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Journal articles on the topic 'Tchaikovsky'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Seibert, Donald C. "The Enchantress and Problems of Pacing in the Operas of Tchaikovsky: An Informal Interview with David Lloyd-Jones." Nineteenth-Century Music Review 4, no. 1 (2007): 103–17. http://dx.doi.org/10.1017/s1479409800000082.

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In June and July of 2004, Grange Park Opera gave the first professional stage performances in the United Kingdom of Tchaikovsky's The Enchantress (Charodeyka). David Lloyd-Jones conducted and was responsible for the performing version. The following article is based on an interview with him taped between the sixth and seventh performances.A retired Syracuse University music librarian, is the author of two published Tchaikovky studies: ‘The Tchaikovsky Fifth: a symphony without a programme’ (1991) and, in collaboration with Mark Elder, ‘The Dramaturgy of Tchaikovsky's Mazeppa’ (1988). He was fo

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2

Maes, Francis. "Tchaikovsky, Onegin, and the Art of Characterization." Arts 13, no. 3 (2024): 82. http://dx.doi.org/10.3390/arts13030082.

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Tchaikovsky enjoyed composing Yevgeni Onegin. He expressed his fulfillment in a famous letter to Sergey Taneyev. What could his enthusiasm convey about the content of the project? Music criticism has taken Tchaikovsky’s words as proof for the thesis that the opera is connected to autobiographical circumstances. In this mode of thinking, the quality of Tchaikovsky’s music is the result of the composer’s identification with the subject matter. Despite the objection of several Tchaikovsky scholars, the autobiographical paradigm remains very much alive in the reception of Tchaikovsky’s music. As a

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3

Zhen, Li. "The Origins of Theatricality in Vocal Art of Alexander Tchaikovsky." Университетский научный журнал, no. 79 (April 24, 2024): 100–105. http://dx.doi.org/10.25807/22225064_2024_79_100.

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This article is devoted to the vocal works of the outstanding Russian composer Alexander Vladimirovich Tchaikovsky. The perspective of the study is the manifestation of theatricality in the composer’s vocal cycles. The quality of theatricality was formed by the conditions of Tchaikovsky’s personal formation in the atmosphere of professional activity of the closest members of his family. His father, Vladimir Alexandrovich Tchaikovsky, was the director of the Stanislavski and Nemirovich-Danchenko Moscow Music Theatre. His work in the 1960–70s had a huge impact on the personality of the future co

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4

Stepanidina, Ol'ga Dmitrievna, and Viсtor Anatolyevich Demidov. "The influence of French lyrical romances on creativity of P. Tchaikovsky and their significance in the formation of the performing principles of the Russian chamber-vocal culture of the mid-XIX century." PHILHARMONICA. International Music Journal, no. 3 (March 2022): 52–68. http://dx.doi.org/10.7256/2453-613x.2022.3.37842.

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The subject of the study is the influence of the French lyrical romance on the chamber-vocal lyrics of P. Tchaikovsky and its significance in the formation of domestic music performance in the middle of the XIX century. In the lyrical romances of P. Tchaikovsky and in the cycle Op.65, their common features and national differences are studied. The significance of P. Tchaikovsky's chamber vocal music on the opera and chamber music is revealed. The article uses methods of complex and comparative analysis, which creates prerequisites for a fairly objective conclusion about the harmonious implemen

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5

Skvirskaya, T. Z. "Pages of the History of the Creation of the Cantata Moscow by P.I. Tchaikovsky: Unpublished Correspondence between the Composer and P.A. Richter." Art & Culture Studies, no. 4 (December 2023): 578–603. http://dx.doi.org/10.51678/2226-0072-2023-4-578-603.

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The article for the first time publishes the correspondence of P. I. Tchaikovsky with the Chairman of the Coronation Commission P. A. Richter, connected with the history of the cantata Moscow. This work for soloists, choir, and orchestra to the text by A. N. Maikov was written by Tchaikovsky on the order of the Coronation Commission and was first performed on the day of the solemn coronation of Emperor Alexander III on May 15 (27), 1883. Richter’s letters and telegrams to Tchaikovsky are stored in the Tchaikovsky State Memorial Musical Museum-Reserve in Klin, they have been mentioned in litera

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6

Vinogradova, A. S. "The Man of the Theater from the Environment of P.I. Tchaikovsky: K.N. De‐Lazari." Art & Culture Studies, no. 3 (October 2021): 306–33. http://dx.doi.org/10.51678/2226-0072-2021-3-306-333.

