Artistic Characteristics of Russian Folk Songs

The Russian nation is a people of great artistic talent. Vast land, tragic history, for countless maverick genius composers to create a unique melody provides the material; long dark rule, harsh natural environment, inspired their creative drive and passion. Below I will give you a brief introduction to the artistic characteristics of Russian folk songs.

Looking back to the long night of the Middle Ages, in a country that does not know what freedom is, even if it is used to express the heart of the music, but also by the rulers restricted to the rigid provisions of the provisions and hard to escape the clutches of tyranny. Russia was a latecomer to the great historical and cultural powers of Western Europe. Before Peter the Great's reforms, Western European classical music was virtually unheard of in Russia.

The Orthodox Church was so strict that, two hundred years after Shakespeare and three hundred years after the printing press, it was still firmly in control of all areas. They forbade the people from engaging in music, and they imposed restrictions on church music, so that the dissemination of art and music was manipulated and even tampered with at will. In hymn-singing, the Church intentionally eliminated musical instruments and harmony on the grounds that the Holy One could not be disturbed by instrumental music, much less diluted by harmonic counterpoint. Orthodox culture was firmly opposed to the Renaissance and resisted the spread and diffusion of any new knowledge during the Reformation and the age of chivalry.

In addition, the rule of the Mongol Golden Horde bequeathed to the Tsars an Eastern tradition of discrimination against women. All this greatly hindered the spread of European musical techniques in Russia. Because of their self-imposed isolation, the Russians knew only the dancers of ancient Rome, but nothing of the troubadours who sang of love from the eleventh century onward, or the poet-musicians of Germany from the twelfth century onward. Whereas in Catholic or Protestant countries it is almost a common household knowledge. The improvisations of wandering entertainers who sang poetry on the harp were usually punished by the Church as heretics and temptations of the devil; their instruments were often wrapped up and doused with oil and burned; and it was the duty of the government officials to scrutinize every line of their lyrics in search of the ? Devil? s clues. It is undoubtedly an unforgiving nightmare of Russian history.

Non-religious music in Russia became popular from the eighteenth century. The interest in music gave rise to the collection and adaptation of folk songs, which had a great influence on the later development of Russian music. In the second half of the century, composers and performers appeared, and by the 1970s operas reflecting the life of towns and villages were performed on the stage.

In the first half of the nineteenth century, a unique and innovative musical genre developed in Russia, with the emergence of Glinka, the founder of Russian classical music. M. I. Glinka (1804-1857) orchestral music "Kamalinskaya", "Madrid Nights" and so on is an early representative of the Russian symphony, with its unrestrained boldness is different from the Western European music, the development of the Russian symphony later had a great impact. The great Russian composer Tchaikovsky once said that the whole ? Russian symphony was born in Glinka's Kamalinskaya - like an oak tree born from an acorn? Among Glinka's important works are the patriotic opera Ivan. Suzanin" and the classical opera "Ruslan and Lyudmila".

The composer dissolved Russian, Ukrainian, Belarusian, Finnish, Polish, Georgian, and Spanish tunes in his own works, which profoundly express the idea of patriotism, and glorify the achievements and virtues of the people. Once the work was released, it immediately made him one of the world's most famous composers, and his reputation still exists today.

After Glinka, the most famous Russian composers were Y. S. Szeto, A. Szeto, A. Szeto and A. Szeto. Y. S. Dalgomirsky (1912-1986), a famous Russian composer who followed Glinka. Dargomsky (1813-1869). He wrote many vocal works, the best of which are the operas "The Stone Guest" and "The Water Nymph". The melody of The Water Nymph was taken from a Russian folk song, and later became one of the most popular operas in Russian folklore.

But the evolution of history has its own laws, and humanism cannot be stopped. With the gradual development of socio-economic, political and cultural development, the influence of European culture penetrated into all areas of Russia. Russia's national consciousness grew, and the intellectual elite became increasingly unable to accept the fact that their own people had been colonized by European culture. Russian music developed along with the popularization of secular music, and the general interest in music on both sides of the court sparked and promoted the collection and composition of folk songs in the musical world, which had a great influence on the later development of Russian music. Composers and performers appeared one after another, and by the 1870s, there were operas on stage reflecting urban and rural life, marking a new stage in the development of folk music.

