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| Article name | Historical Dynamics of Chinese Musical Culture in the Second Half of the 20th – Early 21st Centuries |
| Authors | Wang Lijing , , 47276683@qq.com,Hulunbuir University, No. 83 Xuefu Road, Hailar District, Hulunbuir, 021008, Inner Mongolia |
| Bibliographic description | Wang Lijing. Historical Dynamics of Chinese Musical Culture in the Second Half of the 20th – Early 21st Centuries. Humanitarian Vector. 2026;21(2):29-38. (In Russian). https://www.doi.org/10.21209/1996-7853-2026-21-2-29-38 |
| Section | History of the Сulture of Society |
| UDK | 78.03(510) |
| DOI | https://www.doi.org/10.21209/1996-7853-2026-21-2-29-38 |
| Article type | Original article |
| Annotation | The relevance of this study is determined by the fact that the inclusion of Chinese music in the global artistic space strengthens international communications and simultaneously complicates the mechanisms for preserving national and cultural identity. This article examines contemporary Chinese musical culture not only in its current media status but also in its historical perspective: from the processes of institutional development in the second half of the 20th century and the reform period of the late 1970s–1990s to the stage of digital circulation of musical forms in the 21st century. In the context of globalization and digitalization, music increasingly functions not only as a theatrical or locally traditional phenomenon but also as a mediatized practice embedded in the platform logic of distribution, visual formats, and algorithmic selection. The aim of the study is to identify the ways in which the cultural code is transmitted and transformed in contemporary Chinese musical culture. The hypothesis is that, under the influence of historical, global, and media processes, the cultural code does not disappear, but is reshaped and acquires new artistic and communicative modes of existence. The study draws on works on the history of Chinese music, the theory of cultural codes, cultural memory, and mediatization. It utilizes cultural, comparative, and textual-interpretive methods. The material includes works by Chinese and international researchers, as well as examples of compositional, performance, and platform practices. We have established that the transformation of the cultural code occurs through the reconstruction of traditional meanings, the integration of modern compositional strategies, and the adaptation of musical expression to digital platforms and global channels of circulation. We show that changing historical stages alter the forms of musical language and the methods of cultural representation of China. We demonstrate that contemporary Chinese music serves as a mediated form of cultural memory and the symbolic production of meaning, and its historical development reveals various trajectories of code changes. Prospects for further research are related to comparisons and analysis of digital scenarios for the international dissemination of Chinese music. |
| Key words | contemporary Chinese music, historical dynamics, cultural code, globalization, mediatization, cultural identity, intercultural communication |
| Copyright holder | Wang Lijing .. Все статьи журнала «Вестник ЗабГУ» публикуются на условиях лицензии Creative Commons «Attribution» («Атрибуция») 4.0 Всемирная.
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| Full article | Historical Dynamics of Chinese Musical Culture in the Second Half of the 20th – Early 21st Centuries |
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