Folk music refers to the musical forms and musical works passed down by word of mouth through the long history of the people. Regardless of the instruments used, the music scores or the performance form, it has a strong national and regional character, blending with local folk customs and integrating with local folk activities.
Chinese folk songs reflect the lives and production of the Chinese working people and have a long history. With its vast territory, China has various styles of folk songs in different regions. Among them, the city folk songs with minor key features have had a significant influence on Chinese popular music. Their content mainly reflects the urban population’s views on life at the time, as well as political struggles. Although the content of many new folk songs and urban tunes has changed with the times, their melodies largely retain the traditional characteristics of folk songs. Examples include ‘Wu Geng Diao,’ ‘Meng Jiang Nu,’ ‘Yin Jiao Si,’ ‘Su Wu Mu Yang,’ ‘Ku Qi Qi,’ ‘Wuxi Jing,’ ‘Mo Li Hua,’ and other folk songs and melodies that have been adapted with different lyrics and sung among the people. At the same time, influenced by some exploitative classes, some vulgar and low-grade works have also appeared in the urban tunes reflecting city life, such as songs like ‘Shi Ba Mo,’ ‘Da Ya Pai,’ and ‘Zhi Xin Ke.’ These new folk songs and urban tunes have had a considerable impact on early Chinese popular music. For instance, early pop songs like ‘Tian Ya Ge Nu’ and ‘Si Ji Ge’ were adapted from Suzhou folk songs. Similarly, songs like ‘Yue Yuan Hua Hao’ and ‘Tan Shi Sheng’ also have a strong flavor of folk tunes.
Songs in my Audio Paper
Song of the Four Seasons–Xuan Zhou（四季歌 周璇）
The ‘Song of the Four Seasons’ is a segmented song, with four parts of the lyrics each drawing inspiration from the natural scenery of spring, summer, autumn, and winter. It sings of the anguish of separation, the sorrow of homesickness, and the steadfastness of love.
The approximate meaning of the lyrics:
Spring is here, and the greenery outside the window is full of greenery.
The girl embroidered a pair of mandarin ducks under the window.
Suddenly, a ruthless stick,
Spread the mandarin ducks to different places. (Mandarin ducks are a metaphor for lovers in China, and beating a mandarin duck is a metaphor for breaking up a couple)
When summer comes, the willow silk grows longer.
The girl wandered to the Yangtze River.
The scenery south of the Yangtze River and north of the Yangtze River is beautiful.
But not as good as the sorghum rising behind the green screens.
Autumn is here and the lotus flowers are fragrant.
The girl dreams about her hometown every night.
But when she woke up, she didn’t see her parents’ faces.
There was only the bright moonlight in front of the window.
Winter is coming, heavy snow is falling,
She prepared warm clothes for her lover.
Flesh and blood build a great wall,
She would rather be the Meng Jiangnu back then.
Erquan Yingyue (Two springs reflect the moon)（二泉映月 阿炳）
“Erquan Yingyue,” or “Moon Reflected on the Second Spring,” is a renowned piece for the erhu, a traditional Chinese two-stringed instrument. It is a signature work of the Chinese folk musician Hua Yanjun, also known as Abing. Throughout the piece, there is a continuous expression of the thoughts and emotions of a blind artist who has experienced the bitterness and pain of life. The work showcases unique folk performance techniques and styles, as well as an unparalleled depth of artistic conception.”
Bing Zhong Yin (Despair in Illness)（病中吟 刘天华）
“Bing Zhong Yin,” or “Despair in Illness,” is a composition for the erhu by Liu Tianhua, a modern Chinese musician. The piece reflects the inner turmoil and melancholy of Chinese intellectuals during the “May Fourth” era, who were dissatisfied with the status quo yet held onto bright ideals. It also portrays their painful struggle and fighting spirit against the old forces, encapsulating the emotional and intellectual conflicts of that period in Chinese history.
Xian Qi Le Ni De Gai Tou Lai (Lift Your Veil)（掀起你的盖头来）
“Xian Qi Ni De Gai Tou Lai” (Lift Your Veil) is a song adapted by Mr. Wang Luobin from the Uyghur folk song “Arya,” which he collected in the Hexi Corridor of Gansu. In his “Music Notes,” Wang Luobin recorded the origin of this folk song: “This dance is a local game in Southern Xinjiang. During the autumn harvest, when resting in the wheat fields, an elderly man would dress in women’s clothing and wear a veil, then make coquettish movements. A young man would sing and dance beside him, and at the end, he would lift the veil, revealing an old man with white hair underneath. This would cause everyone to burst into laughter before continuing their work.”
Lyrics:
Lift up your veil,
Let me see your eyebrows.
