位處排灣族（paiwan）領域最南端的牡丹村，目前存有相當多祖先承傳下來的古謠（senai）。這些古謠保有大部分排灣族人習慣的「骨幹音」、「曲調裝飾性」、「領唱和唱式」歌謠形式，以及「即興式」的歌詞表達，非常豐富。而世世代代的音樂實踐，牡丹村的族人建立了幾個歌謠特色，像是對唱式歌謠形式、三度音的游移現象、歌詞「白話化」的實踐、歌曲新形式的呈現、虛詞運用的獨特性，以及「haiyan」的出現等等。近代，牡丹群社也出現很多族人創作的歌謠，這些歌謠有的源自古謠，有的源自異地，經由族人吸收、消化、組織、採借，跳脫了傳統的包袱，呈現出更多不同的風貌，為牡丹村族人的生活增添了些許熱鬧氣氛。民族學的文獻資料，顯示本村在恆春半島屬於最偏遠的地方，與外界連絡不易，族人的排外心態也很強。可是在音樂表現上，本村族人卻顯示出極強的歌曲改編慾望及創作能量，對於外來歌謠的接受度很高，其中原因，除了是本部落位處族群領域邊陲之地，沒有沉重的族群包袱之外，日治時期的統治方式、日治時期之後的大環境因素、鄉內族群的多元化、族群接觸、人的流動等等，都讓歌謠呈現了別的地區沒有的新氣象。

The Mudan village (sinvaudjan), situated in the most southern part of the Paiwan residence,preserves numerous old songs (senai) the ancestors passed on. These songs keep the styles of backbone melody, embellishing melodies, call and response singing and improvising lyrics the way most Paiwan people used to sing. With the songs practiced from generation to generation,people of the Mudan village have established several features, such as antiphonal singing, the wavering of the third note, colloquial word use, new styles of songs, distinguished use of vocables,use of “haiyan,” etc.In the recent years, people of the Mudan village also produced songs. Some of them originated from their own old songs, and some were from foreign places. They absorbed and digested those songs; then arranged and adopted them. The songs were presented with a variety ofcreative styles yet without traditional cliches, and added cheerful atmosphere to the village people’ life.According to the anthropological literature, people of the Mudan village hold strong attitude of exclusiveness, because where they live is in the remote place of the Hengchuen Peninsula and it is quite difficult to communicate with the outside. However, in their music representation, they show a burning desire to rearrange songs and make new ones, and they also have willingness to accept foreign songs. Except for the factor that the village is in the remote area so they can get rid of the ethnic burden, other factors such as the ruling policy during the Japanese colonial period,the whole social circumstances after the period, the cultural interactions between multi-ethnical groups and the flow of people also contribute to the development of the songs with a fresh atmosphere which cannot be found in other places.