The Performance Form and Artistic Features of Qin Shu in Shandong Province

The performance forms and artistic features of Qin Shu are as follows:

In the early stage of Qin Shu, Shandong, four, five, six and seven people sang from different angles, played the piano and guzheng, and were accompanied by Sihu, bamboo flute, pipa, simple boards, discs and chimes. The piano player and the Zheng player sing the leading role, singing in the middle, and the rest sit on both sides in a fan shape. In the late Qing Dynasty, singers became professional, and in order to reduce expenses, they were reduced to singing with their own musical instruments.

After entering the 2 1 century, the performance form of Qin Shu is generally two to five people, with singers in different roles and 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.

Shandong Qin Shu is an important local folk art variety in Shandong, also known as "singing dulcimer" or "Shandong dulcimer". It originated from the self-entertainment singing form of the folk ditty "artisan play" (also called "game play") which rose in Heze (ancient Cao Zhou) in the middle of Ming Dynasty. Mainly popular in Shandong.

There are many traditional representative programs in Shandong, such as Legend of the White Snake, Qiu Jiang, Anhe and Dahongpao. Among them, there are 70 or 80 novellas, such as Wang's Debit, Threesome, Liangzhu Marriage and so on. And the short ones are mostly classics handed down from early ditty programs.