Abstract
The article is devoted to the interpretation of "modality" as a compositional technique that embodies an emotional component. The study establishes that the principles of modality, in many ways, contradict the tonal system. It concludes that pure modality is encountered very rarely, as it usually complements other techniques. A unique example in this regard is Claude Debussy's piano piece "Voiles" (1909) from his first book of preludes (1910). The innovative value of Debussy's musical discoveries is hard to overestimate. The novelty of his music is associated, in part, with moving away from the traditional harmonic framework. In this sense, Debussy continues the discoveries of Modest Petrovich Mussorgsky (1839-1881).
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