本論文的目標是分析若干八O 年代新潮音樂之創作特色，以說明該時期兩項新的創作理念一音樂創作的隱微寫作技術與知音論’以及音樂創作的引導和創造聽眾之責任。隱微寫作技術可使作曲家既公開又隠匿地籍由創作闡述「真理」，而能免於政治迫害，聽眾則必須具有理解此技法之使用方式與解碼的能力才可揭示隱藏的真理。此機制預設的「理想聽眾／知音」進展為新的創作理念的第二層次，即作曲家可以經由創作運行引導與創造聽眾的篩選機制，一部分聽眾會進入作曲家所劃出的音樂圈，同時也有部份聽眾在一次次的篩選中被淘汰。兩項創作理念的文化意義是作曲家重新排列聽眾層次，否定中共「藝術的群眾性原則」，並且使作曲家能夠在夾縫中生存，成為保全他們創作主體性的屏障。

The goal of this article is to analyze some distinguishing features of the new wave (新朝）music in China during 1980s (a.k.a. New Era), which eventually lead to the revealing of two new ideas ---- esoteric writing in music composition (leading to Zhi-Yin theory (知音論))，and a better-informed group of listeners for this music through the implementation of this principle. By using this technique, composers could have a unique writing style, and they were also able to compose for a public in a much more accessible way. When this approach was used, it allowed them to compose in a more acceptable manner from the governmental perspective, while maintaining the “truth” in their works without the danger of capital punishment as retribution. The theory defines a group of “ideal listeners (zhi-yin)”, who were able to “decode” this other meaning found within these new compositional ideas. By using these principles, an “ideal listener group” could be determined, and other listeners could be marginalized during the listening process. Through this strategy, a “mass culture and art criterion”, originally set by the CCP, could be denied. This strategy also let composers survive in a rather strict political environment, and yet their subjectivity could be maintained.