On the Political Interpretation of Classical Music in Current Russian Propaganda. The Case of Pyotr Ilyich Tchaikovsky
This article analyzes the role of classical music heritage in contemporary Russia. In the current context, art – and more specifically classical music – is called upon to fit into the paradigm of “traditional values” and to serve the objectives of those in power: on the one hand, to divert society f...
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| Pubblicato in: | URI:https://journals.openedition.org/transposition, |
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| Autore principale: | |
| Natura: | Article ou chapitre numérique |
| Lingua: | Anglais |
| Pubblicazione: |
Transposition
2025
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| Soggetti: | |
| Accesso online: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Riassunto: | This article analyzes the role of classical music heritage in contemporary Russia. In the current context, art – and more specifically classical music – is called upon to fit into the paradigm of “traditional values” and to serve the objectives of those in power: on the one hand, to divert society from a critical understanding of sociopolitical issues; on the other, to foster a sense of national unity and patriotism. The instrumentalization of classical music for propaganda purposes, however, is not without contradictions, which are one of the main focuses of this study. The case of Pyotr Ilyich Tchaikovsky – a symbolic composer extensively mobilized in official discourse – offers a particularly revealing example, especially through the semantic reinterpretations of his ballet Swan Lake, to which particular attention is devoted. |
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