身为中央音乐学院钢琴系教授,研究生导师的她有着令人羡慕的履历:1984年考入上海音乐学院钢琴系;1988年大学本科毕业获学士学位,并被推荐免试攻读钢琴专业硕士学位;她曾在国内、国际钢琴比赛中多次获奖;1990年公派赴俄罗斯圣·彼得堡国立音乐学院学习,师从“人民艺术家”叶卡捷里娜·穆里娜教授和钢琴艺术理论家索菲亚·亨托娃教授;1994年5月被圣·彼得堡音乐学院授予音乐艺术(钢琴演奏)博士学位,11月被俄罗斯最高学位授证委员会授予哲学(艺术学)博士学位……作为钢琴演奏家和教育家,她也是一位善于写作,著述颇丰的学者。教学、研究课件、习惯地阅读和听音乐会几乎占满了她的时间表,她是一位接电话超过一分钟都要心痛的钢琴学者。走近她,听她讲述自己的故事的感受是如清风拂面般令人愉悦的过程。这是一位娇小朴素的艺术家,拍照穿的白衬衣是棉布质地,只是领口稍带花边。一句“没有什么可谈的,好像只有老人才会回忆。”开场白,令人稍感尴尬。谈起音乐、文化和教育,一个小时又好像远远没有尽兴。从京剧之乡的童年到俄罗斯的6年深造,从上海的少女时代的音乐之路到法国访问学者的今天,卞萌教授沿着自己的音乐地图,融贯中西。听她演奏的《涛声》,音乐处理中处处透出“漱涤万物,牢笼百态”的心境。她最爱读诗词,诗和音乐共有的华美和情感波涛的汹涌在她的演奏里融为一体。用“气韵生动”来形容她的演奏风格还是很恰当的。在教学之余,她还录制了钢琴作品的唱片。同时,在广泛研究外国作品的基础上,为传承中国文化作出了卓越的贡献。 She has an enviable resume as a piano tutor and a graduate tutor at the Central Conservatory of Music. She enrolled in the piano department of the Shanghai Conservatory of Music in 1984, graduated with a bachelor’s degree in 1988 and is recommended to take a free trial to pursue a master’s degree in piano. In the domestic and international piano competition in many awards; 1990 sent to St. Petersburg State Conservatory of Music in Russia, from “people ” artist Yekaterina Murina and piano art theorist Sofia · Professor Genova; In May 1994 by St. Petersburg Conservatory of Music awarded the art of music (piano) PhD degree, in November by the Russian Supreme Council awarded the doctorate of philosophy (art) ... ... as a pianist And educators, she is also a good writing, well-written scholars. Teaching, studying courseware, reading and listening to concerts almost filled her timetable, and she was a pianist who had a heartache for more than a minute on the phone. Approaching her and hearing her tell her story is a pleasurable process of breeze blowing. This is a petite artist, wearing a white shirt is a cotton texture, but the collar slightly lace. A sentence “nothing to talk about, as if only the elderly will recall. ” Opening, it is a bit embarrassed. Speaking of music, culture and education, it seems like an hour is far from enjoyable. From the childhood of Peking opera to Russia’s 6 years of advanced studies, from Shanghai’s teenage music festival to the French visiting scholar, Professor Bian Meng follows both his music map and the Chinese and Western cultures. Listen to her playing “Tao Sheng”, the music processing everywhere, “rinse everything, in a hurry” state of mind. She likes to read poetry, poetry and music, the gorgeous waves of emotion and turmoil in her performance blend. It is still appropriate to describe her performance style with “Vivid”. In addition to teaching, she also recorded the album of piano works. At the same time, based on the extensive study of foreign works, it has made outstanding contributions to the inheritance of Chinese culture.