4 0 0 0 OA 演奏の現象学

著者
宮内 勝
出版者
東京藝術大学音楽学部
雑誌
東京藝術大学音楽学部紀要 (ISSN:09148787)
巻号頁・発行日
vol.34, pp.157-172, 2008
著者
宮内 勝
出版者
東京芸術大学
雑誌
東京藝術大学音楽学部紀要 (ISSN:09148787)
巻号頁・発行日
vol.16, pp.A25-A50, 1990

Few problems in the music world seem to have been, of late, more frequently discussed than those of contemporary music. Although the radical changes and the resulting unprecedented styles of contemporary music often cause us bewilderment and dismay, they do have something to disclose in their own way. Meanwhile we have already come down to the last decade of this century, which begins to enable us to stop and think about what has happened to music and understand it as it is. To have a clearer insight into this problem, we need to look back to the history of western music as a whole. H. Zenck and H. H. Eggebrecht insist that there are two mutually exclusive principles involved: numerus or the Pythagorean principle, on the one hand and affectus or the Muses', on the other. These dual principles imply that a crack runs through the very heart of western music and its history, which has manifested itself in the long-discussed problem of "form and content", and which has now proved to be of secondary importance. It is secondary because the "numerus and affectus" themselves are not so much principles now as what is to come later. The very principle of these old "principles" is the metaphysics of music: the belief that what is impenetrable to us, what cannot be heard, really exists behind what is heard. The beginning of this metaphysics, as we all know, goes back to the Pytagorean idea of music. It may not be too much to say that it was born from music. A retrospective research will show us that they, philosophical and musical metaphysics, come hand in hand down to us through history, only to find themselves about to collapse in our century. The strange way in which contemporary music presents itself comes from its desperate attempts to break through the frame of musical metaphysics. It no longer allows anything to be "behind its back"; there is nothing at all but can be heard in the music. This music, according to J. Cage, has become only something to be heard. This is a turning away not only from the metaphysics of music but from the traditional concept of truth, as well. In the old metaphysics only reason is believed to lead us to the truth, while the senses nowhere; the latter is thought to be unreliable, giving us nothing but illusions. But no longer do we have to doubt our senses so long as the truth comes to lie not in what hides itself but in what manifests itself. This is, so to speak, the phenomenological turn of music from metaphysics. However, this phenomenological turn of music should not be regarded as merely getting rid of the old metaphysics; it appears that it is throwing open the door to another kind of metaphysics to come: the pre-transcendental metaphysics of music. The music we hear has already been constituted as a sound-object by the intentional acts of consciousness, which leads us to the inevitable question: what is music before being constituted as an object? To this question we approach by way of the communication of music. The music in this sense is of course not what can be heard or perceived, but what should make it possible for us to hear. It might be thought to be a silent calling or a over-whelming force that no one could resist nor turn away from, which we call here "pre-transcendental affectus". This "affectus" is not a psychological phenomenon we experience every day nor even an aesthetical one, but a preceding ethical demand from "the outside" that disguises itself and emerges in the light of consciousness in the shape of pleasing and touching sounds of music. In every way of the communication in music lies hidden the fundamental silent demand of "music" and "our" silent response.
著者
河内 寛治 中田 達広 浜田 良宏 高野 信二 角岡 信男 中村 喜次 堀内 淳 宮内 勝敏 渡部 祐司
出版者
特定非営利活動法人日本心臓血管外科学会
雑誌
日本心臓血管外科学会雑誌 (ISSN:02851474)
巻号頁・発行日
vol.31, no.5, pp.344-346, 2002-09-15
被引用文献数
1

上行大動脈がporcelain aortaを呈したAVR,CABG,腹部大動脈瘤手術の心臓・大血管系の3同時手術を施行した.73歳女性で,左室-大動脈圧較差60mmHgを示し,RCAの4A-V枝に90%の狭窄を認めた.大動脈弁および上行大動脈の著しい石灰化を認め,腹部に5cmの壁在血栓を伴うAAAを認めた.手術はAVR,CABG,AAAの3同時手術を施行した.CABGのグラフトは大動脈での吻合のない右胃大網動脈を用いた.送血管は上行大動脈より行い,右房脱血にて体外循環を開始した.石灰化のない大動脈より心筋保護(CP)液を注入,大動脈遮断して,AVR施行した.冠動脈入口部の石灰化のために,選択的にCP液を注入することは難しく,大動脈切開部の石灰を除去し縫合閉鎖してから大動脈より注入した.ついでRGEAとRCAの吻合を行い,大動脈遮断解除し体外循環を終了し,AAAの人工血管置換術を行った.翌日抜管でき,現在NYHA1度で経過している.
著者
角岡 信男 加洲 保明 宮内 勝敏 杉下 博基 谷川 和史 河内 寛治
出版者
Japan Surgical Association
雑誌
日本臨床外科学会雑誌 (ISSN:13452843)
巻号頁・発行日
vol.68, no.2, pp.313-317, 2007
被引用文献数
1

症例 : 37歳, 女性. SLE経過観察中に胸部レントゲン, CTにて肺動静脈瘻を指摘された. 増大傾向のため当科に紹介された. 全身にチアノーゼを認め, CTおよび血管造影では, 右S<sup>6</sup>に存在し一部葉間に突出する最大径50mmの瘻で, A<sup>6</sup>・V<sup>6</sup>が拡張し, 独立した流入・流出血管と考えられた. 患者が若年者であったため核出術の方針とした. 手術所見では瘻は葉間に突出しており, 血流の乱流が観察された. まず太いA<sup>6</sup>およびV<sup>6</sup>を露出し根部で結紮したが, 瘻は縮小せず静脈血の噴出を認め流入血管が他にもあると考えられた. 核出術を続けるが出血を認めるため, 核出術のみは困難と判断し, S<sup>6</sup>の区域切除術を行った. 切除標本ではS<sup>6</sup>に対しA<sup>7</sup>からの分岐血管を認めるなど区域間の枝が瘻に入り込んでいた. 術後は合併症もなく, チアノーゼは消失し血液ガスも正常化した. まとめ : 流入血管が太く大きな瘻の症例を経験した. 流入血管の術前評価が難しく数本存在しており, 区域切除術で安全で確実に手術を行えた.
著者
宮内 勝敏 高橋 広 上田 重春 河内 寛治
出版者
特定非営利活動法人 日本小児外科学会
雑誌
日本小児外科学会雑誌 (ISSN:0288609X)
巻号頁・発行日
vol.32, no.7, pp.1126-1130, 1996
被引用文献数
1

Hirschsprung 病の父子例について報告した.父は1971年生まれ.生後8ケ月,他院にて一期的根治術を施行された.aganglionosis の範囲は S 状結腸までであった.子は1995年8月生まれの男児.生後2日目,腹満にて発症.生後6日目,右横行結腸瘻造設.生後3ケ月,Duhamel-池田変法にて根治術施行.aganglionosis の範囲は横行結腸中央部までであった.Hirschsprung 病は家族性の比較的高い疾患として知られているが,親子例の報告は比較的少ない.本邦における自験例を含めた4組7例,海外における28組51例を集計し考察した.男女比を親についてみると,父親11例 (42%),母親15例 (58%) と一般の発生率に比べ女性の比率が高い.また,aganglionosis の範囲については,子供の方が親より長い傾向にあった.