本文以流傳閩南、粵東及臺灣音樂社會的曲牌【玉連環】為例，檢視其在廣東漢樂、潮州音樂、閩南古樂合奏、北管音樂、十三音等樂種的古箏演奏文本，深入文本間性的分析，據以討論音樂形態與內容的異同。根據田野所見，基於民間音樂骨幹加花原則所形成的各種【玉連環】箏樂文本，在閩南、粵東以及臺灣地方樂種中的演奏明顯有同質背景，也存見相對可觀的變異程度。研究發現，五個箏樂【玉連環】反映了民間音樂一曲多版本的流變現象，突出了跨樂種之間交錯綜雜的曲牌互文關係。閩客潮三個【玉連環】字裡行間顯示了同質骨幹；在臺灣樂種體系流傳的二個【玉連環】文本，則較為接近閩南的文本。前者基於地緣和人文背景，後者則與移民文化有關。曲牌【玉連環】不僅流布在不同的地理區域、不同的樂種體系之間，更進一步轉譯為古箏演奏文本，在樂種環境變異影響下所形成的箏樂【玉連環】，在旋律、節奏、樂彙特點、技法風格、曲情詮釋等形態特徵和表意體系中，突出文本的主體內涵和形質流變，豐富了箏樂【玉連環】的文本間性。

This is a case study of the tune title Yulianhuan. I examine its scores in Guandong Han music, Chaozhou music, Minnan ancient music ensemble, beiguang music and the shisanyin (“thirteen sounds”), analyze its intertextuality, and probe into the variations between their musical pattern and content. According to my field work, the zheng scores of Yulianhuan, which make use of the jiahua (“embellishment”; literally “adding flowers”) technique, share a common background in the performance among local music genres in southern Fujian, easter n Guangdong, and Taiwan. Meanwhile, there also exists a significant degree of variations. The five pieces of Yulianhuan zheng scores I studied reflects that a tune often generates multiple versions. This phenomenon highlights the intricate intertextuality of cross-genre qupai relations. The three versions of Yulianhuan from southern Fujian, Hakka, and Chaozhou share a basic skeleton melody, while the two versions prevalent in the music genre system of Taiwan demonstrate more similarities to the southern Fujian rendition. The former derives from geographic and humanistic background; the latter a result of the immigration culture. The tune title Yulianhuan has not only circulated in different area and between different genres of music, it further translates into a text for zheng performance. The zheng music of Yulianhuan, born under the influence of musical genre variation, features the subjectivity and formal variations within the melody, rhythm, performing features, stylistic techniques, and interpretation, which subsequently enriches its intertextuality.