Qinshu

Introduction

Qinshu in folk art is named after the dulcimer is used as the main accompaniment instrument during singing.

Classification

There are many types of Qinshu, including Beijing Qinshu, Yicheng Qinshu, Wuxiang Qinshu, Xuzhou Qinshu, Anhui Qinshu, Shandong Qinshu, Guizhou Qinshu, Sichuan Qinshu, Yunnan Qinshu, etc. Various Qinshu have different origins, and most of them were developed from local folk songs and minor tunes. Some are influenced by Tanhuang and Nanci or evolved from Dagu. For example, Anhui Qinshu was developed on the basis of Lao Fengyang songs, Sizhou tunes, folk songs and minor tunes that were popular in Sizhou area. Beijing Qinshu and Shandong Qinshu were first sung by farmers for their own entertainment during slack periods, and later developed into professional singing.

Forms of expression

Qinshu can be expressed in different forms, including one person singing standing up, two or more people singing sitting down or walking, and some singing by different roles. The lyrics are also divided into seven-character sentences, cross sentences and long and short sentences according to the music. There is speaking and singing, usually singing is the main part and speaking is the supplement. In addition to the dulcimer, the accompaniment instruments also include sanxian, erhu, zither, zhuohu, etc.

Qinshu's repertoire

Qinshu's repertoire is mainly short and medium-length, but also full-length, most of which are based on historical stories and folklore, such as "Punch to Town Guanxi", "Bao Gong's Case" 》. "General of the Yang Family", "Butterfly Lovers Descending the Mountain", "Blue Bridge Party", "Picking Up Cotton", etc. There are also tracks that reflect real life, such as "Lei Feng", "Fire King Kong", etc.

Introducing several distinctive Qinshu

Wuxiang Qinshu

It originated in the countryside of Wuxiang and is popular in Wuxiang, Xiangyuan, Yushe, Zuoquan, and Taigu , Yuci and other counties have a history of more than 200 years. Legend has it that Wuxiang Qinshu was created by artists who combined Guer tune with Yinggeliu, a Central Plains tune, and absorbed local ditties. Artists call it "nine tunes and eighteen tunes, seventy-two hums". Initially, the singing was performed with two people in one position, using octagonal drums to beat the festival, accompanied by muhu, and singing an auspicious poem to beg for food.

In the Tongzhi period of the Qing Dynasty, blind artists began to sit down and speak in large volumes, and the number increased to six or seven people per session. During the Anti-Japanese War, Wuxiang County organized a propaganda team for the blind. In order to enhance the atmosphere of the anti-Japanese literature, the artists inherited the technique of playing seven percussion instruments from the large blackboard artists of the Xianfeng period, which was then called Wuxiang Drum Book. Folk artists are diligent in exploring, good at absorbing the strengths of others, and have made great achievements in folk music and folk arts. Wuxiang Qinshu later created Qiqiang, Duoban, Huangqiang, etc. The new titles sung include jokes about "Xi'an Incident" and "Rent and Interest Reduction".

After the founding of New China, blind artists canceled percussion instruments and used Yueqin made above as accompaniment, which was called Wuxiang Qinshu. Qiban in music singing is composed of lining tunes and phrases composed of dialect vocabulary and Liutiao melody, which is full of local characteristics. Traditional books include "Hujia Jiang", "Bao Gongan", etc.

Beijing Qinshu

The predecessor of Beijing Qinshu is the five-note drum popular in Anci County, Hebei and the rural areas of Beijing suburbs in the Qing Dynasty. It is also known as the single Qinshu and Yangqin drums. Accompanied by Sanxian, Sihu, Yangqin and other musical instruments. In the early days, it was only for farmers to entertain themselves and there were no professional artists.

At the end of the 19th century, professional artists gradually began to sing in Beijing and Tianjin. Zhai Qingshan, a drum artist from Laoting in Tong County, only uses a dulcimer to accompany him when singing on the radio, hence the name "Dangqin". The tune is similar to Pinggu tune, except that the form uses one plate and three eyes. In 1949, because the actors switched to singing in the Beijing language, it was named Beijing Qinshu.

The early repertoire was mainly long books, such as "The Romance of the Three Kingdoms", "The Story of the Dragon" and more than ten works. Later, Guan Xuezeng collaborated with the luthier Wu Changbao for many years, and the singing style drew on the natural style of Jingyun Dagu rap. The technique is improved on Beijing Qinshu. The first half of the singing tune is mostly Shushuo, and the second half of the singing tune is drawn in a drawl. Multi-plate singing tunes with different rhythms are added, with some speed and some slowness. Its repertoire consists of mostly short pieces, mostly based on realistic themes. Such as "Blue Bridge Club", "Gathering Cotton", etc. The compiled traditional repertoire includes "Yang Bajie's Spring Outing", "Whip the Reed Flowers", etc.

Shandong Qinshu

Chinese folk art is popular in the lower reaches of the Yellow River, centered on Heze area in southwestern Shandong, in the north of Henan, Jiangsu, and Anhui, in the south of Hebei, and in the northeast In individual cities and counties in Shandong, it first spread in southwestern Shandong, and then gradually expanded to the north (Jinan and Huimin areas) and east (Qingdao, Yantai), with a history of about 200 years. Shandong Qinshu was originally called Yangqin, also called Yangqin players and ditty singers. It was formed around the early years of Qianlong's reign. In the early days, it was played by bankers (also known as games) for farmers to entertain themselves in their spare time.

At the end of the Qing Dynasty, it gradually became prosperous and famous artists emerged in large numbers. They were divided into three roads: South, North, and East. The South Road was the earliest, represented by Ru Xingli, and was called the Ru School. It did not use clever coloratura, emphasized accents, and accented words, and its arias were mostly cynical. The North Road is the Deng School represented by Deng Jiuru, who makes good use of dialects and slang, finds humor in simplicity, and seeks charm in simplicity; the East Road is the Shang School represented by Commercial Xing, with beautiful and varied singing.

During the development process, influenced by the languages ??and customs of different regions, it gradually formed into three major schools: Dongluan, Beilu and Nanlu Qinshu. Their names are also different. For example, Business Xing claimed to have improved the dulcimer; Deng Jiu claimed to have civilized the dulcimer. It was not until 1933 when Deng Jiuru was broadcasting on Tianjin Radio that it was named Shandong Qinshu Zhijin.