The Concept of Intersemiotic Translation and its Application to the Analysis of a Musical Work (original) (raw)
2021, Musical Analysis. Historia - Theoria - Praxis
Abstract
The border between musicology and translation studies still remains an underexplored research area. As the Turkish-British researcher Şebnem Susam-Sarajeva points out, this might be caused, on one hand, by the limited competencies of most translators in the field of music. Musicologists, in turn, are still very carefully entering an unknown area, so far exclusive to linguists, and therefore rarely reach out for research tools rooted in the field of translation theory. Meanwhile, the use of these tools can prove to be extremely valuable support in research into a musical work. The experience of the author of this article with the topic so far has led to the formulation of the concept of musical translation, defined as a rendition of the work in its entirety, which involves necessary changes and transformations resulting from the time, place and purpose of the new version. It is a category which includes phenomena such as transcription, arrangement, development or cover. In a translator’s words, this would be the so-called intrasystemic translation, taking place only within the system of musical signs. A separate category is called intersystemic (intersemiotic) translation, occurring between different sign systems, for example between music and words or between music and an image. This phenom- enon is sometimes equated with the concept of ekphrasis. The point of departure for Umberto Eco’s concept of translation is the assumption that each translation is also an interpretation. Therefore, any exegesis of musical phenomena, in particular the verbalisation of musical meanings, bears the features of translation. The article discusses the significance of the concept of intersemiotic translation for the analysis and interpretation of a musical work on the examples of verbal interpretations of selected Preludes of Fryderyk Chopin.
Loading Preview
Sorry, preview is currently unavailable. You can download the paper by clicking the button above.
References (27)
- Op. 60, not only through the same key (F-sharp major), but also through the swaying figures of the left hand in a triple metre, and a melody 'sung' in thirds or sixths. There- fore, in terms of musical signification, the A and A 1 sections present two main topical references: a 'barcarolle' and a 'love duet' (see Example 3). In addition, 'the odd key of F-sharp major sounds like the enharmonic writing of G-flat, "darkening" sunny G major, maybe as a sign of "nocturnality"' [Grimalt 2020: 242], 3 or 'to convey a sense of unreality, maybe a far-fetched memory' [Grimalt 2020: 179]. The 3| I wish to cordially thank the Author for the privilege of reading the text prior to its publication. Example 2. Fryderyk Chopin, Prelude in A Major, Op. 28 No. 7, b. 1-4. Based on: Chopin [1926: 18].
- Example 3. Fryderyk Chopin, Prelude in F-sharp Major, Op. 28 No. 13, b. 1-4. Based on: Chopin [1926 38].
- Bibliography Bassnett, Susan, 2002, Translation Studies, London: Routledge.
- Brandes, George, 1902, Main Currents in Nineteenth Century Literature, vol. 2: The Romantic School in Germany, transl. by Mary Morison, Diana White, New York: The Macmillan Com- pany, online: https://archive.org/details/maincurrentsinni02branuoft/page/n1/mode/2up [accessed 26 July 2021].
- Bruhn, Siglind, 2001, A Concert of Paintings: 'Musical Ekphrasis' in the Twentieth Century, Poetics Today, vol. 22, no. 3, pp. 551-605.
- Cieśla-Korytowska, Maria, 2004, Romantyczne przechadzki pograniczem [Romantic strolls along the border], Kraków: Universitas.
- Chopin, Frédéric, 1926, 24 Préludes, Op. 28, ed. by Alfred Cortot, Paris: Éditions Maurice Senart.
- Cortot, Alfred, 1926, Les Préludes de Chopin [preface], in: Frédéric Chopin, 24 Préludes, Op. 28, ed. by Alfred Cortot, Paris: Éditions Maurice Senart.
- Davies, David, 2003, Medium in Art, in: Jerrold Levinson (ed.), The Oxford Handbook of Aes- thetics, Oxford: Oxford University Press.
