The problem of integration of folk art and, in particular, instrumental art, into the works of Chinese composers of the 20th and 21st centuries, in the light of the above-mentioned phenomena, is relevant, comprehensive and, to a certain extent, inexhaustible for the researchers of the world musicological science. This was a factor that prompted disclosure of the topic in the publication in question, which was at the same time the reason for writing the study. Its relevance stems from the importance of a deep understanding of such a phenomenon as folk instrumental art and its implementation in compositional practice. The purpose of this study is to investigate the process of integrating folklore (its instrumental branch) into professional academic music of China. The main methods for achieving this, are the principles and approaches chosen here to review, collect, study and a certain systematic compilation of sources relating to Chinese music in general, as well as its folk-instrumental field – in particular. The result of the activities undertaken is the categories of all the sectors of the problem under consideration, derived from the research process. They form a coherent structure of systems such as musical language (means of musical expression) and ways of processing folklore sources. The tables and the figure-chart illustrate this aspect. There is a considerable number of different scholarly judgments, perspectives of specialists who have addressed in their research activities the issue of integrating folk instrumental art into the works of Chinese composers of the 20th and 21st centuries. However, the problem of integrating folk instrumental art into the works of Chinese composers of the 20th and 21st centuries, as a holistic and comprehensive phenomenon, requires its own deep and comprehensive research. This fact determines the practical significance of the present study. It also demonstrates the promising nature of scientific knowledge in this field in the future.