How is music affected by its translation, interpretation and adaptation with, through, and by dance? How might notation of dance and music act as a form of translation? How does music influence the creation of dance? How might dance and music be understood to exchange and transfer their content, sense and process during both the creative process and the interpretative process? Bringing together chapters that explore theory and practice, this book questions the process and role translation has to play in the context of music and dance. It provides a range of case studies across this interdisciplinary field, and is not restricted by genre, style or cultural location. As one of very few volumes to explore translation in relation to music and to overtly tackle this topic in terms of dance, it moves the argument from a broad notion of text and translation, to think critically about the sound and movement arts of music and dance, using translation as a model to better understand the collaboration of these art forms.

Translation and Multimodality: Beyond Words is one of the first books to explore how translation needs to be redefined and reconfigured in contexts where multiple modes of communication, such as writing, images, gesture, and music, occur simultaneously. Bringing together world-leading experts in translation theory and multimodality, each chapter explores important interconnections among these related, yet distinct, disciplines. As communication becomes ever more multimodal, the need to consider translation in multimodal contexts is increasingly vital. The various forms of meaning-making that have become prominent in the twenty-first century are already destabilising certain time-honoured translation-theoretic paradigms, causing old definitions and assumptions to appear inadequate. This ground-breaking volume explores these important issues in relation to multimodal translation with examples from literature, dance, music, TV, film, and the visual arts. Encouraging a greater convergence between these two significant disciplines, this text is essential for advanced students and researchers in Translation Studies, Linguistics, and Communication Studies.

Explores the roles that translation plays in a musical context, questioning the transference of sense between music and text.

Popular and multimodal forms of cultural products are becoming increasingly visible within translation studies research. Interest in translation and music, however, has so far been relatively limited, mainly because translation of musical material has been considered somewhat outside the limits of translation studies, as traditionally conceived. Difficulties associated with issues such as the 'musicality' of lyrics, the fuzzy boundaries between translation, adaptation and rewriting, and the pervasiveness of covert or unacknowledged translations of musical elements in a variety of settings have generally limited the research in this area to overt and canonized translations such as those done for the opera. Yet the intersection of translation and music can be a fascinating field to explore, and one which can enrich our understanding of what translation is and how it relates to other forms of expression. This special issue is an attempt to open up the field of translation and music to a wider audience within translation studies, and to an extent, within musicology and cultural studies. The volume includes contributions from a wide range of musical genres and languages: from those that investigate translation and code-switching in North African rap and rai, and the intertextual and intersemiotic translations revolving around Mahler's lieder in Chinese, to the appropriation and after-life of Kurdish folk songs in Turkish, and the emergence of rock'n roll in Russian. Other papers examine the reception of Anglo-American stage musicals and musical films in Italy and Spain, the concept of 'singability' with examples from Scandinavian languages, and the French dubbing of musical episodes of TV series. The volume also offers an annotated bibliography on opera translation and a general bibliography on translation and music.

This book explores how transformations and translations shape musical meanings, developments and the perception of music across cultures. Starting with the concept of music as multimodal text, the author understands translation as the process of transferring a text from one language – verbal or not – into another, interlingually, intralingually or intersemiotically, as well as the products that are derived from this process. She situates music and translation within their contemporary global context, examining the tensions between local and global, cosmopolitan and national, and universal and specific settings, to arrive at a celebration of the translational power of music and an in-depth study of how musical texts are translated. This book will be of interest to translation studies scholars who want to broaden their horizons, as well as to musicians and music scholars seeking to understand how cultural exchange and dissemination can be driven by translation.

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today’s choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition.

The publication and attention given to postcolonial work has flooded the field of academia, yet not much attention has been paid to the precolonial, premissional, and colonial eras, and receptions of the Western Missionary Bible and its impact on the colonization of Global South nations; schools in this area had to wrestle with the study of the Bible from kindergarten to college. Through vigorous readings of the New Testament and other related subjects, indigenous Christian converts demanded that the Bible needed to be translated into various vernacular and ethnic languages. The hunger for engaging the Bible in the linguistic worldview of people led to the process of translation, printing, and distribution into rural and urban centers. Hence the journey of the Bible and its reception in the Global South is what is referred to as "Vernacular Translation as Incarnation" (taken from John 1:14). Therefore, this book is an invitation to postcolonial readers of the Bible, as well as an urgent invitation to both Europe and North America to consider having the Bible in schools so that young minds can be engaged by it. Without translations of the Bible into the vernacular, Christianity would not be growing as it is in the Global South nations, namely Asia, Africa, and Latin America. Hence, vernacular translations of the Bible are indeed incarnational.

This volume covers aspects of opera translation within the Western world and in Asia, as well as some of opera’s many travels between continents, countries, languages and cultures—and also between genres and media. The concept of ‘adaptation’ is a thread running through the sixteen contributions, which encompass a variety of composers, operas, periods and national traditions. Sung translation, libretto translation, surtitling, subtitling are discussed from a range of theoretical and methodological perspectives. Exploration of aspects such as the relationship between language and music, multimodality, intertextuality, cultural and linguistic transfer, multilingualism, humour, identity and stereotype, political ideology, the translator’s voice and the role of the audience is driven by a shared motivation: a love of opera and of the beauty it has never ceased to provide through the centuries, and admiration for the people who write, compose, perform, direct, translate, or otherwise contribute to making the joy of opera a part of our lives.

Roman Jakobson gave a literary translation of the double words and concepts of poetical hyper translation. Language can transmit verbal translation to explore new ways of thinking about music and other arts. Thomas A. Sebeok deconstructed the energy of translation into the duplicated genres of artistic transduction. In semiotics, transduction is a technical expression involving music, theater, and other arts. Jakobson used Saussure’s theory to give a single meaning in a different art but with other words and sounds, later followed by Peirce’s dynamic energy with a floating sensation of the double meaning of words and concepts. For semiotician Peirce, literary translation becomes the graphical vision of ellipsis, parabole, and hyperbole. Ellipsis is illustrated by Virginia Woolf’s novel The Waves to give a political transformation of Wagner’s opera Das Rheingold. Parabole is illustrated by the two lines of thought of Hector Berlioz. He neglected his own translation of Virgil’s Aeneid, when he retranslated the vocal text to accompany the musical lyrics of his opera The Trojans. Hyperbole is demonstrated by Bertold Brecht’s auto-translation of Gay’s The Beggar’s Opera. In the cabaret theater of The Three penny Opera, Brecht recreated his epic hyper-translation by retranslating the language of the folk speech of the German working classes with the jargon of criminal slang.