Qingjian was named "the hometown of Daoqing" by Shaanxi Province in 2004. Qingjian Daoqing has been circulated among the Han people in the form of square art in northern Shaanxi, and is an intangible cultural heritage protection project in Shaanxi Province. What is Daoqing? According to legend, during the Tang and Song dynasties, Taoism was prevalent in northern Shaanxi. Taoists created music based on Taoism and made a kind of music for promoting Taoist doctrines, called Daoqu, and made corresponding accompaniment instruments such as fishing drums and simple boards. In order to make more people like it, historical stories and fairy tales were compiled into various types of music, which were indeed widely sung by the public. People combined this Daoqu with wine songs, mountain climbing tunes, and crying dead tunes, and gradually formed the later "Daoqing". Daoqing was originally called "Huangguanti", which originated from Tang Dynasty Daoqu such as "Jiuzhen" and "Chengtian". Daoqu (jingyun) attracted Cidiaoqu and evolved into a new jingyun, namely Daoge, which is sung by the people. Daoge is divided into poetry praise style rap Daoqing and qupai style rap Daoqing. Qingjian Daoqing was developed on the basis of the latter. The development of Qingjian Daoqing roughly experienced: the budding period of the heyday of the early Tang Dynasty; the improvement of Daoqing singing from a cappella to instrumental accompaniment from the Tang Dynasty to the Song Dynasty, which promoted the formation of the Daoqing style; the finalization period from the singing of sitting groups to the stage comprehensive performance from the Song Dynasty to the Ming and Qing Dynasties; and the tortuous development period of rise and fall from the Ming and Qing Dynasties to the present. Specifically, Qingjian Daoqing was originally a cappella singing, and later various instrumental music was introduced. The content evolved from Taoism1 to stories reflecting Taoist thoughts, which were put on the stage and formed a unique local operatic rap art. Since the May Fourth Movement, the content of Qingjian Daoqing singing has experienced a transformation from traditional old drama to "new drama" reflecting the characteristics of the times. From the founding of the People's Republic of China to the 1990s, a number of influential works reflecting the cause of socialist construction were also produced. Qingjian Daoqing is mainly sung in tune, and sometimes it is interspersed with guest dialogue. The tune of Daoqing originated from Taoist music, and is divided into East Road Tune and South Road Tune due to different sources. Nanlu Tune is also called Lao Tune, and Donglu Tune is also called Xin Tune. Qingjian Daoqing has always been known as "Nine Tunes and Eighteen Tunes", but it is difficult to list them one by one. According to the collection and sorting, there are nine major types of tunes, including [Pingdiao] [Shizidiao] [Liangqu] [Yizhimei] [Shuahaier] [Wuhuaqu] [Diaoluojinqian] [Gunbai] [Jieban]. 1. [Pingdiao] Pingdiao, also known as "Qizidiao", is a structure of upper and lower sentences. It is the most basic tune in the singing of northern Shaanxi Daoqing. Pingdiao singing can be divided into Huayin Pingdiao, Lidiao, Kudiao, etc. from the perspective of lyrical needs; from the perspective of rhythm and board type, it can be divided into Daqiban, Manban, Kuban, Huanyangban, Erliushui, Yidaoqiang, Erdaoqiang, Sandaoqiang, Songban, Luoban, Zaiban, etc., which together constitute a complete system of starting, carrying, turning, closing, and winding in Daoqing singing. 2. [Cross Tune] Cross Tune is a singing tune with a three, three, or four phrase structure. Each sentence has ten words, and two identical sentences form a cycle. There are several types of cross tunes, including slow cross tune, fast cross tune, cross tune reverse board, and cross tune fall board. 3. [Cool Tune] Cool Tune is also called "Mao Liang Tune", which specifically means "high spirits" in the Shaanxi dialect. This tune has a unique structure. The beginning part is a seventh interval from low to high. The middle part consists of two symmetrical sentences that can be repeated freely. The ending is the reappearance of the melody of the first two parts after the rhythm changes. The whole singing tune is high-pitched and loud, and has a strong narrative nature. There are high-pitched cool tune, sudden tune, flat tune cool tune, sentence grabbing cool tune, and half cool tune. 4. [A Plum Blossom] A Plum Blossom is a very unique tune. The rhythm of the beginning and the end is free and stretched, with many extended notes, the rhythm of the middle section is sonorous and powerful, and the phrases are square and symmetrical. 