Ce travail analyse les rapports complexes qui se tissent entre traduction et culture, et plus particulièrement les problématiques qui émergent de la traduction de références culturelles étrangères. Il prend pour objet d’étude un corpus de romans historiques contemporains irlandais traduits en français. Ce corpus se compose de cinq romans écrits par Sebastian Barry, Dermot Bolger, Roddy Doyle et William Trevor, dont l’intrigue se déroule pendant une même période historique, la première moitié du vingtième siècle. Ce cadre historique partagé garantit la présence d’un socle de références culturelles communes. L’étude à la fois descriptive et contrastive des solutions adoptées pour traduire ces références permet donc d’une part de rendre compte des zones de résistance spécifiques de la culture irlandaise au transfert interculturel, et d’autre part de tenter de dégager certaines tendances, certains systématismes au sein des différentes traductions. En outre, les romans du corpus révisent tous un certain nombre de constructions historiques, identitaires et culturelles, notamment la vision homogène et exclusive d’une irlandité catholique, gaélique et rurale. Cette approche commune constitue une clé de compréhension importante et donc un enjeu non négligeable pour la traduction des références culturelles de ces romans. Cette thèse s’attache donc également à examiner les déformations que subissent ces représentations culturelles spécifiques au cours du processus de traduction. Les recherches effectuées dans les domaines de la traductologie, mais aussi de la littérature et de l’histoire irlandaises viennent appuyer et compléter l’étude. / This study analyses the complex relationship between translation and culture, and more specifically the issues arising from the translation of cultural references into a different language. It focuses on a body of contemporary Irish historical novels translated into French. This corpus comprises five novels written by Sebastian Barry, Dermot Bolger, Roddy Doyle and William Trevor. All five novels take place during the same historical period, namely the first half of the twentieth century. This shared historical context guarantees the presence of a base of cultural references common to all novels. This study will therefore take on both a descriptive and comparative approach in order to analyse the range of solutions that were implemented to translate these references. It will aim at uncovering the areas of Irish culture that demonstrate a particular resistance to intercultural transfer, as well as foregrounding recurring translational trends within the translated texts. Additionally, the novels under study all revise a number of historical, cultural and identity constructs, in particular the idea of a homogeneous Irishness that is exclusively Gaelic, Catholic and rural. This approach constitutes an essential key to understanding the novels and therefore represents a significant issue and challenge for the translation of cultural references. Accordingly, the study also attempts to examine the modifications undergone by these specific cultural representations during the translation process. It is supported and completed by researches carried out in the fields of translation studies as well as Irish literature and history.

Diss.--Literaturwissenschaft--Mainz, 1978. / Bibliogr. p. 229-240.

Orientador: Edmundo Pacheco Hora / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T23:18:38Z (GMT). No. of bitstreams: 1 Rosa_StellaJocelinaAlmeida_M.pdf: 8868389 bytes, checksum: c5eca93c5b6405115e9d07d8b3208c78 (MD5) Previous issue date: 2007 / Resumo: A presente dissertação de mestrado tem como assunto principal aspectos teórico-práticos da realização de baixo contínuo, abordando-os através do estudo do conjunto de documentos deixados por J.S.Bach acerca do tema. O primeiro grupo de instruções, que recebeu especial atenção neste trabalho, data de 1725, e aparece nas páginas finais do volume de peças dedicado a sua esposa Anna Magdalena Bach. Intituladas ¿Algumas Regras do Baixo Contínuo¿, são quinze regras para a iniciação ao assunto, com finalidade didática e destinada ao uso imediato de alunos e familiares. O segundo grupo, de 1738, é um trabalho mais robusto e abrangente, resultado dos anos de atividade pedagógica de Bach em Leipzig, e leva o título ¿Preceitos e Princípios para tocar o Baixo Contínuo ou Acompanhamento a Quatro Vozes¿. Para um esclarecimento geral do assunto, recorreu-se a um estudo sobre as origens do baixo contínuo, apresentando um capítulo sobre as suas primeiras fontes históricas. A reflexão sobre o processo prático da execução de baixo contínuo, que foi objetivo principal da pesquisa, deu-se através da elaboração de uma série de exemplos musicais enfocando obras de música de câmara instrumental do compositor, além de uma análise do ¿Largo e Dolce¿, segundo movimento da Sonata em Si menor para flauta e cravo BWV 1030, cuja escrita para o último instrumento é considerada um modelo de realização de baixo contínuo do próprio Bach. O processo culminou na interpretação de obras do compositor de acordo com essas reflexões, e acredita-se que elas contribuam para o entendimento e execução de obras musicais escritas nessa linguagem / Abstract: The present dissertation has, as its main subject, the theoric and pratic aspects of figured bass realization, with a view from J.S.Bach¿s documents about it. The first group of instructions, which one has received special attention in this work, dates from 1725, and belongs to the final pages of Anna Magdalena Bach¿s notebook. ¿Some Rules of Thorough-Bass¿ are fifteen rules for the beginning in the matter, with didactic intentions and destined for his students and family¿s circle. The second group, from 1738, is a bigger and including work, resulting from his years of teaching in Leipzig, entitled ¿Precepts and Principles for Playing the Thorough-Bass or Accompanying in Four Parts¿. A study about the origins of the thorough-bass and its first historical sources is presented as a general understanding about the subject. As a main objective of the research, series of musical examples were developed to reflect about the pratic process of playing thorough-bass. They include works of instrumental chamber music by Bach, besides an analysis of the Largo e Dolce, second movement of the B minor Sonata for flute and harpsichord BWV 1030, in which the harpsichord part is considered a model for figured bass realization. The end of the work comes with the interpretation of the composer¿s music under these reflections, and we believe that they are a contribution for the understanding and execution of musical pieces written under this language / Mestrado / Mestre em Música

