Qinqiang is the main opera in Xianyang. It is also known as Luantan, Luanluozi and Bangziqiang. It belongs to the Banqiang opera with a musical structure of Banshi variation. Qinqiang is based on the Guanzhong dialect, especially the language pronunciation of the counties in the Jinghe and Weihe River basins as "standard pronunciation". Zhu Quan's "Taihe Zhengyin Pu" in the Ming Dynasty recorded: "The leader of the thirty-six people who are good at singing in the Yuan Dynasty is Lu Gang, a native of Xianyang. His voice is Gong and Shang, like the roar of a divine tiger, majestic and strong, and he is a hero at that time." The actors' pronunciation is based on the Jingyang and Sanyuan languages as the "standard". Historical records show that Qinqiang was popular in Xianyang in the middle of the Ming Dynasty. In the fifth year of Emperor Wuzong's Zhengde reign (1510), Wugong Kanghai formed a troupe to sing "Kangwangqiang". During the reign of Emperor Kangxi of the Qing Dynasty (1662-1722), there were many Qinqiang troupes in Xianyang, such as Baofu Troupe, Jiangle Troupe, Huaqing Troupe, Shuangcai Troupe, etc. During the Qianlong period (1736-1795), Yan Changming (from Jiangsu), a scholar of the Hanlin Academy, traveled to Shaanxi and loved Qinqiang. His book Qinyun Xieying Xiaopu recorded that there were 36 Qinqiang troupes in Guanzhong, with Liquan, Zhouzhi, Weinan and Dali as the four major schools. Qinqiang troupes were not only loved by local people, but also welcomed in Beijing. They were called "expressing emotions unintentionally" and "excelling in dumb humor". At this time, actors Bai Shuang'er, Wandouhua and Jin Zhuizi performed in Xi'an with the Jingyang Jinxiu troupe. In 1912, Li Tongxuan, Sun Renyu, Fan Zidong and Gao Peizhi, influenced by the Revolution of 1911, founded the "Yisu Society" and wrote plays such as "Yi Zi Yu". Taking the Yisu Society as an example, the counties of Xianyang successively established performance groups such as the Gaoxing Group (Changwu), the Majia Group (Wugong), the Qingui Group (Liquan), the Yimin Group (Xianyang), the Xiaozhong Group (Qianxian), the Xinzhong Group, and the Mingzheng Group (Sanyuan). In 1937, the Shaanxi Provincial Committee of the Communist Party of China (stationed in Yunyang Town, Jingyang County) and the Guanzhong Working Committee (stationed in Majiabao, Xunyi County) successively established the July Troupe, the Guanzhong Troupe, and the Guanjing Troupe, and created and performed a large number of new plays such as "The Great Deception", "New Teaching Sons", and "Shiliyuan", with innovations in singing, performance, stage design, and costumes. After the founding of the People's Republic of China, there were 14 professional troupes in Xianyang, which created a large number of new plays and produced many well-known actors, such as Guo Mingxia, Wang Mailan, Shu Manli, Ma Jinxian, Zhao Bin, Wang Yimin, Zan Jinxiang, and newcomers such as Zhao Gaiqin, Wang Ping, Bai Ping, Feng Wugeng, and Wang Yaping. These actors have won awards in the Northwest, provincial and municipal performance competitions. According to statistics in 1989, Xianyang City has 3 municipal opera troupes and 11 county Qinqiang opera troupes, with a total of more than 1,100 performers and staff. There are more than 30 artistic creators, and more than 100 plays and excerpts have been performed. Xianyang Qinqiang singing style is divided into two parts: banshi and caiqiang. Each part is composed of two vocal systems: "bitter tone" and "happy tone" (also known as flower tone). The bitter tone is the most distinctive singing style of Qinqiang that distinguishes it from other operas. It is passionate, tragic, deep and high-pitched when singing, expressing feelings of grief, hatred, nostalgia and desolation. The happy tone is cheerful, bright and strong, and is good at expressing joy and happiness. Qinqiang banshi is divided into four types: one board and three eyes, one board and one eye, with a board and no eyes, and no board and no eyes. Banqiang is called slow, head, one-hammer, Yinsi, two-six, two-hammer, belt, sharp, rolling, two-guide, double-hammer, etc. In general, it is called the six major board heads, slow, belt, pad, two-guide and rolling. Qinqiang tunes are divided into six types: string, percussion, suona, shengguan, sea flute and suite. In the early days, the band was divided into two parts, civil and military, with 6 people. After the founding of the People's Republic of China, due to the development of opera, the number of bands increased, and the civil music field added yangqin, erhu, pipa, jinghu, violin, clarinet, diaochai, etc., making the traditional range wider. The city-level band has increased by nearly 20 people, and the county-level troupe has more than 10 people. Qinqiang roles are divided into four major lines: Sheng, Dan, Jing and Chou. As long as a troupe has "four beams and four pillars", the first and second actors, it is a strong troupe. In the late Qing Dynasty and early Republic of China, Qinqiang absorbed the strengths of other operas, the troupes expanded, and the number of actors increased. There were four major roles and thirteen roles, namely four male roles, six female roles, two female roles, and one male role, commonly known as the thirteen-headed net. The quality of actors requires the mastery of the four skills and five methods of singing, reciting, acting, and fighting. The performance of actors starts from the plot and pays great attention to personal skills. The fire-blowing performance in "Visiting West Lake" is a unique skill of the female role; the whip-swinging technique in "Whipping Mrs. Yin" is a special skill of the male role; the axe of the female role, the "egg-gripping rice" of the male role, the swinging of the hat wings, the shaking of the beard, the lifting of the robe and the sleeves of the male role are all praised by the world.