The musical picture of the world represents a complex integrative formation within the personality structure. It includes cognitive representations of the genre, stylistic, national, and historical diversity of musical art; emotional and value-based orientations that determine aesthetic preferences and attitudes toward music as a form of cultural self-expression; and an activity-based component reflecting actual participation in performing, listening, and creative musical practices. In the context of secondary education in the People’s Republic of China, the age period from twelve to fifteen years is characterized by intensive development of worldview and aesthetic attitudes. The transition from emotional perception of the sonic environment to reflexive comprehension is of decisive importance for pedagogical influence. This is particularly relevant amid reforms to educational standards and globalization processes that are transforming the traditional Confucian model of musical upbringing as a means of harmonizing the inner world and society. The theoretical and methodological foundations integrate systemic, cultural, and axiological approaches with concepts of multicultural education and developmental psychology. These reveal the interaction among national traditions, Western European classical music, contemporary popular music, and their representation in curricula. Analysis of the allocation of curriculum time reveals disproportions whereby traditional Chinese music accounts for approximately 31 percent, Western European classical music 19 percent, and practical forms of music-making less than 20 percent. A more pronounced emphasis on national genres is observed in rural schools, while urban schools focus on global popular styles. Cognitive indicators show positive dynamics, increasing from 43 to 59.4 points on a 100-point scale across age groups; however, they remain insufficient, particularly in the understanding of Western musical styles and cultural contexts. Emotional and value-based preferences are polarized: urban students more frequently select C-pop, K-pop, and electronic music, whereas rural students prefer folk songs, traditional instrumental music, and operatic genres. This polarization affects the index of representational diversification. Teachers’ professional preparedness is substantially higher in urban institutions in terms of specialized education, professional development, methodological diversity, and use of digital resources; this correlates with the overall level of formation of pupils’ musical picture of the world. An integrative assessment indicates a low level among 39,3% of schoolchildren, an average level among 41,2%, and a high level among only 19,5%, with a persistent territorial gap of 8.6 points favoring urban students. This points to the reproduction of inequality. The identified imbalances between theoretical and practical mastery, along with discrepancies between school content and adolescents’ actual preferences, underscore the necessity of optimizing pedagogical conditions. This can be achieved by strengthening practical musical activities, integrating digital platforms, providing a balanced representation of national and global heritage, and developing networked collaboration among schools. Such measures would facilitate the formation of a holistic, dynamic, and personally meaningful musical picture of the world. This picture should correspond to the demands of contemporary multicultural space and promote profound value-based engagement with musical culture.