THE CHARACTERISTICS OF KUNMING TUNES AND KUNMING DONGJING MUSIC IN YUNNAN PROVINCE

Abstract

This study provides a systematic ontological analysis of two representative musical traditions in central Yunnan—Kunming Tunes and Kunming Dongjing Music—through the perspective of “structural pedigree.” The objective of this research is to study the structural entities and organizational logic of these two music forms to provide a theoretical foundation for interpreting their artistic value and cultural functions. The methodology integrates musical morphology, comparative analysis, and mixed qualitative‑quantitative techniques. Core findings include the quantification of structural features such as the 42% average duration of improvisational “duoju” passages in Kunming Tunes and the 30% historical traceability of Dongjing Music melodies to Tang‑Song origins. Beyond technical description, the study examines the social functions of these forms, including their role in vernacular identity and their adaptation within contemporary cultural tourism in Yunnan. A comparative dimension is introduced by exploring resonances with ritual performance traditions in Northern Thailand and the wider Mekong sub‑region. By bridging musicology with ethnomusicology, cultural economics, and regional studies, this research offers a transdisciplinary framework for understanding the dynamics of intangible cultural heritage in modern Asian societies. The results contribute to scholarly discourse on music sustainability, cross‑border cultural flows, and the negotiation between tradition and modernity in Southeast Asia.

Keywords: Kunming tune, Kunming Dongjing music, Yunnan Province, music characteristics