This study aims to provide a critique of Baroque performance practice, with specific reference to the organ Preludes and Fugues of Johann Sebastian Bach. Drawing from the extensive body of literature pertaining to Bach’s keyboard music, a number of relevant issues are explored in so far as these may provide understanding of the manner in which the organ Preludes and Fugues should be performed today. These include: • The notion of Bach’s ‘generic’ keyboard works. Were the generic keyboard works as a whole intended to be performed on more than one keyboard instrument? The instrumental designations given by Bach in these works are a valuable source of information in answering this question. • The type of organ that was known to J.S. Bach and typical registration used in the Baroque, called the plenum. • Identification of the grey area that persists in the interpretation of Bach’s organ works with regard to registration, tempo, rhythm, articulation, phrasing, fingering and ornamentation. This study also engages with the current authenticity debate in musical performance as seen from the modernist and postmodernist points of view. The modernist ideal of authenticity is to “re-create” or “reconstruct” performances of Bach’s music with as much accuracy as the evidence of historical musicologists can provide. For the postmodernist, however, authenticity lies in embracing the human element of contingency in musical performance, along with a thorough grounding of such performance in historical evidence. In aligning itself with the postmodernist point of view, this study ultimately argues that we cannot learn everything there is to know about Baroque performance practice from books. Instead, in addition to historical evidence, we draw much of our understanding in this regard from our innate or tacit levels of knowing. In this regard the scholar of Bach’s organ works can draw valuable lessons from the levels of tacit knowledge of leading organ pedagogues and performers on the subject of Baroque performance practice.

Schostakowitsch hat beide Bände des Wohltemperierten Klaviers bereits als 12jähriger gespielt, als er das Klavierspiel bei Ignati Gljasser, einem Schüler von Hans von Bülow, erlernte. So hat ein Petersburger Junge die deutsche Schule kennengelernt. Im Konservatorium studierte Schostakowitsch später das Klavierspiel bei dem hervorragenden Pädagogen Leonid Nikolajew, einem Schüler von Sergei Tanejew. Bei ihm herrschte der Kontrapunkt der strengen Schreibart vor. Nikolajew schenkte den Werken Bachs eine große Aufmerksamkeit.

No description available.

Sebastien de Brossard (1655-1730) was a French priest, a zealous collector and historian, a musician of merit, and the author of one of the first dictionaries of musical terminology, the Dictionnaire de musigue of 1703. Largely self-taught in music, Brossard studied theology and philosophy at Caen. He was appointed curate at Strasbourg A in 1687 and maitre de musique in 1689. In 1698 he was made grand chapelain and mattre de musique at Meaux, where he remained until his death. His complete works and immense personal library are contained in the Bibliotheque Nationale in Paris. The first edition of Brossard's solo motets was published in 1695 under the title Elevations et motets a voix seule, avec la basse continue. The title Prodromus Musicalis was used for the second edition, published in 1702, and may be loosely translated "Musical Forerunner" or "Musical Prelude." The motets contain a vocal line with text and a figured bass. The present edition presents a faithful rendering of the figured bass and was prepared from a second edition copy contained in the North Texas State University Music Library. In order to enhance the performance and understanding of the eight motets, much of the prefatory material included in the first edition is translated, the formal and tonal structures are analyzed, and English versions of the texts are given. The many ornaments emplayed in the vocal line are categorized, and their execution is explained.

This thesis is a critical study of three violoncello suites of Johann 8ebastian Bach from the performer's point of view. Its purpose is to determine the comparative differences and similarities of several well known editions including the Bach Gesellschaft edition and the Pablo Casals recording. It will explain a few of the many discrepancies and provide adequate reasons for given suggestions and preferences concerning dynamics, tempi, ornamentation, bowing styles, and other elements of performance. By stating a brief historical background of the evolution of the violoncello and the development of musical form and style, it is possible to conceive Bach's ideas and intentions as he wrote the collection of six suites.

For the past eighty years I have started each day in the same manner. It is not a mechanical routine but something essential to my daily life. I go to the piano, and I play two preludes and fugues by Bach??? It is a sort of benediction on the house??? It is a rediscovery of the wonder of which I have the joy of being a part. It fills me with awareness of the wonder of life, with a feeling of the incredible marvel of being a human being. The music is never the same for me, never. Each day it is something new, fantastic, and unbelievable. That is Bach??? a miracle! A whole radiance of space and poetry pours forth from them! They are the very essence of Bach, and Bach is the essence of music. (Casals:1974:17 & 47). Such comments, common among musicians, are usually ignored by the disciplines that study music. This thesis, however, is the result of a decision to take these comments seriously. This thesis addresses the issues of creativity, order and discipline, through the perspective of a sociology and phenomenology of everyday life. The main issues of this thesis are first introduced through Bachelard???s phenomenological study of poetry and Heidegger???s approach to art. Embodied modes of knowing are introduced through Buber???s dialogic I-Thou concept. This is followed by Winnicott???s discussion of creativity and Bohm and Peat???s discussion of order. Discipline is introduced through a counter-analysis of some central sociological theorists on authority and power: Lukes, Foucault and Durkheim. Among other writers influential for the thesis are Eliade on origins, sacred temporality and ???eternal return???, Simmel and Douglas on space, Levinas, Merton, Herrigel and Stendl- Rast on ethics and discipline. Hegel and Sartre on identity-logic and Serres on relational modes of knowing. The main issues are drawn from experiences with music and particularly with the music of J. S. Bach. These experiences raise ontological, cosmological and epistemological questions that are examined in this thesis. The material used in the analysis is drawn from musicians??? experiences and from a variety of sources non-academic and academic.

Diss.--Hambourg, 1999. / Notes bibliogr.