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This paper is dedicated to a creative personality from P.I. Tchaikovsky’s friendly circle, Konstantin Nikolaevich De-Lazari (stage name Konstantinov). Throughout the composer’s life, this artist of almost all theatrical genres (from drama and opera to vaudeville and operetta) maintained friendly relations with Pyotr Ilyich himself, then with his brothers and father. Serving alternately in the troupes of the opera (Bolshoi Theater, Moscow) and drama theaters (Alexandrinsky Theater, St. Petersburg), he did not lose touch with either the musical or dramatic environment and was considered “his own

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7

Goldin, Vladislav I. "N. V. Tchaikovsky and A. I. Denikin: Dialogue, Collaboration, and Controversy of the Anti-Bolshevik Movement Leaders in the Days of the Civil War in Russia: Documents from Russian and Foreign Archives." Herald of an archivist, no. 1 (2022): 81–97. http://dx.doi.org/10.28995/2073-0101-2022-1-81-97.

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The article presents the activities of the anti-Bolshevik movement leaders, N.V. Tchaikovsky in the North and General A.I. Denikin in the South of Russia in the days of the Civil War. The object and aim of the research is to analyze their relations, dialogue, collaboration, and contradicting views on state building, interrelations of civil and military powers, relations with the foreign allies by studying archival documents. Most of the studied documents are from documentary collections of the former Russian Historical Archive Abroad in Prague transferred in 1946 to Moscow and now mostly store

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8

Brown, David. "Tchaikovsky." Musical Times 133, no. 1791 (1992): 221. http://dx.doi.org/10.2307/1193695.

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9

Fanning, David. "Tchaikovsky." Nineteenth-Century Music Review 3, no. 1 (2006): 150–53. http://dx.doi.org/10.1017/s1479409800000471.

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10

Campbell, Stuart. "Tchaikovsky." Nineteenth-Century Music Review 1, no. 1 (2004): 193–95. http://dx.doi.org/10.1017/s1479409800002056.

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11

Brown, David. "Tchaikovsky." Nineteenth-Century Music Review 2, no. 2 (2005): 225–26. http://dx.doi.org/10.1017/s1479409800002433.

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12

Zhou, Shuaina, and Chong Yew Yoong. "A Structural and Harmonic Analysis with Performance Implications of Tchaikovsky’s “June: Barcarolle” from “The Seasons, Op. 37a, No. 6”." Scientific and Social Research 4, no. 9 (2022): 38–43. http://dx.doi.org/10.26689/ssr.v4i9.4329.

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Tchaikovsky is known as the “master of melody.” His melodies are extremely rich, and he is good at using small musical forms to express rich and deep emotional feelings. The musical form and structure of “June: Barcarolle” in Tchaikovsky’s piano collection “The Seasons” will be discussed in this paper.

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13

Е.М., Двоскина. "П. И. Чайковский — преподаватель элементарной теории музыки. Курс Чайковского в конспектах Танеева". Научный вестник Московской консерватории 15, № 3(58) (2024): 462–81. https://doi.org/10.26176/mosconsv.2024.58.3.06.

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С первых лет работы двух русских консерваторий в них был предусмотрен «элементарный курс» — вводный курс в теорию музыки. Одним из первых преподавателей элементарного курса в Московской консерватории стал П. И. Чайковский. Мы не располагаем ни учебным планом, ни программами курса Чайковского. Од- нако до нас дошли конспекты лекций элементарного курса, которые Чайковский прочел в 1867–68 учебном году. Эти конспекты, записанные рукой молодого Танеева, показывают, что композитор считал необходимым не ограничиваться объяснением элементов музыкальной ткани, но и дать обзорно начала всех музыкально-

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14

Zajaczkowski, Henry. "Tchaikovsky - 1." Musical Times 133, no. 1789 (1992): 110. http://dx.doi.org/10.2307/966418.

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15

Harrington, Clive A. D. "Tchaikovsky - 2." Musical Times 133, no. 1789 (1992): 110. http://dx.doi.org/10.2307/966419.

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16

Zajaczkowski, Henry, and David Brown. "Tchaikovsky Remembered." Musical Times 135, no. 1814 (1994): 243. http://dx.doi.org/10.2307/1002777.

