Tongzhou Bangzi is one of the Han operas in Shaanxi Province. It was formed in dozens of counties in the eastern part of Guanzhong, Shaanxi Province, centered on Dali County (the old Tongzhou Prefecture). Because the accompaniment instrument uses jujube wood bangzi to hit the festival, making a "bang, bang" sound, it is called "bang bang" or "bangzi". Later, in order to distinguish it from other bangzi operas, it was called "Tongzhou Bangzi". It is generally believed that Tongzhou Bangzi is the old Qinqiang. After the formation of the Central Qinqiang (i.e. Xi'an Luantan) centered on Xi'an, it was called "Eastern Qinqiang". Other provinces called it "Western Qinqiang", "Western Tune", "Shaanxi Bangzi", "Shanxi Bangzi", etc. Tongzhou Bangzi is an intangible cultural heritage protection project in Shaanxi Province. Dali County was called Tongzhou in ancient times. It has a long history, splendid culture and rich heritage. There are more than 20 historical and cultural sites in the territory, including the "Dali Ape Man Site", "Shayuan Cultural Site", "Wei Great Wall Site", "Eight Fish Stone Tombs", Fengtu Yicang, Daici Cenlou, etc.: Tongzhou Bangzi, Wanwanqiang and other opera varieties, face flowers, and clay figurine sculptures are famous both at home and abroad. Tongzhou Bangzi, which has a long history and far-reaching influence, is regarded as the ancestor of Bangziqiang. Tongzhou Bangzi is centered on Tongzhou (now Dali) and Chaoyi, and is popular in more than 10 counties in Dongfu, Guanzhong. It is popular in Suide in the north, Tongguan in the east, Luonan in the south, and Weinan in the west. It has also spread to Gansu, Ningxia, Qinghai, Xinjiang, Beijing, Shanxi, Henan, Hubei, Hunan, Jiangsu and Zhejiang. Dali County, with its outstanding people and beautiful scenery, is a famous hometown of music and drama in China. There is the world-renowned "Shayuan Cultural Site" of the Mesolithic Age, which shows that it was one of the central areas of human activities more than 10,000 years ago. According to Lü Buwei's "Lüshi Chunqiu Yinchu", in 1534 BC, "Yin Zhengjia moved to Xihe (now Dali County), and actually started to create Xiyin. The eldest prince inherited this music and lived in Xishan. Qin Mugong learned the style from there and actually started to create Qinyin." This shows that the Qinyin, Qinfeng, and Qinsheng, which developed on the basis of Xiyin, originally originated in Dali, Shaanxi. From the ancient "Zhengsheng" of the Spring and Autumn Period, the "Three Auxiliary" (now Dali, Fufeng, and Chang'an) in the late Qin and early Han dynasties, and the "Donghai Huanggong" compiled and performed by the people, which is generally considered by drama historians to be the first Chinese drama "角ｄｉ戏", to the Qin vocal dance and acrobatics that were always popular in the Wei, Jin and Six Dynasties, the "song and dance drama" and "canjun drama" in the Tang Dynasty, and the evolution and prosperity of opera art, as well as the joining of court artists from the Han Dynasty after the Anshi Rebellion, from the "Daici Cenlou" in the Song Dynasty, which had a landmark script, to the conditions for the flourishing of opera activities, to the "noisy community drums and radiating smoke" in the Yuan Dynasty, to the passionate and high-pitched Tongzhou Bangzi music scores in the Ming Dynasty, which led to the rise of the "Huabu" in the Ming and Qing Dynasties and the prosperity of Bangzi opera genres across the country, as well as the evolution and growth of the gentle and melodious Wanwanqiang in the same area, all show that the Dali area has a profound historical and cultural accumulation. The Shunzhi, Kangxi and Yongzheng reigns of the Qing Dynasty were the heyday of Tongzhou Bangzi. The art continued to mature and improve, and the singing styles also had the distinction between the quick, slow, scattered and rolling styles, so that Bangzi style became a major drama in Beijing, and with its twists and turns, high-pitched tunes and refreshing performances, it overwhelmed the Kun and Ge styles. According to the "Dali County Opera Records", Wei Changsheng, a famous Tongzhou Bangzi performing artist who had studied in Dali, improved and enhanced Tongzhou Bangzi in terms of makeup, performance and vocal style. From 1774 to 1780, he went to Beijing three times to perform. "One performance of "Rolling Tower" was famous in the capital, and the whole country was crazy. The number of spectators increased by more than a thousand every day, and the six major troupes were overshadowed by it, and the literati were intoxicated by it" (quoted from "Yanlan Xiaopu"). During the Daoguang and Xianfeng years of the Qing Dynasty, Tongzhou Bangzi was extremely popular in the court and among the people. There were thirty or forty troupes in Dongfu, and the famous ones were the four major troupes and eight small troupes. The artists even raised funds to build the