In the field of Chinese music art criticism in the post-new period, there has always been a debate about national discourse. The core issue of this debate involves how to define and express the nationality in Chinese music art, and under this background, what kind of ghostwriting and interpretation can best convey this nationality. In the ongoing development and modernization of Chinese music art, music critics and critics have been exploring how to incorporate elements of traditional Chinese music into contemporary music creation, and how to cope with the cultural shock of globalization to ensure the local and traditional nature of Chinese music. This paper aims to analyze the debates on ghostwriting in the field of Chinese music art in the post-New era, with a special focus on the various definitions and practices of national discourse, and the key issues behind these debates.