In the 19th century, Russia, which was still in slavery, underwent tremendous changes. It successively experienced an aristocratic revolution, a bourgeois democratic revolution, and at the end of the century entered a period of proletarian revolution. Russian literature and art achieved important developments in the 19th century, including the thoughts of the "December Party" poets, the realist-leaning national literature of Pushkin and Lermontov, Gogol's critical realist works, Chernyshevs Fundamentalist democratic literary and artistic thought and theory deeply influenced the spiritual life of Russia in the 19th century, and also affected the development of music. Although Russia has rich folk music resources and a tradition of religious music, music from Italy, Germany, France and other countries has long been performed on the art and music stage of the upper class. In the 19th century, a group of composers with a sense of national awakening appeared in Russia, which made Russia's music art develop greatly. By the end of the 19th century, the works of Russian composers had occupied a position that could not be ignored on the European music stage. Mikhail Glinka (1804~1857) guided the development of the Russian national music school in both the ideological theory and practice of music creation. Glinka began to study composition formally at the age of 24. He visited Italy, Germany and France several times to study, and had close contacts with Berlioz. When he was in Milan, he missed his motherland and came up with the idea of ????composing a real national opera, so he created "Ivan Susanin" (originally titled "Dedicated to the Tsar"). The work describes an ordinary Russian farmer who The story of the Polish army lured into the vast forest and sacrificed their lives for the country. The opera music uses folk music materials. It was once ridiculed as "the music of the coachman", but it was eventually recognized as the first Russian opera. His second opera "Ruslan and Lyudmila" is based on Pushkin's narrative poem of the same name. The music Glinka composed for this ancient folklore has a typical Russian style. Glinka's orchestral music focuses on folk life and festival scenes. The symphonic fantasy "Kamalinskaya" is composed of two Russian folk songs with contrasting characters, using double theme variations and Russian accents. Glinka boldly drew on the style and technical experience of Western European composers in his creation. At the same time, he treated the folk music resources of his motherland with a very pious attitude and democratic ideas. He has a famous saying: "The music of the people is created by the composer." The basis is that it is the people who create music, and the composer just arranges it into music. "The Powerful Group (or "Five") was a group of composers that appeared in Russia from the 1860s to the 1870s, according to the Russian Music Review. Stasov was named after his title in newspaper articles. Most of them do not take music as their professional profession, but engage in creation in their spare time. They often gather together to discuss their works and exchange artistic ideas and creative experiences. They advocated following Glinka's path, writing Russian history, reality and folklore, advocating that creations should be real and full of people's nature, and music should reflect the national personality. Mily Balakirev (Mily Balakirev, 1837~1910)'s nationalist ideals in music and art were encouraged by Glinka. As a composer, although Balakirev has not many works, he has comprehensive professional music knowledge. From 1861 he became the core figure of the Powerful Group. He enthusiastically analyzed the works of Western European masters for the members of the Powerful Group, and at the same time encouraged them to freely express the characteristics of Russian music when creating. He not only formulates creative directions for his colleagues, but also evaluates their works in detail. Guy (Zesar Kjni, 1835~1918) was a military engineer. He composed operas and art songs when he was young, but he mainly exerted influence on music criticism and enthusiastically promoted the ideas of the "New Russian School of Music". Alexander Borodin (1833~1887) was a professor of organic chemistry and published scientific papers. After meeting Balakirev in 1862, he studied and composed music in his spare time. His major works include the opera "King Igor", the first and second symphonies, and the symphonic music painting "On the Grasslands of Central Asia". He does not directly quote folk songs, but the music is filled with the atmosphere of Russian folk music and oriental color, and is artistically original. Modest Mussorgsky (1839~1881) is the most individual and creative composer among the powerful groups. He was born into a noble family, but he strongly supported the emancipation of serfs and gave up his property so that peasants could obtain land without paying ransom. After meeting Balakirev in 1857, he resigned from the military and joined the powerful group. To the fullest extent of his musical talent, many works remained unfinished. However, the extraordinary originality shown in his music is of great historical significance to the development of European music. The opera "Boris Godunov" is Mussorgsky's representative work. Its content has a realistic tendency and has a profound psychological portrayal of the character in art. In the opera, the Russian people who endured humiliation and pain became a giant that shook history, and the psychological torture suffered by Tsar Boris, who came to power through criminal means, was vividly expressed. Some of Mussorgsky's songs sympathized with the miserable plight of the peasants ("The Orphan", "The Song of the Old Beggar", etc.), and some satirized the hypocrisy and corruption of religion and the Tsar ("The Theological Student", "The Song of the Flea") wait). His major instrumental works include the piano suite "Pictures at an Exhibition" and the symphonic fantasy "Night on Barren Mountain".

