Tibetan folk songs, as a national form of oral literature, have been widely circulated among the masses long before the emergence of Tibetan writing. After the emergence and use of Tibetan, not only did it promote the progress of Tibetan society and cultural development, but folk songs were also fully adopted by literati and enriched and developed. It has been selected into the third batch of national intangible cultural heritage list. Tibetan folk songs are characterized by long tones, wide ranges, and free rhythms. There are mainly two types, one is labor songs, including mountain songs and pastoral songs, which praise mountains, rivers, and production labor, and the other is life songs, which mainly express the love between men and women, and sing about the love and hate for people, things, and life. Comparable and harmonious with the magnificent Yellow River and the vast grasslands are the Tibetan folk songs of Aba grassland. The loud singing seems to make people feel like they are in the vast nature, broadening their minds and purifying their souls. The Tibetan horse-driving tune is easy to understand and reflects the love and hate of the working people. This folk song has the characteristics of mountain songs, high-pitched and lyrical. It consists of two sections. The music in the first section is more cheerful and unrestrained, with high-pitched singing voices derived from shouting at livestock between the phrases; the second section is more gentle and intimate, with more tortuous melodies. Love songs (Lai) account for a large proportion of Tibetan folk songs on the Qinghai-Tibet Plateau. Although the theme of love songs reflects the free love of young men and women, it actually exposes the constraints of the feudal serf system on marriage freedom, and reflects the struggle of young men and women for marriage autonomy and personality liberation against the ruling class. The love tragedy caused by the old system and the struggle for freedom of love even exist in the ruling class. At the end of the 17th century, the "love song" of the sixth generation of Cangyang Gyatso was a prominent example. Tibetan wine songs are folk songs sung when drinking and toasting, sometimes accompanied by simple dance movements. They are a very popular art form among Tibetan urban and rural people. During traditional festivals, gatherings of relatives and friends, or weddings, people sit around Tibetan square tables in order of seniority. The wine pourer is usually a woman, who takes turns to pour wine for each person according to their age, and sings and dances. The drinker must complete the procedures of receiving the wine cup, flicking the wine three times with the ring finger to the sky, drinking three sips of wine, and toasting according to the song and the meaning of the words. From Tibetan folk songs, we can hear the voices of the Tibetans from the heart, see the masses' ideological views and political attitudes on social politics, economy and war, and understand their lifestyles, customs and basic wishes and demands. In Tibetan folk songs, there is also a spirit of the masses against reactionary rule, and the masses' criticism and strong opposition to social ugliness. Tibet is a feudal serf society with a long-term integration of politics and religion. Religion has steadily occupied the dominant position in Tibet for five or six hundred years. However, in production labor and life practice, the Tibetans gradually saw through the hypocrisy and fraud of religion, and saw through the hideous faces of those high monks who were dressed in religious cloaks and looked righteous. So, they used ballads to expose and criticize the ruling class's use of religion to harm the people. Although there are not many such folk songs, they are really valuable in terms of ideology. (No pictures yet, please provide them.) (No pictures yet, please provide them.)