Liu B. Musicаl -Historscal Synchronism of Arts of China and Europe

The thesis is dedicated to discovery of synchronism as adeterministicing semantic relationship music-artistic systems of China and Europe, conditioned by unity cultural stereotype and artistic genre-style typologies. The projection is realized of the gomologies positions of O. Spengler and principle аcausals relationships C. Jung for explanation parallelism artistic opening China and Europe, is interpreted cultural paradigm as "bordering" metaphysical continual level of history and its process differentiation on stage, period, epoch. Music parallelisms of China and Europe was showed at level of synchronism medieval and renaissance culture, as well as cultures of New time and Contemporaneity. Isochronism is significant for developments music-theatrical and opera art from the 12th to the 16th - 18th cent., semantic parallelisms of the Chinese kunqu opera, Peking opera and European music drama are installed on the basis of analysis of plots line, dramaturgies and expressive facilities. Verism paradigm is determined of Chinese music art of the 20th cent. in correlation with European style orientation. Station of influences Chinese art is shown on European artistic practice on duration of the 20th centuries up to join of artistic traditions of the Orient and West, creative activity of Isang Yung and Tan Dun that became new stimulus in integration of art in the 20th - 21st сent.