![\"Translating](\"https:\/\/www.stillmantranslations.com\/wp-content\/uploads\/2022\/10\/Untitled-design-17-1024x683.jpg\")
Language translation is a creative process that goes far beyond replacing words. It\u2019s not a mechanical task. Every source word has more than one corresponding translation. Every language has its grammar, colloquialisms, syntax, and cultural subtleties. And whomever is translating must have depth of understanding to ensure this is contemplated. <\/p>\n\n\n\n
Now, to these layers of meaning, add rhythm and singability. Translating music lyrics is no walk in the park. Even more so when songs cross cultural borders. How do we transmit the imagery of other countries to ours? How do we avoid introducing more eurocentric expressions to non eurocentric interpreters? <\/p>\n\n\n\n
Unavoidably, transcultural products emerge.<\/p>\n\n\n\n
First comes first: typical translation problems<\/strong><\/h2>\n\n\n\nThe first step toward error-free translations is understanding the typical mistakes<\/a> made. Some of them being: <\/p>\n\n\n\n- Lack of language intent <\/li>
- Punctuation errors <\/li>
- Uncontemplated sentence structure variances <\/li>
- Grammar <\/li>
- Numerical values (one billion in the US is not the same as one billion un Argentina) <\/li>
- Ignoring style and tone <\/li>
- The translation of gender specific words to any gender or lack of it. <\/li>
- Slang (or choosing wrong equivalents of it) <\/li>
- Sarcasm (which most times should be paraphrased and not literally translated) <\/li>
- Compound words (Windshield,\u201d for instance, is \u201cparabrisas\u201d in Spanish, which means wind-stopper or windshield. Yet, certain compound words in English, such as butterfly, make no sense in Spanish.) <\/li>
- Idioms (and not finding the accurate equivalent) <\/li><\/ol>\n\n\n\n
As you can see, most are loyalty-to-meaning related. If we replace literally, it loses sense. But as soon as we search for equivalents, interpretation comes in. Criteria is extremely important here. Are we opting for a language the target audience can relate to? Or should we try to somehow keep the foreign effect and skip the idiom altogether? When it comes to lyrics, is the important thing rhythm or meaning? <\/p>\n\n\n\n
Transcultural Phenomenons<\/strong><\/h2>\n\n\n\nMusic plays a vital role in the construction of meaning in cultural products, their translation and dissemination. Cuban essayist Fernando Ortiz Fernandez wrote that <\/a>\u201ctransculturation is a set of ongoing transmutations. It is full of creativity and never ceases. It is irreversible. It is always a process in which we give something in exchange for what we receive: the two parts of the equation end up being modified. From this process springs out a new reality, which is not a patchwork of features, but a new phenomenon, original and independent\u201d <\/p>\n\n\n\nBecause of its versatile capacity for translation, it is also vulnerable to human projections. So, extra-musical interpretations. A word can completely change the meaning of a phrase. Take the power out of a statement. Or tilt the debate to one side or another. Where lexical equivalence is not possible, experts usually suggest that \u2018conceptual equivalence\u2019 is sought. <\/p>\n\n\n\n
But conceptual equivalence or \u2018comparability of meaning\u2019 has its problems. First, the concept itself may not exist in the target language and culture. Second, it may completely destroy a song. <\/p>\n\n\n\n
Sometimes we are lucky, and the very artists can do the translating. Take the Tropic\u00e1lia movement <\/a>started in the 1960s by artists such as Caetano Velosoand Gilberto Gil. They revolutionized Brazilian music, opening it to di\ufb00erent styles and cultural influences while introducing Brazilian music to Western audiences. They wrote English, Spanish and Portuguese songs and brought in all types of audiences which in turn learned from those songs untranslated. <\/p>\n\n\n\nBut polylingual artists are not the rule. They are the exception<\/p>\n\n\n\n
Music Translation Complexities<\/strong><\/h2>\n\n\n\nWhen a song created in one language is sung in another, its text will be either a translation, an adaptation or a \u2018replacement text\u2019. Language experts make strategic choices when translating songs. <\/p>\n\n\n\n
Some say songs have three properties: music, lyrics and prospective performance. And that music has melody, harmony and musical sense. This being said, a translator can: <\/p>\n\n\n\n
- Not translate the lyrics. Some artists choose not to and that is perfectly respectable. <\/li><\/ol>\n\n\n\n
- Translate the lyrics without taking the music into consideration. So people can understand what is being said, even if it can\u2019t be sung in the target language. <\/li><\/ol>\n\n\n\n
- Write new lyrics to make it singable. <\/li><\/ol>\n\n\n\n
- Adapt the music to the translation. <\/li><\/ol>\n\n\n\n
- Adapt the translation to the music. Even if it means losing some meaning. <\/li><\/ol>\n\n\n\n
In practice, it\u2019s not just one or the other. It could be a combination of these options.<\/p>\n\n\n\n
