Qinghai Pingxian, also known as Xining Fuzi, is one of the local operas in Qinghai. It is popular in agricultural areas such as Xining, Huangzhong, Datong, and Huzhu. The tunes are known as eighteen different tunes and twenty-four tunes. The instrument of Pingxian is mainly three-stringed, accompanied by Yueqin, Pipa, Yangqin, flute, etc. The singer holds chopsticks in one hand and holds a porcelain plate in the other hand to tap each other to control the rhythm. The tune is beautiful and lyrical, gentle and graceful, with strong local characteristics. Qinghai song. It is spread in Xining, Datong, Huangzhong, Huangyuan, Huzhu, and Ledu in Qinghai Province. There are different opinions on its historical evolution. From the perspective of the tune, it has a certain origin relationship with Lanzhou Guzi and Hezhou Pingxian in Gansu Province. It is a form of linked song, with more than 60 tunes, of which nearly half were introduced from Jiangsu, Zhejiang and other places in the Ming and Qing Dynasties, and the others are folk songs and opera tunes circulated in the northwest region. In the old days, there was a saying that there were "eighteen miscellaneous tunes and twenty-four rhymes", but in fact, there were more than that. Its music singing is divided into: Fuzi, which is composed of three tunes, Qiancha, Fuzi, and Houcha, and is accompanied by flat-tune strings, and the three strings are tuned to mi-la-sol; Beigong, which uses more tunes, and the commonly used ones are Fuzi, Dazi, Liqing, Taipingnian, Yinniusi, etc., and are accompanied by flat-tune strings; Xiabeigong, which uses more tunes, and is accompanied by hook-tune strings, and the three strings are tuned to mi-la-re; Xiaodian, the tunes include 珰韵, 反珰韵, 反离情, 兰城, etc., and are accompanied by flat-tune strings; Zaqiang, which is interspersed in various tunes. The above tunes are mostly Qiancha and Houcha as the beginning and end of the tunes, and the singing is gentle and elegant. Traditional repertoires are mostly seven-character sentences and ten-character rhymes, with a wide range of content, mostly drawn from Yuan and Ming dramas and folk legends, stories and historical epics. Pingxian has no professional artists, and all are performed by amateurs, commonly known as "good families". In their spare time, they go to teahouses, wine shops or friends' homes to entertain themselves, or sing at weddings, funerals, and banquets at the invitation of relatives and friends. Early experimental plays include "Autumn River" and "Yingtai's Resistance to Marriage". Modern plays adapted, created and transplanted include "Autumn River", "Blood Sea Rage", "Mountain Village Wind and Thunder", "Xiangyangchuan" and more than 20 other plays. Representative plays include "The Civet Cat Substitutes for the Prince", "Gadan Monk", "Mid-Autumn Moon" and so on. After liberation, with the care and strong support of the Party and the government, traditional repertoires were collected and sorted, and Pingxian opera singing groups were organized. Pingxian music and singing art have also been developed and improved. It has become a local song that is appreciated by both the elite and the masses, adding a fresh flower to my country's drama stage, ending the history of Qinghai without local operas. It is also called "Pingqu", "Ningquzi" or "Xining Fuzi". It is popular in Xining, Datong, Huangzhong, Huangyuan, Huzhu and Ledu in Qinghai Province. There are many different opinions about its historical origins. From the perspective of the melody, some people think that it may have a certain relationship with Lanzhou drum and Hezhou Pingxian. It is a form of folk art singing with linked songs. The singing tunes are rich and varied. There is a saying of "eighteen miscellaneous tunes and twenty-four tunes", including "Fuzi", "Beigong", "Miscellaneous tunes" and "Xiaodian". Nearly half of them were introduced from Jiangsu, Zhejiang and other places in the Ming and Qing dynasties, and the others evolved from folk songs and opera tunes circulated in the northwest region. The most commonly used tunes are [Qiancha], [Houcha], [Fuzi], [Liqing], [Fanliqing], [Taipingnian], [Fengyangge], [Yinniusi], [Zhacaitai], [Kuadiao], [Lancheng], etc. Qinghai Pingxian adopts the form of sitting singing, mostly with one person singing. When the plot requires, there are duets and choruses. Accompaniment instruments include