5. [Shuahaier] Shuahaier is a relatively large-scale singing style in the music of Northern Shaanxi Daoqing. Its lyrics are long and short sentences, and the melody consists of two large sections. The first section is peaceful and deep, and the second section is arousing and bright. It is generally suitable for solo singing. Many "Xiangzi Operas" use tunes. There are Zheng Zhongnan, Luan Zhongnan, etc. 6. [Wuhuaqiang] Wuhuaqiang is also called "Huahuadiao", which is a tune formed by constantly absorbing and accepting various popular ditties. Including Meihuadiao, Taipingdiao, Babandiao, Qingkediao, etc. 7. [Falling Money] Falling Money is the only ancient singing style left in Northern Shaanxi Daoqing. It has a low and deep tone, a slow and free rhythm, and is somewhat similar to the other tunes mentioned above, but it is also unique. Falling Money is a "living fossil" in local characteristic music. 8. [Gunbai] Gunbai is a chant and narration without a fixed rhythm and speed. There is no board-style transition leading at the beginning, nor is there any instrumental accompaniment. On the last sustained note of each sentence, the heavy instruments of gongs and drums gradually enter from weak to strong, from fast to slow, with strong expressiveness. 9. [Jieban] Jieban has a board but no eyes, with a rapid and powerful rhythm and a high and concise tone. The tunes of Qingjian Daoqing are divided into two major categories: string music and suona music. 1. The string music includes: [Baban] [Liuban] [Liubaban] [Zheng Yi Ju] [Fan Yi Ju] [Yi Ju Ban] [Liu Ban] [Da Yin Si] [Xiao Yin Si] [Jing Bu Zha] [Sha Ji] [Sprinkling Water] [Man Tian Xing], etc. In the process of these tunes being spread in various places, the artists have continuously created, so that each tune has formed many variations of playing methods. 2. The suona music includes: [Baichang] [Di Liu] [Guochang] [Dabai Dui] [Jiang Jun Ling] [Shi Zi Ling] [Die Luo Jin Qian], etc. Daoqing tunes are derived from life and there are many types. They can be selected and played according to the needs of the plot. During the Qingjian Daoqing performance, the male role wears a Taoist robe and holds a whisk in his hand, while the female role wears a colorful costume, holding a fan in one hand and a handkerchief in the other. The male and female roles face each other, and the yin and yang match each other. They twist and sing, and sometimes there is a traditional way of asking and answering. The two-person stage and yangko in northern Shaanxi are all related to Taoism. The Taoist accompaniment instruments used to this day include banhu, erhu, dihu, four-tone hu, sanxian, flute, pipe, jiaojiao, pengling, jianban and jujube bangzi, etc. Taoist instruments are inseparable from folk life. The instruments of traditional Daoqing are divided into two parts: Wenchang and Wuchang. The four major instruments of Wenchang and Wuchang are mostly homemade by the people. The four major instruments of Wenchang include Xiaosanxian, Siyin, Guanzi and Meidi. Xiaosanxian is a 120-centimeter-long plucked instrument. The three strings used to be made of silk strings. The Qintong is a drum with a diameter of about 20 cm and a height of about 10 cm. The hollowed-out drum cavity is the size of an adult's fist, and the drum skin is made of seven layers of hemp paper and glue. The wood used to make the Sanxian is preferably hard wood. Most locals use jujube wood; the "pick" made of apricot kernel is used to play. A Daoqing band usually has two Sanxians divided into "upper and lower hands" to cooperate and lead the performance. Siyin is a four-stringed string instrument similar to the erhu. The Qintong is made of the roots of the Chinese toon tree that are soaked in water for seven days and buried in the soil for seven days to dry in the shade. The first and third strings are set to "6" tone, and the second and fourth strings are set to "2" tone. A thick bow is tied with two parallel bow hairs for playing. The pipe is a wind instrument made of reeds. It is about 20 cm long, with six holes on the front and one hole on the back. The "whistle" is made of thinner reeds, and the range is generally one octave. Meidi refers to a qudi with a deep and rich tone. The four major instruments in traditional martial arts are bangzi, jiaojiao, yugu and jieban. Bangzi is a wooden rhythmic percussion instrument. The main "beater" is a round wooden stick