{"id":12416,"date":"2019-11-21T16:24:37","date_gmt":"2019-11-21T16:24:37","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/shandong-qinshu-shan-dong-qin-shu\/"},"modified":"2019-11-21T16:24:37","modified_gmt":"2019-11-21T16:24:37","slug":"shandong-qinshu-shan-dong-qin-shu","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/my\/shandong-qinshu-shan-dong-qin-shu\/","title":{"rendered":"Shandong Qinshu \u5c71\u4e1c\u7434\u4e66"},"content":{"rendered":"
\u65f6\u95f4\uff1a2006\u5e74
Time: 2006
\u7c7b\u522b\uff1a\u66f2\u827a
Category: Recitative, story-telling
\u5730\u533a\uff1a\u5c71\u4e1c
Region: Shandong Province
\u7f16\u53f7\uff1a\u2164-21
Ref. No.: V-21
\u7533\u62a5\u5730\u533a\u6216\u5355\u4f4d\uff1a\u5c71\u4e1c\u7701
Nominating unit[s]: Shandong Province
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Shandong Qinshu is a significant local vocal art form in Shandong Province, also known as "Dulcimer-singing" or "Shandong Dulcimer". It was originated from the "Banker Game" (or "Wan Ju"), a self-entertaining folk vocal art form thriving in Heze (ancient Caozhou), the southwest of Shandong Province in the mid-Ming Dynasty. By the mid-Qing Dynasty, it was performed with instruments including dulcimer (or "Hu Die Qin"), Si Hu (a four-stringed bowed instrument), Chinese zither, Pi Pa(a plucked string instrument with a fretted fingerboard), Jian Ban (a percussion instrument with two long bamboo or wood flakes) and plate instead of guqin (a seven-stringed plucked instrument) and Chinese zither. During such a show, performers, with instruments in their hands, sit down in different circles according to the type of instrument. The show is dominated by singing, interposed with mo<\/em>nologues or dialogues from time to time.
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Shandong Qinshu is performed in the Shandong dialect. Born out of "a small folk ballad" in chorus, it has a great variety of arias and tunes, including over 200 names of the tunes (Qupai). When it evolved into Qinshu with talking and singing, used tunes were gradually concentrated, "old six tunes" were most common, namely upper tune, Fengyang folk song, Dieduan Bridge, Hankou tune, Duo Zi Ban, and the fall of the plum blossoms. Fengyang folk song and Duo Zi Ban were grown to be major tunes in late Qing Dynasty and early Republic of China with fewer ballads to accomplish a music system co<\/em>nsisting of talking and singing. Medium and long-length stories were extensively told on stage with ballads singing.
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Shandong Qinshu is popular along three belts (south, north and east), and each belt is distinguished by its representative artisans and genre. The south line is the earliest one prevailing in the southwest of Shandong Province primarily represented by Ru Xingli and "Ru School" created by the former. It is not necessary to be melismatic, but to use the tunes in a prudent manner and vocalize articulately. Repertories are mainly inclined to be cynical; the north line is revolved around Jinan, and widely popular in the northwest of Shandong Province chiefly represented by Deng Jiuru and "Deng School" created by him. Dialects and slang are often used in the performance featuring the simplicity, humor, closeness to the life and profundity. The east line is centered on Guangrao and Boxing and spreading across Jiaodong Peninsula principally represented by the couple of Shang Yexing and Guan Yunxia and "Shang School" created by them. It sounds beautifully, pleasantly and variedly.
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There are many traditio<\/em>nal typical shows, including long-length o<\/em>nes such as the Legend of White Snake (or Bai She Zhuan), the Autumn River (or Qiu Jiang), copied Yang Warriors (or Yang Jia Jiang), Cases by Judge Bao Zheng (or Bao Gong An), Great Red Cloak (or Da Hong Pao), 70 to 80 medium-length o<\/em>nes such as Wang Dingbao Pawning the Dowry of His Fiancée (or Wang Ding Bao Jie Dang), Birthday Co<\/em>ngratulations for Three Times (or San Shang Shou), the Marriage Story between the Butterfly lovers (or Liang Zhu Yin Yuan Ji), and short-length o<\/em>nes that are mainly classic works left from small ballads in the early period.
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Since the founding of the People’s Republic of China, Shandong Qinshu has made new headways, and expanded to outside Shandong Province. Traditio<\/em>nal excellent programs after the revision and organizing, such as Liang Shanbo and Zhu Yingtai Go Downhill (or Liang Zhu Xia Shan), the Water Overflowed the Golden Mountain (or Shui Man Jin Shan), new-created medium-length story, Seizing the Governing Power (or Duo Yin), and short stories such as Ten Women Compliment Their Husbands (or Shi Nv Kua Fu), Girls’ Wish, Dalin Returning Home (or Da Lin Huan Jia), the Curium Porcelain Basin (or Ju Ci Pen) all have made a crucial effect.
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Shandong Qinshu enjoys a profound culture foundation. It o<\/em>nce exerted a material impact on the birth and growth of Lv Opera. It is the direct parent of Lv Opera of Shandong Province, with unique historical and cultural values. Its development is now encountering unprecedented difficulties, therefore, it is badly in need of being protected and supported.
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Inheritor(s):
\u674e\u6e58\u4e91 \u59da\u5fe0\u8d24
Li Xiangyun and Yao Zhongxian
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