sanxian, yangqin, pipa, banhu, yueqin, flute, etc. The percussion instrument is "yue'er" (a five-inch porcelain plate), which is struck with chopsticks. The simple performance form is that the actor strikes "yue'er" and sings, and another person accompanies with sanxian. The repertoire is mainly historical stories, such as "Hearing Thunder and Losing Chopsticks", "Ancient City Gathering", "Palace Gate Hanging Belt", etc. There are also some myths and folk legends, such as "The Legend of the White Snake" and "Sacrificing Oneself on the Cliff". In addition, there are some short pieces such as chanting events, describing scenes, expressing emotions and celebrating celebrations. After the founding of the People's Republic of China, some works reflecting real life were created and sung. Qinghai Pingxian Opera is a new local opera born after the founding of the People's Republic of China; it was developed on the basis of sitting and singing quyi Pingxian (originally known as "Xining Quzi" and "Xining Fuzi", which evolved from folk songs and popular songs introduced to Qinghai by Beijing and Tianjin girls about a hundred years ago). Over the past 20 years, Qinghai Pingxian Opera has transplanted, sorted, adapted and created more than 30 large and small plays. The main characteristics of Pingxian Opera art are its euphemistic music and localized recitation. It is mainly based on Xining Mandarin, but the rhyme of Sheng and Dan absorbs the recitation of Peking Opera and Qinqiang. In terms of performance art, it is greatly influenced by Peking Opera and Qinqiang. The roles are divided into Sheng, Dan, Jing and Chou, but the voices cannot be completely separated, and can only be divided by the pitch of men and women. Qinghai Pingxian is named because it uses fixed-tone singing and all are flat tunes. It has a variety of musical tunes, and there are 24 tunes and 18 miscellaneous tunes. The main singing tunes are "Bei Gong", "Fu Zi" and "Xiaodiao". It is popular in the agricultural areas of eastern Qinghai. Pingxian is a folk sitting singing art popular in the Hehuang area centered on Xining. It is one of the local tunes in Qinghai. It was developed from the sitting singing music with a tune-linked set structure. It is named because the tuning format of its main accompaniment instrument Sanxian belongs to the "Pingxian" in the folk tuning method. Pingxian's traditional repertoires are mostly 7-word and 10-word rhymes, rich in content, mostly drawn from folk legends and stories. Its singing style is brisk and its tunes are beautiful. Over the past 20 years, Qinghai Pingxian Opera has transplanted, sorted, adapted and created more than 30 large and small repertoires. The main characteristics of Pingxian Opera art are its euphemistic music and localized recitation. It is mainly based on Xining Mandarin, but the rhymed recitation of Sheng and Dan absorbs the recitation of Peking Opera and Qinqiang. In terms of performing arts, it is greatly influenced by Peking Opera and Qinqiang. The roles are divided into Sheng, Dan, Jing and Chou, but the voices cannot be clearly separated, and can only be divided by the pitch of men and women. Qinghai Pingxian is named because it uses fixed-tone singing and all are flat tunes. It has a variety of music tunes, and it is known as 24 tunes and 18 miscellaneous tunes. The main singing tunes are "Bei Gong", "Fu Zi" and "Xiaodiao". It is popular in the agricultural areas of eastern Qinghai. In the past, Pingxian singing was performed by non-professionals, mostly amateurs who went to teahouses and pubs to entertain themselves, or sang at funerals or wedding banquets, commonly known as "good families". Under long-term artistic practice, the singing art of Pingxian opera singing groups has gradually developed and improved. Qinghai Pingxian Opera is one of the local operas mainly popular in Qinghai Province. It is popular in Xining and various towns in the eastern agricultural area of Qinghai Province. Qinghai Pingxian Opera developed from the sitting singing opera Pingxian with a qupai linked set structure. The opera Qinghai Pingxian is also known as "Xining Quzi" and "Xining Endowment". Pingxian Opera was gradually developed on this basis. Qinghai Pingxian Opera developed from Pingxian sitting singing opera to the stage into an opera. Before the founding of the People's Republic of China, the masses had moved the sitting singing Pingxian