我曾经问过学生:想不想演奏中国钢琴作品?他们回答:不是不想,而是不了解。的确,西方钢琴作品与中国钢琴作品比较而言,我们对西方钢琴作品似乎更熟悉。而对于中国钢琴作品,从课堂教学安排到音响资料、媒体宣传以及讲座等,留给我们的学习机会太少了。目前在我们的专业音乐教育中,从钢琴技术训练教程到音乐必修课程中所学习的和声学、作品分析、曲式学等大都是西方外来体系。这一方面反映出“欧洲中心论”和“后殖民”的思想还或多或少地存在于目前的教学思想中,另一方面也反映出中国钢琴作品教学的相对薄弱。这就要求我们在继承中国优秀文化传统的基础之上,丰富、完善和创造出中国钢琴的教学体系。弘扬中国音乐博大精深的文化内涵,这是时代的要求,也符合多元文化的法则,更是解决我国目前专门化音乐教育中实际问题的有效途径。近些年来,中国的少年儿童对钢琴这一外来世界性乐器的学习热情高涨,成千上万的钢琴学子涌入专业音乐院 I once asked the students: Do you want to play Chinese piano works? They replied: not do not want, but do not understand. Indeed, Western piano works seem to be more familiar to western piano works than Chinese piano works. For Chinese piano works, there are too few opportunities for us to learn from class teaching arrangements to audio materials, media campaigns and lectures. Currently in our professional music education, from the piano training course to compulsory music lessons learned in the study of harmony, works analysis, music learning and so on are mostly Western foreign system. On the one hand, this reflects that the ideas of “Eurocentrism” and “Post-colonialism” are more or less present in current teaching thoughts, on the other hand, they also reflect the relatively weak teaching of Chinese piano works. This requires us to enrich, perfect and create the teaching system of Chinese piano based on the excellent Chinese cultural tradition. Carrying forward the broad and profound cultural connotation of Chinese music is a requirement of the times and a law of pluralism and is an effective way to solve the practical problems in the current specialized music education in our country. In recent years, children and adolescents in China have been enthusiastic about learning the piano as a foreign instrument, and tens of thousands of piano students have poured into professional music institutes