Sichuan Qingyin, formerly known as singing pipa and singing moon guitar, is one of the Han operas in Sichuan Province. In the 1930s, Qingyin song concerts or improvement associations were established in Chengdu and Chongqing, and they were named Qingyin. Sichuan Qingyin originated from the folk songs of the Ming and Qing dynasties. It was very popular during the Qianlong and Jiaqing years of the Qing Dynasty. It was centered in Luzhou and Xufu (now Yibin), and spread throughout towns and villages, with a large number of listeners. Historical Origin Sichuan Qingyin, whose historical origins can be traced back to the Song, Yuan and Ming dynasties, originated from the miscellaneous songs, tunes, ditties and opera tunes of Saibei and Jiangnan, and was derived from the local Tu Ge and Li Tunes of Bayu and Sichuan, and had the basic form of early Qingyin lyrics and tunes. It developed from folk songs and ditties during the Qianlong period of the Qing Dynasty. At the end of the 19th century, in the late Qing Dynasty, Chongqing was opened as a port, and the singing girls on merchant ships entering Chongqing and Sichuan from the middle and lower reaches of the Yangtze River sang ditties. The literary, business and official families wrote lyrics and composed music, and the folk art form of singing ditties and singing moon guitar gradually matured. In the 1930s and 1940s, Sichuan Qingyin was almost the "most popular song" at that time. "Even in the 1950s and 1960s, Qingyin was the main song for every cultural performance in Chongqing, with more than 500 performances in half a year. It was called "singing ditties" and "singing minor tunes" in the early days. Because the artists played the moon guitar or pipa during the performance, it was called "singing the moon guitar" or "singing the pipa". It was named "Sichuan Qingyin" after the 1950s. It is sung in Sichuan dialect and is popular in cities and rural areas centered on Chengdu, as well as water and land docks along the Yangtze River. Sichuan Qingyin developed from the popular ditties of the Ming and Qing dynasties and Sichuan folk songs. The music is very rich, with more than 100 tunes. Such as [Zhao Diao], [Beigong Diao], [Manjianghong], [Dazaogan Diao], [Matou Diao], [Dieduanqiao], [Xiaotaohong], [Yinniusi], [Mei The structure of musical singing is divided into two categories: qupai and banqiang. Banqiang is further divided into "Han tune" and "Fanxipi". The traditional singing style is sitting singing, that is, one or two eight-immortal tables are placed, the singer sits facing the audience, the main singer is in the middle (mostly female artists), the musicians sit on the left and right of the main singer, the yueqin, pipa or sanxian is on the left, and the bowl qin, erhu or small huqin is on the right. This style is mainly performed in teahouses and bookstores. In addition, there are also street singing or singing in hotels and inns. After the middle of the Qing Dynasty, there were many Sichuan Qingyin singing artists, and the scene of "singing yueqin in the streets and alleys, and teahouses and inns are full of guests" appeared. Wu Haoshan of the Qing Dynasty wrote in his "Chengdu Bamboo Branch Poems": "The famous capital is really prosperous, not only the smoke from cooking in 200,000 households. More than 400 streets are in order, and music is played every night in chaos." It is in such a prosperous situation that Sichuan Qingyin has created generations of famous artists. The singing form was originally performed by a female actress alone in a teahouse, accompanied by instruments such as pipa, erhu, bamboo drum, sandalwood board, etc. Among them, the bamboo drum is a unique accompaniment instrument of Sichuan Qingyin. During the performance, the female actress sings alone, hitting the bamboo drum with her right hand and the sandalwood board with her left hand, singing and beating by herself. After the founding of the People's Republic of China, Sichuan Qingyin entered the theater stage, changed from sitting singing to standing singing, and had duets, chorus or solo with accompaniment. During the performance, the actor beats the sandalwood board with his left hand and knocks the bamboo drum with chopsticks with his right hand to control the rhythm and singing speed. The