Family Wedding Song (Guzhang County) Tujia wedding song, commonly known as "crying for marriage", also known as wedding song, is called "Bijika file pillar sacrifice" in Tujia language. It is a lyrical narrative long song that Tujia women have collectively created through word of mouth and collective creation in wedding activities for thousands of years. It is mainly spread in Tujia-inhabited areas in Hunan, Hubei, Chongqing, Guizhou and other provinces and cities, and is particularly popular in Guzhang County where wedding songs can be sung in Tujia language. Tujia wedding songs have a long history, distinctive characteristics and unique style. After the Qing Dynasty, "crying" and "crying for hair" became the main contents of Tujia wedding customs. It is common to see "Bamboo Branch Poems" by Qing Dynasty poets describing Tujia wedding song scenes. "Newly combed high buns learn to wear hairpins, tears are full of green gauze." (Tian Taidou) "The ten sisters sing too sadly, and the mother stamps her feet and tears wet her clothes." (Peng Qiutan) "You cry sadly when you get on the sedan chair, and your parents' deep affection cannot be let go." (Peng Yonggong) The overall structure of Tujia wedding songs is rigorous, the length is vast, and the content is rich. There are five main procedures: crying for the beginning, crying for parents, crying for brothers and sisters-in-law, crying for sisters, and crying for relatives. The crying of mother and daughter is an important part of the wedding song, which runs through the whole process of getting married. Secondly, there are crying for wearing flowers, crying for dressing, crying for leaving the mother's seat, crying for leaving relatives, crying for getting on the sedan chair, and scolding the matchmaker. "Love the kindness of relatives, and be sad about separation, and the song is a gentle voice." The sincere feelings, although happy and sad, highlight the unique cultural phenomenon of Tujia wedding customs, which has a wide range of social inheritance and has important academic value for studying Tujia history. The wedding song starts with the mother crying. There are three forms: crying alone, crying together, and crying with others. Persuading crying is mostly done in crying together, which contains reason in emotion, instills the truth of being a human being, accepts the baptism of wedding songs, and purifies the soul. The traditional fine moral education is vividly expressed in the wedding song, which has a strong ideological and value orientation. Tujia wedding songs often use rhetoric techniques such as metaphor, analogy, parallelism, and repetition. The lyrics are popular and concise, straightforward and easy to understand, the sentences are vivid, flexible and free, the lengths are different, and there are also seven-word sentences. As a whole, they are neither poetry nor lyrics. When crying, the sound and rhyme are integrated, beautiful and smooth, moving and touching, with strong literary and artistic appeal and language research value. Tujia wedding songs embody the collective wisdom of Tujia women for thousands of years. They have a unique artistic style and strong ethnic characteristics. They are extremely important and precious Tujia oral literature scrolls, which are of great value for studying Tujia social history, culture, local customs, national psychological beliefs, language and music art.