The idea of boundary and specificity of Chinese music performing culture

The purpose of the work is to use the methodological idea of the border to understand cultural creativity in general, the relationship between traditions and innovations in national music, as well as the specifics of Chinese musical performance. Criticism is given of the excessive rationalization of ideas about cultural creativity to the detriment of the aesthetic form of mastering the world. The limitation of the tendency towards simple borrowing of Western norms in the training of musical performers in the PRC, which is characteristic of the processes of globalization, is shown. The parameters of the constructive transfer of Western influence to the Chinese soil proper in the forms of “Chinese performance” are outlined. In the light of the problems of assimilation of the products of European art by Chinese musicians, the idea was expressed about the binary idea of the border with respect to the specifics of the Chinese musical performance culture. A characteristic of the ethical demarcation of the boundaries between the rational technologization of culture and traditional oriental axiology, including in musical creativity, is proposed. It is the organic possession of national music that today sets the criterion for finding the border between traditional and innovative in each specific case of musical performance.