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17

Dyachenko, Eduard A. "On the textual problem of the editions of Tchaikovsky’s Concerto for Piano and Orchestra No.2, оp. 44". Ученые записки Российской академии музыки имени Гнесиных 4, № 51 (2024): 82–99. https://doi.org/10.56620/2227-9997-2024-4-82-99.

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The article is devoted to the textological problem of the editions of Tchaikovsky’s Concerto No. 2 Op. 44 for piano and orchestra G-dur by P. I. Tchaikovsky — the composer’s and A. I. Ziloti’s editions. The main aspect of the work is related to the disclosure of A. I. Ziloti’s ideas in relation to the author’s text. Using the comparative method of analysing copies of the concerto’s scores that belonged to P. I. Tchaikovsky, A. I. Ziloti and V. N. Harteveld, a symphony conductor who was a contemporary of the composer, the process of editing the work is traced. According to the chronological ord

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18

Xing, Kuan. "Nationalism in Pyotr Ilyich Tchaikovsky's Music." Journal of Education, Humanities and Social Sciences 41 (October 30, 2024): 128–37. http://dx.doi.org/10.54097/6h1ae216.

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Tchaikovsky is one of the most famous Russian musicians. His music creation strives to express the people's inner world. The piano suite the “Four Seasons”, based on the seasonal changes in Russia throughout the year, reflects Russia's natural scenery, customs, festivals and daily life, and has a strong Russian national style. Starting from Tchaikovsky's historical background, this paper analyzes the nationalist characteristics of the Four Seasons.

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19

Polishchuk, Olexandr, and Stella Kelbya. "The idea of the rule of law in the views of Andri Tchaikovsky." Visegrad Journal on Human Rights, no. 3 (October 8, 2024): 86–91. http://dx.doi.org/10.61345/1339-7915.2024.3.12.

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The purpose of this research is to study the idea of the rule of law in the views of the prominent Ukrainian lawyer, social and political activist Andri Tchaikovsky. Based on the study of his educational, scientific-journalistic and political-legal activities, the views and participation of the activist in the struggle of the Ukrainian people for their rights, which were constantly violated by the local Polish administration, are shown. It has been proven that A. Tchaikovsky, due to his legal education and legal practice, had the necessary qualifications to provide legal assistance to the Ukra

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20

Абдоков, Ю. Б. "Eduard Serov as Interpreter of Boris Tchaikovsky’s First Symphony: On the Problem of Style Authenticity." OPERA MUSICOLOGICA, no. 4 (November 15, 2020): 19–40. http://dx.doi.org/10.26156/om.2020.12.4.002.

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В статье впервые в отечественном искусствознании рассматривается феномен творческого взаимодействия одного из крупнейших оркестровых композиторов ХХ столетия Бориса Александровича Чайковского (1925–1996) и выдающегося российского дирижера, профессора Санкт-Петербургской консерватории Эдуарда Афанасьевича Серова (1937–2016). Основным предметом анализа является интерпретация, запечатленная в премьерной студийной записи Первой симфонии Б. Чайковского, осуществленной Серовым в июне 2006 года. Масштабный оркестровый опус, сочиненный Б. Чайковским, когда он был студентом в консерваторском классе Д.

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21

Abdokov, Yuri B. "Boris Tchaikovsky: Youth Quartets. The Experience of Discovering the Unknown Scores." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА 3 (September 2024): 206–22. http://dx.doi.org/10.35852/2588-0144-2024-3-206-222.

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This article is the first to examine the scores for two violins, viola, and cello composed in his youth by one of the greatest Russian composers of the twentieth century, Boris Alexandrovich Tchaikovsky (1925–1996). These ensemble scores, discovered after Tchaikovsky’s death, have never been published or included in reference or encyclo- pedic directories, including the authorized list of works. They are not sketches or drafts of unfinished pieces, but rather complete works written between 1940 and 1945. The Lento (1940) and the Scherzo (1941) have survived as manuscript scores; the single-par

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22

Kline, Paul, and Henry Zajaczkowski. "Zajaczkowski on Tchaikovsky." Musical Times 131, no. 1770 (1990): 406. http://dx.doi.org/10.2307/966616.

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23

Balatskaya, A. L. "P. I. TCHAIKOVSKY AND J. E. CONUS. FROM THE HISTORY OF CORRESPONDENCE." Arts education and science 1, no. 1 (2021): 197–204. http://dx.doi.org/10.36871/hon.202101023.

