在民国档案的文化宝库里,汪伪政权形成的档案中有一段关于汪精卫及其卖国政权在文化领域亲日反共、扼杀抗日进步歌曲的记载。这些档案实是汪伪政权投敌卖国卑劣行径的自画像。抗战期间,音乐工作者在党的抗日民族统一战线的旗帜下团结起来,组成了音乐界抗日统一战线,创作出许多以坚持抗战和争取民主为中心主题的进步歌曲。如贺绿汀的《游击队歌》,冼星海的《到敌人后方去》,黄自的《旗正飘飘》,张曙的《抗战救国纪念歌》、《赶豺狼》等,这些歌曲既节奏明快有力,具有号召力和鼓动性,也有悲戚的诉说,激愤的浩叹,挚情的流露和含蓄的冥思。这些歌曲从不同角度反映了国遭外侮、世道昏暗的现实,召示人民抗战救国,在民间广为流传。对这些进步歌曲,日本侵略者及其傀儡政权既恨得要死也怕得要命。他们在实行“清乡”的 In the archives of the Republic of China archives, there is a piece of archives formed by the puppet regime in Wang Ching-wei and its secessionist regime in the cultural field to pro-Communist anti-communism and strangle the anti-Japanese progressive songs. These files are actually self-portraits of the puppets surrendering to the inferiority of the traitorous country. During the War of Resistance Against Japan, musicians united under the banner of the party’s anti-Japanese national united front to form the anti-Japanese united front in the music industry and created many progressive songs with the theme of insisting on resistance and fighting for democracy. Such as Lvlin’s “Guerrilla Song”, Xian Xinghai’s “to the enemy’s back”, Huang Zi’s “flag is fluttering,” Zhang Shu’s “War Rescue Memorial”, “catch the wolf” and so on, these songs are both fast-paced Powerful, charismatic and agitating, there are grievances of the complainant, awe-inspiring sigh, the expression of love and implicit meditation. These songs reflect from different angles the reality that the country was subjected to foreign aggression and the dark world, and summoned the people to resist the war and save the country, which is widely circulated among the people. For these progressive songs, the Japanese invaders and their puppet regime both hate death and fear death. They are practicing “Qingxiang”