Research On New Age And New Trendy Music Criticism

After the end of the Cultural Revolution,China entered a new period of socialist development.With the renewal and iteration of society,politics and economy,and the surging trend of thought,music and art have also ushered in opportunities and innovations for their own development."New wave music" was born.The so-called "new wave music" in a broad sense refers to the musical works created by a group of young composers such as Tan Dun,Qu Xiaosong,and Ye Xiaogang in the late 70 s,early 80 s and early 90 s of the 20 th century;In a narrow sense,it refers to the late 70 s,early 80 s and early 90 s of the 20 th century,driven by the ideological trend of integration of traditional Chinese music culture,music techniques and musical thinking with Western modernist music composition techniques and concepts,a serious music creation style and creation form that is different from the past in terms of musical thinking,expression techniques and writing style.Because the "new wave music" at the beginning of the new period radiated a completely different vitality from the twenty-seventh year of the founding of the People’s Republic of China(1949-1976),it attracted the attention of countless music critics.In the nearly 10 years of development of "new wave music",relevant reviews have always accompanied the footprints of its development,and even formed fierce debates between comments due to different views and views.The controversy of critics constitutes a unique critical landscape in the new era of our country.Taking "New Wave Music Criticism" as the research object,this paper uses historical research methods,documentary research methods and text analysis methods to clarify the development process of "New Wave Music" criticism through the collection and sorting of historical materials of "New Wave Music" criticism,thereby revealing its development trend and law,and textically analyzing the collected critical literature with a scientific dialectical materialist view,and finally sorting out the positions and views held by all parties,and commenting and thinking about this review processThis article consists of four chapters,based on the creation and activities of "New Wave Music" and the background in which the relevant reviews appeared,and divides "New Wave Music Review" into three stages: Tidal Rising(1980-1984),Rising Tide(1985-1987),and Chaoping(1988-1990).Each stage has a chapter and adopts a method of avoiding the light over the important,starting from a relatively narrow concept,mainly limited to the colliding literary theories in the "new wave music" commentary.The purpose is to examine and analyze these conflicting commentaries to see what views and angles critics pay attention to "new wave music" itself.In the process of research,newly discovered comments from mainland and Hong Kong and Taiwan critics are added to the writing of the paper.In addition,this article focuses not only on the comments of professional critics,but also on those made by amateurs.This is also the innovation of this paper.Chapter 4 is a commentary on the "New Wave Music" commentary and its historical contributions.The critics’ comments on "new wave music" are not just simple comments,but also have a certain guiding effect on the composer’s creative thinking and practice,but also promote the construction of the theory of "new wave music" in the new period.