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.