Fengyang folk songs are Han folk songs in Anhui Province. Fengyang songs in Fengyang flower drums are one of the important parts of Fengyang folk songs. Under the influence of immigrant culture in the early Ming Dynasty, Fengyang folk songs have been historically renewed and greatly developed, and have become famous both at home and abroad. The earliest record of Fengyang folk songs in written form can be found in the legend of "Red Plum" by Zhou Zhaojun during the Jiajing and Wanli periods of the Ming Dynasty. Fengyang folk songs are widely popular among the people. The content they express is the joys, sorrows, anger and happiness in the lives of the Han working people, and is a true portrayal of social life in different historical periods in China. Songs such as "Playing Flower Drums" with Fengyang flower drums as the carrier have a significant impact on the musical singing of many types of songs in my country. After the early Ming Dynasty, Fengyang folk songs spread all over China as immigrants begged for money and performed, especially in Jiangnan, Beijing and Shanxi. According to historical records, the melody of Fengyang folk songs has floated in other parts of China except Xinjiang and Tibet. After the late Qing Dynasty, more than 300 Fengyang folk songs were often circulated. At the beginning of the 20th century, Fengyang folk songs were one of the Han folk arts that entered the record. According to incomplete statistics, more than 10 songs were recorded and became popular. Among them, the song "Fengyang Flower Drum" sung by Zhou Xuan, a golden voice, was sung all over my country. In addition to the function of entertaining people, Fengyang folk songs have a significant impact on current affairs in different historical periods of our country. During the Anti-Japanese War, "New Fengyang Song" written by An E, composed by Ren Guang, and sung by Li Lili became popular. Around 1949, in order to cooperate with the local central work, the people of Fengyang created a large number of new folk songs serving current affairs, such as "Five Curses on Chiang Kai-shek", "Land Reform Songs", "Sending My Husband to Join the Army", "Five Watches to Control the Huai River", etc., which played a great role in propaganda and agitation. Folk songs are a fragrant and wonderful flower in the garden of Chinese national cultural heritage. Fengyang folk songs have unique singing styles, wide range, simple, rich, high-pitched, ups and downs, and are melodious. The basic tone and flavor of Fengyang Huagu Opera are the same. The lyrics are relatively rich in content, mostly reflecting the love of young men and women and anti-feudal themes. The lyrics are relatively romantic, unconventional, rough, humorous, and have a strong local flavor; the lyrics have a tight rhythm, and they are sonorous when read and have a strong sense of rhythm when sung. Some lyrics are meaningful, interesting after reading, and can't be forgotten for a long time, and have great artistic appeal. The sound waves of Fengyang "mountain songs" have echoed over Fengyang area and along the Huai River for hundreds of years. Before liberation, during the Spring Festival, there were always some enthusiasts and old friends in some market towns and larger villages who gathered by themselves, wrote, directed, performed, and entertained themselves. However, women have never participated in the performance. Those who play female roles are all men dressed as women, wearing colorful women's clothes, with colorful ribbons, clustered into large flower balls, crowned on their heads, and simply painted some rouge and powder on their faces, accompanied by percussion instruments, singing on the square. According to the content of the lyrics, some are solo, and some are duets between men and women. As long as the gongs and drums and other percussion instruments sound, many audiences will be attracted. Sometimes when the audience hears the climax, they will cheer loudly and applaud continuously. It is a literary and artistic form that the masses love to hear. Chinese folk songs have a long history. They are collective oral poetry creations of the working people. They are an art form of ballads plus music. They reflect the emotions, thoughts, and lives of the working people and are the expression of the true feelings of the working people. The origin stage has always been oral singing, and it was not until the "Book of Songs" that there was a written record. Fengyang folk songs, like folk songs in other parts of China, are influenced by local history and culture in their development. With Fengyang flower drums, money poles and forks as carriers, they originated in Fengyang, Anhui, and spread to most parts of my country and Southeast Asia. They have important social and artistic values, and have influenced the music and singing styles of many types of songs in my country, and help historians better understand the past of Fengyang and Anhui. The earliest written record of Fengyang folk songs was the legend of "Red Plum" by Zhou Zhaojun during the Jiajing and Wanli periods of the Ming Dynasty. The spread of Fengyang folk songs is closely related to the founding emperor of the Ming Dynasty. Under the influence of the immigration policy in the early Ming Dynasty, Fengyang folk songs were historically updated and developed. Immigrants were exiled for various reasons. Wherever they went, they learned the most popular tunes there and processed them into their own tunes. Therefore, Fengyang folk songs gradually matured in the process of immigrants begging and performing, becoming a local folk song that integrates the cultures of the north and the south, and is loved by people of all ethnic groups in China.