to the stage. Generally, the form is simple, with two people singing with a little performance, and "Ten Miles to Send Off" was performed. In 1954, Zhou Juangu, Wang Shengzhong and Liu Dexia from the Qinghai Provincial Art Troupe (now the Qinghai Provincial National Song and Dance Troupe), in cooperation with Qin Yintang, an old Pingxian artist, adopted the musical singing style of Pingxian sitting opera to stage the short plays "Chen Miaochang Driving the Boat" and "Yingtai Resisting Marriage", which were warmly welcomed by the audience. This was the initial attempt of Pingxian opera. Among the local operas in the mainland, the most influential types of Qinghai Pingxian are Gansu's "Lanzhou Drum" and Beijing's "Bajiao Drum". The musical singing style of "Lanzhou Drum" also belongs to the structure of the qupai linked set, including the tunes such as Fu Fu Qiang, Luojiang Yuan Yin Niusi and Taiping Nian, which are very similar to the tunes of the same name in Qinghai Pingxian, and even their linked set structures are quite consistent. Lanzhou drum is generally composed of three parts: introduction (drum head), set, and coda (drum tail). Qinghai Pingxian is also composed of three parts: introduction (front fork), set, and coda (back fork). Its accompaniment instruments are mainly sanxian, and other instruments are the same. They all use chopsticks to hit the moon (a four-inch porcelain plate) to master the rhythm and focus on the singing of the music. Longshang people generally call Lanzhou's drum and Xining's fu both good music in the music world. This is not only a praise of the beauty and elegance of the lyrics and music, but also shows their close internal connection. The singing form of Qinghai Pingxian is mainly one person hitting the porcelain plate with his hand, narrating and singing in the third person. In the past, there were only male voices. After 1949, there were gradually very few female singers. The accompanying instruments include pipa, sanxian, sine banhu, reverse banhu, yueqin, yangqin, qudi, yueer, etc. After the founding of the People's Republic of China, erhu and cello were added, and sometimes only sanxian was used for accompaniment. In order to maintain the characteristics and flavor of Pingxian music and adapt to the needs of male and female tunes, the banhu and sanxian were modified, the banhu shell was enlarged, the sanxian rod was shortened, and the timbre was more harmonious. There was no percussion instrument in Qinghai Pingxian. After it was put on the stage, Qinqiang gongs and drums were tried, and then Peking opera gongs and drums were used. With reference to the percussion instruments of Qinghai lantern shadow play, a full set of percussion instruments that were more coordinated with Pingxian music in timbre and pitch was created, and various percussion board heads and some drum beats were created according to needs. Pingxian opera had no professional artists at that time. Most of them were played by art friends who gathered together to sing and sing. They sang and enjoyed themselves in teahouses or at home during holidays and spare time, or were invited to help with weddings, birthdays, or wake up the spirits at funerals, etc., so the scope of activities was relatively wide. According to Pingxian artists Chen Houzhai and Wang Shanqing, in the past, Pingxian's "small point" often played "octagonal drums" when singing. To this day, artists still call the forked songs before and after the small point "Beijing fork". The only line or two in its main piece "Drunkenly Beating the Mountain Gate" is "I said the wine seller", and some artists also use Beijing dialect when singing. The "Encyclopedia of China - Opera and Variety Arts" records that "Lanzhou Drum" had artistic exchanges with Beijing's octagonal drum in the late Qing Dynasty and was also influenced by it. The use of the form of Chaqu in Pingxian is not unrelated to the prosperity and spread of Chaqu in Beijing during the Qing Dynasty. The record of "Chaqu" in the "Encyclopedia of China - Opera and Folk Art Volume" is as follows: "Chaqu is the main tune of the octagonal drum and single string of folk art in the Qing Dynasty. It is used as the beginning and end of the melody of the qupai set. It is also a short folk art form that can be sung alone. Chaqu flourished during the Qianlong period of the Qing Dynasty." According to the Qing Dynasty folk song