Music knows no borders, it can transcend language and cultural barriers and become a bridge for communication among all humanity. Looking back at history, the international dissemination of Chinese music began during the Qin and Han dynasties. Through personnel exchanges, commercial trade, and religious dissemination, ancient Chinese musical instruments such as the Tao Xun, Bronze Duo, and Se have been spread to East Asian countries such as Korea and Japan, and gradually expanded to Southeast Asian countries such as Vietnam, Myanmar, and Indonesia. In the long process of dissemination, from the perspective of communication channels, Chinese music has undergone a transformation from "using people as a medium" to "using things as a medium" when it reaches the world; From the perspective of the dissemination subject, it has undergone a transformation from official leadership to spontaneous participation by the public; From the perspective of dissemination content, it has undergone a transformation from court music to folk music. Among East Asian countries, the music of North Korea and Japan is greatly influenced by China. Among them, North Korea accepted Chinese music culture earlier and was once a bridge for the transmission of Chinese music culture to Japan. During the Qin and Han dynasties, Chinese ethnic musical instruments such as the zither and chopsticks had already spread in the Korean region. During the Tang and Song dynasties, the exchanges and activities between musicians from China and North Korea became increasingly frequent. China sent a large number of musicians to Korea to teach music and dance, and gave away some musical instruments and scores. Yan music from China was introduced to Korea and gradually evolved into an important type of music in the Goryeo court of Korea - folk music. Subsequently, the introduction of Chinese Da Sheng Ya music, represented by Xuan Jia instruments and Ba Wu dance, laid an important foundation for the court music of the Korean Goryeo Dynasty in the middle and later periods. During the Sui and Tang dynasties, Chinese music culture began to spread directly to Japan, laying the foundation for the formation of its modern elegant music. Through the dispatch of envoys to the Sui and Tang dynasties, Japan began to accept Chinese music culture on a large scale and in an organized manner. Chinese elegant music, Yan music, Sanyue and other court music, as well as folk music such as Ta Ge, Lang Yong and Chuma Ge, have been introduced into Japan in large numbers. Among them, ancient music such as "Yushu Houting Hua", "Su Hexiang", "Pan Loong Boat" and other ancient music scores such as "Jieshi Diao Youlan" and "Fan Fa Chong" have had a profound impact on Japanese music works and are still widely used by Japanese elegant music. In the late Ming and early Qing dynasties, Chinese immigrants to Malaysia became the main force in spreading Chinese music. Due to frequent natural disasters and social unrest, a large number of residents from southeastern coastal areas such as Guangdong, Fujian, and Hainan in China have migrated to Malaysia. These Chinese immigrants brought the seeds of traditional Chinese music to Malaysia, such as Cantonese opera, Hakka opera, Qiong opera, and so on. With the development and growth of the Malaysian Chinese community, under the influence of local political and economic factors, Malaysia has ultimately formed a unique music system, presenting various characteristics such as a bias towards mass entertainment, a focus on traditional music in the Fujian Guangdong region of China, and the Malaysian ization of Chinese music. For Vietnam, Chinese music is an important reference for ancient royal families to enhance national identity and inspire public emotions. Vietnam is connected to China by mountains and rivers. Since the Han Dynasty, Vietnam has maintained a "vassal relationship" with Chinese feudal dynasties, and China's ritual and music system was also introduced to Vietnam through this vassal relationship. The lyrics of Tao Niang Ge and Xiao Ge in ancient Vietnamese folk music mostly come from Chinese poetry, songs, and fu, and the melodies are also mostly introduced from China. During the Ming and Qing dynasties, Chinese ceremonial music - elegant music - was introduced into the Vietnamese court and received attention from the rulers of the Le and Nguyen dynasties. It became an important means for Vietnam to maintain national stability and demonstrate the power of royal power during this period. During the same period, a large number of Chinese musical instruments were also introduced to Vietnam, such as the yueqin, dizi, and pipa. After the decline of court music, these instruments flowed into the folk and were loved by the Vietnamese people. After modern times, Westerners who came to China replaced the government as the main force in spreading Chinese music. In the early 20th century, there was a tendency in China's music industry to praise the West and criticize the Middle. But at this time, people who came to Huaxi showed their admiration for Chinese music, especially Chinese opera. Western musicians, represented by American musician Henry Ashiham, German educator Wilhelm Weilixian, and American missionary Hao Luyi, actively promote Chinese music knowledge to foreign audiences through various means such as translating ancient Chinese music classics, establishing publications to disseminate research results on Chinese music, organizing gatherings and roadshows related to Chinese music, and integrating ancient Chinese instruments into Western symphonies. In modern times, the international dissemination of Chinese music began with traditional opera and later extended to popular music. After the establishment of the People's Republic of China, the Party and government attached great importance to the cultural and social value of music. In 1953, China sent its first Chinese youth delegation to Romania to participate in the fourth "World Youth and Student Peace and Friendship Festival". The Chinese Peking Opera pieces "Nao Tian Gong" and "Yandang Mountain" won the collective first prize. From 1954 to 1977, China sent several art troupes to visit and perform in 40 countries including France, Germany, Poland, and India. Excellent opera performers such as Mei Lanfang and Zhou Xinfang also performed traditional operas such as "The Legend of the White Snake" and "Farewell My Concubine" for world audiences. Data shows that the total scale of China's music industry in 2023 has reached nearly 500 billion yuan, a year-on-year increase of 10.75%. In the future, cooperation with overseas music institutions and performance companies can further promote the global distribution and performance of Chinese music works. In the process of Chinese music going global, although there are differences in cultural values between the East and the West, the basic value pursuit of perceiving truth, goodness, beauty, and discarding falsehood, evil, and ugliness through music is consistent. (New Society)