Since the 19th century, some countries that were relatively backward in music creation began to develop, and a large number of musicians appeared. Their creativity sought to conform to the traditions and characteristics of their own nation, and emphasized the reflection of the national spirit in music. Content, nationalism in music also emerged. Of all the countries, Russia, with its rich tradition of folk and religious music, achieved the most widespread success.

Mikhail Glinka (1804-1857) was the founder of the Russian national music school. His "Ivan 6 Susanin" was the first truly Russian national opera. In the play, Glinka adds the characteristics of Russian folk songs to the framework of traditional Italian opera. This work, together with his other masterpiece "Ruslan and Lyudmila", laid the foundation of Russian national opera.

Alexander Dargomyzhsky (1813-1869), a contemporary of Glinka, was another important figure in this period. His most important achievement was his exploration of the vocal form of recitative. . His vocal style influenced almost all the most important Russian opera composers in the future.

The real prosperity of the Russian national music school did not begin until the mid-to-late 19th century. At this time, the Russian music world was also divided into two factions due to the influence of the literary field. One faction is Pan-Slavic nationalists, and the other is academics who move closer to the West.

Anton Rubinstein (1829-1894) and Pyotr Tchaikovsky (1840-1893) are representatives of the academic school. Anton Rubinstein was an outstanding pianist and music activist. He founded the Petersburg Conservatory of Music, taught Western music culture, and made important contributions to the development of modern Russian music culture. Tchaikovsky was Russia's first "professional" composer who graduated from his conservatory.

Tchaikovsky’s orchestral works have always occupied a prominent place in the program. The First Piano Concerto is surging and surging, but unfortunately it is limited to its introduction. This introduction is so long that the whole body almost loses its proportional coordination, and the good effect is never seen again in the following movements (there is an obvious break in the movement). The violin concerto was considered by the most famous critic at the time: "It's not playing the violin, but to tear ... Although the comments were harsh, they were not completely baseless slander. It is worth noting that Tchaikovsky often inserts the most tender and sentimental singing passages into such vulgar beauty, which shows the confusion and instability of his character or art. Tchaikovsky's symphonies all have obvious titles. Even the composer himself admitted with dismay that these symphonies were generally suite-like in nature, and the movements were not really organized organically. The sonata form basically presents a state similar to symmetrical interlude music, lacking real symphonic development. The naked expression of personal emotions is the only clue to connect the context of each movement. But some fragments of these symphonies reflect Tchaikovsky's skills and imagination as a professional composer, such as the use of the "Fate" motive in the Fifth Symphony and the rich orchestral colors of the "Pathétique" in the Sixth Symphony. (such as the Adagio at the beginning of the first movement and the wonderful third movement) and so on. Tchaikovsky's most outstanding works should be his ballets and orchestral suites, where the relatively simple structure allows the composer's lyrical talent to be best displayed.

Tchaikovsky has a very high reputation among ordinary audiences. His symphonic works (especially the last three symphonies and two concertos) are almost as popular as those of Beethoven and Brahm. Siping stood up and sat down. But in fact, his works are definitely far behind those two German masters. The reason for this phenomenon may be that the distorted and exaggerated, empty but exciting sound effects in his works attract conductors who want to show off themselves, while other sad, pessimistic emotions and lyrical melodies attract sentimental listeners. .

The other school corresponds to the academic school, in which the composers are all amateurs. They reject Western influence to a certain extent, but perhaps because of this, they are more able to truly touch the Russian nation. deep in the soul.

Under the influence of Gogol, Dalgomysky's naturalism and Glinka's Pan-Slavic movement, a strange group of five people gathered in Petersburg, including: Balakile Mily Balakirev (1837-1910) was the leader and core of the group, Zesar Kjui (1835-1918) was a military engineer, Alexander Borodin (1833-1887) was a chemistry professor, and Rimsky ?6?1 Korsakov (Nikolay Rimsky-Korsakov, 1844-1908) was a naval officer, and Modest Mussorgsky (1839-1881) was an army officer.