The purpose of the article is to establish a point that the three-level musical inheritance mechanism, formed in the course the cultural and civilizational genesis of China, reflects theaesthetic paradigm of the continuity of folk music culture, complimentarily combining ‘ancient’ and ‘new’, tradition and innovation. The novelty of the article is to substantiate the ethical boundary between the ancient Chinese musical tradition and the modernization processes in the field of modern folk music practices. As a result, the authors formulate main conclusions of the study, showing that today, at the stage of modernizing China, this inheritance mechanism remains an integral part of family "music education", being considered as an important factor in state cultural policy and being part of China's national strategy. However, under the conditions of the New China, it undergoes certain transformations, partly related to the phenomenon of "cultural borrowing" in Chinese musical and educational discourse.
Калинина et al. (Wed,) studied this question.