드뷔시의 피아노 작품에 나타난 이국적 요소에 관한 연구 -드뷔시의 작품 「판화」1,2곡 과 「전주곡」 1권의 5, 9번과 2권의 3번을 중심으로 -

Abstract

At the end of the 19th century, impressionism appeared as a new trend and the art movement faced a turning point. The impressionist style of painting, purposeful counter?phenomenon to the excessive expressionism seen in the late romanticism centered in Germany, rejected all of the existing traditional painting techniques. It was a trend that tried to express sensual nuances using instantaneous effects of color or hue and describes objects, nature, light etc. Claude Debussy was the leading composer of French impressionism. He initiated the French musical impressionistic movement at the end of the 19th century by transferring impressionism into music. He established his own music as an aesthetic point of view. ?He is called an impressionistic musician because he composed music which has images parallel with subtle tones, sounds, vague compositions, and free theme selections by transferring the impressionistic art form into music. ?He was exposed to the music from Vietnam, Cambodia, and Java, including Javanese gamelan music (Gamelan music) at the World Exposition held in Paris in 1889. Even though he had not visited each of those countries, he sublimated musical elements of each country into his own music and was able to clearly express oriental colors and an exotic atmosphere in his music. He mostly used the gamelan music of Java and music of India or Spain to influence his music and used titles or directions to imply exoticism and its combination with impressionism. He was successful in implying exotic imagery using freedom of types, fresh rhythms, musical percussion effects, eastern melodies, and folk elements, such as the rhythms, instruments, and traditional modes of Spain. For this study, one or two songs of Estampes, #5 and #9 of the first book and #3 of the second book of Debussy's Preludes were studied. The results showed points were depicted using the characteristic elements of each song. The topic was revealed clearly as a way in which image of the music can be seen from the title or directions of the work of Claude Debussy. One song in Estampes or #5 of the first book of Debussy's Preludes used a Slendro pentatonic scale used in gamelan music which allowed him to portray unique colors, such that he could imagine himself in the Orient with oriental colors and so expressing in a more delicate way the sounds of gamelan percussion. The overall feeling of the two songs of Estampes, #9 of the first book and #3 of the second book of Debussy's Preludes depicted Spain. It is known that he used Habanera, a typical rhythm of Spain, and a distinctive Melisma of Spain and Arabia scale as a thematic tune. Especially, the song of #9 of the first book of Debussy's Preludes is reminiscent of a courting man playing guitar in the background while dancing Jota. He depicted Spain with music that sounded as if using castanets or arpeggios when playing the Guitar. In summary, in this study, the gamelan music and Spanish music which, most notably among exotic elements, inspired Debussy and appear in his piano works were studied and how he depicted those elements and combined them into his music was investigated.