Your eyebrows, so fine and long,
Like the crescent moon on the treetops.
Your eyebrows, so fine and long,
Just like the curved moon in the trees.
Lift up your veil,
Let me see your eyes.
Your eyes, so bright and clear,
Like the rippling water’s reflection.
Your eyes, so bright and clear,
Just like the waves in the water.
Lift up your veil,
Let me see your face.
Your face, so red and round,
Like the apples when autumn comes.
Your face, so red and round,
Just like the apples in the fall.
Unity is Strength（团结就是力量）
“Unity is Strength” is a song with lyrics by Mu Hong and music composed by Lu Su, created in June 1943. The song’s lyrics are catchy and easy to remember, and its rhythm is strong and resonant. It reflects the spirit of unity and determination of the Eighth Route Army and the common people during the most difficult times of the Anti-Japanese War, embodying their courageous resistance against the Japanese invasion. This song captures the essence of solidarity and the collective will to overcome adversity in a crucial period of Chinese history.
Lyrics:
Unity is strength,
Unity is strength.
This strength is like iron,
This strength is like steel,
Harder than iron,
Stronger than steel.
Fire at the fascists,
Let all undemocratic regimes perish.
Towards the sun,
Towards freedom,
Towards the new China,
Shining with a radiance of ten thousand feet.
Unity is strength,
Unity is strength.
This strength is like iron,
This strength is like steel,
Harder than iron,
Stronger than steel.
Fire at the fascists,
Let all undemocratic regimes perish.
Towards the sun,
Towards freedom,
Towards the new China,
Shining with a radiance of ten thousand feet.
The Love Song Of Kangding（康定情歌）
“The Love Song Of Kangding,” originally titled “Running Horse on the Mountain,” is a folk song popular in Kangding, Sichuan. It is adapted from a local Kangding folk tune called “Liuliu Tune.” The song was collected by Wu Wenji, arranged by Jiang Dingxian, and first performed by Wu Zhengqian in 1947. Yu Yixuan recorded and released it as a record in 1948. This song has since become one of the most well-known Chinese folk songs, renowned for its melodious tune and evocative lyrics that capture the essence of the region’s cultural and musical heritage. This folk song expresses the passion of young men and women for loving each other and pursuing a free and happy life.
The approximate meaning of the lyrics:
On the beautiful Running Horse Mountain, there’s a beautiful cloud.
Shining squarely upon, the beautiful city of Kangding.
The moon is curving, over the beautiful city of Kangding.
The lovely eldest sister of the Li family, immensely talented.
The handsome eldest brother of the Zhang family, fell in love with the beautiful her.
The moon is curving, fell in love with the beautiful her.
He fell in love because, her talent is exceptional.
He fell in love because, she can manage a home.
The moon is curving, she can manage a home.
All the beautiful women in the world, let me passionately love.
All the handsome men in the world, let you passionately pursue.
The moon is curving, let you passionately pursue.
Mo Li Hua（茉莉花）
“The Jasmine Flower” (“Mo Li Hua”) has a long history, originating from the Qianlong era of the Qing Dynasty. It was initially known as “Xian Hua Diao” and has always been a popular folk melody. The song was first released as a single in 1957.
Lyrics:
What a beautiful jasmine flower,
What a beautiful jasmine flower,
In the garden, flowers bloom,
but none as fragrant as it.
I want to pick one to wear,
But I fear the flower viewers might scold me.
What a beautiful jasmine flower,
What a beautiful jasmine flower,
Jasmine blooms are whiter than snow itself.
I want to pick one to wear, But I fear others will laugh.
What a beautiful jasmine flower,
What a beautiful jasmine flower,
In the garden, flowers bloom,
but none can compare to it.
I want to pick one to wear,
But I fear it won’t sprout next year.
Da Di Fei Ge (Song of the Earth)（大地飞歌）
“Song of the Earth” was composed by Zheng Nan in early 1999 specifically for the “Guangxi Folk Song Festival.” At that time, the organizing committee of the Guangxi Folk Song Festival invited song submissions from the public and called on some lyricists and composers to visit Nanning for inspiration. While Zheng Nan was on a field trip on mountain roads, he spontaneously came up with the lyrics “treading the mountain roads flat while singing folk songs.” This was followed by reflections on the characteristic of ethnic minorities who love to sing and their improving living standards. Consequently, he composed the lyrics “Good days are always spent in songs, and the more we sing, the broader the roads become.”
Lyrics:
Flattening the mountain roads, we sing folk songs,
Casting wide the fishing nets, we sing fishing songs.
Singing shepherd songs, the cattle and sheep abound,
Ah, more numerous than the constellations in the sky.
