Abstract: Huzhu Tu folk songs in Qinghai are regarded as a wonderful flower in the western plateau and even in many ethnic minority areas in China. With the help of the theory and method of ethnomusicology, this paper traces back to the origin of Huzhu Tu folk songs, describes the music life track of representative singers, and on the basis of analyzing singing customs, inheritance, communication and evolution, music culture types and music styles, divides the three types of singing contexts into three types: Tujia (abbreviated as) type, mixed type and comprehensive type, and considers them to be original ecological types. Blending and blending are the sequence of individuality and commonness in the original musical form of Tu folk songs, which is rooted in the inherent nationality and realistic regionality of Tu nationality-adherence to the national mother culture and the integration of ethnic mixed (omitted) cultures. Therefore, the nationality and regionality of the music culture of the Tu nationality are the roots of the individuality and commonness of the music form of the Tu nationality folk songs. The musical form of Tu folk songs is a kind of folk songs with single phrase and double tone structure. The characteristics of "Mother Song" are like embryos absorbing various nutrients. At the same time, it combines many common factors in other national music. However, the blending of individuality and generality in the cultural environment of Tibetan and Han ethnic music is dynamically derived with the long process of national development. This paper attempts to classify Tu folk songs into folk songs in areas where ethnic groups live together according to the lyrics language (local folk songs, local Tibetan folk songs and local Chinese folk songs). ...