Huarui Tibetan folk songs are a form of folk songs that are popular among the Huarui Tibetan residents in Tianzhu Tibetan Autonomous County, Gansu Province. Huarui Tibetan folk songs are famous for their concise lyrics, literary quality, and beautiful melodies. They are the essence of Huarui ethnic folk culture. Representative works include "Genesis", "Zhudong Debate", "King Gesar Song", etc. In 2008, it was selected into the second batch of China's national intangible cultural heritage protection list. Huarui Tibetans have lived in Tianzhu Tibetan Autonomous County, Gansu Province for generations and are a branch of the Tibetan people. Huarui Tibetan folk songs, as an important part of Huarui traditional culture, have been widely circulated among the people in the form of oral literature long before the emergence of Tibetan characters. According to Dunhuang ancient Tibetan historical records, in ancient Tibetan conversations, they were accustomed to using folk songs as a way of expression. Huarui Tibetan area, with Tianzhu Tibetan Autonomous County as its center, has formed its own unique style due to the interweaving of various ethnic groups in history. In particular, Tibetan folk songs are more representative. Their content, form, quantity and quality are far beyond other places. They are the essence of Huarui ethnic folk culture. Huarui Tibetan folk songs originated from oral literary art forms. They are oral creations of the masses, and are known for their direct expression and simplicity. In the seventh century AD, after the creation and application of Tibetan characters, people sorted, refined and fully utilized Tibetan folk songs, making them more vivid and artistic, thus bringing Huarui Tibetan folk songs into a new stage of development. Since then, after a long period of historical development and evolution, Huarui Tibetan folk songs have been sung, processed and repaired, and have the characteristics of being recitation, singing and dancing. However, there are still a few recorded in written form, and most of them are still sung orally. Huarui Tibetan folk songs are divided into Le (wine songs, also known as family songs) and "Lai" (mountain songs, also called love songs). Wine songs. "Le" generally has different sentences, ranging from three, five, six, to more than ten, with equal syllables in each sentence. Paragraphs and sentences are antithetical to each other, forming a relatively stable program. As early as the 8th century, this folk song form was recorded in writing. Mountain songs. Love songs account for a large proportion of Huarui Tibetan folk songs, and their number and popularity are no less than those of wine songs. Its melody is long and graceful, and its expression is euphemistic and implicit, without any roughness or vulgarity. There are many ways to sing, including meeting songs, welcoming songs, reasoning songs, playful songs, love songs, inquiry songs, satire songs, and farewell songs. From the ideological aspect, these love songs include confessions of deep feelings established during herding labor, loud calls for feudal marriage, desires for happy love, and the pain of lovers abandoning themselves and finding new lovers. These and many other things are endless, showing the multifaceted emotional journey between young men and women. The "long songs" spread in the Huarui Tibetan area through rap and narrative are also a kind of folk songs, ranging from dozens of lines to tens of thousands of lines. From the perspective of habit and tradition, Jiuqu is sung at home or in the wild, and men, women, old and young, elders and juniors can sing together; Shanqu is generally sung in the wild, and cannot be sung in the presence of elders or between brothers and sisters. Huarui Tibetan folk songs are all-encompassing, with a large number and extremely complex and diverse content. In summary, they can be roughly divided into labor songs, life songs, knowledge songs, historical songs, narrative songs, dance songs, love songs, etc. Labor songs are sung in daily labor life. Their content reflects the labor projects and methods, stimulates people's interest in labor, emotions, relieves fatigue, and reflects the quality of loving labor and hard work. This type of song is generally sung while working, accompanied by the words "Yalaso" and "Alongluo", with a distinct rhythm. The songs handed down include "Wall-building Song", "Felt-rolling Song", "Barley-beating Song", "Milk-milking Song", etc. Life songs have a wide range of content, reflecting all aspects of life. There are roughly meeting songs, praise songs, guest songs, songs for the prosperity of the world, wine songs, funny songs, satirical songs, blessing songs, and songs of gratitude. The sun, moon, stars, blue sky and white clouds, flowers, trees, rare animals, rivers, lakes, snow-capped mountains and grasslands, historical figures, and religious stories are widely used in singing, with appropriate metaphors and vivid language. Among them, praise songs are the most widely sung. There are two main types of knowledge songs: "Medical Songs" and "Astronomy and Calendar Songs". The former adopts a question-and-answer method to introduce more than 800 ancient Tibetan medical drugs and knowledge of drug administration for treating various diseases, and the latter sings about the knowledge of astronomy and calendar. These two folk songs are extremely precious and are precious materials for studying ancient Tibetan medicine and astronomy and calendar. The historical songs that have been preserved include "Genesis", "Zhudong Debate", "King Gesar Song", etc., all of which are very precious. Among them, "Genesis" is widely circulated in the Tianzhu Tibetan area and has a great influence. Narrative songs have plots and characters. The most popular ones in Huarui Tibetan area include "Layang and Yingcuo", "Lazhuangding", "Peacock", "White Swan and Flower Mandarin Duck", etc. There are not too many of them, and most of them have been lost. Dance songs mainly include Zerou and Guozhuang. Zerou is a performance song and dance, and there are three forms of performance. One is that two women stand opposite each other, one sleeve is raised and the other sleeve is dragged down, singing and turning, with singing as the main form; the second is a collective song and dance of more than four men, and most of the dance movements are labor movements or animal movements; the third is a duet of men and women, singing and dancing. The original Guozhuang song and dance in Huarui Tibetan area are rare, and most of them are spread from Kangba Tibetan area and Qinghai Tibetan area. Huarui Tibetan folk songs have a long history and form their own system. Although they were originally just oral literary products for the hardworking and simple Tibetan people to understand things and express their emotions, they are also the basis for inheriting the traditional culture of Huarui Tibetans. Their content is rich and covers a lot. The profound and rich ideological content of Huarui Tibetan folk songs is expressed through artistic forms. Its extensiveness and ideological nature are the important factors for its increasingly perfect artistic nature. It is rooted in the masses, with simple and concise language, brisk rhythm, easy to remember and sing, so it is widely circulated. According to the "Huarui Political and Religious History", in the early 18th century, the love song "Love Song of Cangyang Gyatso" written by the sixth generation of Cangyang Gyatso who traveled to Gansu and Qinghai in seclusion also adopted the form of "Leti" folk songs to a large extent. Because "Leti" folk songs have a broad mass base, many of Cangyang Gyatso's love songs have been sung among the people. Although Tibetan folk songs have similarities with folk songs of other ethnic groups in artistic techniques, they are unique in the way of statement and the object of statement. Generally, there are five commonly used rhetorical techniques: metaphor, personification, exaggeration, pun, association, etc. The form is mainly rhythmic, and it pays great attention to charm. Huarui Tibetan folk songs are sung among the people with their strong national style, strong national emotions, vivid and simple language, easy-to-understand lyrics and ups and downs of tone. They carry the long history of civilization of Huarui Tibetans. It is the most popular folk culture extracted from oral culture. It has a longer and richer history than writers' literature and is closer to reality. In terms of content, the narrative is reasonable, the logic is rigorous, the language is simple and fresh, easy to understand, contains rich imagination, and exudes a strong breath of life. It is a historical scroll reflecting the language, living customs, local conditions, ideals and wishes of Huarui Tibetans. Huarui Tibetan folk songs are a bunch of wonderful flowers in the treasure house of folk literature and art, with extremely high research value and excavation and protection value.