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The article is devoted to one of the insufficiently studied pages of Tchaikovsky's epistolary heritage — his correspondence with the novice musician Julius Conus, representative of a musical dynasty that provided Russian culture with many prominent figures. The focus of the study is a written dialogue between P. I. Tchaikovsky and J. E. Conus, which lasted from 1891 to 1893 and reproduced from published letters and artifacts found in the archives. The value of the correspondence lies in the opportunity to reconstruct in detail the biography of Julius Conus during this period, as well as to tra

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24

Wang, Yangyanru. "Discussing the Ethnicity of Tchaikovsky's 1812 Overture through the Professional Lens of Musicology." Highlights in Art and Design 5, no. 1 (2024): 5–11. http://dx.doi.org/10.54097/hiaad.v5n1.02.

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The scope of my dissertation is: the sections of the 1812 Overture that are characterized by Russian folk music; the connection between the Russo-French War of 1812 and the 1812 Overture; and the composer Tchaikovsky's inspiration and compositional process for writing the 1812 Overture. The purpose of the research is: to discuss the embodiment of Russian musical style in the 1812 Overture through the knowledge and understanding of folk music. In the process of writing the article, the first step is to listen to the audio of the 1812 Overture, watch the video of the 1812 Overture, and find out

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25

Brown, Sarah Annes. "Shakespearean Spiders and Shakespearean Slime Mold." Extrapolation 65, no. 3 (2024): 327–50. https://doi.org/10.3828/extr.2024.20.

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This article draws on the debts to Shakespeare—in particular Hamlet , Macbeth , The Merchant of Venice and The Tempest —in Adrian Tchaikovsky’s Children of Time (2015–22) novels to illuminate the trilogy’s complex engagement with posthuman identities. It identifies and analyzes a sustained pattern of connections between Tchaikovsky’s allusive processes and the various biological mechanisms of transformation and inheritance which drive the trilogy’s complex plot. The Shakespearean subtext becomes particularly resonant at moments when human survival or identity is challenged by unfamiliar life f

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26

Shen, Rui. "Melody Master Tchaikovsky: Analysis of Ethnic Colors in the Piano Suite "Four Seasons"." Highlights in Art and Design 3, no. 2 (2023): 13–20. http://dx.doi.org/10.54097/hiaad.v3i2.9851.

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Tchaikovsky was a great musician in Russia during the Romantic period. Due to his melodic works, he was known as the "master of melody" in Russia and received an honorary doctoral degree from the University of Cambridge in the United Kingdom. His creative genres cover a wide range of opera, dance, symphonies, concertos, and piano works. His music incorporates the characteristics of folk songs and his works reflect the oppressive psychology of the Russian people under the Tsar's rule, as well as their longing and longing for a better life in the future. He is committed to revealing the conflict

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27

Ван, М., and Л. В. Биглер. "Expression of the Russian soul in the works of P.I. Tchaikovsky: features of the piano class." Bulletin of Pedagogical Sciences, no. 7 (July 29, 2024): 184–89. http://dx.doi.org/10.62257/2687-1661-2024-7-184-189.

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настоящая исследовательская работа анализирует выразительность и глубину русской души в музыкальном творчестве П.И. Чайковского, которая сосредотачивается на специфике и исполнительском стиле игры на фортепиано. Исследуются музыкальные композиции, которые изображают национальный колорит и эмоциональную экспрессию русской музыки, в произведениях как, например, «Времена года», «Лебединое озеро», «Симфония № 6» и многие другие. Научная новизна данного исследования состоит в анализе характерных особенностей музыкальных техник, согласованных решений, мелодических пассажей и конструктивных характери

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28

Комаров, А. В. "Tchaikovsky as the Author of Piano Arrangements of His Own Compositions." Научный вестник Московской консерватории, no. 2(33) (June 22, 2018): 94–125. http://dx.doi.org/10.26176/mosconsv.2018.33.2.05.

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С фортепианными переложениями как неотъемлемой частью музыкальной культуры XIX века Чайковский был связан на протяжении всей жизни. Обширную часть наследия композитора составляют переложения для фортепиано в 2 и 4 руки его собственных сочинений и произведений других авторов. Но если последние перекладывались Чайковским преимущественно в силу различных внешних обстоятельств, то переложениям собственных сочинений композитор уделял всегда особое внимание. Круг музыкантов, пользовавшихся доверием композитора в этом отношении, был весьма невелик и с течением времени неуклонно сужался. Чайковский ст

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29

Moiseev, Grigory A. "Pyotr Ilyich Tchaikovsky and Grand Duke Konstantin Konstantinovich: A Posthumous Dialogue." Observatory of Culture 17, no. 5 (2020): 496–509. http://dx.doi.org/10.25281/2072-3156-2020-17-5-496-509.

