Hello everyone, I would like to know more information about Xihe Dagu from you. It is best if the information is as complete as possible. If there are any papers about Xihe Dagu, or the website addres

Hello everyone, I would like to know more information about Xihe Dagu from you. It is best if the information is as complete as possible. If there are any papers about Xihe Dagu, or the website address,

Xihe Dagu is a relatively typical form of drum writing and drum music in the north. It is widely popular in Hebei and spreads in surrounding Henan, Shandong, Beijing, Tianjin, Inner Mongolia and Northeastern regions. In the process of spreading, there were names such as "Dagu Shu", "Meihua Diao", "Xihe Diao", "Hejian Dagu" and "Xianzi Gu". In the 1920s, it was named "Xihe Dagu" in Tianjin and is still used. to date.

Historical origins

The Xihe drum was developed from the wooden drum. In Hebei Province, Ma Sanfeng is the earliest and most famous performer of Xihe drum. He is a native of Duan Village, Anxin County, and is known as one of the founders of Xihe Dagu in music circles. His disciples Zhu Daguan (from Xiongxian County), Wang Zhenyuan (stage name "Mao Ben", from Xincheng County), and Wang Zaiwang (stage name "Jianyan Wang", from Xiongxian County) are all famous Xihe Diao masters. Among them, Zhu Daguan is the most famous. He made many artistic creations and brought many disciples, forming a huge Xihe system in the rural areas of central Hebei Province.

According to artist legends, in the early years in central Hebei Province, there were "Xianzi Shu" in which actors played and sang by themselves with small three-stringed strings, and "Single Drum Board" in which actors only played the drum board and sang. By the middle of Qianlong's reign, Baoding artists Liu Chuanjing, Zhao Chuanbi, Wang Lu, etc. combined xianzishu with a single drum board to perform together, forming a performance format in which an actor beats the drum board and another person plays the small three string accompaniment, forming an early wooden big drum, which became A form of "storytelling" that is very popular among the masses. It soon became popular in the central Hebei region.

By the time of the Revolution of 1911, the transformation from wooden drums to Xihe drums had matured. In rural areas, singing of novellas was mainly performed in the way of "catch the temple fair". It was generally popular in rural areas of Hebei Province, and some artists entered Make a living in the city. The nearest city to its birthplace is Tianjin. The first actors to come to Tianjin include Zhang Shuanglai, Jiao Yongquan, Jiao Yongshun, Zhang Shide, Zhang Shiquan, Bai Wensheng, Bai Wenming, etc. At that time, there was no name for Xihe Drum, and it was still called Xihe Drum in rural areas. "Ploughshares" or "Plum Blossom Tune" are also called "storytelling" in some cases. In 1924, Wang Fengyong of Yixian County collaborated with Liu Baoquan and other famous artists at Tianjin's "Four Seas Peace". When writing the poster, because Tianjin already had a plum blossom drum (also known as "Plum Blossom Tune") sung by Jin Wanchang, it was named "Xihe Dagu" for the sake of distinction. . Because this song comes from the Daqing River and Ziya River basins, Tianjin people are accustomed to calling these two rivers Xihe and Xiaxihe, hence the name. Although this name was given by accident, because it conforms to the actual situation of the music type, it was recognized by peers and has been used to this day.

After Xihe Dagu entered Tianjin, it was first "put down to tell stories" in the Xicheng area. Later, it moved to the storytelling sheds during the early days. Over the years, it used libraries and teahouses as its main performance venues, and gradually developed into a long-form rap story. The form of calligraphy has enabled many actors to continuously improve on the "calligraphy road", and their singing has been placed in a secondary position. As a result, some people have given up singing and changed to speaking, and become storytelling actors, such as Xian Shizhang, Zhang Qirong, Zhang Shuxing, Zhao Tianliang et al. After these people changed to storytelling, they still performed according to the original "calligraphy path" of drumming. Generally speaking, they lacked the delicate description, knowledge interweaving and comments on the love and calligraphy of storytelling, but they were able to use the compact plot to make a performance. It can also be welcomed by many audiences and is on par with storytelling.

Other people mainly sang short sections and participated in various comprehensive folk art performances. On the basis of the original short sections, they also learned from the popular Jingyun drum and other drum music at the time, and used Xihe drum tunes , singing a fixed script, enriching the singing, improving singing skills, and performing in comprehensive folk art venues. For example, Jiao Xiulan and Jiao Xiuyun, who traveled between Beijing and Tianjin, and Ma Zengfen, Ma Zengfang and Wang Yanfen, who settled in Tianjin from Beijing, have all made certain achievements in developing the short section of Xihe Dagu. By the 1930s, the "Zhao faction" represented by Zhao Yufeng appeared in Tianjin; the "Hao faction" formed by Hao Yingji and his children (Hao Qingxuan, Hao Yanxia, ??etc.); before and after the founding of the People's Republic of China, there were also the "Zhao faction" represented by Ma Liandeng and Ma Zengfen The "Ma Pai" represented by father and daughter has given rise to various schools of Xihe Dagu, showing a variety of artistic styles.

