The tea-picking opera in Fuzhou is one of the most representative operas in the Fuzhou area of Jiangxi Province. Its development reflects the social and cultural changes at that time. This paper draws on the core concept of music anthropology, from the inheritance trajectory of Fuzhou tea-picking opera music culture, to make a comprehensive analysis of Fuzhou tea-picking opera in terms of music, humanities and social sciences and tries to sort out and explore the relationship between music form

more »

... and cultural background. Just as the discipline of music anthropology advocating "to regard music as an object and to recognize oneself, one's own society, and the culture that he created from this particular perspective." [1]Sorting out and exploring the historical context of the development of tea-picking in Fuzhou is not only the necessary step to explore its music activity mode, but also is the first condition for mining its cultural connotation. In the current situation of social integration and development, these tracks of art development reflect the specific social and cultural values at each stage. Combing the Development Traceability and Inheritance Relations Due to the wide spread of tea-picking opera, music styles vary greatly from place to place, distinguished by local names. As its name implies, Fuzhou tea-picking opera is popular in Fuzhou, Jiangxi Province, is part of a branch of tea-picking opera in Jiangxi Province. Because Fuzhou tea-picking opera has a strong unique drama features, mostly showing content that reflect real life repertoire, and folk feature of singing is flourishing, popular with people. Fuzhou tea-picking opera, like other traditional folk arts, inherits the living tradition of being people-oriented. It continues the life of folk music directly, comprehensively and exquisitely through opera. It is the unique way of inheritance for this traditional folk art, determining the development situation of Fuzhou tea-picking opera. In June 2th, 2010, Fuzhou tea-picking opera was included in the third batch of national intangible cultural heritage of the Ministry of Culture. In the following year, Fuzhou Daily issued a report saying that "Fuzhou Tea-picking Opera Has a Terrible Situation, it has a long way to go to protect and inherit it." This report profoundly reflects the fact that the tea-picking drama of Fuzhou is in a state of rapid decline and worrying. Timothy Rice, a famous national musicologist, mentioned in his four-level target model that the process of music generation is a combination of history, society and individual processes, which are historical, socially maintained for personal use, just as the individual in Fuzhou's tea-picking opera, it refers to the folk old entertainers who are proficient in and engaged in the performing arts of tea-picking in Fuzhou for many years, they are the important links and motives of inheritance. Fuzhou tea-picking opera's development process can be broadly divided into three stages, namely: three-legged classes, half-time period and the establishment of PRC to now. Early Stage. The "Chinese Opera Integration · Jiangxi Volume" described earlier Fuzhou tea-picking opera like that: "the forms of a variety of tea-picking, light song content and performance are the same: usually one man and a woman, one man and two women or more than three people to do the performance. The dancers wear color suits, waist ribbons, men usually hold pole, hoe, boat pole and so on, while women hand fancy flower, umbrella or other tea set, singing