At the same time, Russia began to form a unique and innovative musical genre, and the founder of Russian classical music, M. I. K. K., was a great influence on the development of Russian music. The founder of Russian classical music, M. I. Glinka (1804-1857) made his way onto the stage of history. Its orchestral pieces "Kamalinskaya", "Madrid Nights" and other works, is the early representative of the Russian symphony, the initial formation of the unique style of bold and bold, and European music parted ways with the later development of the Russian symphony has a great impact. The great Russian composer Tchaikovsky once commented that the whole ? Russian symphony was bred in Glinka's Kamalinskaya? like an oak tree born from an acorn. Other important works by Glinka include the patriotic opera Ivan? Susanin" and the classical opera "Ruslan and Lyudmila". He dissolved different styles of Russian, Ukrainian, Belarusian, Finnish, Polish, Georgian, Spanish and other tunes in his works to express the idea of patriotism and to glorify the noble character of humane people. Once the work was released, it immediately made him one of the world's most famous composers, and his reputation still exists today.

Along with a great reform movement to free the serfs, reduce centralization, and reorganize the military and the law, the late 1860s saw the beginning of a debate about the national character of music. Art groups and artists turned their attention to the emerging Russian citizenry.

From St. Petersburg to Moscow, the establishment of the first European-style art academies gave music its own place. In the small group of music studies, what was? Russian folk music? The question has been debated and explored. The traditional music of Russia is mostly folk songs with a fixed pattern, which are the basis for the formation of ? The traditional music of Russia is mostly folk songs with a fixed pattern, which are the material and basis for the formation of Russian folk music. The traditional music of Russia is mostly folk songs with a fixed pattern, which is the material and basis for the formation of Russian folk music. Its rhythms and harmonies have not yet been directly and accurately described, and in order to be written into a musical score, it is necessary to draw on European musical traditions. Which European musical tradition to adopt is a matter of opinion in the music world.

The pan-Europeanists, represented by the composer Rubinstein, favored virtuosic piano, and he asked his disciples to study the Viennese music classics and emulate them. The musical radicals represented by Balakirev, also known as the ? The Five? or "The Power Group". The Power Group. The radical school of music represented by Balakirev, also known as the "Five" or the "Powerful Group", promoted the free-flowing melodies of Liszt, Beethoven and Berlioz and transposed them into the melodies and themes of national music. Both factions were very active, and the differences were obvious. But in any case, Russian music emerged from the debate and the construction of the national character, and was unstoppable.

In particular, the ? powerful groups? was even more effective. Its work with Glinka's pupil, Milly Alekseevich. Alexeevich. Balakirev (Милий Алексевич Балакирев, 1836-1910), headed by Alexander Porfiryovich. The main members were Alexander Porfiryovich. Borodin (Александр Порфирьевич Бородин), Caesar. Guy (Цезарь Антонович Кюи), Modeste? Petrovich. Mussorgsky (Модест Петрович Мусоргский) and Nikolai Andreyevich Mussorgsky (Модест Петрович Мусоргский). Andreyevich Rimsky. Rimsky. Korsakov (Николай Андреевич Римский-Корсков), whose activities were supported by the famous art theorist and critic Vladimir Vasilyevich. V. Stasov (1824), a famous art theorist and critic. Stasov (1824 a 1906), who supported and recognized them.? The Powerful Group? With the aim of advocating realism and promoting Russian folk music, the compositions were mostly based on Russian history, people's lives, folklore and literary masterpieces. They paid attention to the absorption and use of folk tunes, and innovated in artistic form and creative techniques.

From the 1960s to the 1970s, Russian music was known as the ? The 1960s and 1970s have been described as the "great leap forward" in Russian music.