To the end of the Qing Dynasty and the beginning of the Republic of China, due to the invasion of Western powers, "Western learning to the east" slowly began to rise. A large number of Western missionaries came to China, and the cultural exchanges between China and the West became more and more close. National culture began to absorb Western culture. Because of its special geographical location, the Jiangnan region has become the "leader" in this movement.

After the outbreak of the 1911 Revolution, the southern modern composers and performers headed by Liu Tianhua followed the needs of the development of the times and, under the guidance of various musical performances, combined the performance of the folk erhu with the performance of the western violin to improve the folk erhu. For a modern instrumental solo art. People say that musical instruments are the carrier of music, and music is the true reflection of real life.

After experiencing various social changes, erhu artists have combined the elegant, delicate, soft and gentle temperament of Jiangnan music for thousands of years with real life, not only integrating the emotions with the characteristics of the times on the basis of traditional Jiangnan music He also studied the left-hand and right-hand skills, and finally developed the music expression method that can best express the artistic style of Jiangnan, and created many well-known songs with Jiangnan style, which are widely supported and loved by the public.

In the left-hand technique, the ring finger is often used to add decorative sounds and cooperate with the unique Jiangnan characteristics of pad finger glissando and vibrato. Among them, pad finger slide is the most important way of musical expression. It is mostly expressed as the left ring finger is placed in the middle of the middle finger and the index finger, and the little finger is placed in the middle of the middle finger and the index finger. Swipe up at the same time with the ring finger, and the notes pressed with both fingers are pronounced at the same time. It echoes the soft language style of its place and the mountainous and watery geographical environment. The right hand mostly uses the crescendo bow and the combination of long and short bows, which shows the characteristics of the local people's softness, firmness, liveliness and cheerfulness. Each erhu song with the local characteristics of the south of the Yangtze River paints the audience a beautiful picture of people being comfortable, prosperous and self-sufficient in the water villages of the south of the Yangtze River.

my country is an ancient civilization with a long history, rich and vast heritage of folk music. In order to inherit and carry forward these excellent cultural heritages, it is necessary to deeply understand its style and express it with emotion. The national style of erhu performance is determined by the characteristics of this stringed instrument. The stronger the national style, the more vivid the performance of erhu performance, and the more it can reflect the artistry and aesthetic interest of the work. National music style can generally be defined as a conventional music language formed by a nation and a region due to historical reasons, including geographical environment and local customs.

The erhu playing techniques of different musical styles are numerous and complex. Various musical styles reflect the changes in erhu playing techniques, which are subtle and indeterminate. Generally speaking, it is not difficult to master those playing techniques. However, it is not easy to properly apply it to the music and accurately reflect the local musical style of the music. Therefore, for those works with distinctive style and the characteristics of "oralization", the light, heavy, slow and urgent of the phrases should be handled very carefully, and the techniques should be used accurately, so as to reflect the distinctive local music style and better Express the connotation of musical works.

This paper takes the performance of erhu stylistic skills as an entry point, and further leads to the analysis of erhu stylistic performance skills by comparing the similarities and differences between different regions, different nationalities, cultural customs and geographical culture. Because of in-depth exploration, I understand the similarities and differences in the expression of emotions in different regions and different nationalities, and I understand that as an erhu professional, in addition to solid basic skills when performing a work, it is also necessary to understand and be familiar with the creative background of the work. Local humanistic customs and geographical culture, mastering the emotional atmosphere created by changing tones, ornamental tones, rhythm and melody, so as to improve their ability to perform works to the greatest extent.