摘要
本文所要探討的作品為德布西（Claude Debussy,1862-1918）創作生涯中期的作品-《版畫》(Estampes,1903)，包括-〈塔〉(Pagodes)、〈格拉納達的黃昏〉(La soirèe dans Grenade)、及〈雨中庭園〉(Jardins sous la pluie)等三首小曲，以東方、西班牙、法國等地方民間傳統要素為題材的創作。《版畫》在創作技法上利用了東方五聲音階、爪哇的甘美朗音樂(Gamelan)、西班牙哈巴奈拉(Habanera)舞曲節奏、快速的分解和弦及法國童謠等音樂元素，利用這些元素鋪陳在音符裡，展現出東方異國風情。 本研究採用樂曲分析將德布西《版畫》中的曲式結構、調式與和聲、旋律、節奏和演奏技法進行分析與詮釋，以瞭解異國音樂的元素能否有效強調印象音樂的聲音與色彩，以及《版畫》中暗示性的視覺意象與聽覺感受之間的關聯性。
並列摘要
The purpose of this paper is to use the Claude Debussy's popular Estampes suite, a collection of three contrasting pieces for the piano, to analyze and explore many layers of sound and texture in music that would lead listeners to grasp the veiled Spanish spirit from the bright-eyed sensitivity of ‘Pagodes’ and constant shifts of color in ‘Soiree dans Granada’ and concludes with a vigorous rainstorm of vernal freshness that is ‘Jardins sous la pluie’. Consideration will be given to areas and practices of the multi-sensual experiences in Debussy’s memory and imagination which related to the subject of his choice. In this paper, an attempt is made to provide a general overview of the static gamelan-inspired Pagodes, the habanera-paced Soiree dans Grenade, and the French folk lullaby ”Dodo, l’enfant do” Jardins sous la pluie for leading responded with clarity and sensuality by turns and capture the essence of French Impressionism in the tonal colors of Debussy's music. The findings demonstrate that a variety of nuance and color is the very opposite of processed piano-playing that is realized by bringing the subtlety of tonal colors, and surprising nuances that give the listener's imagination.