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다국어 초록 (Multilingual Abstract)

The purpose of this study is to investigate the use of Impressionistic harmonic techniques in Debussy's Music by analysing "Voiles" from Prelude for Piano, Book I. There is very little literature employing pure whole-tone scale. Debussy's "Voiles' from Prelude I is a good example of his use of whole-tone and pentatonic scales. Impressionism is a term which was first applied to the work of a group of French artists whose work is characterized by a subtle play of light and color upon the canvas, rather than the clear delineation of specific objects. Impressionistic music which has been applied to Debussy's musical compositions was to suggest a mood, to evoke an atmosphere, particularly through the use of intensely coloristic devices, and through the avoidance of clearly defined forms and statements. He used the following harmonic techniques, devices, or procedures:
1. Irregular and frequently static harmonic rhythm
2. The whole-tone scale
3. Augmented triads: 9th, 11th, and 13th chords; and chords with added 2nds, 4ths, and 6ths; all of these often moving in parallel motion
4. Pentatonic
5. Non-functional harmony
6. Occasional use of modes
"Voile" is based on a ternary (A-B-A) form. The A section begins with whole-tone scale, shifts to the pentatonic scale in the B section, and returns to the whole-tone scale for the A'. Debussy employs the pentatonic scale in the B section to avoid the harmonic monotony characteristic of the whole-tone scale (successive major seconds) which would otherwise make it difficult to create harmonic and melodic direction. The whole-tone harmony of the prelude is presented in a slow tempo and static mood, whereas the brief pentatonic section conveys a sense of tension and climax, partly because of the presence of intervals other than those of the whole-tone section.
The prelude is built on three motives: the descending opening motive, the Bb pedal, and the ostinato consisting of ascending major seconds. These three motives are presented in changing contexts throughout the music.
The pentatonic scale Gb-Ab-Bb-Db-Eb shares the three notes, Bb, Ab and Gb, with the whole-tone scale, Gb-Ab-Bb-C-D-E. These three common tones function as a transitional passage connecting each section.
The fact that both the whole-tone and the pentatonic collections begin with the same notes (used as pivot tones) makes it possible for Debussy to use the same harmonic intervals for the cadential structure. The continuous use of these structures in the cadences provides a sense of tonal unity throughout the music.
Debussy's music is regarded as an extention of nineteenth century composition and his nonfunctional use of chords opened new frontiers of freely treated harmonic color.

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