Musicology Annotation << Back Principles of Reflecting Chinese National Culture in the Works of Tan Dun Luo Xinjie The intangible cultural heritage is the ancient memory of life and the cultural wealth of the Chinese nation, as well as the amazing story of the evolution of Chinese culture. Tan Dun is one of the musicians who gained a high reputation in China after the Chinese Cultural Revolution. His work embraces the principles of Chinese and Western music, bridging the gap between Western classical music and Asian traditional culture. He sets in his work a global task: to unite the achievements of the musical culture of the West and the East. At the same time, he made such an extensive entry into the depths of the folk-national creativity of China, which is difficult to compare with the national quest in the music of any other Chinese composers. And his view, even in the most ancient layers of culture, remains the penetration into them of the author of the latest formation, who owns the latest techniques of musical composition. In "Eight Memories in Watercolor", he sought to reflect the folk songs and memories of his childhood. "Ghost Opera" is a cross-temporal dialogue that touches on the past, present, future and eternal. "Requiem and Lullaby (from Heaven Earth Mankind) " is a typical synthesis of different ages, in which tradition and modernity meet, penetrate and develop each other. In the Concerto for String Orchestra and Pipa, Tan Dun showed incredible intercultural integration by pairing Bach and the Chinese folk song "Little Cabbage". In the Crouching Tiger Concerto, Tan Dun uses timbre imitation to create a cross-instrumental fusion. The composition "Map" uses a combination of Western compositional techniques and modern information technology to better demonstrate the distinctive culture of several ethnic peoples in Xiangxi, Hunan Province. "Nu-Shu" is a unique language that is slowly disappearing. In the "Wolf Totem" Concerto, the composer shows the Mongolian pasture culture in northern China. In "Nu-shu" and "Wolf Totem", Tan Dun quoted folk songs and, like Glinka, simplifi ed the accompaniment as much as possible so that folk songs retained their originality. The composition "Farewell, my Concubine" originally refracts the properties of the Peking Opera. "Buddha Passion" reproduce the musical heritage, convey life and reflections on Chinese culture. Tan Dun believes that for the future development of Chinese culture and Chinese art, it is necessary to study the history and traditions of China more deeply. Tan Dun has played and is playing a huge role, thereby also for the world prestige of Chinese culture, demonstrating its values that have developed over centuries and millennia, offering the whole world the comprehension of these cultural riches. Keywords: Tan Dun, Chinese national culture, intercultural integration. DOI: 10.25791/musicology.3.2022.1242 Pp. 38-43.