The article actualizes the problem of forming polyphonic hearing of Chinese students in the process of piano learning. The author carries out the review of modern scientific works of Chinese authors to substantiate the feasibility of the proposed principle. It was found that young Chinese researchers who studied the system of Ukrainian music and pedagogical education (Wing Bin, Wang Ying Yun, Lan Xijun, Ding Yun, Fu Xiaojing, Hou Yue, Chen Kai, Shuguang) pay attention to the prospects of studying the views of famous European musicians for modern musical education and the formation of pianistic experience. In their research, they highlight the most important principles and methods of teaching for Chinese music pedagogy; and apply time-tested forms of organization of executive activity. The importance of national and world orientation of piano teacher training in music is emphasized. The signs of European music-historical experience in the context of the formation of polyphonic hearing are revealed: awareness of the importance of previously unknown musical knowledge, methods, and techniques of polyphonic technique; the possibility of applying the acquired knowledge and skills in their own musical performance; correspondence of polyphonic thinking to stylistic features of musical works. Pedagogical conditions are proposed, the creation of which will enable the implementation of this principle. Emphasis is placed on the need to develop the students’ polyphonic thinking, as well as on mastering the techniques of performing polyphony of different eras, styles, and genres. It was found that in piano lessons future music teachers: systematically master the polyphonic structure of musical works through the understanding of objective musical-historical processes; acquire erudition in the art of music of different types, styles, genres, etc. ; learn to navigate in the historical conditionality of musical styles and genres; realize and learn to apply the principles of organization of musical language during analytical and interpretive activities; improve their own understanding of the musical logic of formation and its compliance with the content; master the skills of verbal interpretation.

У статті актуалізовано проблему формування поліфонічного слуху студентів з КНР у процесі фортепіанного навчання. Здійснено огляд сучасних наукових робіт китайських авторів з метою обґрунтування доцільності запропонованого принципу. Виявлено, що означений принцип розглядався авторами в інших проєкціях з підкресленням взаємодії культур. Виявлено ознаки європейського музично-історичного досвіду та його вплив на формування майбутнього вчителя музичного мистецтва. Запропоновано педагогічні умови, створення яких уможливить реалізацію зазначеного принципу. Акцентовано увагу на необхідності розвитку поліфонічного мислення студентів, а також на опануванні прийомів виконання поліфонії різних епох, стилів і жанрів.