드뷔시 피아노 어튀드 = 12 Etudes by Claude Debussy(1862~1918)

다국어 초록 (Multilingual Abstract)

An Etude is usually devoted entirely to one of the special problem of instrumental technique, such as scales, arpeggios, octaves, trills, etc.. Whereas etudes are written in the form of a complete piece, finger exercises are short formulas that have to be repeated many times, either on the same pitch or moving through the degrees of the scale. Finger exercises were already known in the early 16th century. Toward the end of the 17th century the Italian toccata became a sort of etude. The originator of the modern etude is Muzio Clementi(1752-1832), whose Gradus ad Parnassum(1817-1826) mark the beginning of the enormous literature of the 19th-century etude. Outstanding collections of etudes for the piano were written by Cramer, Czerny, Moscheles. Chopin, in his 27 Etudes(Op. 10, Op. 25, and 3 single pieces), created the concert etude, which is designed not only for study but also for public performance and which combines technical difficulty with high artistic quality. His examples were followed by F. Liszt, A. Scriabin, and C. Debussy(12 Etudes, dedicated to the memory of Chopin, 1915). By the beginning of autumn in 1915, Debussy had finished the Etudes. Writing to his friends, he insisted that these were unprecedented and constituted a new stylistic phase for him. His new-found activity was aided, early in 1915, by work on an edition of Chopin`s piano music: he prepared the etudes for publication, and dedicated his own set to the memory of Chopin. While an evocative title was placed at the end of each of his Preludes, each etude has an unpretentious, functional, pedagogic title, sometimes almost relative to tone. Superficially at least, the etudes of the 1st book are concerned with the dexterity of the fingers, while the titles of the 2nd point either directly or with elegant dissimulation to new challenges, sometimes concerning timbre and sonority. The Etudes have all the characteristics of Debussy`s late, most mature, daring and radical innovative idioms. They are dense with passagework and expressive indications of all kinds: dynamics, touch, forms, and tempo changes. This analytical thesis results in presenting the following characteristics as writings of Debussy`s piano etudes. Harmonic boundaries are pushed to their limits. With many non-harmonic tones, were used augmented or diminished 4th and 5th, the chromatic cross relation, the additional 2nds, the altered chords, chords built on fourths or on fifths and parallels of the 2nds, 4ths, 5ths, triads, even non-harmonic triads. In terms of tonality, these etudes have poly-harmonic structures, multi-tonality and polytonality including two different chords with two different key signatures, etc.. For his main melodies, the chromatic, whole-tone, pentatonic, and even octatonic as well as in diatonic scales are employed in contrast. In regard to rhythm and meter, many features of precedent to the twentieth century were employed: poly-and multi-meter, cross rhythm(polyrhythm), ostinato which sustains a simple rhythmic pattern and hemiolas as well as lots of triplets and combinations of irregular rhythms. It is impossible to summarize the extraordinary range of formal models, and moreover the degree of constant variation and the frequent use of unexpected portions are so pronounced that the resulting impression is often one of a constantly evolving structure. Nevertheless in the form of nos. 4, 5, 6, 8, 11 and 12 an ABA`(ternary form) emerges and constantly varied, and elsewhere the etude simply concludes with an allusive gesture like no. 3. Debussy discovered new sounds differentiated colors that go quickly from the vagueness to the brusque sound like hammer, and numerous further transformation. And he also through a wide range of articulation explored the range of possible piano timbre with different dynamic shadings, registers and levels of sonority, superimposed and juxtaposed so as to evoke a series of different spatial dimensions and changes of tone. Besides, the music of these etudes show us lots of characters of Debussy including treating piano as a percussive instrument by a regularly recurring of chords built on seconds or ostinato rhythmic patterns, doleful tone of melodies, perpetual motions, stylized patterns like waltz, and specially in the 8th etude, the last to be written, he revives the ornaments(agrement) of French harpsichord tradition. Debussy succeeded in creating etudes that not only open up fresh approaches to traditional technical problems but also reflects the demands of both his own music and later twentieth-century keyboard music. He made a great contribution to evolve the concert etude as highly musical as were Chopin`s etudes and his 12 etudes constitute the important piano literature in the early twentieth century.