Beichuan Qiang Autonomous County, located in the high mountain valley area from the northwest of Sichuan Basin to the eastern Tibetan Plateau, is the main settlement of the Qiang people in my country and the only Qiang Autonomous County in China. It is affiliated to Mianyang City, Sichuan Province. The county covers an area of 2,869 square kilometers, with 3 towns and 17 townships under its jurisdiction, with a total population of 140,000. There are 18 ethnic groups including Qiang, Tibetan, Hui and Han, of which 90,000 are Qiang, accounting for 56.9% of the total population of the county and more than one-third of the total population of the Qiang. Beichuan was established as a county in the first year of Tianhe in the Northern Zhou Dynasty, and has a history of more than 1,400 years. In feudal society, it was managed by local chieftains for a long time. On July 6, 2003, the State Council approved the establishment of Beichuan Qiang Autonomous County. The lyrics of the Beichuan Qiang folk songs are mostly composed of seven words and four sentences, with a strong atmosphere of labor life, a vivid image of the working people, and the creative techniques of fu, bi and xing, as well as vivid language and singing charm. For example: "Sing, sing, don't let folk songs become a cold stage. Folk songs don't need money to buy them, as long as you have literary talent in your mind." This is a song of fu, which explains the matter and directly says that singing folk songs requires literary talent in your mind. And "The moon comes out like a lamp, I get up with the moon, the moon does not wait for me when crossing the river, and I step into the mud pit step by step", it is to start with the moon and compare it to the moon. "My sister is white and fair, with a bunch of hair tied to her waist, just like the tender leeks in the back garden, who doesn't want to cut it. My sister is white and fair, just like the tender seedlings in the field, the second life becomes a dragonfly (dragon), holding the seedlings and shaking them", comparing your sweetheart to tender leeks and tender seedlings, how lovely, how can people not be moved? The image is vivid and the metaphor is clever. The extensive use of supporting words is another feature of the Beichuan Qiang folk songs. Almost every song has supporting words, and the neat seven-character folk songs don't seem to have them. For example: The weather is not fresh today. In addition to the use of a large number of words without much meaning such as ah, wei, er, le, cough, yo, oh, no, oh, ho, and wei in folk songs, there are also words using plants as supporting words, such as "the white copper pipe (is) a green onion (oh oh wei Yinshan is a willow leaf), choose which ones we are (yo guy wei holding the sea clothes flowers eh)" and use ornaments as supporting words, such as "the sun (man) comes out (man gold circle) shines on the north (of) rock (yo silver circle house), and sees my beloved sister (man gold circle silver circle red silk embroidered heels white bound feet) bringing food (yo set up the pot and pick up the ladle, croaking white wooden bench willow feet you want to cling to your lover sit until you say to me)" There are some lyrics with place names, such as "The sun is out (ma dangdang) in the middle (yo che ya che), I am working (man dangdang che che chi bu long dong zhuang) and my stomach is empty (yo hua la che)". There are also some lyrics with food, such as "Singing is inseparable from (man mahua er) a pair of (yo sanzi), eating is inseparable from (ma melon seeds and peanuts) and vegetable soup (oh two fried cakes)". There are also some lyrics with "little brother", "young sister-in-law", "the moon is crescent", "willow and lotus", "curve and turn", etc. The various lyrics in the above examples are not dispensable in Qiang folk songs. Without them, they cannot be sung, and they cannot be called Qiang folk songs. The range of Beichuan Qiang folk songs is not wide. Except for some high-pitched folk songs, they are generally within octaves and rarely exceed ten degrees. They are primitive and simple, easy to remember and sing. The most common scale mode is the pentatonic scale of the Zheng mode, which is the basic mode of Beichuan Qiang folk songs. The second is the pentatonic Shang and Yu modes, followed by the pentatonic Gong mode, and the Jiao mode is rare. The six-tone scale also appears in some songs, adding a certain color to the melody. The melody structure is short and complete, mostly in the form of "two-sentence" and "four-sentence" single-segment section songs. Downward glissando or other ornaments appear repeatedly, and the ending sentence or half-terminal is often concluded with ornaments or downward glissando, which is very distinctive. Folk songs are oral creations of the Qiang people and the beautiful voice of the Qiang people. The subject matter is very wide, and the singers are often also the editors. The lyrics are improvisational and casual, often picked up at will, thinking while singing, and singing casually, without restraint. Use the mountains, rivers, sun, moon, stars, mountains, water, plants, flowers, birds, fish, insects, scenic spots, historical figures, clothing, grains, sunny and rainy weather, etc. that you are familiar with as metaphors, and sing praises with joy. Different lyrics are sung with different tunes, some are melodious and beautiful, some are high-pitched and loud, some are lively and humorous, and some are lingering and graceful, which are very moving. There are two major categories of folk songs of the Qiang nationality in Beichuan. One is sung in Qiang language, and the other is sung in Chinese. According to the different singing styles, occasions, time, and objects, they can be roughly divided into horns, mountain songs, love songs, custom songs, drinking songs, minor songs, children's songs, Red Army songs, new folk songs, etc. The singing methods of folk songs include chorus, duet, lead singing and chorus singing. Individuals sing solo when they express their feelings freely in deep valleys and rivers under the blue sky and white clouds. Information source: Mianyang Intangible Cultural Heritage Protection Center (No pictures yet, welcome to provide.) Information source: Mianyang Intangible Cultural Heritage Protection Center (No pictures yet, welcome to provide.)