However, the new form also creates its own innovations.
The vocal requirements for all of the major roles were greatly reduced for Peking opera.
Peking opera was initially an exclusively male pursuit.
The Qianlong Emperor had banned all female performers in Beijing in 1772.
Some scholars believe that the Xipi musical form was derived from the historic Qinqiang, while many conventions of staging, performance elements, and aesthetic principles were retained from Kunqu, the form that preceded it as court art.
Beginning in 1884, the Empress Dowager Cixi became a regular patron of Peking opera, cementing its status over earlier forms like Kunqu.
These reforms, which include improving performance quality, adapting new performance elements and performing new and original plays, have met with mixed success. In China, the art form has been known by many other names in different times and places.