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民国期间,陕西社会发生了剧烈的变化,政治、经济、文化等各个方面的变革都牵动着秦腔音乐的变迁。在辛亥革命之前,秦腔一直操作在各自守土的民间班社,长期在封闭的环境中进行着作坊式的经营,班社的艺人们大多目不识丁,演唱也多墨守成规,这种经营方式,使秦腔的发展极其缓慢。正如易俗社王韶猷在1931年编著的《秦腔记闻》所言:“回忆清末至民初,老伶无眩奇立异之心,顾客多深蕴超俗之趣,循规蹈矩,不稍放纵。演员凛于目视手指,未敢稍越绳墨”1。然而,延至易
During the period of Republic of China, dramatic changes took place in Shaanxi society, and the changes in politics, economy and culture all affected the changes of music in Qin Dynasty. Before the Revolution of 1911, Qin chamber had been operating in their own private folk clubs, in a closed environment for a long time in the workshop-style management, most of the artists in class clubs are illiterate, singing is also a lot of stick to the rules, this mode of operation, so that Shaanxi The development is extremely slow. As the folk custom Wang Shao-chiu in 1931, edited by “Shaanxi Opera”: “Memories from the end of the Qing Dynasty to the early Republic of China, Lao Ling without singular differences between the heart of the heart, the customer more than deep Yun extravagant interest, behave, not indulgent. Rin in the visual actor fingers, did not dare to skip rope ink ”1. However, extended to easy