Peonies bloom, we sing flower songs,
Lychees ripen red, we sing sweet songs.
Singing joyful songs, friendships grow long,
Ah, longer than the river in front of Liu Sanjie’s door.
We’ve sung spring songs, autumn songs,
Tea songs, and wine songs, Endless are the beautiful sceneries in our sight.
Good days are always spent in songs.
We’ve sung old songs, new songs,
Love songs, and happy songs,
Endless is the good mood of today.
The more we sing,
Ah, the wider the roads become.
Flattening the mountain roads, we sing folk songs,
Casting wide the fishing nets, we sing fishing songs.
Singing shepherd songs, the cattle and sheep abound,
Ah, more numerous than the constellations in the sky.
We’ve sung spring songs, autumn songs,
Tea songs, and wine songs,
Endless are the beautiful sceneries in our sight.
Good days are always spent in songs.
We’ve sung old songs, new songs,
Love songs, and happy songs,
Endless is the good mood of today.
The more we sing,
Ah, the wider the roads become.
Ganxu Guilai Ali Li（赶圩归来阿里里）
“Ganxu Guilai Ali Li” is a Yi ethnic folk song with lyrics by Gu Di and music composed by Huang Youyi, created in 1979. In that year, Gu Di, Huang Youyi, and others visited De’e Town in Longlin Various Nationalities Autonomous County, Baise, Guangxi, to experience rural life. They coincided with the local market day, where Yi ethnic girls, dressed in colorful traditional attire, joyfully selected fabrics and small handicrafts at the market stalls, then cheerfully walked back to their mountain villages in groups.
Witnessing these girls holding hands, their faces beaming with happiness, and the continuous laughter and joy along the way, Gu Di and the directors of the dance troupe were deeply moved by the scene. They were inspired by the vibrant and colorful life of the Yi people. Consequently, they decided to use the cheerful atmosphere of the Yi girls returning from the market as the theme. They arranged a Yi ethnic dance to reflect the rapid changes in the rural areas of minority regions following the reform and opening-up policies.
This song carries the distinct characteristics of Guangxi folk songs and embodies the rich ethnic style of China’s western regions. The song maintains a rhythmic pattern of “X XX XX XX, X X X” throughout, conveying a cheerful and lively mood. With its vivid and flowing melody, reminiscent of a lively, flowing river, the song captures the joy of the Yi people as they return from the market. It portrays them walking briskly against the backdrop of the setting sun over the western mountains and the brilliant evening glow, their hearts full of joy from a successful day at the market.
The song expresses the Yi people’s deep love and admiration for their homeland and life. The emotional progression of the song starts with a beautiful, expansive feel, then moves to a lively and spirited mood, escalating to fervor, culminating in a climax that portrays the happy mood of the Yi people returning from the market. This progression vividly illustrates the vibrant and joyful spirit of the Yi community.
Lyrics:
The sun sets behind the mountains, Ali Lili,
The market disperses, Ali Lili.
Joyfully, happily, Ali Lili,
We’re going home, Ali Lili.
Ali Lili, Ali Lili,
Returning from the market, Ali Lili.
Ali Lili, Ali Lili,
Returning from the market, Ali Lili.
Life is sweet like honey, Ali Lili,
A good life indeed, Ali Lili.
Like flowers, Ali Lili,
Are the Yi women, Ali Lili.
Ali Lili, Ali Lili,
Returning from the market, Ali Lili.
Ali Lili, Ali Lili,
Returning from the market, Ali Lili.
Silver necklaces, Ali Lili,
Golden rings, Ali Lili,
Adorn the girls, Ali Lili,
Making them more beautiful, Ali Lili.
Ali Lili, Ali Lili,
Returning from the market, Ali Lili.
Ali Lili, Ali Lili,
Returning from the market, Ali Lili.
The birds sing, sing, Ali Lili,
Accompanying our song, Ali Lili.
The evening glow, piece by piece, Ali Lili,
Follows us as we fly, Ali Lili.
Ali Lili, Ali Lili,
Returning from the market, Ali Lili.
Ali Lili, Ali Lili,
Returning from the market, Ali Lili.
Silver necklaces, Ali Lili,
Golden rings, Ali Lili,
Adorn the girls, Ali Lili,
Making them more beautiful, Ali Lili.
Ali Lili, Ali Lili,
Returning from the market, Ali Lili.
Ali Lili, Ali Lili,
Returning from the market, Ali Lili.
The birds sing, sing, Ali Lili,
Accompanying our song, Ali Lili.
The evening glow, piece by piece, Ali Lili,
Follows us as we fly, Ali Lili.
Ali Lili, Ali Lili,
Returning from the market, Ali Lili.
Ali Lili, Ali Lili,
Returning from the market, Ali Lili.
