The so-called sense of sensuality is artistic perception. In Hegel's words, it is sensitivity, and with gestalt theory, it is the ability of complete simplification, that is, the ability to grasp things or symbols in an instant. Freud described it as the sublimation of sexual desire. Graff believes that musicians and artists have a floating sense of melody in their hearts, which wraps and runs through all memories, feelings, images and images, making this spiritual life shining and colorful. The average person can only feel it in adolescence or infatuation period. Under normal circumstances, the average person excludes it from daily life. However, musicians and artists live all their lives in the inspiration, games and imagination formed by their fantasies of sensuality. He affirmed that "the root of all fantasies is sensuality."

For writers and poets, the sense of sensuality is characterized by being able to see the details, see the big from the small, and see the meaning or development on the surface of events and characters. For painters and musicians, the sense of sensuality is manifested in the ability to express emotions with symbols. In a word, artists' sense of sensuality is very sensitive to sound, light, color, shape, action, words and so on. In this regard, artists have a good ability of combination, association or empathy; Can form images and artistic conception. Impressionist composers are no exception. Their sensuality in impressionist music works is quite different from that in classical and romantic music works. The musical works before Impressionist Music have the following characteristics: 1. Grasp the content; 2. Express in the sense of order; 3. Give priority to long lines (or events, or emotions); 4. Take the balanced structure as the center of the work form; 5. Take the color as the unit of block (the combination of tonality change and structural function); 6. The performance of light is poor, mainly through the contrast between light and shade (chord structure); 7. Decorate, vary and change. However, the sensuality of impressionist music is revolutionary, and the sensuality of impressionist music is a kind of enthusiasm in essence. First of all, the theme of the sensuality of impressionist music is to serve the form, which is an artistic work created by a group of artists living in a fast-paced and highly tense environment full of mutations. The life of these artists is dominated by instantaneous power, so they think that change is more important than existence, so they always choose small things or little people that happen immediately in daily life as their subjects. All these are reflected in the works of impressionist artists. Such as Dance Class by Degas, Impressionist painter, The Boy Playing Piccolo by Henri Edward Manet, Bells Through the Leaves, Goldfish, Sail and Footprints in Prelude by Debussy, an impressionist musician. The sensuality shown by these impressionist artists in their works was once dismissed as "pursuing sensuality and sensual enjoyment", but in fact it was the impressionist artists who affirmed life through their beautiful sensuality, and their works were seemingly boring, but in fact they were hiding restlessness.

the second performance of impressionism is that it is the most primitive sensuality, that is, it is not filtered by order perception, but feeling. Impressionism pursues the separation of audio-visual perception and memory, avoids creating through memory, and opposes apperception, and pursues the feeling without integration. This is just like Monet's childlike oath in front of his teacher Budan at the age of 15: "I want to express my impression before the most perishable effect!" These are embodied in impressionist painting, which mainly captures fleeting impressions through the changes of light, shadow and color. During his heyday, Monet, an impressionist painter, painted nearly 3 works of Rouen Church, all of which were painted from the same angle except two from different angles. In this series of paintings called "big impression" because of their strong shock, Monet shows the rich expressions of this ancient Gothic building: in different times, seasons and climates, colors on Monet's canvas become endless. Impressionist music is influenced by impressionist painting concept. Impressionist musicians mainly use changing timbre and sound to arouse the audience's current feelings, rather than being guided by the title to produce meaning. Therefore, impressionist music shows fog, clouds, air, light, fragrance, etc., which are reflected in Debussy's piano music called Reflection in the Water and Moon Fallen Temple, and in the prelude collection, withered leaves, moonlight filled the court, fireworks, orchestral music, the sea and other works.

Impressionist music is also influenced by symbolist poetry. Influenced by the aesthetic criterion of "the ideal of poetry" put forward by the French symbolist poet Malamei, which advocates "the need to hint, the observation of impression and the dream caused by the object", impressionist music not only shows clear and fleeting impressions, but also has hazy features, which are the characteristics of unconscious consciousness. For example, in Debussy's prelude to orchestral music "Afternoon of Faun", the hazy, erratic and mysterious realm between reality and dream.

From a more specific point of view, the sensuality of Impressionist music is also manifested in the disappearance of long lines and their replacement with tiny curves, which is reflected in the composition of themes, the weakening of melodies, and the wide use of short sentences and motives in Impressionist music works. For example, in Debussy's music works, due to the pursuit of musical fuzziness and the dilution of melody, he used a large number of non-melodic tone texture motives and short sentence melodies that were truncated and condensed to form music themes. One of the main themes of his piano overture "The Water Fairy" is a tone texture motive, as well as the left-handed tone motive in Footprints on Snow. These tone motives constitute the mystery and mystery of impressionism music.

The color blocks disappear and are replaced by color dots and light spots, which is also one of the sensuality of impressionist art.. Just like the yellow-green light spot projected on the naked woman's skin in the impressionist painter Renoir's Naked Woman in the Sun, this feature in impressionist music works is mainly manifested in the impressionist harmony style and orchestral orchestration. For example, in Debussy's music works, a large number of parallel fourth and fifth degree melodies and sound layers, off-hill overlapping chords, scale longitudinal chords, compound chords and so on are used. He used medieval modes, pentatonic scales, diatonic scales, etc. to expand the major and minor modes, and used the methods of shifting the tonic, synthesizing the modes and tonality, interrupting the tonality, etc. to generate new modes, forming the unique color harmony of impressionist music. However, the characteristics of Impressionist orchestral language mainly focus on timbre processing. Due to its extreme sensitivity to color, preference for hints, metaphors and rainbow-like tone contrast, Impressionist composers' acoustic modelling technique reflects their yearning and pursuit for the mysterious "acoustic beauty". For example, they broke the previous situation that strings, woodwinds and brass pipes were "three-legged", preferring to use the middle and bass areas of woodwinds, and the flute tone is Debussy's favorite, which is obvious in his works such as Afternoon of the Faun. Impressionist composers also prefer to use pure timbre. In many impressionist works, the "color blocks" synthesized by different timbres are suddenly and alternately contrasted, and often arranged according to the principle of "parallel connection". This arrangement method of orchestration characterized by the continuous flow of "parallel connection" sounds has reached the extreme in Debussy's ballet music "The Game". In impressionist music, the changes of musical instruments are very ordinary, and the jumping of tones is greatly increased compared with previous music works. The timbre no longer forms a long-lasting and coherent line, but appears as spots and color spots scattered in the texture, which is also reflected in Debussy's "Game" and other works.

Replacing perspective with color shading is another feature of impressionist art sensuality, which is reflected in the musical structure of impressionist music. For example, in Debussy's music works, the way of "fluid running" and "block collage" has replaced the theme-expansion mode, which has been the main method of structural development since classicism. First of all, the fluid operation is manifested in the way of "single declarative structure, that is, the theme flows away after only one statement, and then it is connected with other music materials or directly collaged into the comparative paragraphs. This method weakens the status of the theme, weakens the memorable of the theme, and makes the music gain an instant impression". As Debussy said, his music "will never return to its true colors". This is reflected in his piano music "A Night in Granada" and the overture "Mount Puri in Aarika". Another form of fluid operation is variation and development, which is different from traditional variation. In Debussy's works written by variation method, specious similarities and differences such as theme, timbre, texture and harmony are often interwoven among the variations, and the emotions of the variations are roughly the same, and the boundaries between the variations are not clear, which is reflected in his works such as Afternoon of the Faun, the third piece of his orchestral Nocturne, and The Sea Demon.

In a word, the sense of sensuality of impressionist art is revolutionary, and its essence is a kind of enthusiasm.