Well they certainly did try to introduce literature, and especially religious texts. The Jesuit missionaries that first came during the Ming dynasty were initially hopeful of a top-down conversion, with a Christian emperor helping to spread the faith to the masses.^(1) Of course, this didn't actually work although Matteo Ricci did have success in helping convert Xu Guangqi who was a senior mandarin bureacrat and who also held a Jinshi degree. European literature and poetry was introduced mainly because the Jesuit missionaries needed to almost legitimize themselves in the eyes of the Imperial Chinese courts. They needed the same sort of credibility as Confucian scholar-bureaucrats as without it, there would have been no way to gain access to the closest circles of Chinese court. By portraying themselves as equal to the Chinese literati, they gained Confucian bonus points. Of course, only the Europeans in service to China spoke Mandarin (and I mean Mandarin, not Putonghua) or wrote in classical literary Chinese, and there weren't many of them so translations of texts were slow and infrequent. The content of translated literature was often that of Western philosophy: Natural, religious and political.^(2)

Regarding art, there was definitely cultural exchange. Western European missionaries served as 'scholars and artists' to the Chinese court, especially during the Qing dynasty, and there's absolutely no question that European art made its way into the lives of the Chinese nobility.^(3 4) Jesuit missionaries did introduce European artistic methods to the Ming court during the later decades of the Ming empire, but these brief interactions between Eastern and Western artistic methods were cut short by the dynastic upheaval taking place during the 1640s. A new wave of artistic exchange occurred during the High Qing period of Kangxi through to Qianlong, but this trend seems to have been somewhat disconnected from the Ming dynasty exchanges. In the pre-shitshow Qing dynasty, the record of European art is still well preserved and readily studied, with particular emphasis on the Qianlong era. There is a small segment of a journal article that I'll briefly summarize because quoting is hard and JSTOR is a bitch: There are some elements of European art that are readily evident in the works of Qing dynasty court painters. While European influences are not overbearing, and while general perception of Chinese artistic tradition during the late Imperial era still maintains that European art took a backseat to classical, Chinese artistic methods, things such as European perspective can still be discerned in period artworks from Qing court artists. European motifs were also incorporated in decorative settings, such as the Qianlong emperor's European clock collection.^(5)

As for music... I vaguely remember a professor mentioning European musical instruments in the late Ming being available in metropolitan centers. This was in a class I took my sophomore year regarding metropolitan culture in Suzhou, Nanjing and Hangzhou. No sources though, sorry OP.

There is a resident Taiping Rebellion scholar who could probably cue you in on one of the lasting impacts of cultural exchange between China and Europe though. I can't say much about lasting cultural impacts through to the final decades of Empire and the modern age.

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[1] Kathleen Lodwick

[2] Willard Peterson

[3] Barbara Maggs

[4] This Painting of Qianlong I found on wikimedia

[5] Cheng-Hua Wang