從高歌到低唱：蘇聯群眾歌曲在中國

本文旨在探討蘇聯群眾歌曲在中共政治文化和人民日常生活中所扮演的角色。1950年代的中共，實行向蘇聯一邊倒政策，全面學習蘇聯，文化也不例外。中共企圖利用蘇聯歌曲宣傳黨國至上的意識形態，塑造社會主義新人。在中國流行的許多蘇聯群眾歌曲兼含黨國大我之懷和個人小我之情，因此深受中國城市青少年的喜愛。不過，隨著政治環境的改變，蘇聯群眾歌曲在群眾之間逐漸從信奉黨國至上的集體符號轉變為抒情、感傷與懷舊的個人符號。另一方面，中共雖欲利用蘇聯歌曲灌輸正確的意識形態，卻無法控制人民對歌曲的各自解讀；人民的解讀不一定完全符合官方的期望。其次，中共利用蘇聯歌曲宣傳的同時，也受制於蘇聯歌曲的內容；只是基於政策的需要，不得不縱容純粹表現男女情愛的蘇聯歌曲。

關鍵字

蘇聯歌曲；群眾歌曲；中共宣傳；音樂與政治

並列摘要

This article explores the role played by Soviet mass songs in the political culture and everyday life of the PRC. In the 1950s the Chinese Communist Party (CCP) implemented the policy of completely leaning toward the Soviet Union, including in cultural matters. The CCP utilized Soviet mass songs to propagate the ideology of the supreme priority of the party-state in order to mold a new socialist people. A great deal of Soviet mass songs expressed the concerns of the party-state collective as well as individual emotions. They thus became very popular among urban youth. However, as the political climate changed, the meaning of Soviet mass songs among the intellectuals gradually shifted, from a collective symbol of belief in the supreme party-state to a symbol of the individual that expressed personal emotion, sentiment, and nostalgia. While the CCP intended to inculcate correct ideology in the young through Soviet mass songs, it could not control how the young would interpret the songs. Their interpretations would not necessarily be in complete accordance with those of the CCP, even though overlapping elements might remain. Also, confined by the policy of leaning toward the Soviet Union, the CCP could not ban their disapproved Soviet mass songs which explicitly articulated the love between man and woman.