I have to preface the following for the enthusiasts of contemporary music (myself included), especially those who curate heaps of Spotify playlists unbeknownst to anyone but themselves. Not speaking from personal experience, of course. There are no malintentions toward pop, rap, soul, R&B, or lo-fi listeners; folk music has stood the test of time, but this is only a plea to not neglect the artifacts that have been upkept so well over the past few centuries. Modern indie-folk evidently borrows from folk music, while also incorporating acoustic guitar. It’s the difference between something which is “retro” or “vintage,” versus “ancient.” Not as appealing, but an endangered species all the same.

The societal shift of how music evolved is an interesting course of study. Beyond the popular music that dominates today’s streaming platforms (along with billboards, radio stations, etc.), folk music is a genre already laid on our doorstep since birth. It is most commonly recognized as “traditional,” implying that it is passed on orally from generation to generation. On that same wavelength, the composer is oftentimes anonymous for that very reason. 

“Traditional” folk songs are expounded by its close proximity to people in a community. As depicted by Capital Music, these signature songs are “an interest in promoting grassroots participation.” This is tethered to the identity of self in a larger whole. Folk music is nonetheless a cultural phenomenon oozing from one’s geographic location. By studying its different elements, us millennials and Gen-Zers can dissect life from even centuries prior; a time capsule preserved in the form of sound. 

Despite disparities between “Western” and “Eastern” cultures, time has bridged the gap between the two. Although accustomed to “American” norms, many Asian-Americans been exposed to traditions halfway across the globe. For many at least, having Chinese ancestry paved the conversation shared at the dinner table, meritted certain holidays celebrated with a select number of family friends, and dominated the music observed through childhood to now. 

As the nation with the world’s highest populace, it would be an understatement to say that China is diverse in almost every facet possible. Whether it be food, tradition, dialect, or any other fundamental premise to Chinese values, the 23 provinces of the PRC are distinguished and united by their cultural interests. The Zhou Dynasty (1122 B.C.E. - 256 B.C.E.) was documented as one of the first eras to embrace traditional music into Chinese civilization. Confucius, a great philosopher during this time, had been spectated to introduce the concept of song with his book, Shijing, also known as the Book of Songs. 

In retrospect, traditional music is typically performed on solo instruments such as bamboo pipes, the qin, the erhu, the pipa, the ruan, zheng, dizi, and more. This is accompanied by an individual singer, and has a scale of only five notes. Woodwinds, percussion, strings, and non-resonant vocals are the center of Chinese folk music (different procedures apply to Xiqu, known as Chinese Opera, although it’s also a component of the Ethnic Han Music that features folk as well). As a nation governed by ritual and ceremony, music was a method to organize and harbor certain ethics obeyed by the Chinese people. Folk music can be assimilated with China’s national anthem.

“Mo Li Hua,” or rather known as “Jasmine Flower,” is a renowned piece from Chinese folk music that dates back to the 18th century (the Qing Dynasty), notably showcased at the 2004 and 2008 Summer Olympics. The East-Asian piece was adopted by Italian composer Giacomo Puccini in his opera, Turandot (1926), stirring up attention from the “West.” It gestures to peace and serenity with the distinct use of the erhu to harmonize with the voice. 

The pentatonic scale is optimized in this piece, consisting of five notes. Thus, the range is quite narrow, extending from a G to an E, in which octaves may vary. Despite the trade-off between the display and absence of vocal performance (monophonic and homophonic, once again), the song exudes a light density and minimal syncopation. The timbre can be observed to be rather smooth. Rhythm isn’t quite the primary focus of this piece, yet the middle ground between an andante and adagio tempo highlight folk as a universal language itself. Emphasized by the legato nature of “Mo Li Hua,” the melody is conjunct in structure. 

The chorus, repeated three times throughout the piece, is preceded by an instrumental interval that “echos” or “reflects” the succeeding vocal phrases. To dissect the lyrics of the chorus, “Hao yi duo mei li de mo li hua,” or “What a beautiful jasmine flower,” is replicated twice in the major key before “Feng-fang mei li man zhi ya, / You xiang you bai re ren kua,” or “Fragrant, beautiful, full branches, / Fragrant and white, everyone praises you,” is notated. Each refrain concludes with “Wo you xin cai yi duo dai, / You pa ren xiao wo sha, / Mo li hua ya mo li hua.” or “I want to pick you to wear, / But am afraid people will laugh and think I’m silly, Jasmine flower, oh, jasmine flower.” “Mo Li Hua” is monumental to unifying its nation of origin through simple lyrics paired with a standout melody (and identifiable rhythm).

Undeniably, the purpose of folk music is to give a glimpse into the lives of those correlated with generations spanning from now since then. These compositions are curated by strangers of the past and act as portrayals to cultural inference. Already, the lyrics of “Jasmine Flower” embody the essence of the delicate, amiable women from the Qing Dynasty. 

Chinese folk music is an art form that continues to unify a country divided by political matters. As an emblem of the People’s Republic of China, this piece alone serves as an example of the potential in any means of music. In regards to the composition’s simplicity, “Mo Li Hua” truthfully depicts a narrative understood by many but felt by all. Texture, form, harmony, and other musical components found were nurtured with the passing of time. 

While “Jasmine Flower” may (inevitably) disintegrate in future centuries to come, it will suffice to appreciate the sounds that still ring from ear to ear, time and time again. Archaeologists rise to the occasion, and consider salvaging the sounds our ancestors so graciously passed on. More so, it seems alarmingly clear for digital streamers to admit folk into mainstream music, if I were to give my two cents on the cultural gamechanger.