The Chinese Pianist Group Returning From The Soviet Union Studyin The 1950s

The 1950 s was the beginning of the founding of the People's Republic of China and an important transitional period in Chinese history.In order to cultivate the large number of high-level builders and professionals needed for socialist construction,China officially sent357 overseas students,including graduate students,to the Soviet Union in August1951.According to statistics,China sent 8310 people to the Soviet Union from 1950 to1966.In the field of culture and art,Chinese government sent 77 students to study the art of the Soviet Union from 1953 to 1959.Ni Hongjin,Yin Chengzong and Liu Shikun were among the students majoring in piano.These pianists have played a role in the history of Chinese piano art and laid a solid foundation for Chinese piano art.Due to the political factor and the similar learning experience,they combined the Russian culture and Chinese traditional culture together and created a variety of legend.In the artistic fields of piano creation,playing,teaching and etc,new and unique style have been formed,whichhas became an inseparable part of the development history of Chinese piano art.Taking them as the research object,this paper is meant to broaden the cultural horizons.The attention is not only the method of artistic creation and different styles,but also the relation between this group of artists and the politics,economy,culture,and region of that time.The paper attempts to summarize the epochal and national characteristics in these artists' piano art with the background of their overseas studying experience.As a piano educator,the author hope that the research conclusion can provide guidance for the development of the present and future piano education.Case study method,interview method,analysis of music works are adopted to deeply analyze the creation,performance style and piano teaching of these overseas artists in the Soviet Union.Through the retrieval of the literature,the paper summarizes and analyzes the relevant piano art,the research papers,the profile and the picture information.Since the early1990 s,the author has followedMr.Ni Hongjin to learn the playing of piano and felt the influence of the overseas experience in the Soviet Union on his unique teaching and performance style.The author has interviewed the relevant pianists and other people who are related to the piano art,in order to obtain the first-hand information,which is beneficial to theresearch of the subject.With relevant data and interviews,the paper objectively evaluates the piano art of these pianists who had been to the Soviet Union in order to let more people pay attention to this group and their piano artand make more people learn music.Based on the above analysis,it is found that “era needs” and “Chinese tone” is the common point of their artistic pursuit in creation,playing and teaching.In the piano creation,the subject matter is broad,using folk content as the basic material.In the performance,“Chinese sentiment” is embodied in every performance and lecture.In terms of teaching,they pay more attention to the penetration of Chinese style.These pianists with overseas experience in the Soviet Union have persisted to excavate national and traditional music to combine the professional and the public,nation and the world together.The Chinese piano art should be developed in the process of heritage,which is the experiences of those pianists with overseas study in the Soviet Union and the mission of a piano educator.