法裔美國作曲家瓦雷茲（Edgard Varèse, 1883- 1965）的創作概念中以空間中音堆的運行方式為主，且被許多研究瓦雷茲的學者所關注，這也是筆者研究瓦雷茲音樂的動機。這些學者如強納森‧伯納德（Jonathan W. Bernard, 1951- ），他的著作《瓦雷茲的音樂》（The Music of Edgard Varèse, 1987）中便以空間環境分析（SpatialEnvironment）貫穿；約翰‧史特朗（John Strawn） “The Intégrales of EdgardVarèse Space, Mass, Element, and Form” （1978）中對《積分》中的創作背景介紹與空間分析十分詳盡；而瓦雷茲本身也在〈聲音的解放〉（The Liberation ofSound）中對音堆（Sound- masses）有很詳盡的說明。本文研究範圍以管擊樂作品《積分》為主，研究方法則使用音類集理論與伯納德的空間環境分析法，再根據〈聲音的解放〉中的空間創作概念分別作實例呈現，並結合配器法共同來探討瓦雷茲音樂中的空間美學。

Edgard Varèse(1883-1965), a 20th century French-American composer,is famous for his contributions of tape music and research on electronicinstruments. Theses creative ideas had already been performed on theproductions of instruments. Its focus is based on the operating mode ofSound- masses in space, and was further analyzed by scholars who studyVarèse. This is also my motive to research the music of Edgard Varèse.The Music of Edgard Varèse (1987) by the scholars Jonathan W.Bernard(1951- ) is organized by the analysis of Spatial Environments.Another text “The Intégrales of Edgard Varèse Space, Mass, Element, andForm” (1978) weitten by John Strawn, has great details about thebackground of creativeness and analyzation of space. Varèse expressed hisideas about Sound- masses, timbres and ‘Organized Sound’ with greatdetails in the “The Liberation of Sound”.The main space in my dissertation is surround with Intégrales, the workof wind and percussion. The study method operates to include both thepitch-class sets and Spatial Environment analysis methods from Bernard.The first step is representing the sense of Space creation in real examples to“The Liberation of Sound”. Furthermore, the above method can bond with orchestration to explore the space aesthetics found in the music of Varèse.Finally, this research fully represents the muscal character of the spatialaesthetics of Varèse.