Abstract: The article examines the influence of ancient Chinese philosophical concepts on the formation of modern piano art in China. Ancient Chinese materialistic philosophy is based on such teachings as Wu-xing and Yin-Yang, the Great Limit (Tai Chi), the eight trigrams and others. With the passage of time and the rapid development of science, these philosophical concepts not only did not lose their significance, but also had a powerful influence on the formation of modern Chinese piano creativity, deeply influenced the form and cultural connotation of Chinese music, and also became the theoretical basis for the works of many modern composers. The philosophical and aesthetic Taiji system presented by composer Zhao Xiaosheng, integrated into the modern piano composition system, marked the beginning of a revolution in the field of piano art, combining the theoretical foundations of traditional Chinese philosophy and the principles of modern composition methods. The research methodology is based on philosophical and cultural analysis, musicological analysis, and semantic analysis. Of particular interest is the comparative analysis of the musical and philosophical "Tai chi composition system" by Zhao Xiaoshen, the dodecaphony of A. Schoenberg and the set theory of M. Babbitt and A. Fort, which the Chinese composer considers the sources of his creativity. The novelty of the research lies in the fact that a correlation is proposed between the key categories of ancient Chinese philosophy and modern experiments in the field of musical expression. The authors managed to demonstrate the high degree of influence of Chinese philosophy on music, to clearly show that the basic postulates of ancient Chinese philosophy have been encoded in the basis of traditional Chinese music since ancient times, and in the twentieth century they were the basis of modern Chinese theory of composition, while playing a colossal role in identifying the common foundations of modern composition of the West and East, while preservation of local features of the diverse sphere of these cultures. The emergence and formation of a philosophical and theoretical system of musical composition, based on the concepts of classical Chinese philosophy, organically refracted in the latest achievements of Western music composition, emphasizes the ontological significance of these concepts for both Eastern and Western culture. And the creation of appropriate musical works undoubtedly leads to positive trends in the development of modern Chinese music and classical Chinese philosophy.

Abstract: The subject of the study is the ontological ideas of ancient Chinese music in the context of the formation of philosophical schools of Ancient China, which make it possible to identify a number of philosophical categories that underlie traditional chinese music and outline different approaches to its understanding and interpretation.
Most Chinese researchers in the field of musical aesthetics focus on the art of music, rare to pay attention to the philosophical origins of the categories of music that past thinkers wrote about when analyzing laws of existence of the universe. Restoring and rethinking these values in the context of the philosophical and cultural analysis of ancient Chinese music is key to this work, which allows us to gain an understanding of the specifics of ancient Chinese culture and its musical heritage. The novelty of the work lies in carrying out the correlation of genesis of the musical ontology of Ancient China with the dynamics of the formation of the philosophical schools of Confucianism, Taoism and Buddhism, their rise or fall depending on the historical and cultural situation.
Musical philosophy in China has not yet become an independent discipline, so the presented work makes a significant contribution to the field of musical ontology.
During the study, the authors revealed three main aspects which are basic for the ontology of ancient Chinese music:
The nature of music has its source three categories: Tao, air and sound, existing both in a natural state in nature and embodied in musical structure and instruments;
Sound and rhythm being the essence to any musical work, organize the sounding space in accordance with the cosmic order;
The metaphysical nature of music is justified by the basic principles of Taoist philosophy and number theory.

Abstract: This article examines the problem of choosing the optimal civilized strategy in the conditions of postmodernism – the noosphere model.  Altai is belongs to the basic (model) territories that possess the noosphere resource. This research is based on the idea of development of the cultural philosophical binary opposition “culture-civilization” in the context of post-neoclassical mentality pertaining to the values of traditional and ethnic cultures. The subject of this work is the fundamental for the Altai traditional culture concept – sacral center – a specific type of cultural landscape, which includes a number of qualities that allow characterizing Altai as the noosphere resource. The author’s special contribution consists into this topic consists in the determination of phenomenology of the meaningful concept for the Altai people traditional culture – the “sacral center” and its place in the originated within the region model of noosphere civilized development. This work also presents certain practical solutions aimed at the establishment of noosphere model, executed on the territory of the Altai region.