"Poème eléctronique". Über Edgard Varèse: "Musik ist Zeit und Raum, wie die Architektur"
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Essay aus dem Jahr 2010 im Fachbereich Musik - Sonstiges, Note: 1,0, Technische Universit�t Berlin (Musikwissenschaft), Veranstaltung: Muik und Technik, Sprache: Deutsch, Abstract: "Raum" ist ein Begriff, der zun�chst durch die Architektur definiert ist. Aber auch in der Musik ist von R�umen die Rede. Mitunter sind jeweils vollkommen andere Gebilde und folglich Ph�nomene gemeint. Ein Musikraum kann ein realer Raum sein, der bestimmte bauliche Eigenschaften aufweist. Es kann sich aber auch um einen Raum handeln, der in der Vorstellung generiert wurde, ein mentaler Raum. Betrachten wir zun�chst den realen Musikraum. Ein Raum kann beispielsweise durch die Verteilung von Klangquellen konzipiert werden beziehungsweise k�nnen akustische und architektonische Gegebenheiten in Bezug gestellt werden. Eine andere Interpretation meint die akustische Simulation bis hin zur artifiziellen Erschaffung einer Raumsituation. Und nat�rlich, als letztes, wird die Akustik (die physikalische Eigenschaft von Schall) bei der Bauplanung, also bei der Realisierung von realen R�umen ber�cksichtigt. Die andere Art von Musikr�umen bezeichnet jene, die nur geistig existieren - Gef�hlsr�ume. Sie k�nnen beim H�ren von Musik entstehen, oder auch im Kopf des Komponisten, der ein St�ck erdenkt. Das Nachdenken �ber die mentale Komponente von Musikr�umen kann erst aufkommen mit der Aufgabe der Tonalit�t Anfang des 20. Jahrhunderts. Edgard Var�se (1883-1965) ist einer der Protagonisten jener Tage der anf�nglich durch die Lekt�re Helmholtz' Die Lehre von den Tonempfindungen als physiologische Grundlage f�r die Theorie der Musik zu Experimenten mit Sirenen inspiriert ist: "Bei Var�se hatten sie einer seiner wichtigsten Ideen, n�mlich dass Musik nicht eine untergeordnete Reihe von Noten sei (...), sondern im Raum schwingende Materie. Mit zwei kleinen Handsirenen, die er auf dem Flohmarkt in Paris gekauft hatte, machte er selber solche Versuche und erzeugte damit ein wundersch�nes (...) parabolisches und hyperb
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