In the course of Russia's thousand-year history, Russian literature has come to occupy a unique place in the culture, politics, and linguistic evolution of the Russian people. In the modern era, literature has been the arena for heated discussion of virtually all aspects of Russian life, including the place that literature itself should occupy in that life. In the process, it has produced a rich and varied fund of artistic achievement.

In the nineteenth century, Russia began making an original contribution to world music nearly as significant as its contribution in literature. In the first half of the nineteenth century, Mikhail Glinka (1804-57) initiated the application of purely Russian folk and religious music to classical compositions. His best operas, Ruslan and Lyudmila and A Life for the Tsar , are considered pioneering works in the establishment of Russian national music, although they are based on Italian models.

In 1859 the Russian Music Society was founded to foster the performance and appreciation of classical music, especially German, from Western Europe; the most influential figures in the society were the composer Anton Rubinstein and his brother Nikolay, who founded influential conservatories in Moscow and St. Petersburg. Anton Rubinstein also was one of the best pianists of the nineteenth century.

In the second half of the nineteenth century, a group of composers that came to be known as the "Mighty Five"--Miliy Balakirev, Aleksandr Borodin, César Cui, Modest Musorgskiy, and Nikolay Rimskiy-Korsakov--continued Glinka's movement away from imitation of European classical music. The Mighty Five challenged the Russian Music Society's conservatism with a large body of work thematically based on Russia's history and legends and musically based on its folk and religious music. Among the group's most notable works are Rimskiy-Korsakov's symphonic suite Scheherezade and the operas The Snow Maiden and Sadko , Musorgskiy's operas Boris Godunov and Khovanshchina , and Borodin's opera Prince Igor' . Balakirev, a protégé of Glinka, was the founder and guiding spirit of the group.

Outside that group stood Peter Ilich Tchaikovsky (Chaykovskiy), who produced a number of enduring symphonies, operas, and ballets more imitative of Western music. During his lifetime, Tchaikovsky already was acknowledged as one of the world's premier composers. Among his most-performed works are the ballets Swan Lake , Sleeping Beauty , and The Nutcracker , and his Sixth Symphony, known as the Pathétique. At the end of the 1800s, the generation that followed the Mighty Five and Tchaikovsky included talented and innovative figures such as Sergey Rachmaninov, a master pianist and composer who emigrated to Germany in 1906; Rimskiy-Korsakov's student Aleksandr Glazunov, who emigrated in 1928; and the innovator Aleksandr Skryabin, who injected elements of mysticism and literary symbolism in his works for piano and orchestra.

In the twentieth century, Russia continued to produce some of the world's foremost composers and musicians, despite the suppression by Soviet authorities of both music and performances. Restrictions on what musicians played and where they performed caused many artists to leave the Soviet Union either voluntarily or through forced exile, but the works of the émigrés continued to draw large audiences whenever they were performed. The Gorbachev era loosened the restrictions on émigrés returning. The pianist Vladimir Horowitz, who left the Soviet Union in 1925, made a triumphal return performance in Moscow in 1986, and émigré cellist Mstislav Rostropovich made his first tour of the Soviet Union in 1990 as conductor of the National Symphony Orchestra in Washington, D.C.

Igor' Stravinskiy, who has been called the greatest of the twentieth-century Russian composers, emigrated permanently in 1920 after having composed his three best-known works, the scores for the ballets The Firebird , Petrushka , and The Rite of Spring . Stravinskiy enjoyed a productive career of several decades in exile, making return visits to Russia in his last years. The composers Aram Khachaturyan, Sergey Prokof'yev, and Dmitriy Shostakovich spent their entire careers in the Soviet Union; all three were condemned in 1948 in the postwar Stalinist crackdown known as the Zhdanovshchina. Prokof'yev, best known for his ballet music, had achieved enough international stature by 1948 to avoid official disgrace. Shostakovich, who enjoyed triumph and suffered censure during the Stalin era, wrote eleven symphonies and two well-known operas based on nineteenth-century Russian stories, The Nose by Gogol' and Lady Macbeth of Mtsensk District by Leskov. He enjoyed substantial recognition after the "thaw" that liberated artistic activities after 1953. Khachaturyan based much of his work on Armenian and Georgian folk music.

