Xin Fuchun’s teacher, Li Baozheng, the founder of Yanggu Nishao, was a native of Dashi Nianguo Village, Sipeng Township, Yanggu. Before liberation, he founded the first generation of Yanggu Nishao. The oval clay whistle at that time had 7 holes, one of which was attached to the whistle membrane and could produce 7 scales. When playing, the airflow is controlled with the mouth, and the sound is crisp, loud, melodious and melodious. It can play a variety of folk tunes and popular songs, and can also be used as accompaniment to local operas such as Shandong Bangzi and Liangjiaxian. When imitating the calls of various birds, the Yanggu mud whistle is even more skillful. The chirping sound is pleasant to the ear, very lifelike and commendable.

When New China was just founded, Li Baozheng brought Yanggu Nishao to Beijing, which caused quite a shock in the music industry of the capital at that time. Yanggu clay whistle has won the favor of Beijing people with its soft music and simple playing method. At that time, many music experts believed that the Yanggu mud whistle, which everyone could play, would have a bright future if it was innovative and improved. In 1953, Zhao Sa, former vice chairman of the China Music Association and president of the Central Conservatory of Music, happily named it "Yanggu Shao". After the official name of Yanggu Clay Whistle, Li Baozheng successively accepted more than 20 apprentices, but there were only a few apprentices who knew both production and music. It was difficult for the apprentices to make a living by making small whistles alone, and most of them did not persist. Xin Fuchun, who is good at painting, sculpture and music, initially made a living by painting portraits in villages and alleys. In 1965, while taking portraits at a market, Li Baozheng and Xin Fuchun sat at a stall. Li Baozheng admired the young man's realistic portrait, and Xin Fuchun also became interested in the round mud whistles. Xin Fuchun, who knew music well, picked up a clay whistle and started blowing it. The beautiful rhythm immediately attracted him and also fascinated everyone present. Xin Fuchun simply insisted on becoming Li Baozheng's teacher. Seeing the persistence of the young man who knew music before him, Li Baozheng readily agreed. In view of the fact that the debate in the music circle at that time on whether the "Yanggu whistle" was an "instrument" or a "musical toy" has not been concluded, and later caught up with the Cultural Revolution, the "Yanggu whistle" was regarded as a kind of folk that "cannot be refined." "'s "little tricks" gradually faded away from the music industry.

In 1983, Li Baozheng, who was nearly seventy years old, felt that his mud whistle was not being noticed by the world, and he was very disappointed. So he gave Xin Fuchun all the tools for making clay whistles that had been with him for decades, and he never made clay whistles again. Xin Fuchun felt very heavy after receiving the hand-me-down tools from his teacher. He read through a large amount of literature and visited music experts. Later, he discovered that Yanggu Shao filled the void of the instrument with its loud and deep rhythm, which really gave him a shot in the arm.