accompanying instruments include sandalwood board, bamboo drum, pipa, moon guitar, erhu, gaohu, etc. In recent years, long pieces such as "White Lotus Heroine" have been sung. Embedded confessions, verses and prose are sung alternately. Sichuan Qingyin is divided into Shanghe School and Xiahe School. Chengdu's "provincial tune" is Shanghe School, whose singing is light, delicate and mellow. In the singing, there is a unique style of jumping continuous staccato singing-"haha tune". In the past, the singing form of Sichuan Qingyin was mainly female actors, supplemented by male actors. They sang while sitting but did not perform, and the singers played their own instruments. Generally, there are three to five people in a class, formerly known as the "Haihu Class". Sichuan Qingyin has a rich repertoire. At the end of the Qing Dynasty, there were more than 400 songs. In recent years, about 200 song books have been collected. Most of the content is songs of resentment and thoughts, and there are also many lyrics and songs for the occasion or chanting legends and stories of characters in novels. Sichuan Qingyin music has a very rich tune, and the structural forms include monomers, linked songs and board cavity. In terms of runners, the "haha cavity" is used. ” and “tongue tip playing sound” are its outstanding features. There are more than 600 traditional repertoires, including those adapted from novels and operas such as "The Nun Goes Down the Mountain", "Xiao Qiao Cries for Her Husband", "Broken Bridge", "Thinking of the Ordinary Man", those praising historical figures such as "Mulan" and "Zhaojun Goes to the Frontier", those absorbing folk songs from all over the country such as "Flying a Kite", "Little Husband", "Golden Plum Blossom", etc., and new repertoires reflecting real life and revolutionary historical themes such as "Huang Jiguang", "Ding Youjun", "Jiang Jie Goes to Huaying", "Delivering Public Grain", "Little Accountant", and "Going to the Flower Fair". Famous Qingyin artists include Chen Qiongrui, Li Yueqiu, Huang Dejun, Cheng Yongling, etc. Musical Tunes Qingyin's musical tunes are divided into three categories: major, tune, and minor. There are 8 major tunes, namely hook tune, horse head tune, parasitic tune, swing tune, back work tune, moon tune, anti-Xipi tune, and beach huang tune. The tunes are The minor tunes include Half Moon, Flat Plate, Seizing the Child, Duanqiao, Luojiangyuan, etc.; the minor tunes include Fresh Flower Tune, Yu'erlang, Four Seasons Tune, etc. There are three types of music structures: Qupai Liantai, Banshi Variation and Single Song. Chengdu's "provincial tune" is Shanghe School, which has a light, delicate and mellow singing style. In the singing style, there is a unique style of "Haha Tune" with a jumping continuous pause singing method. The famous Qingyin singing artist Li Yueqiu has a deep attainment in "Haha Tune". She has a sweet voice and a gentle and graceful singing style. As early as the 1940s, she was known as "Chengdu Zhou Xuan". Representative repertoires Sichuan Qingyin's traditional repertoire is very rich, including "Zhaojun Going Out of the Frontier", "Nun Going Down the Mountain", "Broken Bridge", "Daiyu Burning Manuscripts", "Flying Kites" and modern repertoires include "Cuckoo Cooing", "June 6", "Autumn River", "Embroidered Lotus", "Huang Jiguang", "Going to the Flower Fair", etc. The inheritance of Sichuan Qingyin faces a huge survival crisis, and there is a long way to go. Only through the practice of skills, the imparting of experience, the summary of theories and the improvement of science can the successors of Sichuan Qingyin in Chongqing be effectively protected, inherited and developed. Only by deepening practice, accumulating and summarizing, reforming and innovating based on the height of intangible cultural heritage can the effectiveness and diversity of Sichuan Qingyin inheritance be achieved, and new ways can be opened up for the inheritance and protection of Sichuan Qingyin, so that precious traditional art can be passed down from generation to generation. On June 7, 2008, the "Sichuan Qingyin" applied by the Chengdu Art Theater of Sichuan Province was approved by the State Council to be included in the second batch of national intangible cultural heritage list.