Composers of modern music received much criticism in the Soviet period for digressing from realistic or traditional styles. Both official Soviet artistic standards and the traditional expectations of the Russian public restricted the creation and performance of innovative pieces. The most notable avant-garde symphonic composer was Alfred Schnittke, who remained in the Soviet Union, where his work won approval. Aleksey Volkonskiy was a notable member of Schnittke's generation who left the Soviet Union to compose in the West. The restraints of the 1970s and 1980s stimulated a musical underground, called magnitizdat , which recorded and distributed forbidden folk, rock, and jazz works in small batches. Two notable figures in that movement were Bulat Okudzhava and Vladimir Vysotskiy, who set their poetry to music and became popular entertainers with a satirical message. Vysotskiy, who died in 1980, was rehabilitated in 1990; Okudzhava continued his career into the mid-1990s.

Jazz performances were permitted by all Soviet regimes, and jazz became one of Russia's most popular music forms. In the 1980s, the Ganelin Trio was the best-known Russian jazz combo, performing in Europe and the United States. Jazz musicians from the West began playing regularly in the Soviet Union in the 1980s.

Rock music was controlled strictly by Soviet authorities, with only limited recording outside magnitizdat , although Russia's youth were fascinated with the rock groups of the West. In the more liberal atmosphere of the late 1980s, several notable Soviet rock groups emerged with official approval as more innovative, unsanctioned groups proliferated. The Leningrad Rock Club, which became a national network of performance clubs in 1986, was the most important outlet for sanctioned rock music. In the 1990s, much of Russia's rock music lost the innovative and satirical edge of the magnitizdat period, and experts noted a tendency to simply imitate Western groups.

The Russian language has dominated cultural and official life throughout the history of the nation, regardless of the presence of other ethnic groups. Linguistic groups in Russia run the gamut from Slavic (spoken by more than three-quarters of the population) to Turkic, Caucasian, Finno-Ugric, Eskimo, Yiddish, and Iranian. Russification campaigns during both the tsarist and communist eras suppressed the languages and cultures of all minority nationalities. Although the Soviet-era constitutions affirmed the equality of all languages with Russian for all purposes, in fact language was a powerful tool of Soviet nationality policy. The governments of both the Soviet Union and the Russian Federation have used the Russian language as a means of promoting unity among the country's nationalities, as well as to provide access to literary and scientific materials not available in minority languages. According to the Brezhnev regime, all Soviet peoples "voluntarily" adopted Russian for use in international communication and to promote the unity of the Soviet Union.

Beginning in 1938, the Russian language was a compulsory subject in the primary and secondary schools of all regions. In schools where an indigenous language was used alongside Russian, courses in science and mathematics were taught in Russian. Many university courses were available only in Russian, and Russian was the language of public administration in all jurisdictions in all fifteen Soviet republics. Nevertheless, the minority peoples of the Russian Republic, as well as the peoples of the other fourteen Soviet republics, continued to consider their own language as primary, and the general level of Russian fluency was low. In the mid-1990s, in every area of the federation, Russian remains the sole language of public administration, of the armed forces, and of the scientific and technical communities. Russian schools grant diplomas in only two minority languages, Bashkir and Tatar, and higher education is conducted almost entirely in Russian.

Although Russian is the lingua franca of the Russian Federation, Article 26 of the 1993 constitution stipulates that "each person has the right to use his native language and to the free choice of language of communication, education, instruction, and creativity." Article 68 affirms the right of all peoples in the Russian Federation "to retain their mother tongue and to create conditions for its study and development." Although such constitutional provisions often prove meaningless, the non-Slavic tongues of Russia have retained their vitality, and they even have grown more prevalent in some regions. This trend is especially visible as autonomy of language becomes an important symbol of the struggle to preserve distinct ethnic identities. In the 1990s, many non-Russian ethnic groups have issued laws or decrees giving their native languages equal status with Russian in their respective regions of the Russian Federation. In the mid-1990s, some 80 percent of the non-Slavic nationalities--or 12 percent of the population of the Russian Federation--did not speak Russian as their first language.

Population
	147,501,000
	(1997 official estimate)
Population Density
	9 people/sq km
	(22 people/sq mi)
	(1997 estimate)
Urban/Rural Breakdown
	73%Urban
	27%Rural
Largest Cities
	Moscow8,660,000
	Saint Petersburg4,800,000
	Novosibirsk1,380,000
	Nizhny Novgorod1,380,000
	Yekaterinburg1,280,000
	(1996 estimates metropolitan areas)
Ethnic Groups
	80%Russian
	4%Tatars
	16%Other
	including Ukrainians, Chuvash, Bashkir, 
	Belorussians, Mordvin, Germans, Udmurt, Mari,
	 Kazakhs, Jews, Armenians, Chechens, Yakut, and Ossetians
Languages
Official Language
	Russian
Other Languages
	many minority languages
Religions
	24%Russian Orthodox
Christianity
	76%Other
	including other Christian denominations, Islam, Buddhism, Judaism