The partnership between China and Africa at the Cold War era was built on ¡¥¡¦Non-Aligned Movement¡¦¡¦. 1978 China launched economic reform and devoted to national economic development. Until China was being isolated in the international society because of the Tiananmen Square protests of 1989, China turned diplomatic dipolicy to Africa. Besides, with rapid economic development, China¡¦s energy demand keeps increasing. Therefore, China¡¦s interest in Africa has changed. In addition to search supports from developing countries in the international society, China¡¦s economic and energy interest is getting more and more important in Africa. This research will analyse China¡¦s national interest and strategy in African Policy. China self indentifys as a big developing country and emphasizes the equal status with African countries. Hence, China establishes ¡¥¡¥Forum on China¡VAfrica Cooperation¡¦¡¦ in 2000 and ¡¥¡¦New China-Africa strategic Partnership¡¦¡¦ in 2006 in order to incite China and Africa relationship by regular summit. Furthermore, China tries to strengthen bilateral economics and trade cooperations, to continue working on the ¡§South-South Cooperation¡¨ under multilateral diplomacy with African countries, and to reinforce soft power in Africa by ¡§Cutural Diplomacy¡¨. So that, China-Africa relationship could be profound and enduring.

Since the founding of "New China" in 1949, the musical culture has undergone numerous periods of identity crisis, particularly during the ten-year "Cultural Revolution," due to the fact that music had always been used to serve the needs of political propaganda. Even the development of a "National Style" encouraged by the central government was a political "brainchild" under the socialist ideology. Nevertheless, professional musicians struggled to create a new path in musical composition while walking on the thin ice of harsh political climate. Isolated from the rest of the world for almost two decades, China's musical development had not been able to keep pace with the world until the late 1970s, when the central government reevaluated its agenda on how to lead the country. This change of political environment eventually led to a more open society. The newly established contact with the outside world in the musical scene lent great opportunities for Chinese musicians to study the newest thinking about music, which ultimately, in the early 1980s, fostered the emergence of a new "National Style"- the so-called "New Wave." The style of "New Wave" differs drastically from the earlier "National Style" in that it employs primarily twentieth-century compositional techniques in the course of processing nationalistic elements. Throughout the development of "New Wave," Chen Yi was one of the most avid proponents and leading figures.