全民族抗战时期的中国新音乐文化,在民族危亡之际实现了深刻的多维变革。在横向空间上,根据地、大后方、沦陷区三元并立,虽然因政治环境不同呈现出了革命动员、多元共生与隐蔽抵抗的差异化形态,但音乐家们大都以音乐为载体呼应救亡图存的时代主题,形成了互补共生的格局。在纵向社会层级上,音乐重心从东部向西部、城市向乡村迁移,打破了战前精英壁垒,推动了音乐传播的阶层下沉,成为全民族抗战的精神纽带。在深层范式上,救亡叙事取代个人抒情,创作转向社会现实观照与民族精神诠释,现实主义特质凸显;对“民族气派”的审美追求超越传统“中国风格”技法,加之理论自觉,促成音乐从审美娱乐到社会动员的功能性转向,完成了从模仿西方到民族自觉的文化重构。

During the Period of the National Total Resistance Against Japanese Aggression,Chinese new musical culture underwent profound and multidimensional transformations at a moment of acute national peril.Spatially,three distinct yet interconnected spheres took shape:the revolutionary base areas,the rear areas and the occupied zones.Although these differing political environments produced,respectively,modes of revolutionary mobilization,pluralistic coexistence and covert resistance,musicians in all three spheres used music to respond to the overarching theme of national salvation and survival,creating a pattern of mutual complementarity and co-existence.In terms of form and distribution,the center of musical activity shifted from east to west and from the cities to the countryside This drove musical communication down the social hierarchy,dismantling pre-war elite barriers and turning music into a spiritual bond that linked the entire nation in the war of resistance.At a deeper paradigmatic level,narratives of national salvation displaced purely personal lyricism.Creative practice turned towards an engagement with social realities and an articulation of the national spirit,while realist tendencies became increasingly marked.The aesthetic pursuit of a distinctive “national bearing” went beyond the traditional techniques associated with a generic “Chinese style” .Coupled with a new sense of theoretical self-awareness,this brought about a functional shift in music from aesthetic entertainment to social mobilization,completing a cultural restructuring that moved from imitation of the West to a condition of conscious national self-definition.