1. Characteristics of the music:

According to pages 309, 377, and 378 of "Shaanxi Chronicles·Culture and Art Chronicles": "First, Qingqu is sung while sitting, whenever relatives and friends come to visit At that time, the family troupe (Wang Jiusi Opera Troupe) would come out to show his welcome; secondly, the street stalls would sing folk songs. Whenever there was a temple fair, Wang Jiusi would lead the family troupe to perform folk folk songs in the form of a street stall. The main works include "Bishan Yuefu" (volumes 1 and 2), "Bishan New Edition", and "Bishan Continuation". Each volume has 500 poems, 100 sanqu, and sets. There are 100 poems called "Nanqu Ciyun·Bianzhuangtai". The third is Jianghu music, which was originally a folk form of self-entertainment during farm breaks, festivals, or artists singing at stalls.

2. Characteristics of Meihu Drama:

1. The tunes of "Meihu Drama" absorb the forms of folk songs in Guanzhong during the Ming and Qing Dynasties. It emerged around before the Qianlong period of the Qing Dynasty, and its tunes were mainly in the form of "Moonrise and Moonset" and other suites. (See the Meihu section of "Shaanxi Provincial Chronicle·Culture and Art Chronicle").

2. Meihu music consists of three parts: singing, gongs and drums, and music. The singing style is a combination of tunes and tunes, and there are more than 200 tunes, divided into two categories: Yuexian (major key) and Pingxian (minor key). Yuexian is ancient, with complex structure, changeable melody, wide range, euphemistic drawl, and difficulty in singing. The three strings are designated "1-5-1". The main tunes are [Yue Diao] [Bei Gong] [Man Jiang Hong] [Hong Kong Jianglong][Border Pass][Parasite Grass][Old Dragon Crying into the Sea][Feng Luoxiao][Hepatochoresis][Crying Love][Luo Jiang Yuan][Money][Huanglong Gun][Pipa][Blowing Tune][Five More][Big Ten Films][Cross Slow][Great Wall][Xijing] etc. Pingxian are mostly folk songs with short and regular structure, smooth melody, little change, and narrow range. The three strings are designated "5-6-3". The tunes include [Flying a Kite] [Ten Pairs of Flowers] [Ten Lamps] [Ten Cup of wine] [Twelve flowers] [Pick flowers] [Cut window grilles] [Camellia] [A little oil] [Play jujube pole] [Naozi tune] [Crab tune] [Nail cylinder] [Overlord whip] [Sanliuzi tune] [ Grocery tone][Screen window][Little peach red][Taipingnian][Silver button silk][Wuli Dun][Wuluanxiang][Embroidered purse][Boat flower] etc. In addition, there are some singing tunes that are dramatic and constantly changing, such as [Mansu], [Gang Tiao], [Luo Zi], etc., and free-paced, chanting Sanban or similar Sanban singing, such as [Gunbai] [Tao Qing] [Jian Ban], and [Dai Ban] [Singing Stage] similar to Qin Opera's tight and loose singing. Meihu's singing can be divided into happy and bitter sounds, such as Huanyin [hard Yue tune], bitter sound [soft Yue tune], fast and slow, such as [Jin Xijing] [Slow Xijing], and Zhengyin. Anti, big and small, such as [money] [anti-money] [desolate] [little desolate], etc. Some tunes are divided into front and back, old and new, beginning and end, and the singing styles are rich and colorful.

Before the 1950s, Meihu was all sung by male actors. When playing the male role, they sang in their own voices, and when playing the female role, they used a combination of real and false voices. Its vocal range is wide, generally f-f2 for male actors and a-a2 for female actors. The Meihu scale has rich modes, and the same piece of music also has different modes. The scale of Huanyin in the seven-tone Zheng mode is 567123↑45, and the scale of the bitter tone is 56↓712345; the scale of Huanyin in the five-tone Zheng mode is 561235. There are very few Shang mode and Feather mode. There is a tune at the end of the suite or a separate singing tune. Most are Gong mode, with a scale of 123↑45↓71; followed by Zheng mode, Yu and Shang mode. The pitch and mobility of ↑4 and ↓7 in the scale are basically the same as those of Qin Opera.

Meihu’s sitting singing band consists of six people, including Sanxian, Banhu (one front and back), flute, water (fourth tone) and four-page tile. Additions and changes to musical instruments can be found in the previous products and works and other related instruments section.

Meihu only has string tunes, but no suona tunes. The string tunes are divided into pure instrumental music, including [Guye Diao] [Baban] [Yagyu Shengya] [Sacrifice to Spirits] [Kill Daji] [Phoenix Three Nods] [Four Feet Diao] [Shamao Wings] [Cut Leeks], etc. 20 The remaining songs are aria-branded instrumental tunes, including more than 10 songs such as "Xijing Brand", "Big Money", and "Silver Knots"; there are also big transitions in the middle of the arias. The first two are mainly used for performing actions such as raising tents, setting up banquets, ceremonies, welcoming guests, etc., and for dialogues with choruses. The latter is mostly used in the prelude to enhance the atmosphere and coordinate with the performance. (The above content can be found on pages 310-311 of "Shaanxi Culture and Art Chronicle")

3. Most of the content reflected in the Meihu repertoire is about folk life themes.

The Little Herding Niu tune is actually a pastoral tune. Some people say that Fengyang tune is a folk song tune from Fengyang, Shouzhou, Anhui Province that Wang Jiusi brought back. The "Second Sister Baby" series is actually a Taoist tune from Hu County. "King Wen Visits the Wise" is a duet of woodcutter songs and folk songs. Later, "I don't see the people coming and going on the road, but I don't see my close friend" (see "Liang Qiuyan"), which is directly a love song. Therefore, most of the tunes and content of the tunes were developed from the Northern Songs of the Yuan and Ming Dynasties, which absorbed folk songs, pastoral songs, woodcutter songs, and children's songs from Mei County and Hu County. The repertoire was excavated and compiled in the 1950s and early 1960s, and there are more than 500 repertoires. The main ones include "Zhang Lian Selling Cloth", "Fifteen Birds", "The Stove King", "Little Sister", "The Sage at the Gate", "Dirty Wife", "Daughter-in-Law", "Old and Young Exchange", "An An Sending Rice", "Fireworks Champion" and "Nun" There are more than 200 books including "Sifan" and "Second Sister's Baby Is Sick". The plays adapted from romance novels include "The Ancient City Meeting", "Interviewing the White Robe", "The Examination of Su San", "The Flower Pavilion Party", "Du Shiniang", "Tattooing to Encourage Learning", "The Royal Aunt Becomes a Monk", "Putting Meal", "Agarwood Saves the Mother", "Three Sedan Chairs", "Three Scholars", "Flame Colt", "Borrowing Arrows from Straw Boats", "Qingfeng Pavilion", "Visiting the Martial Temple", "Sending Sons on Tongtai", "Pan Jinlian Making Hairpins", "Butterfly Cup", "Stringing Dragon Beads" and "Eight Pieces of Clothes" "wait. The traditional plays compiled and adapted after the founding of the People's Republic of China include "Zhang Lian Selling Cloth", "Du Shiniang", "Qujiang Singer", "The Golden Bowl Hairpin", "The Butcher's Number One Scholar", etc. The modern plays created and performed during the Yan'an period and after the founding of the People's Republic of China include "Twelve Hands" Sickle", "Everyone Likes", "Couple Literacy". (See page 311 of "Shaanxi Provincial Culture and Art Chronicle"), especially the lyrics of "Women's Childbirth Song" composed by Liu Yuxiu of Han Wuqiao in Qindu Town, Hu County in 1958, which is still sung today.