Artistic Features of Qin Shu, Shandong Province

Shandong Shu Qin performed in Shandong dialect, born out of folk "small tunes", with a variety of singing tunes, about 200 tunes. After the development of rap in Qin Shu, the tunes used were gradually concentrated. The most commonly used is the so-called "Old Six Main Melody", namely Shanghe Tune, Fengyang Tune, Overlapping Broken Bridge, Hankou Dui, Dui Ban and Meihua Road. Since the end of the Qing Dynasty and the beginning of the Republic of China, it has further developed into a music system with Fengyang songs and antithetical plates as the main tone, interspersed with a small number of short songs, and the programs are mainly medium and long volumes with short songs.

The performance form of Qin Shu is generally two to five people, and the singers are divided into roles, accompanied by musical instruments. Generally, there are two or three people divided into roles, and the rest are accompaniment and backup singers. Traditional singing pays attention to stability and generosity, and the singer sits in danger and looks dignified and looks at others. The story is expressed by changeable vocals and organic accompaniment, and the characters' shapes and angles are portrayed.

With the evolution of history and the development of art itself, Qin Shu's singing gradually broke the old singing convention. For example, singers can present vivid expressions according to the development of story content and the changes of characters' feelings, and sometimes they can add gestures to help them perform. Actors can communicate with each other or directly with the audience in singing, but their singing style still maintains the basic characteristics of stability and generosity.

There are many traditional representative programs in Shandong, such as Legend of the White Snake, Qiu Jiang, Qin Shu, An, Dahongpao and so on. Among them, there are 70 or 80 novellas, such as The Borrowing of the King, The Three-phase Hand and The Marriage of Liangzhu. Most of the short stories are classics handed down from early ditty programs.

After the founding of People's Republic of China (PRC), with the people's increasing demand for art appreciation, a large number of new literary writers participated in the creation and singing, and Qin Shu entered a new development period. In 1950s and 1960s, Lu Nan's Qin calligraphy artists Li Ruoliang and Li Xiangyun participated in the national Quyi performances twice, and "Water Man Jinshan" and "Stealing Ganoderma lucidum" produced by the party, government and army were successful. They participated in the national performances for three times, which attracted the attention of the quyi and music circles. Especially in September 198 1, he participated in the national excellent folk art program to watch and perform, and the performance "Going Home with Dalin" successfully enhanced lyricism and sense of the times, and won the first prizes of creation, composition and performance.