Nanyin rap is a form of rap sung in Guangzhou dialect. It is also a common tune in Cantonese opera and Cantonese opera. Some say that it was developed on the basis of wooden fish and dragon boat, absorbing the tunes of Yangzhou tanci (Wusheng) and other types of music. In order to distinguish it from Wusheng outside Guangdong, it is named "Nanyin" (Southern Tune). Nanyin rap is the third batch of national intangible cultural heritage of the Macao Special Administrative Region. Nanyin is generally divided into two categories: "ground water Nanyin" and "stage Nanyin". "Ground water" is a divination term. Guangdong calls blind people "Ashui", so the Nanyin sung by blind people is called "ground water Nanyin". Ground water Nanyin was absorbed into Cantonese opera and Cantonese opera music, becoming "stage Nanyin" or "Cantonese opera Nanyin". Ground water Nanyin In the early 20th century, the main performance venues of Nanyin were private residences, restaurants, streets and brothels. Most of the singers were blind artists, also known as blind teachers, blind girls or teacher's wives. Around the beginning of the 20th century, Dishui Nanyin was absorbed into Cantonese opera and Cantonese opera music, becoming "opera Nanyin" and "Cantonese opera Nanyin". Traditional Dishui Nanyin had almost become extinct in the late 1970s, while opera Nanyin and Cantonese opera Nanyin are still used by composers. Nanyin instruments include Qinqin, Yehu, Xiao, Sanxian, Zheng, etc. The commonly used accompaniment instruments for Dishui Nanyin include Zheng, Xiao, Yehu, Qinqin, Yangqin and clappers, and the number of accompaniment instruments is usually no more than five. Nanyin is more musical than wooden fish and dragon boat, so it has many opportunities to appear on the stage as an independent genre. Nanyin has very strict requirements on sentence structure and rhyme. It has accompaniment, quick beats and interlude music. The melody is graceful and beautiful, with a strong local flavor of the south. The early sung scope of Nanyin was mostly among literati and scholars, and traditional works were mostly works of spring sorrow and resentment.