Debussy studied at the Paris Conservatoire during the 1880s. He spent a year in Rome, Italy after winning the Prix de Rome. He also became a music critic, who later rejected his Wagnerian influence because of the German composer’s concept of Gesamtkunstwerk (that art, music and poetry can be combined into one “complete artwork.”) From a technical standpoint the music of Debussy contains unresolved dissonances and cadences through planning: forming a successive chain of dominant chords. His music also uses various scales which were not used during the earlier part of the 1800s (e.g., whole tone, pentatonic, etc.).
In the orchestral realm, Debussy is best remembered for his Prelude to the Afternoon of a Faun (1893). Unlike the music of the previous centuries, this work seems more organic in structure. It does not particularly feature memorable melodies, and the orchestra is used to create colorful effects. Other orchestral pieces that follow this format are the Nocturnes, Images and La mer.
During his lifetime Debussy endured harsh criticism for his music, often from other composers, such as Camille Saint-Seans (1835-1921). This animosity apparently intensified after Debussy died in 1918 and his music acquired nationalistic status. Nevertheless, many Twentieth Century composers felt influenced by his music: mainly Louis Durey (1888-1979), Arthur Honegger (1892-1955), Germaine Tailleferre (1892-1983), and Toru Takemitsu (1930-1996).