Orqen is one of the ethnic groups in our country with a small population, it has a long history and was originated from Heilongjiang River. In history Orqen was located in a vastregion, which extended from the stanovoy khrebet in the north to Heilongjiang in the south, from the Lake Baikal in the west to the Sakhalin in the east. Their compact community area is located in the middle reaches of Heilongjiang –the valley of Chirripo River. Since ancient times Qrwqen people has been engaged in hunting and production, they are simple, strong, brave and valiant and be well known as the “The King of Xing’anling”.

Oroqen has their own language – Orogen language, which belongs to the north branch of Altaic Tungus-Manchu language group – Tungus language branch. Oroqen was still in the stage of development of Regional Corporation in the last stage of primitive society when The People’s Republic of China was born in 1949, in 1953 they settled down from the mountains and this made a direct leap from the primitive society to a socialist society for them.

The Oroqen people are good at singing and dancing. In the long years they have not only accumulated experience in the struggle with nature, but also created a kind of musical culture with strong features of the original mountain style, such as the Oroqen traditional folk song “Jandarwen”, Mass collective song and dance “Lonrugren”and folk Rap “Morsukun” etc, they all present the ancient and unique culture features of Oroqeen.

But the great changes in social formation, lifestyle and mode of production after the settlement made the soil, which their culture relies on, disappeared, the traditional culture of Oroqen is facing the impact and phagocytosis of the mainstream culture.

The Festival “Gunlomat” is one of the important festivals of Oroqen, in the history it had experienced the process from the “Cultural Discontimuity” to the “Cultural regain”. As a unique and the only remaining in Oraqen festival, it has become a means of integrating society and promoting the national identity of Oroqen.

The performance venue is changing, affect is expanding and the audiences are increasing, so the Festival “Gunlomta”, on which people perform the representative music of Oroqen, certainly will integrate with the modern aesthetic within a certain range. It is the adaptive survival of little culture in impact of the mainstream culture behind the contemporary changes of the Oroqen traditional music or nor – a problem caused for concern and with the research-value.

In this paper, on the basis of systemizing the musical forms in the shows on the Festival “Gunlomta” of Oroqen we chose the musical forms as the point of entry, considering it as a cultural product and restore it in the specific cultural background of Oroqen society, explain the emotional identification and the identification of cultural values of identity in the transmission of music and the cultural adaptation in transition.

Additionally, in the past most of the relevant section of books and literature talked about the perspectives of customs, culture or language of Festival “Gunlomta” of Oroqen, but they were seldom associated with music. This paper will focus on the festival, and its point of entry is observation of the status of the music on the Festval “Gunlomta”, we will give the interpretation from the cultural perspective about the changes and the development in the contemporary society of the music, and it will also enrich and supplement the research on the music of Oroqen.