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Music, Centres and Peripheries

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Music and Translation

Part of the book series: Palgrave Studies in Translating and Interpreting ((PTTI))

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Abstract

This chapter sets the investigation on music and translation within the contemporary global context that determines how music is produced and disseminated. It examines the tensions between local and global, cosmopolitan and national and universal and specific settings. It argues that the process of translation, particularly in vocal popular music, can both lead to broad standardisation, and defy this standardisation. It considers the dominant place of English in musical cultures, showing that this dominance has not prevented artists from performing in their native language, emphasising the fact that, in the twenty-first century, consumers dictate production and that Anglo-Saxon music has been permeated by influences from minority cultures, particularly from Africa. These influences have allowed Anglo-Saxon music to re-mediate and re-invent itself in ways that have been key to its success and creativity.

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Notes

  1. 1.

    Biopolitical production, in this context, refers to products and actions that offer alternatives or resistance to normalised or oppressive models of creation, performance and fabrication.

  2. 2.

    It is interesting to remark that out of the 154 countries present when this convention was adopted in 2005, two voted against it: the USA and Israel.

  3. 3.

    A cover song, sometimes just named cover, is a new interpretation of an existing song. It can entail new treatment of the music or different lyrics but its transformation relies primarily on a different performance style by the singer(s) who appropriate it.

  4. 4.

    Texture in music refers to the combination of tempo, dynamics, melody, harmony and timbre which gives it its individuality.

  5. 5.

    Sampling in music refers to the process of taking parts of existing recorded music, ‘samples’, and reusing them as part of a new recording.

  6. 6.

    The concept of ‘habitus’, introduced by Pierre Bourdieu (1981/1990), designates the acquired habits, skills and preferences through which individuals perceive and engage with their social environment. It tends to be shared by people from similar social backgrounds. In relation to music, some individuals would never attend opera for instance, which they would judge as highbrow and elitist.

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  1. Department of Media, Culture and Language, University of Roehampton, London, UK

    Lucile Desblache

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Desblache, L. (2019). Music, Centres and Peripheries. In: Music and Translation. Palgrave Studies in Translating and Interpreting. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-54965-5_2

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