New Lyrics, Same Tune<\/strong> <\/h2>\n\n\n\nThere are also cases when new lyrics are written for old tunes. Some people consider this a sort of translation. We bring the culture from one country or language or instruments and mix it with a new one to create new meanings. <\/p>\n\n\n\n
- Lack of language intent <\/li>
- Punctuation errors <\/li>
- Uncontemplated sentence structure variances <\/li>
- Grammar <\/li>
- Numerical values (one billion in the US is not the same as one billion un Argentina) <\/li>
- Ignoring style and tone <\/li>
- The translation of gender specific words to any gender or lack of it. <\/li>
- Slang (or choosing wrong equivalents of it) <\/li>
- Sarcasm (which most times should be paraphrased and not literally translated) <\/li>
- Compound words (Windshield,\u201d for instance, is \u201cparabrisas\u201d in Spanish, which means wind-stopper or windshield. Yet, certain compound words in English, such as butterfly, make no sense in Spanish.) <\/li>
- Idioms (and not finding the accurate equivalent) <\/li><\/ol>\n\n\n\n
As you can see, most are loyalty-to-meaning related. If we replace literally, it loses sense. But as soon as we search for equivalents, interpretation comes in. Criteria is extremely important here. Are we opting for a language the target audience can relate to? Or should we try to somehow keep the foreign effect and skip the idiom altogether? When it comes to lyrics, is the important thing rhythm or meaning? <\/p>\n\n\n\n
Transcultural Phenomenons<\/strong><\/h2>\n\n\n\n
Music plays a vital role in the construction of meaning in cultural products, their translation and dissemination. Cuban essayist Fernando Ortiz Fernandez wrote that <\/a>\u201ctransculturation is a set of ongoing transmutations. It is full of creativity and never ceases. It is irreversible. It is always a process in which we give something in exchange for what we receive: the two parts of the equation end up being modified. From this process springs out a new reality, which is not a patchwork of features, but a new phenomenon, original and independent\u201d <\/p>\n\n\n\n
Because of its versatile capacity for translation, it is also vulnerable to human projections. So, extra-musical interpretations. A word can completely change the meaning of a phrase. Take the power out of a statement. Or tilt the debate to one side or another. Where lexical equivalence is not possible, experts usually suggest that \u2018conceptual equivalence\u2019 is sought. <\/p>\n\n\n\n
But conceptual equivalence or \u2018comparability of meaning\u2019 has its problems. First, the concept itself may not exist in the target language and culture. Second, it may completely destroy a song. <\/p>\n\n\n\n
Sometimes we are lucky, and the very artists can do the translating. Take the Tropic\u00e1lia movement <\/a>started in the 1960s by artists such as Caetano Velosoand Gilberto Gil. They revolutionized Brazilian music, opening it to di\ufb00erent styles and cultural influences while introducing Brazilian music to Western audiences. They wrote English, Spanish and Portuguese songs and brought in all types of audiences which in turn learned from those songs untranslated. <\/p>\n\n\n\n
But polylingual artists are not the rule. They are the exception<\/p>\n\n\n\n
Music Translation Complexities<\/strong><\/h2>\n\n\n\n
When a song created in one language is sung in another, its text will be either a translation, an adaptation or a \u2018replacement text\u2019. Language experts make strategic choices when translating songs. <\/p>\n\n\n\n
Some say songs have three properties: music, lyrics and prospective performance. And that music has melody, harmony and musical sense. This being said, a translator can: <\/p>\n\n\n\n
- Not translate the lyrics. Some artists choose not to and that is perfectly respectable. <\/li><\/ol>\n\n\n\n
- Translate the lyrics without taking the music into consideration. So people can understand what is being said, even if it can\u2019t be sung in the target language. <\/li><\/ol>\n\n\n\n
- Write new lyrics to make it singable. <\/li><\/ol>\n\n\n\n
- Adapt the music to the translation. <\/li><\/ol>\n\n\n\n
- Adapt the translation to the music. Even if it means losing some meaning. <\/li><\/ol>\n\n\n\n
In practice, it\u2019s not just one or the other. It could be a combination of these options.<\/p>\n\n\n\n
New Lyrics, Same Tune<\/strong> <\/h2>\n\n\n\n
There are also cases when new lyrics are written for old tunes. Some people consider this a sort of translation. We bring the culture from one country or language or instruments and mix it with a new one to create new meanings. <\/p>\n\n\n\n
- Adapt the translation to the music. Even if it means losing some meaning. <\/li><\/ol>\n\n\n\n
- Adapt the music to the translation. <\/li><\/ol>\n\n\n\n
- Write new lyrics to make it singable. <\/li><\/ol>\n\n\n\n
- Translate the lyrics without taking the music into consideration. So people can understand what is being said, even if it can\u2019t be sung in the target language. <\/li><\/ol>\n\n\n\n
- Not translate the lyrics. Some artists choose not to and that is perfectly respectable. <\/li><\/ol>\n\n\n\n