collection "Nishang Xupu", "Chaqu is a folk song popular in the quyi clubs' Dangzi' in Beijing during the Qianlong period. "Dangyun" (called "Dangyun" in Beijing Chaqu) in the Pingxian Xiaodian category is one of the famous Chaqu. The front and back Chaqu heads in Pingxian Xiaodian are also similar to the Chaqu heads of Beijing's single string in terms of melody and tone. According to the above situation, the folk art Pingxian and Lanzhou drum have a close blood relationship, and at the same time were influenced by the Beijing octagonal drum in the late Qing Dynasty. It seems that according to legend, the folk art Pingxian has a close blood relationship with Lanzhou drum, and was also influenced by the Beijing octagonal drum in the late Qing Dynasty. There is a certain basis for the influx of Chinese opera from the inland to Qinghai during the Qing Dynasty. Of course, this is only part of it. In 1961, the Qinghai Pingxian Experimental Troupe was formally formed on the basis of the Pingxian class. After Pingxian was brought to the stage, it inherited and carried forward the characteristics of Pingxian music and the unique form of accompaniment and accompaniment, and drew on the strengths of Northwest operas such as Qinqiang, and divided some of the original Pingxian tunes into two singing methods: happy and sad. At the same time, some tunes were absorbed from Qinghai's "Yuexian", "Xianxiao" and other folk music and minor tunes, enriching the music of Pingxian Opera and adding percussion instruments. In terms of musical structure, it not only maintains the characteristics of the qupai set, but also absorbs the strengths of the board style variation, and develops slow board, fast board, guide board and other board styles. Although the roles of Haipingxian Opera are divided into Sheng, Dan, Jing and Chou, there is no obvious difference in singing style. The performance emphasizes literature over martial arts, and singing is more important than acting. It is suitable for performing lyrical themes. The performance routines of traditional plays mostly absorb the routines of Peking Opera and Qinqiang. Modern dramas, based on traditional performance routines, extract realistic performance movements from life. The stage language is based on the Xining dialect, with a softer tone, and the music melody is more gentle, smooth, and lyrical. Usually in small plays that reflect folk life, the lines of Huadan, Choujiao, Caidan, etc. are all in the Xining dialect, while the lines of Shengxing, Qingyi, Hualian, etc., based on the Xining dialect, absorb the characteristics of Peking Opera and Qinqiang rhymed lines, and are trying to develop rhymed lines with their own characteristics. Pingxian Opera has been enriched and developed in music, and has created other styles such as tight pulling and slow singing and Duoban. It has also made further improvements to the singing and miscellaneous styles of other styles. Excellent actors, For example, Xu Guoqiang (female), who plays the role of a boudoir dan and a qingyi, has a beautiful appearance and a true performance. She has created the images of Chen Miaochang, White Snake and Du Liniang. Zhang Yuefang (female) is good at playing Huadan and modern drama roles. She has a strong sense of life and is dedicated to being vivid. Li Yian, who plays Xiaosheng, has a chic performance and beautiful singing. He has successfully created the roles of Liu Mengmei, Pan Bizheng, Chen Lin and others. The Qinghai Pingxian singing style of Quyi is tuned in Pingdiao (i.e. Xiaogongdiao, equivalent to 1=D) and sung in Pingdiao's natural voice. After it developed into opera, men and women performed on the same stage. Because there was no division of singing styles, they could only use the method of changing the key. Because men find it difficult to sing Xiaogong, sometimes they lower the key to Chizidiao (equivalent to 1=C), while women raise the key to Liuzidiao (equivalent to 1=F) or Zhenggongdiao (equivalent to 1=G). Generally, falsetto and natural voice are used together. The most distinctive feature of singing music is its accompaniment, which is called "La Shaozi". For example, lotus falls, cut flowers, peace years, Fengyang songs, silver buttons, Buddhist chants, gathas, and big characters all have accompaniment, some of which are similar to the accompaniment of Gaoqiang. (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)