Abstract
One of Griboyedov’s unrealised lines of work shaped by his musical talents was his interest in the foundations of musical science. Griboyedov’s scholarly ideas about the value-based content of music, musical theory and terminology, and his interest in musical ethnography were implemented by his younger contemporaries and companions V.F. Odoyevsky and M.D. Rezvoy. The moments of mutual influence between Griboyedov and Odoyevsky are revealed in their epistolary contacts. The contacts between Griboyedov and Rezvoy can be apprehended through the 1825 pencil portrait of Griboyedov by Rezvoy. The range of ideas expressed by Griboyedov was later continued by Rezvoy and Odoyevsky. Griboedov’s “code” in Russian musical art — attention to the history of Russia, the science of music, folk theater, folk song, the high sphere of temple art — was translated into the social, scientific, and artistic activities of his companions and followers.
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