Tchaikovsky’s Last Three Symphonies and Sexism

DOI

10.2991/978-2-494069-89-3_16How to use a DOI?

Keywords

Tchaikovsky; the last three symphonies; sexism; theme of fate; Orthodoxy

Abstract

Tchaikovsky’s symphonic works enjoy a pivotal position in symphonic poetry. Not only influenced by Western musicians such as Schumann and Debussy in the same period, his compositions also incorporate the unique stylistic characteristics of the Russian nation. As one of the great Russian composers, Tchaikovsky’s compositions have inherited the past and opened up the future in the history of art. For him, however, his sexism and destiny are inextricably linked to his works. Available studies have drawn so much attention to his sexism that the influence of social context and religious culture on the composer’s own emotional expression has been overlooked. This thesis discusses whether there is sexism in Tchaikovsky’s work and the expression of emotion in his symphonies through a study of social and cultural background, major historical events, and a stylistic analysis of the last three symphonies.

Copyright

© 2022 The Author(s)

Open Access

Open Access This chapter is licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International License (http://creativecommons.org/licenses/by-nc/4.0/), which permits any noncommercial use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made.

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TY  - CONF
AU  - Yan Wang
PY  - 2022
DA  - 2022/12/30
TI  - Tchaikovsky’s Last Three Symphonies and Sexism
BT  - Proceedings of the 2022 5th International Conference on Humanities Education and Social Sciences (ICHESS 2022)
PB  - Atlantis Press
SP  - 130
EP  - 139
SN  - 2352-5398
UR  - https://doi.org/10.2991/978-2-494069-89-3_16
DO  - 10.2991/978-2-494069-89-3_16
ID  - Wang2022
ER  -