What are the zheng schools of guzheng and the characteristics of each zheng school?

Since the Qin and Han dynasties, the guzheng has been gradually spreading from the northwest of China to all parts of the country, and has been blended with local operas, raps and folk music, forming various schools with strong local styles. There are seven schools: Shaanxi zheng, Henan zheng, Shandong zheng, Chaozhou zheng, Hakka zheng, Zhejiang zheng, and Neimenggu zheng, each of which has its own characteristics of zheng music and playing methods.　　　Shaanxi zheng: It is also called "Qin zheng", which is simple and elegant, retaining the original flavor of ancient music, and is the originator of all zheng schools, and is now popular in the northwestern part of the country.　　　Henan Zheng: The Qin Zheng was introduced to Henan Province and the local folk music "Zheng Wei Voice" fused and developed to become the famous Zhongzhou ancient tune in later times. In Fu Xuan's "Zheng Fu. In Fu Xuan's "Preface to the Zheng", the evaluation of the zheng music in Henan is "high and low, and the wonderful skills are difficult to work", and it is characterized by its deep inner generosity.　　Shandong Zheng: It is directly connected with Shandong zither and folk music. Most of the tunes are in the Gong mode and are organized in eight major panels. Its playing style is simple and elegant.　　　Chaozhou Zither: It has been passed down in the area of Chaozhou, Guangdong Province, with a special musical structure and a distinctive melodic method. It is unique for its smooth and gorgeous right hand and the left hand's solo and flower playing method of pressing sliding notes, with delicate and subtle changes. The main tunes are "heavy six", "light six", "live five", "anti-line" and so on. Among them, the tune of "Heavy Six" is more euphemistic; the tune of "Light Six" is fresh and bright; the tune of "Live Five" is lingering and sad, and the tune is very characteristic.　　　Hakka Zither: Guangdong Han music is one of the outstanding traditional music of Guangdong. Guangdong Han music has a long history. It is said to have been popular in the places where the Hakka people lived, such as the eastern part of Guangdong, including Meixian, Huiyang and some counties of Shaoguan, as well as some parts of Jiangxi, Fujian, Taiwan and places where overseas Chinese lived, during a long historical period from the ninth year of Emperor An of the Jin Dynasty (405 A.D.) to the death of the Song Dynasty. The guzheng performance of Guangdong Han music has a long history, which is based mainly on the "Han Gao Old Score" (i.e. Han tune music), and is influenced by local styles and dialects and shaped by the quiet and subtle style.　　Jiangzhe Zheng: Wulin Zheng, popular in Hangzhou. It has a close connection with Jiangnan silk and bamboo, and its music is mostly transplanted from pipa music.　　　Inner Mongolia Zheng: It has only 10 strings and is mostly used to accompany folk songs and pastoral songs.　　The traditional zheng music is divided into two schools, the north and the south, and is now generally divided into eight schools: First, the Shaanxi zheng of "the voice of the real Qin" Since the Qin and the Han Dynasty, the guzheng has been gradually spreading to all parts of the country from the northwest area of China, and has been blended with the local operas, raps, and folk music to form a variety of genres with strong local styles.　　The traditional zheng music was divided into two schools, the north and the south, and now it is generally divided into eight schools. (Previously, Mr. Cao Zheng said, "Nine schools of zheng music flow in China", but now there is a new point of view.) The zheng music and playing methods of each school have their own characteristics.　　Shaanxi zheng: Shaanxi area is the birthplace of Chinese zheng. However, the zheng music of the "true Qin sound" is almost extinct now. There are rich and colorful operas and folk music here, in which traditional instruments are not rare, but only the zheng is absent or seldom used; the zheng is used as an accompanying instrument only in Yulin, together with the yangqin, pipa, and sanxian, and it appears in the accompaniment of the Yulin Xiaoqu songs. Mr. Cao Zheng, a famous zheng theorist and educator, said that this is the "remnants of the zheng". Although the zheng has a history of more than three hundred years in Yulin, Yulin is located in a remote area and is culturally backward, so the zheng's technique still stays in the ancient way of playing, with the right hand mainly using the big forefinger and forefinger, and with the left hand sliding and trilling very little, which is exactly the earliest way of playing the zheng. The zheng has been gradually lost in Shaanxi, and there is no information about its genealogy.　　At the end of the 1950s, Shaanxi zheng masters put forward the slogan of "Returning the zheng to Qin", and made a lot of efforts from theoretical research to playing techniques, from accompanying local operas to compiling zheng songs in Qin rhyme style, so that Shaanxi people became familiar with the zheng. 1957, the famous Yulin zheng master Bai Baogin took part in the National Folk Music Tuning and the Third Folk Opera Concert of Shaanxi. In 1957, Bai Baogin, a famous zither player from Yulin, participated in the National Folk Music Concert and the Third Shaanxi Folk Opera Concert, and played the zither pieces of "Pinching Garlic Moss" and "Little Boat" solo, and the National Conference of Zither Teaching Materials was held in Xi'an in 1961, which also affirmed the zither pieces of Shaanxi Minhou Zither, and all these contributed to the development of the zither in Shaanxi. Later on, excellent Shaanxi style zheng tunes such as "Qin Sang Qu", "Tears of the Ginger Woman", "Shooting Drums on Xiangshan Mountain", "Song of Three Qin" and "Embroidered Gold Plaque" emerged. Xi'an drum music, Qinqiang and fanhu Qingqu and other historical materials about the zheng, to Shaanxi zheng people to enlighten, and zheng master Cao Zheng, GaoZiCheng, WangZhouWu and so on the great efforts, many zheng colleagues to help, after nearly thirty years of practice, shaanxi has gradually restored the zheng zheng qin sound.　　The distinctive features of Shaanxi style zheng music are, first of all, the peculiarities of the meter and the wandering of the two variations. The fourth step in the seven-tone scale is programmed high, and the seventh step is biased low. The so-called deviation is of course not a semitone. These two tones move around again. Generally, they are sliding downward next to the next tone; secondly, in the melodic progression, they are generally skipping upward and cascading downward. Thirdly, the left hand presses the strings when playing, using the big finger more, which is a technique inevitably used out of the need for melodic progression. Fourthly, the style is delicate, and there is much sadness in the euphemism; the generosity is rapid and there is lyricism in the agitation. The late Mr. Wang Xunzhi, a famous zheng player of Zhejiang School, said when talking about the guzheng genre, "Shaanxi School is more lyrical", which explains the style characteristics of zheng music in Shaanxi.　　Secondly, Henan Zheng of "Zhongzhou Ancient Tone" (or "Zhengwei Voice") Henan Zheng: From the recorded words in the Records of the Grand Historian and the Book of Han, the zheng has been quite commonly developed in the Qin and Han Dynasties. In the Eastern Han Dynasty, Emperor Guangwu of the Han Dynasty built the capital of Luoyang, and the Northern Song Dynasty built the capital of Bianliang (i.e., present-day Kaifeng), both in Henan Province, where the folk music of "Zhengweigong" had been popular for a long time. The Qin zheng, along with the relocation of the capital, flowed into Henan Province, where it merged with the local folk music of "Zhengweigong" and developed into the famous Zhongzhou ancient tunes of the later generations. One of the main characteristics of Henan zheng is that the right hand starts from the place close to the zither, and then plays to the place close to the "Yue Shan", and at the same time, the left hand makes a large-scale vibration, which makes the music performance very rich. ......