本文研究發現，近年來中國青年鋼琴家如李雲迪、朗朗等，能受到國際矚目的一大原因就是中國有一套以培養職業音樂家爲目標的專業音樂教育制度，這一套制度正是中共「學習蘇聯」的結果。中共在成立政權時選擇「學習蘇聯」是為了一個有利於新生國家的對外政策。第二次世界大戰結束後，冷戰局面形成，國際間分為以蘇聯為首的社會主義和以美國為首的資本主義兩大陣營。蘇聯是第一個共産社會主義國家，又是扶植中共政權成立的世界強國之一，選擇向蘇聯「一邊倒」，對外是為了獲得新生國家安全的保障。對內，則可以因蘇聯的援助，整頓亟待恢復的經濟困境。因此，「學習蘇聯」是當時中共對外、對內的一個政策考量。 中共不但學習蘇聯以共產社會主義建國，內容包括意識形態、經濟、教育等各方面，在音樂方面也不例外。「學習蘇聯」在音樂方面可以從翻譯蘇聯書籍及完全依賴蘇聯音樂專家的現象看到。在1950到1960年代初，音樂學院編譯室的翻譯家們，大量翻譯蘇聯的音樂理論等著作，幾乎所有的音樂理論教材及其觀念都從蘇聯的教育系統而來；其次，前後來華的蘇聯鋼琴專家有系出俄國鋼琴樂派名門之下謝洛夫、塔圖良、克拉芙琴科三人，替中國培育出知名鋼琴家劉詩昆、殷承宗、顧聖嬰、鮑蕙蕎、李名強及鋼琴教育家周廣仁、趙屏國等人。當然在中共「學習蘇聯」時期，蘇聯也是學生唯一可以出國進修的聖地！劉詩昆、殷承宗、趙屏國等人都曾赴蘇聯留學。 「學習蘇聯」政策下培養出來的第一代鋼琴演奏教育家們，至今仍致力於推動中國的鋼琴教育工作。例如，當今深受國際樂壇矚目的青年鋼琴家朗朗在中央音樂學院附中的老師趙屏國；李雲迪的老師但昭義曾受教於周廣仁。當今仍可看出中國的鋼琴教學方式與演奏觀念仍深受俄國鋼琴學派明顯的影響。中共「學習蘇聯」的政策，奠定了現今培養具有音樂天賦兒童的制度，並培養出以俄國鋼琴學派的演奏觀念為教學依據的鋼琴教育家，是中國鋼琴演奏現今受到國際舞台上肯定的一個重要因素。 The research found that the reason why recent young Chinese pianist such as Li Yun-di and Lang Lang became so popular worldwide is related with China’s music educational system, aiming at developing professional musician., which is the result of its “Learning from Soviet Union” policy. China chose this policy on its way through establishment in order to gain a foreign policy in favor of a new born country. After the end of World WarⅡand the formation of the Cold War, the international community was divided into Soviet Union-led socialism and U.S.-led capitalism. Soviet Union is the first communist government and most important country that nurtured People’s Republic of China. China chose “lean to one side” mindset with an intention to obtain the assurance of the new country’s security and restore its economy from Soviet Union’s assistance. Therefore, the “Learning from Soviet Union“policy is actually a consideration for the country’s domestic and international interests China established its regime based on learning Soviet Union in many aspects such as ideology, economy and education. Music is no exception. We observe the “Learning from Soviet Union” in music from the phenomenon of translating Russian music books and utterly depending on Russian music specialists. Music conservatories translated a great deal of music theories from Russia during 1950 to early 1960. Almost all music theoretical materials and concepts originated from Soviet Union’s educational system. Besides, the Soviet Union piano educator Dmitri Serov, Aram Tatulian and Tatiana Petrovna Kravchenko came successively and helped breed prominent Chinese pianists such asYin Cheng-Zong, Gu Sheng-Ying, Li Min-Chan and piano educator Zhou Guang-Ren, Zhao Ping-Guo and so on. Moreover, Soviet Union was naturally became Meca for Chinese music students. The first generation of piano performers incubated by the policy of “Learning from Soviet Union” are still addressing themselves to the piano education in China. For example, the high-profile young pianist Lang Lang’s teacher Zhao Ping-Guo who is teaching at The Affiliated Senior High School of Central Conservatory of Music, and Li Yun-di’s teacher Dan Zhao-Yi was a student of Zhou Guang-Ren. Concerning the method of China today, we still can see the clear influence by the Russian piano school. “Learning from Soviet Union” policy of China have funded the present system of developing talented children and eventually trained piano instructors with ideas of the school of Russian piano, which is a critical element of the reason why China’s piano performing is cynosure nowadays.
