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“Allegro, but not too much so”: A diachronic review of Croatian translations of Italian musical terms (CROSBI ID 663717)

Prilog sa skupa u zborniku | sažetak izlaganja sa skupa | međunarodna recenzija

Filippi, Maura ; Kiš Žuvela, Sanja “Allegro, but not too much so”: A diachronic review of Croatian translations of Italian musical terms // Međunarodna konferencija "Terminološka 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

Podaci o odgovornosti

Filippi, Maura ; Kiš Žuvela, Sanja

engleski

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

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.

music terminology, textbooks, Croatian, Italian, translation

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Podaci o prilogu

23-23.

2018.

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objavljeno

978-953-97100-8-6

Podaci o matičnoj publikaciji

Međunarodna konferencija "Terminološka 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

Podaci o skupu

CONMUSTERM: Međunarodna konferencija "Terminološka istraživanja u muzikologiji i humanističkim znanostima" = CONMUSTERM: International conference "Terminology research in musicology and the humanities"

predavanje

25.05.2018-26.05.2018

Zagreb, Hrvatska

Povezanost rada

Filologija, Znanost o umjetnosti

Poveznice