- Eco, Umberto, 2001, Experiences in Translation, transl. by Alastair McEwen, Toronto: Toronto University Press.
- Gadamer, Hans-Georg, 1993, Prawda i metoda. Zarys hermeneutyki filozoficznej [Truth and method. An outline of philosophical hermeneutics], transl. by Bogdan Baran, Kraków: Inter Esse.
- Gamrat, Małgorzata, 2016, Między słowem a dźwiękiem. Pieśni na głos i fortepian Franza Liszta [Between word and sound. Franz Liszt's songs for voice and piano], Warszawa: Wy- dawnictwo Uniwersytetu Warszawskiego.
- Grajter, Małgorzata, 2018, From Transcription to Topos: 'Wordless Song' in the Piano Works of Ludwig van Beethoven and Early Romantics [unpublished paper delivered at the International Congress on Musical Signification, Gheorghe Dima National Music Academy, Cluj-Napoca, 11 May 2018].
- Grimalt, Joan, 2020, Mapping Musical Signification, Cham: Springer.
- Jakobson, Roman, 1959, On Linguistic Aspects of Translation, in: Reuben A. Brower (ed.), On Translation, Cambridge, MA: Harvard University Press, pp. 232-239.
- Kapp, Julius, 1909-1910, Chopin's Préludes op. 28: Aufzeichnungen von Laura Rappoldi-Kahrer nach Angaben von Liszt, W. von Lenz und Frau von Mouckhanoff, Die Musik, vol. 34, pp. 227-233.
- Leikin, Anatole, 2015, The Mystery of Chopin's Préludes, Farnham: Ashgate.
- Monelle, Raymond, 2000, The Sense of Music. Semiotic Essays, Princeton: Princeton University Press.
- Peirce, Charles, S., 1934, The Collected Papers of Charles Sanders Peirce, vol. 5: Pragmatism and Pragmaticism, ed. by Charles Hartshorne, Paul Weiss, Cambridge, MA: Harvard University Press.
- Podolska, Paulina, 2016, Kornel Ujejski jako tłumacz utworów muzycznych. Wokół 'Wniebowzię- cia' z cyklu 'Tłumaczeń Chopina' [Kornel Ujejski as a translator of music. On ' Assumption' from the cycle 'Translations of Chopin'], Świat tekstów. Rocznik słupski, vol. 14, pp. 71-80.
- Poniatowska, Irena, 2008, W kręgu recepcji i rezonansu muzyki. Szkice chopinowskie [In the circle of reception and resonance of music. Sketches on Chopin], Warszawa: Narodowy Instytut Fryderyka Chopina.
- Sanchez-Kisielewska, Olga, 2020, Beethoven's Wordless Hymns: Historical Context, Analytical Implications, and Aesthetic Underpinnings [paper delivered at the International Beethoven Symposium 'Beethoven-Perspektiven' , Beethoven-Haus, Bonn, 12 February 2020].
- Susam-Sarajeva, Şebnem, 2008, Translation and Music. Changing Framework, Perspectives and Significance, The Translator, vol. 14 no. 2, pp. 187-200.
- Tieck, Ludwig, 1963, Werke in vier Bänden, ed. by Marianne Thalmann, vol. 2, München: Winkler.
- Ujejski, Kornel, 1893, Tłomaczenia Szopena i Beethovena [Translations of Chopin and Beethoven], Przemyśl: Jeleń i Lang.
- Wasilewska-Chmura, Magdalena, 2011, Przestrzeń intermedialna literatury i muzyki: muzyka jako model i tworzywo w szwedzkiej poezji późnego modernizmu i neoawangardy [The in- termedial space of literature and music: music as a model and material in Swedish poetry of late modernism and neo-avant-garde], Kraków: Uniwersytet Jagielloński.
- Wolf, Werner, 1999, The Musicalization of Fiction: A Study in the Theory and History of Inter- mediality, Amsterdam: Rodopi.