Ali Lili, Ali Lili,
Ali Lili, Ali Lili,
Returning from the market, Ali Lili.
Hey, Ali Lili,
Ali Lili, Ali Lili.
Zou Xi Kou (Walking through the Western Pass) （走西口）
“Zou Xi Kou” (“Walking through the Western Pass”) is a local folk song from Hequ, Shanxi, which poignantly narrates the sorrow and separation of a newlywed couple and the hardships faced by the people of modern Shanxi in seeking livelihoods far from home. The song reflects deep social, historical, natural, and geographical reasons.
“Walking through the Western Pass” symbolizes a challenge to fate and the exploration of new environments. Although the journey is fraught with hardship, the diligent and wise people who undertook it carved out new opportunities, ushering in a period of great prosperity in Shanxi, known as the “richest place under heaven.” This spontaneous migration profoundly altered the developmental course of Shanxi and the Mongolian regions.
The song became widely popular across North and South China, sung by the famous female singer Zhu Fengbo. It serves not only as a cultural artifact but also as a testament to the enduring spirit and resilience of the people of Shanxi in the face of adversity.
Lyrics:
Brother, as you go through the western pass,
Little sister, I find it hard to stay.
Holding your hand,
I walk you to the main entrance.
Brother, as you leave our village,
Little sister, I have words to leave with you.
Walk through the main road’s mouth,
Where the crowds and horses can dispel your sorrows.
Brother, as you go through the western pass,
Little sister, I find it hard to stay.
Holding your hand,
I walk you to the main entrance.
Tightly gripping your sleeve,
Tears flow within me.
I just hate that I, your sister, cannot go with you,
Only hoping you, brother, return home soon.
Brother, as you go through the western pass,
Little sister, I suffer in my heart.
This departure, for how long will it be?
I fear waiting till my hair turns white.
Tightly holding onto your sleeve,
Tears well up within me.
Although I have a thousand words, they can’t make you turn back,
Only hoping you, brother, return home soon,
Only hoping you, brother, return home soon.
（There are many versions of this song, the following is one of them）
Tianya Ge Nv (Wandering Singing Lady)（天涯歌女）
“Wandering Singing Lady,” sung by Zhou Xuan, is a song with lyrics by Tian Han. The melody was adapted by He Luting from the Suzhou folk tune “Zhi Xin Ke.” Issued in 1937, it narrates a love story. This song is renowned for its melodious tune and poignant lyrics, capturing the essence of longing and the emotions of a woman whose life and love are as transient as her songs. Zhou Xuan’s rendition of this song has made it one of the most iconic and enduring pieces in the history of Chinese music.
Lyrics:
At the ends of the earth, the corners of the sea,
Searching, searching for a soulmate.
Little sister sings, while the young man plays the zither,
Young man, our hearts beat as one.
Love, oh love, young man,
Our hearts are as one.
Looking north to our hometown mountain,
Tears, tears soak my collar.
Little sister longs for her young man to this day,
Young man, our bond deepened through hardship and love.
Love, oh love, young man,
Our bond deepened through hardship and love.
In life, who doesn’t cherish, cherish their youth?
Little sister is like the thread, the young man like the needle,
Young man, we’re threaded together, never to part.
Love, oh love, young man,
Threaded together, never to part.
Jiang Geer’s Hero Praise（江格尔英雄赞）
Jianggar is a heroic epic of the Oirat tribe of Mongolia, and is known as one of the three major epics of ethnic minorities in China. It has been circulated orally among the people for a long time. After continuous processing and enrichment by people of all generations, especially singers, it gradually increased in length and content, and finally became a large-scale epic. This epic is named after the hero Jianger.
This summer, a variety show called “Summer of the Band” was broadcast in China. A Mongolian band called “An Da” participated in the variety show and performed an adaptation of this song, which was deeply loved by everyone. I think this arrangement is very helpful for the development of traditional folk songs.
“Kou Huang“ (a national musical instrument)（口簧琴/口弦琴）
“Kou Huang”, also known as “Kou Xian“
“Kou Xian” is an ancient reed instrument, mainly popular in ethnic minority areas in Sichuan, Yunnan and Guizhou, China. “Kou Xian” is an ancient and small folk instrument with its own unique scale. It was once popular in some ethnic minority areas in China and was used in local weddings, funerals and folk festivals. The music it plays comes from folk songs, Minor tunes and even impromptu poems are performed, and the content of the performance includes clan history, ancient legends, daily work, etc. Nearly 20 ethnic groups in China have “Kou Xian” instruments, and each ethnic group has its own unique name. The specific forms are also different, including copper, iron, bamboo, single piece, and multiple pieces.