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Pyotr Ilyich Tchaikovsky and Grand Duke Konstantin Konstantinovich (the august poet K. R.) were linked by many years of friendship and creative cooperation. After the composer’s death (October 25, 1893), K. R. became involved in the process of perpetuating his memory. The posthumous dialogue was manifested in various forms: Grand Duke Konstantin Konstantinovich’s participation in church and secular memorial ceremonies, private commemorations, and his close communication with M.I. Tchaikovsky and V.L. Davydov — the composer’s brother and nephew. In addition, K. R. reexamined his creative and ep

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30

Matthew-Walker, Robert. "A New Tchaikovsky Completion." Musical Times 132, no. 1784 (1991): 498. http://dx.doi.org/10.2307/966570.

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31

Ritzarev, Marina, Alexander Poznansky, Ralph C. Burr Jr., and Robert Bird. "Tchaikovsky through Others' Eyes." Slavic and East European Journal 45, no. 1 (2001): 150. http://dx.doi.org/10.2307/3086434.

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32

Frolova-Walker, Marina, and Leslie Kearney. "Tchaikovsky and His World." Notes 56, no. 1 (1999): 149. http://dx.doi.org/10.2307/900500.

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33

Seaman, Gerald R., Alexandra Orlova, R. M. Davison, and Alexander Poznansky. "Tchaikovsky: A Self-Portrait." Notes 49, no. 3 (1993): 1013. http://dx.doi.org/10.2307/898954.

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34

Fowler, Jennifer. "Don't Blame Mrs Tchaikovsky!" Musical Times 134, no. 1804 (1993): 311. http://dx.doi.org/10.2307/1003047.

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35

Carey, William B. "Tchaikovsky on Handicap Management." Journal of Developmental & Behavioral Pediatrics 26, no. 2 (2005): 122. http://dx.doi.org/10.1097/00004703-200504000-00007.

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36

Kors, S. "Iolanta. Peter Ilyich Tchaikovsky." Opera Quarterly 13, no. 4 (1997): 198–201. http://dx.doi.org/10.1093/oq/13.4.198.

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37

Pines, R. "Mazeppa. Peter Ilyich Tchaikovsky." Opera Quarterly 15, no. 4 (1999): 779–83. http://dx.doi.org/10.1093/oq/15.4.779.

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38

GRAEME, R. "Tcherevichki. Peter Ilyich Tchaikovsky." Opera Quarterly 16, no. 1 (2000): 142–46. http://dx.doi.org/10.1093/oq/16.1.142.

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39

Wakeling, Dennis W. "Mazeppa. Peter Ilich Tchaikovsky." Opera Quarterly 8, no. 2 (1991): 186–88. http://dx.doi.org/10.1093/oq/8.2.186.

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40

Michael Adams. "Tchaikovsky (review)." Notes 65, no. 3 (2009): 554–55. http://dx.doi.org/10.1353/not.0.0136.

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41

Spence, Des. "Tell Tchaikovsky the news." BMJ 333, no. 7562 (2006): 309.2. http://dx.doi.org/10.1136/bmj.333.7562.309-a.

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42

Albrecht Gaub. "Tchaikovsky (review)." Notes 67, no. 1 (2010): 126–29. http://dx.doi.org/10.1353/not.2010.0034.

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43

Slonimsky, Nicolas. "Further Light on Tchaikovsky." Musical Quarterly 75, no. 4 (1991): 70–73. http://dx.doi.org/10.1093/mq/75.4.70.

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44

Dorris, George. "Tchaikovsky and the ballet." Dance Chronicle 9, no. 2 (1985): 256–63. http://dx.doi.org/10.1080/01472528508568925.

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45

Tsolyk, Nataliia. "HISTORICAL PROSE OF MICHAL TCHAIKOVSKY IN THE CONTEXT OF THE “UKRAINIAN SCHOOL” AESTHETIC SEARCHES." Polish Studies of Kyiv, no. 36 (2020): 355–63. http://dx.doi.org/10.17721/psk.2020.36.355-363.

