Fenggang wind and percussion music is a general term for wind and percussion music that is mainly spread in Fenggang County and surrounding areas. It is an art form that integrates wind music, music, and rap. Fenggang is located in the northeast of Guizhou Province and belongs to Zunyi City. It borders 7 counties including Meitan, Yuqing, Wuchuan, Sinan, Dejiang, Zheng'an, and Shiqian. It is inhabited by 28 ethnic groups including Tujia, Miao, Gelao, and Han. Fenggang's cultural development is relatively backward and has little communication with the outside world. Before the 1990s, there was only one 32-kilometer national highway running through the entire area, which created a special environment for the prosperity of folk culture (especially suona). The generation and evolution of Fenggang wind and percussion music is synchronized with the history of local people's migration. According to the Zhou family genealogy, Fenggang wind and percussion music has been passed down for 16 generations so far, and can be traced back to the early Song Dynasty. It was introduced by Mr. Zhou Xiao, who was originally from Gaojieyan, Pu Daqiao, Linjiang, Jiangxi. Mr. Zhou Xiao passed the military examination during the reign of Emperor Renzong of Song Dynasty. "The holy and benevolent emperor taught the military and civilians to be filial." The eight brothers Zhou Xiao were assigned to go from Jiangxi to Liushuikou (now Pingtou Creek) in northern Guizhou. Zhou Xiao had outstanding skills, especially in wind playing skills, and mastered the techniques of making various musical instruments. The skills were passed down from father to son, and from son to grandson to the 13th generation Zhou Haitang. When Zhou Haitang was 15 years old, he was proficient in all the skills he learned, and integrated various local folk music, making the "Tianshengqiao" wind and percussion music unique, famous and widely spread. Fenggang wind and percussion music mainly uses suona and trombone as wind instruments, drums (pen drums), gongs (big gongs), cymbals (cymbals), and gongs (horse gongs) as percussion instruments, and erhu and sanxian as stringed instruments. The repertoire is rich and the categories are numerous. From the performance form, it can be divided into four forms: wind playing, percussion, wind and percussion ensemble, and rap percussion; from the scope of application, it can be divided into: wedding, funeral, celebration, public and other categories. Wind and percussion music uses personification, shape description, storytelling, and emotion-transmitting techniques to create corresponding music for objective things in production and life. It is humorous and interesting, vividly expressing the leisure and fun in life, and has the characteristics of imitation. The mode is simple, rustic, and melodious, and the percussion is harmoniously matched and complements each other. Due to the mixed residence, living habits, and customs of ethnic minorities in northern Guizhou, Fenggang wind and percussion music has formed different schools, different wind and percussion instruments and music types, and different repertoires in the long-term spread, thus forming their own unique styles. Due to long-term participation in various ritual activities in folk customs, dependence on folk customs has gradually formed. In the long-term participation in various ritual activities such as weddings and funerals, a relatively fixed set of music has gradually formed according to the plot changes of ritual activities and different stages of activities. Fenggang wind and percussion music contains and integrates many customs and habits of local residents and immigrants, religious rituals and other life contents. It absorbs a large number of musical elements from many folk songs and seasonal tunes to form nearly a thousand wind and percussion repertoires. It is a rich treasure house of music culture. It will have a far-reaching impact and driving role in enriching and improving the history of Guizhou music and even the history of Chinese music. With the progress of society, some traditional folk activities have faded, such as the reform of the funeral system, simple funerals, and new weddings. Traditional festivals are gradually replaced by modern festivals. Traditional activities are gradually replaced by modern activities, so the display platform of wind and percussion music is decreasing. At the same time, there is no detailed textual and musical information on the inheritance of wind and percussion music, and it depends entirely on oral transmission. Some highly skilled wind and percussion musicians gradually withdraw from the wind and percussion group due to their advanced age, and some superb skills are difficult to be inherited. Although the younger generation likes Fenggang wind and percussion activities, it is difficult to organize them due to working outside and life pressure, and the role of old, middle-aged and young people in passing on knowledge and skills has not been fully played. In addition, with the progress of science and technology and the development of the market economy, people's cultural life has become increasingly rich, and the diversification of aesthetic concepts and social needs has also changed. Fenggang Chuida has also been impacted and affected to varying degrees and is also facing a crisis of inheritance. (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)