The folk songs of Cangshan County have a long history. According to the "Cangshan County Chronicles", there are 59 traditional folk songs, 17 new folk songs and 9 children's songs that are widely circulated in Cangshan. Compared with folk songs in other places, Cangshan folk songs have distinct regional characteristics. For example, in the Cangshan "dialect" song, when Cangshan people ask each other whether they have eaten, they don't say "Have you eaten?", but "Have you eaten?" This "Ni (pronounced as ni)" can refer to anything in Cangshan dialect, and it is also sung like this in the song, such as "Show your craftsmanship" in "Embroidered Purse". "Mung beans are green and red beans are red, millet and wheat are the right grains, and my folk song is an orchid bean, which is fragrant and crunchy when chewed, and contains iron and calcium and moisturizes the chest. Shandong folk songs come from Linyi, and Linyi folk songs come from Cangshan." Cangshan County belonged to the State of Shu in ancient times. During the Spring and Autumn Period and the Warring States Period, heroes emerged and the countries were in dispute. Cangshan once belonged to Lu, and then to Wu, Yue and Chu. It is precisely this pattern of regional boundaries that makes Cangshan culture have both the orthodoxy of Lu culture and the legacy of Chu. At the same time, influenced by Wuyue culture, the folk songs of Cangshan have both the roughness of Qi and Lu and the euphemism and diversity of Wu and Yue. If we want to sort out the context of Cangshan folk songs, we should start with the Confucian master Xunzi. Xunzi was the magistrate of Lanling twice, and later he was dismissed and lived in Lanling, where he studied and laid the foundation for the glory of the culture of the Han Dynasty. His "Chengxiang Pian" and "Fu" pioneered the two literatures of Chinese storytelling literature and fu, and the folk storytelling art was deeply influenced by them; from a historical perspective, from the Sui and Tang Dynasties to the Song Dynasty, the excavation of the canal, maritime transportation and the establishment of some inland docks promoted cultural exchanges. It is not difficult to understand that many folk songs from other places were introduced into Cangshan, and some folk songs from Cangshan were also introduced to other places, which created important conditions for the development and prosperity of Cangshan folk songs. When talking about Cangshan folk songs, one person must be mentioned, and his name is Jia Zhongming. Jia Zhongming was a dramatist in the late Yuan Dynasty and early Ming Dynasty. He later moved to Lanling, Cangshan, and settled there for generations, becoming a genuine Lanling person. It is said that Cangshan folk songs reached their peak when Jia Zhongming was alive. Jia Zhongming was intelligent, well-read, and liked to chant. When Zhu Di, the Emperor of Ming Dynasty, was the Prince of Yan, he was an attendant and was favored with Tang Shi, Yang Ne and others. Every time there was a banquet, his works were praised. Jia Zhongming was particularly good at making operas and cryptic language. He made a lot of Yuefu and legends. They were parallel and skillful, widely circulated, and admired by people at that time. In the early Ming Dynasty, Zhu Quan said in "Taihe Zhengyinpu": "Jia Zhongming's words are like brocade tents and jade banquets." Jia Zhongming wrote a lot of works, and there are 16 kinds of his dramas recorded: "Shanglinyuan Meixing Zhengchun", "Qiu Changchun Sandu Bitaohua", "Zhengxing Jiaren Shuangxiantou", etc. These dramas played an important role in reference and promotion of Cangshan folk songs in the future, and also had a great influence on Pu Songling's folk songs in the neighboring Zibo in the Qing Dynasty. In addition, due to the corruption of the rulers in the late Qing Dynasty, the Yishu River was in disrepair for many years, resulting in frequent floods. "The Jiangfengkou was opened, the water flooded Lanshan, flooded the four major posts, and took the Erlang Temple with it." People were forced to leave their hometowns with their children and carry flower drums to beg for food. In order to get a spoonful of leftover soup and leftovers, they went door to door, making up and singing, which also played a certain role in promoting the enrichment and prosperity of Cangshan folk songs. During the Xuantong period of the Qing Dynasty, Cangshan folk songs developed and appeared in the Lanling area. The singing form, style, and content have changed, commonly known as "playing society"; since 1955, Miao Jing and Pingsheng from the Provincial Art Museum came to Cang to investigate, excavate and sort out. In 1978 and 1980, the "Selection of Shandong Folk Songs" contained 11 Cangshan folk songs. Cangshan folk songs are rich in content, mostly drawn from daily life, mainly praising love and labor. While lashing out at the rich and unkind, they also praise the spirit of diligence and bravery. With traditional ethics as the main line, they promote "loyalty, filial piety, benevolence, and righteousness", and admonish people to forget about profit and value righteousness, be honest, change from evil to good, quit gambling and quit sex, etc. Cangshan folk songs have a wide range of genres, roughly divided into labor songs, yangko, flower drum tunes, children's songs and various popular minors. In particular, the various folk minors circulated in the vast rural areas are very large in number, accounting for about 89% of the entire Cangshan folk songs, forming a unique style of Cangshan folk songs in terms of melody, form and singing method. Among the folk songs of Cangshan Mountain, there are "flying kites", "going outing", "embroidering purses" and other songs that express people's good wishes and pure love, with harmonious melodies and beautiful sounds; there are vivid and lively "spinning cotton", "picking big peaches", "visiting my mother's home", etc., which are interesting and touching; there are humorous and witty "old couple arguing", "big truth", "persuading husband at five o'clock", "little bald man making trouble in the room", etc. These folk songs are all oral creations of the working people, and are continuously processed and enriched in the process of transmission. "Huagu tune" is loved by the people in Cangshan Mountain, and has been passed down from generation to generation for many generations, and has evolved into many operas. For example, the Liuqin opera in Cangshan Mountain, Tancheng, Linyi and Xuzhou, Pizhou, Xinyi and other places in northern Jiangsu, the Sizhou opera in Bengbu, Anhui, the two-jawed strings in Heze, the Maoqiang in Jiaozhou, Qingdao, Weifang, and even the Huagu opera in Hunan, Hubei, and Anhui. This natural area of Huagu is all over the country, almost half of China. After the founding of New China, the folk songs created by Cangshan mainly express the freedom and joy of the working people who have risen up and become masters of their own destiny, their pursuit of ideals and building a new life, as well as their pure love and living habits. Specifically, the working people who are masters of their own destiny actively produce, produce more grain, support socialist construction, and strive for the early realization of socialism, such as "Singing Great Production"; with human ethics as the main line, remind people to be honest and not forget their principles for the sake of profit, such as "Ungrateful" In any case, Cangshan folk songs express the thoughts, feelings, will, demands and wishes of the working people from different aspects, with strong realism and combativeness. It forms a complete folk literature system with myths, legends, stories, operas, rap, Pinghua, proverbs, ballads, etc., which fully show the true feelings of the people in euphemism, delicacy, depth, beauty and lyricism. Cangshan is a veritable hometown of folk songs. Information source: Shandong Provincial Information Network (No pictures yet, welcome to provide.) Information source: Shandong Provincial Information Network (No pictures yet, welcome to provide.)