In the history of modern music in China, the original meaning of "new music" refers to a musical style that is different from China's ancient music or traditional music on the basis of drawing lessons from western musical techniques and combining some factors of China's traditional music. This concept was first proposed by Zeng. 1904, Zeng Zhimao put forward the famous declarations of "creating new music for China" and "creating a new national anthem specially for China in the 20th century" in the preface of "Translation and Supplement of Cantonese Textbooks". Its connotation refers to learning western music and creating new songs represented by school songs at that time. The creation of school music songs has become the most influential music trend of thought in the 20th century —— the origin of learning western music trend of thought. It is also under the influence of this trend that a group of new intellectuals and composers engaged in school music education and music songs issued China's new voice of creating new music. Under the background of the spread of western learning to the east and the input of western music, the evolution and transformation of China's music has taken place. From this period, the development of China's music entered a stage which was later called "New Music History" by historians. The May 4th New Culture Movement further provided a strong cultural context for the historical transformation of China's music. During this period, the new music culture developed initially and became an organic part of the New Culture Movement. Although there are few documents in 1920 with the title of "new music", the comparison between China music or national music and western music, and the discussion on the way out of China music in this period are mostly related to whether to learn western music culture to create new music culture. The creation of new music, represented by Xiao and others, proves the feasibility of learning western music to create new music. Since the May 4th Movement, the further promotion of the thought of learning western music, the rise of the thought of music aesthetic education and the rise of the thought of music improvement in China are all closely related to the development of new music culture. Looking at the music history of the school music and song period and the May 4th New Culture Movement period, we can find that although there are many differences in the development of music culture in these two periods, China people's understanding of new music has not changed substantially. Their fundamental proposition is to further learn western music, transform old music and create a new music style different from traditional music. Having new morphological features has become people's basic understanding and requirements for new music. However, after further contact, acceptance and digestion of western music culture during the May 4th Movement, when history entered the1930s, the understanding and definition of new music began to differ. One view holds that we should continue to study western music to create China's new music, and finally establish China's national music school. Its theory and practice show the reference of western music creation technology and the exploration of new music expression techniques and styles, which can be called "music morphology" Another point of view is that new music should be a weapon for the revolution to save the country and should be the voice of workers and peasants. New music pays attention to the innovation of ideological content, and its theory and practice more reflect the concern about how new music should play its new social function, which can be called the new music view in the sense of "music function theory" At the same time, two different and related "new music movements" were put forward among different groups of new musicians. A new music movement is associated with the new music concept in the sense of "musical morphology", which advocates reviving China's music by creating new forms, styles and spiritual connotations, and finally creating China National Music School in the sense of Russian National Music School. Its theory is mainly put forward and practiced by college musicians who have received special music education or studied abroad. Another new music movement is related to the new music concept in the sense of "music function theory", which advocates that through the creation of new revolutionary music and popular music, it will become a weapon of proletarian revolution, anti-imperialism and anti-feudalism. Its theory was mainly put forward and practiced by non-academic musicians who grew up in left-wing music organizations and the national salvation singing movement. The former continued the enlightenment spirit in the May 4th New Culture Movement, and at the same time consciously expressed the ideological trend of saving the country through music creation. The latter stood out in the overwhelming social situation of national salvation and became an important part of the main tide of national salvation, and the western music enlightenment has retreated to the second line. Therefore, since the 1930' s, in the development of modern new music in China, there are essentially two new music concepts with different connotations and two new music movements with different purposes and pursuits. However, for a long time, the research on new music and the history of new music movement has not clearly recognized the above fundamental problems. Its outstanding performance is that when talking about the "new music movement", it is only regarded as a new music movement with revolution and saving the country as its core content, which was put forward by a group of left-wing musicians and "saving the country" musicians in the mid-1930s, and then developed in an organized and leading way until the founding of New China. Ignore or even fail to realize that it was put forward by Chen Hong, Ou Man Lang and others as early as the early 1930s, and then advocated and discussed by musicians from universities such as Chen Hong and Xiaoxiao. Although there is no specific unified organization and clear * * *, it has actually had an extremely important historical impact, aiming at emphasizing the study of western music and creating a new music movement of China national music school. These historical facts and historical facts deserve our attention, and their historical essence and complex relationship deserve in-depth thinking and research.