The purpose of this work is to present a scientific overview of the research on the palace music of the Qing Dynasty during the “Golden Age” and to identify new aspects of the study of this unique phenomenon of artistic culture. The relevance of the topic raised is due to the growing role of Chinese culture in the global processes of cultural integration, when the problem of preserving objects of traditional non-material culture is exacerbated (and the palace music of the Qing Dynasty of the 17th-18th centuries is one of them). The author believes that the presence of gaps in Russian musicology on the problems of Qing music for a long time was caused by objective difficulties in communication with the Chinese scientific community and the lack of access to archives and libraries in connection with well-known political events, such as the fall of the Qing Empire at the beginning of the 20th century and cultural revolution of the 60s and 70s, when the study of imperial culture was not encouraged. Nevertheless, the modern openness of the Celestial Empire to scientific contacts already today makes it possible to introduce the achievements of Chinese science of recent decades into the corpus of Russian musicology. The author sees the prospects for the study of Qing musical culture in the study of the cultural and historical context in the aspect of the continuity of dynastic traditions, in the study of the architectural spaces of sounding music in the aspect of their acoustic features, functional purpose and symbolic meaning, as well as in the continuation of source studies, which imply the comprehension of the content of musical and theoretical writings of the Qing era.