Translating for Singing : The Theory, Art and Craft of Translating Lyrics.

Cover -- HalfTitle -- Series Page -- Title -- Copyright -- Dedication -- Contents -- Figures -- Tables -- About this book -- Foreword -- Copyright acknowledgments -- Acknowledgments -- 1 Translation and music -- 1.1 A topic of increasing interest -- 1.2 Prima la musica? -- 2 Singable translations -- 2.1 Musical and verbal constraints -- 2.2 Other factors -- 2.3 Multiple audiences to satisfy -- 2.4 A good example -- 2.5 Singable translations versus projected captions -- 3 Foreignization and domestication -- 3.1 Foreign words -- 3.2 Wardour Street -- 3.3 Homophony -- 3.4 Important words -- 3.5 Rhyme -- 3.6 Repetition -- 3.7 Nonsense words -- 3.8 Slang -- 3.9 Jokes -- 4 Adaptation and re-translation -- 4.1 Adaptation -- 4.2 Re-translation -- 5 Dealing with difference -- 5.1 Conventions -- 5.2 Common knowledge -- 5.3 Historicity -- 5.4 Sensibility -- 6 Censorship and taboos -- 6.1 Forbidden music -- 6.2 Forbidden words -- 6.3 Forbidden ideas -- 7 Once upon which time? -- 7.1 Once upon a time -- 7.2 Once upon a specific time -- 7.3 Right now -- 8 Verbal delineation of character -- 8.1 Seventeenth-century French rustics -- 8.2 Ad libbing in dialect -- 8.3 Wagner's Das Rheingold -- 8.4 Changing a speech pattern -- 9 Multiple translations -- 10 When the music is missing -- 11 Verbal and musical form -- 11.1 Rhythm -- 11.2 Rhyme and closure -- 11.3 Repetition -- 11.4 Dynamics and crests -- 11.5 When the composer ignores the verbal form -- 12 Music and meaning -- 12.1 Inherent and acquired meaning in music -- 12.2 The physical act of singing -- 12.3 Sound and sense -- 12.4 The right word on the right note -- Afterword -- Bibliography -- Index.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.