This article deals with the experience of creating Orthodox music in the Chinese traditional style – troparion Ochtoechos andmonodicand polyphonic liturgy in Chinese. Particular attention is paid to speech
intonation, with consideration of the specifics of the Chinese tone language as the main prerequisite for creating liturgical melodies. The modal and intonational basis, as well as the structure of written music are considered.
Keywords
Orthodoxy in China; Ochtoechos; Chinese traditional music; chants of the Liturgy; guqin; nanyin.