Miao polyphonic love songs are a kind of original folk songs of the Miao ethnic group that are circulated in Miao villages such as Taijiang County and Jianhe County in Guizhou Province. The Miao ethnic group lives in Fangzhao Township, Nangong Township, Geyi Township in Taijiang County and Jiuyang Township in Jianhe County. Taijiang County is located in the central part of Qiandongnan Miao and Dong Autonomous Prefecture, Guizhou Province. It is a county where the Miao ethnic group accounts for more than 98% of the total population. It is known as the "heartland of Miaojiang". Due to historical reasons, Taijiang County has preserved a relatively complete traditional Miao culture. Fangzhao Township is located in the southeast of Taijiang County, more than ten kilometers away from Taijiang County. It is a transition zone from mountainous landforms to gaster landforms. Due to the special geographical conditions and natural environment, a relatively closed cultural community has been formed, which is the external condition for the preservation of the Miao "polyphonic love songs". Jianhe County is located in the central part of Qiandongnan Miao and Dong Autonomous Prefecture, Guizhou Province. It is adjacent to Tianzhu and Jinping counties in the east, Liping and Rongjiang counties in the south, Leishan and Taijiang counties in the west, and Shibing, Zhenyuan and Sansui counties in the north. It is a minority area dominated by Miao and Dong people. Jiuyang Township in Jianhe County is one of the places where the Miao polyphonic love songs are spread. "Jiuyang" is a homonym in the Miao language, which means: living in a place with abundant water and grass. Jiuyang Township is full of undulating mountains and gullies. Most of the villages in the township have no roads, and it is a Miao settlement. The Miao people are a migratory ethnic group. They migrated to Qiandongnan and settled there around the Tang and Song dynasties. According to the Miao ethnic group's unique "son-father name system", the Yang surname Miao people in Fanpai Village, Taijiang County have settled there for 45 generations. Due to the special geographical environment of Fanpai, "you can touch the sky when you go up the mountain, and you can hear each other when you go down the mountain to the river. It takes half a day to meet each other", the young men and women here are in this mountain and I am in this mountain. It is difficult to meet each other, so they have to convey their longing with high-pitched and melodious singing, and gradually form a unique style of polyphonic love song tunes and singing methods. The singing of Miao love songs is generally stylized. The feelings between men and women are conveyed by using objects to convey feelings, using scenery to express feelings, and using people to express feelings. "Love" becomes the core of the lyrics and the center of the singer's expression. Men and women use heartfelt singing to exchange thoughts and feelings, and express their love and longing for each other. Sometimes men and women also use it to play and tease each other, fully reflecting the wisdom and humor of both men and women. Sometimes the singing of love songs is also improvisational. The singer can only answer cleverly according to the content expressed by the other party on the spot, and the words and sentences sung reflect the singer's inner world and emotions. The lyrics are profound and rich in ideological connotations. They are generally in five-character style, and pay attention to rhyme but not rhyme. In every village in the Miao area, young men and women generally have a relatively fixed place to talk about love, which the locals call "Youfangchang". The place where Miao love songs are sung for a long time is generally in Youfangchang. When night falls, young men and women in the village will invite to Youfangchang to talk about love, convey their love with songs, and express their hearts with songs. Miao polyphonic love songs are a kind of unaccompanied pentatonic folk songs with unique melody and unique harmony, with Gong, Shang, Yu, Zheng, and Jiao as the main tone series, and the harmony is major third and major sixth. It belongs to the harmonic two-part chorus. The harmony is characterized by the long dragging of the fifth and octave harmony of the two voices of men and women. The rhythm is alternating between 4/4, 3/4 and 2/4. The tone is undulating and broad, long and gentle, the beat is relatively free, the melody is beautiful and the emotion is delicate and touching. Some parts of the singing are performed with real voice, and some parts are performed with false voice. With the change of emotion, false voice and throat vibrato are used together, which is just right, making the listener feel as if they are in the mysterious ancient times. Each song generally does not exceed 15 sentences. One of the important features is that "the tune follows the lyrics". The melody is relatively free. During the singing process, with the change of the singer's emotions and lyrics, the beat, tune and melody are constantly changing slightly. That is, the same group sings the same song at different times, and the effect of the first singing and the second singing is different in terms of melody, beat, speed, etc. The special form and tone express the artistic conception of men and women courting each other across the mountains and valleys, echoing each other, and falling in love with each other. The lyrics and the body of the song are simple, strange and straightforward. The Miao polyphonic love songs require high vocal skills and are difficult to sing. The singing method is unique, the tunes are melodious, the melodies are low and gentle, and the changes are obvious. They are like the sound of nature, which is pleasant to listen to. They use the social love of young men and women as the carrier, social inheritance as the main way of inheritance, and oral transmission as the means. They provide historical witness for us to study and reveal the inheritance and development laws of Miao culture; the two singing methods show us the prototype of folk polyphonic music and its two different forms, which provide us with fresh empirical evidence for studying and revealing the formation and development laws of folk polyphonic music; the singing techniques such as the combination of true and false voices, the extensive use of up and down glissandos and vibrato, and the harmonious and natural harmony reflect the outstanding artistic talent of the Miao people; the tunes are melodious, the melodies are beautiful and gentle, the harmonies are harmonious and natural, and the combination of tunes and lyrics is natural and perfect. It is unique in the field of national folk vocal art. The unique artistic form expresses the living customs and spiritual outlook of the Miao people, reflects the profound connotation of Miao culture, and has extremely high artistic value. Now the value orientation of the younger generation has changed. The way of exchanging ideas and conveying emotions through singing love songs has gradually faded out of the social life of local young people. The new way of making friends between men and women has caused the soil that nurtured the long-admired Miao polyphonic love songs to slowly disappear. At the same time, influenced by the contemporary trend of global economic integration and the widespread use of Chinese, the number of people communicating in Miao language is decreasing, let alone singing love songs in Miao language. The original form of Miao love songs is facing a survival crisis. (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)