Mussorgsky opposed following the traditional styles and techniques of Western Europe. Regarding the national character of music, he did not stop at the superficial pursuit of folk song style tones. Instead, he paid attention to exploring national style melodies from the phonology of the Russian language and using Russian modal harmony while ignoring traditional European functional harmony. Nikolay Rimsky-Korsakov (1844~1908) was the youngest and most comprehensive member of the powerful group. After graduating from the Naval Academy, he sailed at sea as a lieutenant. He started composing after joining the Qianli Group. After being hired as a composition professor at the Petersburg Conservatory of Music in 1871, he conducted diligent and effective self-study research on harmony, counterpoint, musical form and orchestration. Most of Rimsky-Korsakov's dozen operas are based on ancient fairy tales and fables, such as "The Snow Maiden", "Satko", "The Tsar's Bride" and "The Golden Rooster". Orchestral works include the symphony suite "Sheherachada", "Spanish Capriccio", etc. His music is distinguished by clear, colorful orchestration. He successively arranged and orchestrated Borodin's "King Igor" and Mussorgsky's "Boris Godunov" to form a complete performance version. He is the author of textbooks such as "Practical Tutorial on Harmony" and "Principles of Orchestral Music". Among his students were Glazunov and Stravinsky. Pyotr Tchaikovsky (1840~1893) was born in Votkinsk, Urals. He studied law in his early years and later worked in the Ministry of Justice. At the age of 23, he entered the newly established St. Petersburg Conservatory of Music and studied composition from Anton Rubinstein. After graduation, he taught at the Moscow Conservatory of Music. A failed marriage in 1877 brought him to the brink of serious physical and mental collapse. The generous financial support of Mrs. Meck, a wealthy widow who loved Tchaikovsky's music, allowed him to avoid the troubles of worldly life and devote himself to composing music. He and Mrs. Meck agreed never to meet each other, and the thousands of letters they left behind have been studied Tchaikovsky's precious information. From 1885 onwards, Tchaikovsky actively participated in musical social activities again and was elected chairman of the Moscow branch of the Russian Music Association. His works were widely welcomed at home and in European countries. However, his melancholy in his personal life deepened day by day. In 1893, he conducted the premiere of the Sixth Symphony in Petersburg and died suddenly a few days later. Among Russian composers of his generation, Tchaikovsky was the one who dabbled most extensively in Western music genres. Unlike the powerful group, which is wary or even exclusive of Western traditions, he tends to inherit more of the Western European classical and romantic music traditions. Although Tchaikovsky's operas also used Russian themes and he also used Russian folk songs in his works, he did not deliberately pursue national artistic treatment. Unlike Qiang Qiang who looks for creative inspiration from folk myths, legends and history, he pays attention to the themes of "plot conflicts that I have experienced or seen that can move me". In his first creative period before 1877, he wrote some title works with love themes under the influence of powerful groups, such as: the fantasy overture "Romeo and Juliet", the symphonic fantasy "The Tempest", "Rimini" "Francesca", etc., as well as the dance drama "Swan Lake", "Piano Concerto No. 1" and the first three symphonies. After 1877, Tchaikovsky entered a mature period of creation. He shifted from "title" and "plot" content to the subjective expression of personal experience. He found his most suitable artistic world in symphonies, and established his romantic symphony style in the Fourth, Fifth and Sixth Symphonies. He uses this grand instrument genre to express the spiritual process experienced by an ordinary person subjectively. The contrast and conflict of a series of emotional contrasts and conflicts such as the weight of fate, pain, joy, longing, and irresolvable melancholy constitute a psychological drama, such as It is a philosophical reflection on life. Although these are derived from the author's summary of social and personal life experiences, they do not lose their typical significance. Tchaikovsky's symphonies have large structures, dramatic layouts, and intimate melodies with ups and downs of tone. He is good at using orchestral techniques to develop from meticulous phrases to majestic dramatic climaxes. The passion, honesty and deep melancholy in the music are deeply moving. Tchaikovsky's operas "Onegin" and "The Queen of Spades" are known for their detailed psychological portrayal of characters, the melody has the characteristics of Russian lyrical romance, and the orchestra uses symphonic techniques to heighten the climax of the drama.