The advent of the 21st century has heralded a period of considerable evolution for traditional music within the framework of'new ethnic music',sparking diverse assessments and debates within academic circles.This field has witnessed a progression from mere observation to avid support and commendation.This paper examines the intricate variations and contemporary developments of the traditional Mongolian horsehead fiddle,the Morin Khuur,illustrating trends towards both standardization in modern iterations and a revivalist approach to traditional tunings in the practice of Mongolian'new ethnic music'.The study challenges the dichotomy often drawn between'tradition'and'modernity','heritage'and'innovation',advocating for a view of'tradition'as a continuum rather than a binary opposition.Through an analysis across different temporal contexts,it is posited that'tradition'and'innovation'exhibit a relative,rather than absolute,relationship.
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