본 연구는 드뷔시의 전주곡 중 `돛`(Voiles)을 분석하고 이에 따른 학습지도안을 작성하는 것을 목적으로 한다. 드뷔시의 피아노 작품 `돛`은 온음음계를 사용하여 작곡되었으나 A-B-A의 세 도막 형식 안에서, 각 악절이나 음악을 종결하는 방법이나, 주요한 음을 주축으로 전개되는 곡의 방식, 공통음을 사용하여 온음음계에서 오음음계로 전환하는 방법 등의 구성적인 측면은 종래의 조성음악의 형식을 모방하였다. 음악은 소리의 예술로 음악 분석의 궁극적인 목적은 청각적으로 분석하는 능력을 배양하는 것이다. 또한 악보를 보고 분석하는 학습은 청각적인 분석을 위한 도구로서 음악은 듣기 중심의 교육이어야 한다. 따라서 이 연구의 학습지도안은 드뷔시의 전주곡 중 `돛`의 음악적인 특징들 즉 온음음계와 오음음계의 구분, 세 주제들, 종지, 오음음계로 구성된 B부분을 청각적으로 분석할 수 있도록 제시하였다.

The purpose of this study is to analyze `Voiles` from Prelude I and to present teaching strategies. Debussy`s `Voiles` from Prelude I is a good example of his use of whole-tone and pentatonic scale. "Voile" is based on a ternary (A-B-A) form. The A section begins with whole-tone scale(successive major seconds), 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 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. The brief pentatonic section conveys a sense of tension and climax 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 collection begin with the same notes (used as pivot tones) makes it possible for Debussy to use the same harmonic intervals for the cadence. The continuous use of these structures in the cadence provides a sense of tonal unity throughout the music. Debussy`s music is regarded as an extension of nineteenth century composition and his nonfunctional use of chords opened new frontiers of freely treated harmonic color. The teaching strategies of this study is as follows. Students should be able to compare the differences and similarities of the intervals between the whole-tone and pentatonic scales, to analyze `Voil`s` with reference to three motives, cadence, ostinato, three common tones, and B section, and to compose their own music.