Liyuan Guild Hall "Zhuangwang Temple". Tongzhou Bangzi has a complete range of roles, including old female roles, flower female roles, main female roles, small female roles, matchmaker female roles, old male roles, beard male roles, young male roles, big male roles, second male roles, and ugly roles, also known as "thirteen-head net". Especially focusing on Hualian, beard male roles, main female roles and martial male roles, it is called "four beams and four pillars", and is good at Zhengdan, old female roles, old male roles, Hualian and martial male roles, with both civil and military skills, and most of the robe and belt plays and armor plays. Such as "Shifokou", "Tieguantu", "Banlongju", etc. "Po Ningguo" is a special play for Jingxing. The so-called "four reds plus one black must be "Po Ningguo"" is the summary of the characteristics of this play by the masses. The performance of Tongzhou Bangzi focuses on the use of stunts and special skills, such as feather sweeping lantern flowers, bowl hitting bowl, three-section stick, hitting flail, whip sweeping lantern flowers, fire-breathing, etc. The singing of Tongzhou Bangzi is relatively short, which shows the beauty of "complex sound and exciting" and the strength of the ancient Qin style. The gongs and drums used in Tongzhou Bangzi alone include the opening gongs and drums to urge the audience to enter the venue, the action gongs and drums used for the actors' "walking the stunts" and "starting the fight", and the brand gongs and drums related to the suona tunes. The score of Tongzhou Bangzi uses gongche notation. The basic singing part is mainly in the zhi mode, and there is also a gong mode. Its scale is a seven-tone scale, with many jumps and flash boards. The whole music style is high-pitched, exciting, tragic and rough. In order to entertain, the artists even sing some Kunqu tunes during the performance. Tongzhou Bangzi has many tunes, and there are as many as 40 to 50 commonly used ones. The tune structure is generally 4/4 and 2/4 beats, and there are also scattered forms. Commonly used tunes include Xiangqinqin, Yinniusi, Dianjiang, Dakaimen, Chaofeng, Shiliuhua, Chaotianzi, Laochuiqiang, Ma Daoren, Jiangjunling, etc. The main singing styles of Tongzhou Bangzi are [erliuban] [manban] [liushuiban] (actually with a board) [erdaoban] [diaoban] [danban] [gunban]. The two tuning systems of bitter and happy tones are used alternately (only the rolling board has bitter tones). Compared with Qinqiang, there is another vocal style called [caiqiang] (sung in falsetto), which is a major feature of the play. There are certain techniques for starting, turning, and dropping each singing style, such as leaving the board (method), aligning the board (method), smashing the board (method), and sending the board (method) when dropping the board. The lyrics are generally seven-character sentences and ten-character sentences, and there are also variant forms or long and short sentences. While Tongzhou Bangzi is mainly based on the Qinqiang vocal melody, it still absorbs some miscellaneous tunes in the singing music, such as [Luoluo tune] [minor tune] [dinggang tune] [Wang Po scolds chicken], etc. Traditional repertoires include "Po Ning", "Yuanmen Zhan Zi", "Lintong Mountain", "Three Duimian", "Huang Bi Gong", "Gu Gun Feng Liu", "Shifokou", "Three Qi Zhou Yu", "Meng Liang Moves Generals", etc. Hundreds of them. Tongzhou Bangzi singing and interludes (opera terms) are concise and short, and the dragging tunes are gentle and pleasant. Except for the sharp board, the general board has the difference between happy and crying sounds (hard and soft sounds), and the transition between happy and crying sounds is natural and smooth. The repertoire is good at Sheng and Jing, and there are special Danjiao singing tunes: Ma Xiedi, Shisanqiang, Yan'er Fei, Sandaoqiang, Kuqiangci, Kuzhongle, etc. The "gong and drum classics" of Tongzhou Bangzi are basically similar to the Tong and Chao Dengying (Wanwanqiang) currently performed, and their names are basically the same. The accompaniment of Tongzhou Bangzi is composed of the Wenchang (national orchestra) instruments and the Wuchang (gong and drum) instruments; the characteristic instrument is the "two strings". The Wenchang instruments are mainly two-stringed, supplemented by amber (moon guitar), banhu, erhu, suona, sanxian, pipa, flute, pipe, sea flute, sheng, etc. Wuchang is a percussion instrument, mainly including teeth, board drum, palm drum, hall drum, bangzi, hand gong, cloud gong, big gong, cymbals, and hinges. Tongzhou Bangzi has a rich variety of tunes, including more than 30 string music tunes, more than 50 suona tunes, and nearly 20 pipe music. There are dozens of gong and drum board heads and pre- and interlude gong and drum sections such as [Wu Ju Dian Jiang] and [Da Bao Zi Tou]. It is an intangible cultural heritage protection project in Shaanxi Province.