The article raises the question of the enlightening role of traditional religious and philosophical canons in China, which in music pedagogical practice are aimed at providing an understanding of the spiritual sense of human existence. With its millennia-long history, Chinese culture is imbued with the ideas of Confucianism (the paradigm of “the path of righteousness”), Hinduism (the paradigm of “the path of devotion”), and Buddhism (the paradigm of “the path of awakening”), which cannot be ignored when considering the algorithms of creating modern Chinese national music education. In particular, the educational role of the ancient Chinese percussion instruments – idiophones and membranophones – deserves attention, as playing them is most capable of engaging students in establishing a direct connection with the ethnonational traditions of spiritual growth. Practice shows that the use of traditional idiophones and membranophones in the field of music pedagogical education in China provides the opportunity for the widest possible involvement of students in live music-making – direct and accessible to each student. This is even though singing instruction – another important aspect of general music education in China – requires systematic practice to master vocal skills. Furthermore, playing traditional idiophones and membranophones in school music practice organically transitions into a sano-logical practice – providing psycho-emotional balance and acquiring personal intellectual-cognitive experience. This is exemplified by numerous testimonies from psychotherapists and social psychologists who attest to the healing power of playing these instruments – individually and collectively. Another aspect of the application of traditional idiophones and membranophones in the school music pedagogical practice of China is their undeniable origin in the country's history and the dynamics of their integration into contemporary general music education not only in China but also into European music-educational practice as a whole. For example, in the case of the family of steel tongue drums, which in the musical traditions of European society have evolved into the technology of the “cosmic” sounding variety known as the “handpan”: its production relies on both the culture of the idiophone’s sound palette (here – the metaphysics of sound) and its modal-tonal capabilities. In general, the didactic aspect of the application of traditional idiophones and membranophones in the school music pedagogical practice of China is affirmed as one based on the mythological and worldview priorities of the national culture of this country, which is rich in deep, historical views on the spiritual and social aspirations of humanity. Hence, the need for programming a special functional model of music-educational practice arises.

У статті ставиться питання просвітницької ролі традиційних для Китаю релігійних та філософських канонів, що в музично-педагогічній практиці покликані забезпечувати осягнення духовного сенсу світобуття людини. Маючи багатовікову історію, китайська культура наснажена ідеями конфуціанства (парадигма “шлях праведності”), індуїзму (парадигма “шлях відданості”) та буддизму (парадигма “шлях пробудження”), що не може не бути врахованим при розгляді алгоритмів творення сучасної китайської національної музичної освіти. Зокрема, прицільний розгляд має виховна роль найдавніших китайських ударних інструментів – ідіофонів та мембранофонів, – музикування на яких найбільшою мірою здатне залучати учнів до творення безпосереднього звʼязку з етнонаціональними традиціями духовного зростання людини. Звідси – = потреба у програмуванні особливої функціональної моделі музично-освітньої практики.