Disconnection And Imbalance

This research emphasizes the question of innovations in the "New Music" in the two transitional periods in the twentieth century (about the first and second decades, and about the fifth and sixth decades of the century). The dissertation sets off from the study of modernism to that of construction of the "New Music" system, proposing that the "New Music" is not founded on the mainstream elements of the traditional music, but on its non-mainstream elements. It examines the "New Music" from the perspective of the inevitability of its historical development by discussing questions like the construction of innovative ideas in the "New Music", frequent replacements of the new composition skills of the "New Music", the weakening of national characteristics in most "New Music" works, and the imbalance between the effects of innovations of the "New Music" and the acceptors' aesthetic needsThe writer tries to make an overall review of the ontological limitations of the "New Music", not limiting the discussion to technical analyses. The writer develops his ideas by exposing the problem of the "exorbitance" in the way of music expression in the "New Music". Taking this as a referential point, this paper will help with perspective transitions and expansions, thus illuminating the approach to music study from the Chinese perspective.In the part of Reflection and Exploration, the writer, while discussing limitations in the innovations of the "New Music" and theoretical problems in the criticisms of the new music by modern theorists, explores the real issues in music innovations, emphasizing that music innovations "are of great significance, meaning not only novelty but also value." The writer then, from his perspective, explores how to create modern music with Chinese aracteristics.The guidelines for the present research arc as follows:The discussion of limitations in innovations in the "New Music" should follow a dialectical point of view: on the one hand innovative alienation of the "New Music" is a reality leading to the loss of appreciablity and lack of national characteristics in most music works; on the other hand, the innovation of the "New Music" is an inevitable process of artistic creation, caused by the then cultural trends, although it sharply conflicts with the audience. The writer therefore believes it is necessary to keep the innovative ideas in the "New Music" while discarding certain new composition skills, thus distancing himself from those conservatives against innovations in the "New Music". Music innovations, in a deeper sense are not groundless. To give a right evaluation of the innovation in"Ncw Music", we have to further explore the meanings of music innovations. Only in this way, can wc possibly better promote music innovations and self-examination, and provide theoretical framework for such a self-examination.