本研究旨在瞭解德布西的生平，和他的鋼琴音樂藝術，特別是他在音樂中獨到的創作手法。並進一步探究德布西後期的成熟作品，前奏曲第一集12首鋼琴音樂的彈奏技巧，並進而剖析德布西在創作中較特殊的手法。本研究以文獻分析為主，在歸納各項文獻資料後，加上筆者對德布西作品的喜好，尤其是他的前奏曲，及平日教學心得加以歸納整理，並配合德布西一生中在音樂創作上的心態演變，另外，德布西所受幾位印象派畫家的影響，以及他自己獨特的對鋼琴音樂詮釋上的不同做一敘述。德布西是印象樂派中的始祖，德布西對鋼琴音樂氣氛營造的創新，巧妙地運用獨樹一幟及非傳統的和聲、曲式手法於他自己的作品中。彈奏德布西的鋼琴音樂，不僅手指要靈活，也要熟悉流動聲音的手部位置，還有其特殊的踏板技巧等。德布西的音樂素材來自多方面，包括全音音階（whole-tone sc-ale）、五聲音階（pentatonic）、教會調式（Churchmode）及十九世紀東方、西方不協和和聲（discord harmony）等。

　　　　　The purpose of this study is to understood the life of Debussy and the art of his piano music, especislly the unique skills he applied in composing music. In addition, further researches for mature pieces created in his latter years as well as the playing skills of the twelve piano works in Preludes Volume 1 are included. Hence uncommon skills Debussy used in composing music is also discussed. The research lays emphasis on analying documents. Owing to my personal preference for Debussy's works, especially preludes, I add my teaching experience to the research and try to discuss Debussy's change of mind in his life of composing, influence cast by some impressionist painters, and his various interpretations of piano music. Debussy is a symbol of impressionism. He ingeniously applied unique and unconventional chords, forms in his own works. Thus, a new style was formed. It requires dexterous hands to play Debussy's piano works, and it is important that one has to be practiced about finger positions to play flowing notes. Besides, he has to pay attention to the peculiar use of pedals. Debussy derived themes from diverse sources, including whole-tone scale、pentatonic、churchmode as well as oriental and occidental discord harmony of the 19th century.