![]() ![]() ![]() It can be “music” in the conventional sense of the word, with all those qualities associated with what is the mellifluous, melodious, or pleasing to the ear at the same time, it can encompass phonological features that are deliberately cacophonic or discordant, employed by the addresser to get his message across more effectively, more memorably, or with greater emphasis. Article bodyīy “musicality,” I mean phonological features that contribute to the sum total of the original’s meaning. En s’appuyant sur des traductions de la Divine comédie de Dante en espagnol, en français, en latin, en anglais, en allemand et en chinois, ainsi que sur la traduction de Macbeth de Shakespeare en italien, l’article traite de musicalité, soit le trait le plus récalcitrant des traits du texte de la langue source et démontre, en fonction de facteurs à examiner en détails, que des traductions dans les langues parentes peuvent saisir la musique originelle à un degré de succès variable. Cependant, comparé à la musicalité, trait de niveau phonologique, tous les traits du niveau sémantique deviennent relativement faciles à rendre. Cependant, les connotations du lexème, ses associations et nuances, qui peuvent faire surgir des réponses subtiles des lecteurs de l’original, défient souvent le processus du transfert. Sur le plan sémantique, par exemple, la dénotation d’un lexème peut parfois être conservée presque intacte. Ils sont déjà conscients de ce qui manque dans la traduction d’un lexème, que dire alors des longues phrases d’un texte. La plupart des traducteurs conviennent que la traduction est au mieux un ersatz qui ne permet de transmettre qu’une partie du sens du texte source, soit sur deux niveaux : sémantique et phonologique. With reference to translations of Dante’s Divine Comedy in Spanish, French, Latin, English, German, and Chinese, as well as translations of Shakespeare’s Macbeth in Italian, this paper discusses musicality as the most recalcitrant of all features in a source-language text, and attempts to show how, depending on factors to be examined in detail, intrafamily translation, that is, translation between languages of the same family, can capture the original music with varying degrees of success. Yet, compared with musicality, a feature on the phonological level, all features on the semantic level will become relatively easy. However, its connotations, associations, or nuances, which can elicit subtle responses from readers of the original, often defy the process of carrying over or across, which is what transferre, the Latin word from which translate is derived, means. On the semantic level, for example, the denotation of a lexical item may sometimes be preserved almost intact. Even in translating an apparently simple lexical item, to say nothing of long stretches of discourse, they are keenly aware of what is being left out. The intended result is that after successfully performing each etude, the student feels a full sense of understanding of the music and that the student will carry this approach into more advanced literature once he or she progresses out of this collection.Most practitioners of translation agree that translation is at best an ersatz, able to get across only part of the source text’s meaning, which is meaning on two levels: the semantic and the phonological. Finally, the analysis section allows for a theoretical discussion about elements such as form, meter, chord quality, and Roman numeral analysis. The musicianship section includes information about style, musicality, phrasing, and how to practice musically (not just focusing on correct notes with no musicality). The technique section preceding each etude gives suggestions of exercises to use as a warm-up before practicing the music, as well as tips for especially difficult passages. ![]() Thus, students and teachers can use this book as a progressive workbook for all three means of growth as a marimbist and musician. This collection is meant to guide students and teachers through three equally necessary aspects of successfully performing each of the ten etudes:Īs the technical demand progresses throughout the book, so do the musical and analytical demands. Studies in Rosewood was born out of the idea that I, both performing and teaching, too often experience a lack of theoretical understanding of the music being played. Studies in Rosewood is a delightful collection of 10 intermediate solos for 4-mallet marimba, each providing opportunities to focus on technique, musicianship, and analysis. ![]()
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