[Abstract] Music awards are an important form to objectively assess the value of music, and a necessary intermediate link in the communication process connecting the music industry, market and audience, maintaining the unity of artistry and commerciality of the music industry. However, due to the lack of rigid assessment criteria, the results are often influenced by aesthetic preferences, era environment and other factors in evaluation, thus particularly needing to rely on professionalism to ensure relative balance between musicality and marketability.

However, since the #MeToo movement in 2018, extreme factors have continued to emerge in the social environment, and audience power and issues of race and gender have gradually dissolved the discursive authority of professionalism. The squeezing of economic, cultural and social capital has imperceptibly led to the slackening or even breaking of connections in the music industry chain. This has inevitably pushed the Grammy Awards, one of the most important music award events globally, into a dilemma of discourse power. Taking the Grammys as the research object, based on Bourdieu's field theory and Foucault's knowledge-power perspective, and regarding professionalism as the underlying logic of constructing discourse power, this paper analyzes the discourse game and construction, diffusion and empowerment mechanisms within the field, and explores the important approach of promoting Grammy discourse power rebuilding: new professionalism.