Tracing the origin of Mongolian long-tune folk songs As early as more than 1 years ago, Mongolian ancestors moved out of the forest belt on both sides of the Ergun River to the Mongolian Plateau, and the mode of production changed from hunting to animal husbandry, so long-tune folk songs, a new form of folk songs, came into being and developed. In a long historical period, it gradually replaced the well-structured hunting songs, occupied the dominant position of Mongolian folk songs, and finally formed the typical style of Mongolian music, which had a profound impact on other forms of Mongolian music. It can be said that the long tune embodies the characteristics of Mongolian nomadic culture, and is closely related to Mongolian language, literature, history, religion, psychology, world outlook, ecological outlook, outlook on life, customs and habits, and runs through all the history and social life of the Mongolian nation. The basic themes of long tunes include pastoral songs, homesickness songs, hymns, wedding songs and banquet songs (also known as wine songs). Mongolian long tune belongs to Mongolian music, and Mongolian music can be divided into three historical development periods, namely, mountain hunting music culture period, grassland nomadic music culture period, and farming and grazing music culture period. In the period of hunting music culture, its musical style is represented by short tune, and folk songs have the characteristics of short structure, concise tone, clear rhythm and few words. The overall music style is narrative, singing and dancing, and lyrical, which is also the same feature of human music art in primitive times. From the available data, we can see that some Mongolian folk songs with obvious musical and cultural characteristics of this period are still circulating among the people, such as "Hunting for Wisdom" and "White Sea Dance". With the transformation from hunting mode of production to nomadic mode of production, the musical style of the second period has also evolved from short-tune folk songs to long-tune folk songs, forming a period of grassland nomadic music culture in the history of Mongolian music. From the perspective of musical morphology, this period not only preserved and developed the short-tune musical style of hunting period, but also gradually innovated and formed the long-tune musical style. As far as long-tune folk songs are concerned, this period has also experienced a long process of inheritance and development from simplicity to complexity and from low to high. Therefore, in the thousand-year history from the 7th century to the 17th century, the general trend of the development of Mongolian folk songs can be summarized as: based on short-tune folk songs, with long-tune folk songs as the innovation, the long-tune folk songs gradually dominated, which is also an important historical period for the formation of the overall Mongolian music culture style. Since the 18th century (the middle and late Qing Dynasty), with the historical changes and development, the connection between the northern grassland and the Central Plains has been further strengthened, and the pace of integration and exchange between ethnic groups has been accelerated. The mode of production dominated by agriculture in the Central Plains has also penetrated into some northern grasslands, and cultural exchanges have become more frequent. Under this historical background, short-tune narrative songs and long-form rap songs have been further developed, forming a musical and cultural period of Mongolian farmers and herdsmen. The characteristics of music style in this period can be summarized as follows: short-tune folk songs are reborn and developed rapidly, while long-tune folk songs keep their characteristics more mature.