Jingyun Dagu is mainly popular in Beijing, Tianjin, North China and Northeast China. In history, it has been called "Jingyin Dagu" and "Xiaokou Dagu". In the late Qing Dynasty and early Republic of China, drum book artists Hu Jintang (stage name "Hu Shi"), Huo Mingliang, Song Yukun (stage name "Song Wu") and later Liu Baoquan and others reformed the wooden board drum in Hejian, Hebei, adding four hu and pipa to accompany the original three-stringed instrument. At the same time, the Hejian dialect used in singing was changed to Beijing pronunciation, and the pronunciation and articulation skills and some singing styles of Peking Opera were absorbed. The "Qingyin Zidishu" songbook circulated among the children of the Eight Banners in the Qing Dynasty was widely used, thus forming the unique charm of Jingyun Dagu. Jingyun Dagu combines singing and talking, singing with talking, and singing with talking. It is appreciated by both the refined and the popular. The singing style is often used in multiple ways, and the performance focuses on freehand brushwork and vividness. Once it came out, it quickly conquered the audience with its style of combining rigidity and flexibility. In the following decades, this genre of music continued to mature, and important performance schools such as the "Bai School" founded by Bai Yunpeng and the "Luo School" founded by Luo Yusheng (stage name "Xiao Caiwu") appeared one after another. The lyrics of Jingyun Dagu basically use seven-character sentences, and sometimes embedded words, supporting words and parallel sentences are added in the sentences. Each song has about 150 sentences. Its rhyme is based on the thirteen rhymes of Beijing dialect, and most of the singing segments have the same rhyme throughout. The rhymed white pays attention to the tone and charm, half speaking and half singing, and the connection with the singing is very natural. During the performance, one person stands and sings, and beats the drum board to control the rhythm. There are usually three people playing the big three-stringed instrument, four-stringed instrument, and pipa accompaniment beside him, and sometimes the low-stringed instrument is also used. Jingyun Dagu focuses on singing, and the singing style belongs to the board-style, specializing in singing short works. Its repertoire mainly includes more than 100 traditional narrative works such as "Single Sword Meeting", "Battle in Changsha", "Baidicheng", "Stab Tang Qin", "Visiting Qingwen", "Daiyu Burning Manuscripts", and "Returning to the Boat in the Wind and Rain", as well as newly compiled modern and historical works. After the founding of New China, Jingyun Drum has made great progress and cultivated generations of young performers. However, this type of music is now in a state of lack of successors and urgently needs to be protected and passed on.