mountains in a row"; "There is a clear spring high in the mountain, flowing for thousands of years. Who wants to drink the water in the spring and live an immortal life" (the tune of the gods) expresses the joy of living in the mountains all year round, enjoying the gifts of nature, and being happy and content. There is nothing to add; the long and graceful melody of "A Sophora japonica tree on the door of my sister's house" vividly describes the expression of a young woman in the mountain village who misses and looks forward to her lover; the folk songs in Xunyang folk songs include "Picking Dry Firewood" and "Putting Bamboo Rafts" which are masculine, rough and bold; there are also "Picking Peppercorns" and "Orchid Flowers" which are feminine, gentle and beautiful; there are vigorous and open-minded "Packaging Peppercorns" and "Forging Hammers"; there are also humorous and witty "Shaking Fairy Peach" and "Cutting Yellow Pole". There are usually three ways to sing folk songs. One is solo, regardless of gender, free singing, and expressing emotions directly; the second is duet, or conveying affection to people far away, exchanging thoughts, and confiding thoughts; or mutual irony, flirting, and competing for power. This kind of folk songs is called "fighting". The third is that in the occasion of many people working, they are divided into two teams, A and B, and alternately sing in pairs, and sing folk songs one after another. (Such as "Eight Boards" and "Dai Zi", etc.). There are two types of mountain songs in Xunyang folk songs: with or without words. Mountain songs without words are purely based on supporting words and tunes, imitating natural sounds. When singing in unison, there are two different high and low voice parts, as if they are two different suona sounds (such as "Long Board Call", "A White Sheep", "Thinking of It", etc.). This type of mountain song has a beautiful tune and a slow tempo. It is mostly sung in a high-pitched voice (falsetto). If there are words, the words are short and the call is long. Some have only one sentence (such as "Guihualing" has only three words). The whole song "A Bamboo Ridge Grows Higher and Higher" has four phrases and twelve bars, and one sentence of words is sung in four sentences. ) (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)