It is known that the earliest descendant of Shandong Zheng in Heze area is Li Bangrong. He was a scholar in the late Qing Dynasty and the early Republic of China. He is a native of Li Tong Zhuang, Yuncheng County, and lives by teaching. Li Bangrong is good at guzheng, dulcimer and Qin Shu singing. His skills and music scores are said to have been given by an unknown monk. In addition, there are bizarre stories from the north bank of the Yellow River or from a grain carrier. Obviously, when Li Bangrong taught these folk skills and music scores that have been circulating for a long time, he concealed his teacher background out of a certain concept.

Among Li Bangrong's students, there are many excellent Shandong Zheng players, such as Zhang, Li Lianjun, Zhang Weitai, Zhang Niansheng, Fan Xiyu and Huang Huaide. They all contributed to the spread of Shandong Zheng and enjoyed a high reputation in their hometown. Among this generation of musicians, only Zhang.

1959 When teaching in Tianjin Central Conservatory of Music in March, he left twelve recordings of Shandong traditional Zheng music, such as Autumn Moon in Han Palace and Homesickness of Beauty, which are the earliest Shandong Zheng sounds we can hear today.

All the above-mentioned Li Bangrong students died (Zhang died on 1963 at the latest). Zhang and Li Lianjun, the third generation disciples after Li Bangrong, are the older generation of Shandong Zheng performers and educators. They are lucky enough to teach in the Higher Conservatory of Music and Art, and have trained a large number of students, which are spread all over the country in music and art colleges and professional art groups. Shandong Zheng is not only followed by others, but also spread to the whole country quickly, mainly thanks to the efforts of this generation of Zheng experts. Although they are of the same ancestry, they have their own distinct artistic personalities. For example, Zhao Yuzhai's playing skills are comprehensive and exquisite, his style is vigorous and rough, his taste is fresh and beautiful, and he is good at absorbing the strengths of other Zheng schools and the nutrition of folk music, which embodies the inheritance and development of Shandong Zheng in playing; Gao Zicheng's beautiful and delicate performance, full of charm, loyal to the original score, let future generations hear the face of the previous generation of Shandong Zheng; Han Tinggui's performance is full of passion. Compared with their predecessors, they have a broader vision. Thanks to their unremitting efforts, they have made great contributions not only in teaching, but also in the development of playing skills and the creation of new songs. Among this generation of guzheng players, Zhang Yingyi of Juancheng is also an outstanding one, whose playing style is euphemistic and subtle, with meticulous techniques and loyalty to the teacher's biography. China national radio and Shandong People's Broadcasting Station recorded Zheng music at 1957 and 1980 respectively.