Qianguoerlos Mongolian Autonomous County, referred to as Qianguo County, is located in the northwest of Jilin Province. Mongolian and Han people have lived and multiplied here for a long time, creating a splendid regional culture and unique national culture. Among them, the most influential and widely spread are the folk songs of the Mongolian people of Guoerlos. The folk songs of the Mongolian people of Guoerlos have a long history. Regarding the origin of the folk songs of the Mongolian people of Guoerlos, the views in the two books "Jilin Mongolian Folk Songs and Their Research" and "Collection of Mongolian Folk Songs of Guoerlos" believe that the front banner of Guoerlos in the Qing Dynasty was the seat of the Jirim League and the political, economic and cultural center of the ten banners. Mongolian folk artists learned and communicated with each other here, which played an indelible role in promoting the generation, development and prosperity of the Mongolian folk songs of Guoerlos. Moreover, due to the implementation of the "immigration to the border" by the Qing government, the phenomenon of "cultural northward migration" was promoted. Affected by this phenomenon, the agricultural population of Guoerlos continued to increase, which promoted the changes in the production and lifestyle of the Mongolian people from nomadism to settlement, from felt houses to earthen houses. The folk songs of the Mongolian people in Gorlos also formed a unique style that was compatible with both Mongolian and Han, suitable for agriculture and animal husbandry, and combined long and short tunes. Many folk songs such as "Taoketaohu", "Longmei" and "Miss Gao" were created during this period and have been passed down. [2] Artistic characteristics The famous Mongolian writer Sukhbaru once wrote the following poem: There are countless pastures, and folk songs are endless. The horse's back is the wings, and the folk songs are the language. The folk songs of the Mongolian people in Gorlos have a rigorous structure and extremely rich expression methods. Some "compare with things, and entrust things with things", and some appear in the form of antithetical sub-sections. The tunes of the Mongolian folk songs of Gorlos generally adopt the pentatonic scale. When singing, artists and singers generally adopt the method of combining singing and speaking to narrate the plot. Therefore, the vast majority of the Mongolian folk songs of Gorlos are narrative folk songs, which talk about people and things in the lives of the Mongolian people. [2] Main content The narrative folk songs of Gorlos pay more attention to people's fate and people's spiritual feelings. Most of the folk songs in Gorlos are processed by folk artists based on real people and real events, so the titles of most narrative folk songs are names of people: such as "Miss Gao", "Second Girl", "Du Dagula", "Brother Guanbu", etc. According to the old people, on the Gorlos grassland, if a young man falls in love with a girl or is unfortunately separated from his lover, he must bring gifts to ask local famous folk artists to compose songs for him. If a warrior or hero appears in the village, the "Ebuged" (elderly people) in the village will also personally find singers or artists to compose songs. More often, folk artists are often infected by some beautiful and moving stories around them. Several people sit together, one sentence after another, and soon they hum a beautiful and moving folk song. A narrative folk song often has to be sung orally and constantly tempered and processed by dozens or even hundreds of folk artists before it becomes a good song that will be sung for a long time. At the same time, a narrative folk song often has great changes in lyrics and music due to different collection times and different singers. For example, the folk songs "Longmei" and "Tie Xiuying" have several versions. Inheritance In the process of composing and spreading narrative folk songs in Gorlos, the storytellers "Huerqin" have made great contributions. In addition to "telling stories" from village to village, they spread beautiful folk songs in every corner of the Gorlos grassland. At the same time, they learn new folk songs from Mongolian fellow villagers, and then polish and process the newly learned folk songs according to their own artistic concepts. In the 1930s, Danish scholar and explorer Haslund collected more than 50 Mongolian folk songs during his investigation in the former Gorlos, and collected them in the Copenhagen Museum in the Danish capital. In 1943, the Gorlos Mongolian folk song "Longmei" sung by Sangji Zhabu was recorded and released by Xinjing (Changchun) Record Co., Ltd.; in 1955, the female chorus "Longmei" was published and released by China Record Society; in 1978, Sukhbaru's investigation article "A Mongolian Folk Song: The History of Longmei" was published in the "Ulanmuqi Singing" magazine. This is also the first and most complete folk song history story in China. In the social and cultural construction of Qianguo County, the folk songs of the Mongolian ethnic group in Gorlos have always maintained an important position. During the recording of the program "Folk Songs of China" on the music channel of China Central Television, the local folk song of Gorlos, "Bo Ru Lai", was identified by experts and collected in the "Chinese Folk Song Museum" of the "Folk Songs of China" column.