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“Allegro, but not too much so”: A diachronic review of Croatian translations of Italian musical terms


Filippi, Maura; Kiš Žuvela, Sanja
“Allegro, but not too much so”: A diachronic review of Croatian translations of Italian musical terms // Međunarodna konferencija "Temrinološka istraživanja u muzikologiji i humanističkim znanostima": Knjižica sažetaka - CONMUSTERM - Book of abstracts - International conference "Terminology research in musicology and the humanities" / Kiš Žuvela, Sanja (ur.).
Zagreb: Muzička akademija Sveučilišta u Zagrebu, 2018. str. 23-23 (predavanje, međunarodna recenzija, znanstveni)


Naslov
“Allegro, but not too much so”: A diachronic review of Croatian translations of Italian musical terms

Autori
Filippi, Maura ; Kiš Žuvela, Sanja

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, sažetak, znanstveni

Izvornik
Međunarodna konferencija "Temrinološka istraživanja u muzikologiji i humanističkim znanostima": Knjižica sažetaka - CONMUSTERM - Book of abstracts - International conference "Terminology research in musicology and the humanities" / Kiš Žuvela, Sanja - Zagreb : Muzička akademija Sveučilišta u Zagrebu, 2018, 23-23

ISBN
978-953-97100-8-6

Skup
Međunarodna konferencija "Temrinološka istraživanja u muzikologiji i humanističkim znanostima" - CONMUSTERM - International conference "Terminology research in musicology and the humanities"

Mjesto i datum
Zagreb, 25-26.05.2018

Ključne riječi
Music terminology, textbooks, Croatian, Italian, translation

Sažetak
In his 1875 translation of Johann Christian Lobe‘s Kathekismus der Musik (which was the first music theory manual printed in Croatian), father of Croatian musical terminology Franjo Kuhač clearly expressed his attitude towards the possible calquing of Italian musical terms in Croatian: “All terms concerning the practical performance of a musical work, including tempo markings and other sorts of explanations, e.g. Largo, Allegro, dolce crescendo, grazioso, tremolo staccato, col arco etc., should remain in Italian, because a practicioning musician must be able to perform music in any country and read any score“. Kuhač, however, did not miss the opportunity to translate (to a greater or lesser degree of success) Italian terms on the following pages of the same book in order to clarify them to non-Italian-speaking students. A recent analysis of a contemporary corpus consisting of professional and academic texts on music published throughout the last three decades, with an emphasis on teaching materials, has confirmed the presence of a large number of erroneous and doubtful translations of Italian musical terms and examined their possible influence on the performance practice of those musicians who do not speak Italian. The presence of the same erroneous translations in different texts indicates their fixedness and the existence of a certain ”tradition“ of their transfer through history. By analysing a diachronic corpus of music teaching materials, this paper aims to find the origins of this phenomenon, to offer a classiffication of erroneous translations, and to decipher the reasons for their persistence.

Vrsta sudjelovanja
Predavanje

Vrsta recenzije
Međunarodna recenzija

Projekt / tema
HRZZ-IP-2013-11-5355 - Problemi temeljnoga suvremenog glazbenog nazivlja u Hrvatskoj (Nikša Gligo)

Izvorni jezik
Engleski

Znanstvena područja
Filologija, Znanost o umjetnosti

Ustanove
Muzička akademija, Zagreb