After the founding of the People's Republic of China, most Xihe drummers still sang long books in teahouses and libraries, and only occasionally sang short pieces in various performances, such as Hao Yanxia, ??Tian Yinting, Yan Guirong, Wang Tianxia, ??etc. After the "Cultural Revolution", the Tianjin Folk Art Troupe also included young actors such as Hao Xiujie (daughter of Hao Yanxia) and Yang Yaqin. Yang Yaqin specializes in short pieces, while Hao Xiujie performs both short pieces and long books, and both have become actors familiar to Tianjin audiences.

Artistic Features

Xihe Dagu mainly focuses on medium and long-form singing, and there are also a few actors who specialize in short-form singing. The predecessor of Xihe Dagu is the xianzishu and wooden wooden drums that were popular in central Hebei Province in the mid-Qing Dynasty. The xianzishu is played with the accompaniment of small sanxian, and the actors play and sing by themselves; the big wooden drum is not accompanied by strings and strings, and the actors sing by themselves by playing on the simple board and the book drum. Later, these two kinds of folk art artists performed together, forming a form of accompaniment with drum board and small three-stringed strings. On the basis of inheriting the reform experience of his predecessors, Ma Sanfeng, a wooden drum artist from Gaoyang County, Hebei Province, used iron plowshares for the wooden boards and the big three strings for the small three strings. He also made improvements and innovations in the singing method, making this type of music popular in the world. Artistically mature. Xihe Dagu was originally named "Meihua Diao" and "Ploughshare Pian", and was also called "Hejian Dagu" for a time. When it was performed in Tianjin in the 1920s, it was named "Xihe Drum". In the following decades, with the flow of artists, many famous artists appeared in various places, resulting in the Wang (Zhenyuan) sect of Zhu (Hualin) sect in Beikou, the Zhao (Yufeng) sect of Li (Dequan) sect in Nankou, And the Ma Pai, which was founded by Ma Zengfen and his father Ma Liandeng in the 1940s and specializes in singing short pieces, is widely spread in Beiping, Tianjin, and some towns in North, Northeast, Northwest, and East China.

The singing music of Xihe Dagu is based on the natural rhyme of Jizhong pronunciation and developed by absorbing the musical vocabulary of some folk songs and minor tunes. In terms of musical structure, there are about 30 kinds of singing styles that are attached to the music and phrases of the main song, which are summarized in three types: the first board with three eyes and one board, the second board with one board and the third board with no eyes. , can be greatly expanded and contracted in speed, and some even derive a variety of changing singing methods. The singing style is harmonious, smooth, lively, like speaking and singing, and is easy to sing and understand. The singing tunes belonging to the first board include Qipan tight, five lines, slow, four lines, one horse, three streams, fast headboard, etc.; the singing tunes of the second board include Qipan, flowing water board, double high, fishing for the moon in the sea, antiphonal tune, 蚍蜉上山, Bangzisuishisanke, etc.; the third board singing tunes There are loose plates, tight flowing water, channeling plates, tail chambers, etc. The basic tunes of Xihe Dagu are generally reflected in the liushuiban. The second banqiban is an extension of the middle and lower singing parts of the liushuiban. The headband qiban is the development and change of the liushuiban. Most other singing tunes are also related to these. The singing tunes have a certain relationship.

The traditional bibliography of Xihe Dagu includes more than 150 long and medium-length books and more than 370 short-length books. Most of the content is war stories from past dynasties, historical novels, folk tales, popular novels, mythological stories, fables, jokes, etc. Many of these books reflect the thoughts, feelings and wishes of the working people to varying degrees, with twists and turns in plots and vivid language, inheriting the fine tradition of Chinese national folk literature. After 1937, many Xihe drummers actively participated in the anti-Japanese and national salvation work, and composed many new songs, such as "Zangang Massacre" and "Rent and Interest Reduction" directed by Wang Kuiwu (1891-1947); "Defense" directed by Wang Zunsan "Great Wuhan", "Family and Flesh", "Little Girl from Shanxi-Chahar-Hebei", etc.

Inheritance significance

Xihe Dagu has a twists and turns and vivid language. It is an excellent folk art heritage in my country. Since its birth, it has been loved by the masses in popular places, and has appeared in Ma Ruihe, Zhu Hualin (Zhu Daguan), Mao Ben (Wang Zhenyuan), Wang Zaitang (Jianyan King), Zhang Shuanglai, Hao Yingji, Zhao Yufeng, Ma Liandeng, Wang Shuxiang, Li Quanlin, Famous artists such as Ma Zengfen, Wang Yanfen, and Duan Shaofang, as well as "The Legend of the Thief", "The Hu Family General", "The Xue Family General", "Liu Gongan", "Shi Gongan", "Seven Kingdoms Before and After", "The Young Couple Fighting for the Lantern", etc. Classic show.

However, since the mid-to-late 20th century, the inheritance and development of Xihe Dagu has experienced an unprecedented crisis. Creation and performance have withered, and succession has been discontinued. It is in great danger of extinction and is in urgent need of rescue and protection.

The state attaches great importance to the protection of intangible cultural heritage. On May 20, 2006, this folk art was approved by the State Council and included in the first batch of national intangible cultural heritage lists.