about 18 cm long and 4 cm in diameter; the "beater" is slightly shorter and has an oval cross-section. The locals usually make it from jujube wood. The sound is sharp and crisp and can be transmitted far away. Jiaojiao is a "pocket" cymbal made of pure copper. The bowl is very small and the diameter of the surface is only about 10 cm. It is struck quickly and rustles. Yugu is a hand drum made of two bamboos, one thick and one thin. It is about 60 cm long, the thick one is about 12 cm in diameter, and the thin one is about 8 cm. The drumhead is covered with pig bladder or donkey ear skin, and the sound is low and unique. Jieban is made of bamboo or wood. It is 60 cm long, 6 cm wide and 0.5 cm thick. After the May Fourth New Culture Movement, banhu, erhu, dihu, drum board, teeth, hand gong, hall drum, and bells were added to the civil and military theater. The main instrument in Daoqing is sanxian, and the characteristic instruments are four-tone, pipe, hinge, simple board, fishing drum, etc. The playing method is: two sanxians are the main instrument, and four-tone sliding long bow is played. Meidi is revealed in the interlude, and the pipe ends the sentence to hold the cavity. Bangzi always beats the rhythm, and hinge shakes sporadically on the weak beat. Fishing drum is played with bangzi in between, and Jieban is inserted randomly in the space. From the available data, the tune of Qingjian Daoqing originated in the Tang Dynasty, and Daoqing drama began in the Ming and Qing Dynasties. After more than a thousand years of development, the following basic characteristics have been formed: 1. The originality of the main charm: The melody of Qingjian Daoqing was formed by the ancient Taoists preaching and chanting, so its main style is a kind of otherworldly charm of softness, grace, calmness and elegance, reflecting the Taoist thought of tranquility and inaction. Although it has been sung for generations, this main style has always remained unchanged. 2. The adventitiousness of the details of the singing: Since the singing of Qingjian Daoqing has a long history, the inheritance system is in the folk, and the singing group is loose and disordered, so the singing of Daoqing has a relatively loose adventitiousness in some details during the singing process. 3. The inclusiveness of musical elements: In the inheritance of Qingjian Daoqing, from the singing form to the playing instruments, and even the singing flavor, it is inevitably influenced and infiltrated by Qinqiang, Jin Opera and Shaanxi folk songs, reflecting the inclusiveness of non-main musical elements. 4. Diversity of emotional expression: Qingjian is a region with deep mountains and valleys, harsh natural conditions, and difficult living conditions for people. Therefore, the tunes of Daoqing contain some sadness and resentment, as well as helpless sorrow, such as "Kuqiang" and "Tears", which are like crying and complaining, as well as some sharp cries of dissatisfaction with reality and fighting against fate; at the same time, there are melodies and rhythms that express joy and happiness. 5. Flexibility of expression: Qingjian Daoqing can be performed in grand festivals, with civil and military fields lined up and performed in a rigid scale, or everyone can sit on the ground, with three strings and one lead, and take turns to sing, such as "Nao Wo Pu", or one person can sing and entertain himself in the fields in a wild and wild style. 6. Uniqueness of rhythm and charm: The main instruments of Qingjian Daoqing, such as three strings, four strings, pipes, bangzi, and fishing drums, are all made by the people themselves. Although the shape is rough, the timbre is special and the charm is unique. Qingjian Daoqing has a long history of inheritance, is rooted in the folk, has rich connotations, and is highly expressive. It is an excellent folk art in northern Shaanxi. The oral origin and original ecological nature of Qingjian Daoqing are very unique and rare in the history of Chinese folk music. At the same time, Qingjian Daoqing has its own unique characteristics from other folk arts, from the initial sitting-in singing, to the continuous enrichment of percussion instruments, to the addition of special instruments, to the gradual introduction of campfire-style folk dances, to the later formation of the scale of stage performances. More importantly, Qingjian Daoqing is easy to learn and perform, and has many Xintianyou-style casual characteristics, which also provides positive conditions for the widespread spread and inheritance of Qingjian Daoqing.