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The article analyses the visions of Polish literary critics, attesting to a certain reception of the life path as well as the comprehension of Michal Tchaikovsky’s works in the context of the Polish Romanticism “Ukrainian school”. The genre-thematic and compositional features of the prose are also outlined, the author’s narrative strategy is analysed, and both ideological and aesthetic writer views and his literary contacts are shown. The significance of his creativity and activity through the implementation of the romantic idea is clarified. Tchaikovsky’s creation of a prose formula for Roman

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46

Zagidullina, Dilbar Renatovna, and Ekaterina Evgenyevna Nikiforova. "Timbre-orchestra aspect of symphonic works by Boris Tchaikovsky." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 52–66. http://dx.doi.org/10.7256/2453-613x.2021.1.34175.

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Boris Tchaikovsky is the author of bright and original symphonic compositions. A timbre-orchestra palette is, undoubtedly, one of the key components of the music language of his works. The authors of this research analyze Tchaikovsky&rsquo;s&nbsp; Violin concerto and Piano concerto, the symphonic poems &ldquo;The Juvenile&rdquo; and &ldquo;The Winds of Siberia&rdquo;, the Symphony No 3 &ldquo;Sevastopol&rdquo;, and the Symphony with Harp, in order to consider particular aspects connected with the timbre-orchestra language of his symphonic compositions, such as:

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Franseen, Kristin M. "Queering Musical Biography in the Writings of Edward Prime-Stevenson and Rosa Newmarch." 19th-Century Music 44, no. 2 (2020): 100–118. http://dx.doi.org/10.1525/ncm.2020.44.2.100.

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Beginning with the “open secret” of Benjamin Britten and Peter Pears's relationship and continuing through debates over Handel's and Schubert's sexuality and analyses of Ethel Smyth's memoirs, biography has played a central role in the development of queer musicology. At the same time, life-writing's focus on extramusical details and engagement with difficult-to-substantiate anecdotes and rumors often seem suspect to scholars. In the case of early-twentieth-century music research, however, these very gaps and ambiguities paradoxically offered some authors and readers at the time rare spaces fo

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JARVIS, Stacy Olive. "Intertextuality as a component of the operatic system of P.I. Tchaikovsky." TAMGA-Türkiye Göstergebilim Araştırmaları Dergisi 1, no. 1 (2023): 70–81. https://doi.org/10.5281/zenodo.8092444.

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The article deals with the problem of intertextual analysis of Tchaikovsky's operas. The author assesses the composer's stylistic system from the point of view of M. Bakhtin, i.e. consideration of the author's style as a complexly organized code which transforms a mass of borrowed components - intertexts - into an original statement. The study is analyzing Tchaikovsky's work on the opera libretto. The book addresses for the first time the problem of the cultural dialogue and various facets of creative intersections of the great 19th century composers Tchaikovsky and Bizet, Tcha

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Pinto Junior, Rafael Alves. "Tchaikovsky, leitor de Dante: lugar da angústia e imaginação narrativa em Francesca da Rimini op.32 (1876)." Per Musi, no. 26 (December 2012): 86–93. http://dx.doi.org/10.1590/s1517-75992012000200009.

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Este texto tem como objetivo discutir a estrutura do poema sinfônico Francesca da Rimini op. 32, composto por Piotr IlyichTchaikovsky (1840-1893) em 1876, inspirado no Canto V do Inferno (1307) da Divina Comédia de Dante Alighieri (1265-1321). Interessa-nos observar como Tchaikovsky parte do texto poético de Dante - usando-o como fonte - e desenvolve uma narrativa musical que abre ao ouvinte outros planos do sensível. Em Francesca, Tchaikovsky não se limita ao relato, mas cria, a partir dele, o seu próprio. Procuramos encontrar a operação-chave da estrutura compositiva da obra que parece ser a

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Kozyrev, Alexey P. "Prince V. F. Odoevsky in search of “Russian harmony”." Philosophy of the History of Philosophy 2 (2021): 316–30. http://dx.doi.org/10.21638/spbu34.2021.120.

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The article examines the searching for national identity in the musical and critical heritage of Prince Vladimir Fyodorovich Odoyevsky, which is associated with his philosophical interests and reflects his philosophical development after the “Society of Lyubomudriye” (“Society of Wisdom”) and “Russian nights”. The 19th century is the century of discovery of the national, and the culture and aesthetics of romanticism contributed to that discovery and led to intense nation-building. Odoevsky distinguishes between Russian and the so-called “general” Western European music, basing this distinction

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