Storytelling in northern Shaanxi is very similar to Bianwen, which often tells the truth in prose and causes it in action, and perfunctory in poetry. This narrative and singing form can be found in storytelling and literary variation in northern Shaanxi. For example, Mulian's Save Mother, and Northern Shaanxi ballad "Golden Melody" are examples. The singing form of "Bianwen" is to sing first and then speak, which is called "Zuozuowen". It is the leading end or entry of the story of "Bianwen", and it is the form of "entering the story" or "laughing at the head" or "winning the head" in front of every story book in Song Dynasty. Or use poetry, or tell another short story, or make some comments, which may or may not be related to the text, and the added lyrics play a role in setting the scene. Its explanation is called prologue. "Drums and fast books" are called "book caps", but these names are different and the essence is the same. Before talking about essays, the storytelling ci in northern Shaanxi always described and summarized the ups and downs of the change of emperors' dynasties, so that the "change of essays" was called "pledge of essays". The storytelling in northern Shaanxi also begins with narration, or the emperor changes dynasties, or asks for heaven and so on. After that, sing the scriptures. When doing the questions, use the vernacular, which is called "opening the questions", and sing the scriptures after the questions. After the scripture, write in white, and then alternate until the end. After the banquet, I sang another song called Xie Wenzuo. Today's storytelling in northern Shaanxi has the following singing methods: beginning, prologue, interlude, book cap, interlude, text and ending. The preface is equivalent to the introduction or words of Bianwen, the book cap is equivalent to the opening of Bianwen, the text is equivalent to the main text, and the end is equivalent to Zuo Jiewen. This is enough to show the close relationship between storytelling and bianwen in northern Shaanxi.
The storytelling in northern Shaanxi was originally a pipa book, and the three-string book was widely used after the pipa.
The traditional programs in the storytelling repertoire in northern Shaanxi not only follow the stories of historical figures and drum music in the Song and Yuan Dynasties, but also have the same contents in some bibliographies, such as The Story of the Golden Bracelet and Yuhuan, The Story of Embroidered Shoes, The Story of Sweater, The Story of Golden Melody, Wang Mao and Bao Gong 'an, etc. , are the story titles of the Song Dynasty. During this period, storytelling in northern Shaanxi has a remarkable feature, that is, scripting. Because the art of storytelling is localized, storytelling scripts have formed a certain routine. No matter which lady walks, no matter who entertains guests, no matter which matchmaker describes them, they all use a book cover, and the language has begun to become a local language. The storytelling in northern Shaanxi naturally has the characteristics of northern Shaanxi dialect. There are two forms of storytelling in northern Shaanxi: pipa and sanxian. Pipa is the oldest type of storytelling in northern Shaanxi, which is earlier than Sanxian. Today, the pipa and Sanxian still follow the ancient tradition of plucking bones. It is also recorded in Ji Ming by Han Liuxi. As far away as Korea and Zhang Qian went to the Western Regions, some Hu Le and Pipa were naturally introduced. When Emperor Wu of the Han Dynasty married Xi Jun, the daughter of Liu Jian, a native of Jiangdu, to Wusunguo, in order to relieve her loneliness in her homesickness trip, he asked craftsmen to make a musical instrument that could be played immediately, which was called "Han Pipa". In fact, this kind of Chinese pipa is a variant of the round-diameter "string pipa" in Qin Dynasty. This "Qin and Han Pipa" evolved through several reforms, namely, Qin Yue, Qin Qin, Sanxian and other musical instruments in later generations. This can only show that pipa is earlier than sanxian. As for the source of the old-fashioned pipa in northern Shaanxi, it may be the "amethyst Pipa" imported from Le Hu during the Han and Tang Dynasties. Northern Shaanxi has been a frontier area since ancient times, forming a situation in which Hu and Han live together and Hu and Han are culturally blended. The natural Hu music is accepted and used here, which is the result of history.
In the Qing Dynasty, storytelling in northern Shaanxi could only continue to develop. There is such a storytelling record in Yulin Fuzhi: "During the Kangxi period of the Qing Dynasty, there was ... Liu Di said that this legend was quite decadent ... and Shao Fei's voice was fluent and unique, not Liu Jingting in the south of the Yangtze River!" This once again shows that the art of storytelling in northern Shaanxi has reached a high artistic level 200 years ago, which is probably similar to modern storytelling. The period from Tang Dynasty to Qing Dynasty is the development period of storytelling, and this process has gone through a long period. From the Qing Dynasty to the 1930s, it is said that blind people in northern Shaanxi had a big gathering during this period, with the purpose of declaring war on discerning storytellers and fighting for their jobs. In this period, the blind only want to survive. During the Republic of China, with the germination of the new-democratic revolution, storytelling in northern Shaanxi also created conditions for its own transformation and provided ideological guarantee.