Influence on other tunes

Facial make-up of Huang Cao, the leader of an uprising at the end of the Tang Dynasty (618-907)

After the mid-Ming Dynasty, the Yiyang tune was introduced to Beijing Municipality, Nanjing City of Jiangsu Province, Anhui, Zhejiang, Hunan, Guizhou and Yunnan provinces, the Guangxi Zhuang Autonomous Region, and so on. Combining with local dialects and folk songs, it quickly gave birth to many new local operas, such as the Leping tune of Jiangxi Province, Huizhou tune of Anhui Province, Qingyang tune (also called "Chizhou tune"), and Jing tune of Beijing, etc.

At the end of the Ming Dynasty, the Qingyang greatly tune improved the gun diao performing style created by the Yiyang tune, where spoken words of equal length are added after the long or short aria, thus boosting the development of the high-pitched opera system. The high-pitched operas then spread to Hubei, Sichuan, Henan, Shanxi and Shandong provinces, and were collectively called "qing xi " ("pure opera").

At present, high-pitched operas mainly include Sichuan Opera, Hunan Opera, Chenhe Opera and Ganju Opera, which have inherited such characteristics of the Yiyang tune as beating time with a drum, featuring one singer with others joining in, and adding spoken word between two arias. Some operas also use wind and stringed instruments.

 Current situation

Compared to the Kunshan tune, which has been placed under systematic protection, the survival of the Yiyang tune is currently being threatened. According to statistics from Chinese cultural departments, due to the passage of time and changes in people's aesthetic tastes, the Yiyang tune has gradually declined. First of all, fewer and fewer people are paying attention to the Yiyang tune, and its remaining artists, who have graduated in the 1950s, are all around 60 years of age. Currently, only five to six old artists can still master the opera.

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