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 shisam/in ("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, eastern 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 simi