The article deals with sound, music, and harmony as universals of the Chinese cultural code. The cultural code is the result of merging ideas concerning the ontological unity of the world, including the harmony of society, the state and the individual. These ideas permeate historical monuments, philosophical studies, artistic creativity, and the life of every person. At the time of ‘roots’ and ‘sources’, the Chinese worldview reveals in signs of the divine — Shen (神) and subtle, elegant — Miao (妙) evidence of the manifestation of the previously hidden Tao and the birth of meanings and categories of Chinese aesthetics. Their interaction is inseparable from sound and music, which at the initial stage manifest themselves as a rhythm of ontological action. Interconnected yin and yang (female and male; dark and light) are connected to it, complementing each other, enveloping the world with web of allusions. Thus, the “Chun-qiu” classic confirms that as a result, everything that exists, “finding its final form”, occupies a “certain space”, which has a “certain tone”. “The ancient kings were based on this in the establishment of music” (Luishi Chunqiu). So was born an idea of beauty as a harmony of He, equally significant for life and artistic creativity, including theater. The complex architectonics of Chinese theater is based on the laws of music and musical rhythm, according to which vocal lines, speech passages, conditioned by the tonal pronunciation norm, stage movement, rhythm of stage action, symbolic gesture, dance pattern combine, meaning that the theater is embodied not only in plot collisions, but also conveys the deepest meanings of Chinese ontology.