Statement of the problem. Conducting performance in China is still a poorly explored area of the national musical art, which makes it necessary to deeply comprehend its main aspects and determine the originality of this important area of the country’s musical culture. This study is aimed at identifying the influence of the dynamics of historical development in China in the 20th century on the development of a conductor’s profession in the country. The recent researches and publications study the specifics of the conductor’s gesture (M. Mannone, I. Poggi, B. Silvey, L. Reizabal), personal conducting activities of the brightest representatives of this profession in different countries (C. Bongiovanni, J.-C. Branger, J. Orrego Salas, M. Walter and others). However no work mentions the activities of Chinese conductors. This profession is practically not studied among its Chinese representatives, too. Methodology of this research includes the study of scientific works devoted to various aspects of European conducting (R. Komurdzhi, Lee En Zhong, B. Smirnov, O. Tremzina), to the outstanding conductors (S. Bongiovanni, J.-C. Branger, J. Orrego Salas, M. Walter), general problems of connection of conducting with exact sciences (M. Mannone), and, especially, the history of the development of a new type of symphony orchestra in China (Hon-Lun Yang & M. Saffle, Mingyen Lee). Hence, it calls for an integrated approach, which includes historical-typological, comparative, genrestyle and dialectic methods. Results and Conclusions. Active involvement of European music has been taking place in China relatively recently – since the 1920s. In this way, the problems of creating a national conducting school and a symphonic culture of performance in the country became especially acute. The history of the development of the symphony orchestra and conductor’s performance of Chinese musical art of the twentieth century can be imagined as a single culture process that is constantly moving in the same vein encompassing all countries and continents. During the 20th century a new profession of musician-conductor of a new type of orchestra was formed in China, which combined instruments of the European symphony orchestra and national instruments. The formation of national symphonic schools in China is also linked to specific historical events: the modernization of Chinese music, the foreign education of many Chinese musicians, the influence of communist ideology (“exemplary performances”), on the one hand, and Western capitalist (Hong Kong orchestras), on the other. The specificity of the activity of the conductor of a new type of symphony orchestra is directly related to various changes in the quantitative and qualitative composition of the orchestra, special features for use of both individual instruments of the symphony orchestra and whole sections, and to technical capabilities of national and European instruments.