Terminological sources and research

We can understand that one only text may not be enough to understand the vast quantity and variety of terminology, expressions and stylistic differences (regarding musical taste) that you may be able to find when you first immerse yourself into the world of contemporary music. As it is the case with many, if not the most, of the more specialized and professional fields of any subject, as the deeper we drive into this world the harder it will get to set boundaries between the meaning of each word, as musicians, musicologists or composer may use some of them differently. Other musicians, familiarized with the terms from years on, might understand each other any way, but you might not yet.

Therefore, we wanted to provide you some other resources, encouraging you to open up to the curious new ways music has found to express emotion or, if you are rather interested in the terminology, how we fragment the music into parts to give each part a meaning.

First, let’s introduce a new and interesting organization regarding Spanish translation: the SATMUS. This organisation, standing for Society for Analysis and Music Theroy, aims to provide clarity to the lack of norms in the use of terminology in Spain and is therefore a good reference (altough it will probably take many years till they reach this purpose) for the correct use and meaning of musical terms.

But if this wasn’t enough, they also amount a huge quantity of studies, mostly doctoral thesis, for you to read, written either in Spanish and in English. These texts are not translated yet, so you won’t be able to compare them that easily (for that, you can access to the example in our analysis of Debussy).

To ease the lecture of such massive and great works, as well as for further translations you might do, we also want to provide you several links to online dictionaries for musical terminology:

  • Glossary of Musical Terms and Forms. The CanTeach platform offers here an exhaustive collection of Italian and English terms. We have already been able to observe the presence of the Italian language in the musical indications of any language, whether Spanish, German, English, etc.
  • Music Glossary. M.Tevfik Dorak. Another good source of information, this dictionary focuses more on the name of different musical forms. It is important to make clear that this and the Glossary of Musical Terms and Forms focus traditional musical terms, as the newer terms are not normalized, not only on a multilingual level, but even on one single language.
  • Glosario de terminología – Wikipedia. It may sound strange, but the fact is that Wikipedia offers a vast amount of reliable definitions of musical terminology, most of them being hyperlinked to a brider description of the term as a whole entry on the website. Although this link will bring you to the Spanish entries, it is also available in several other languages, such as German, English, Italian, etc.

To finish this list of possible sources for terminology, we would want to note that, even if the description of the entries is correct in all three of them, the appropriate use is a completely different matter that requires previous reading from different monographs or publications to understand the way of this particular language. To redirect to a previous post and give a concrete example: you might don’t want to overdo the use of Italian expressions, although they are correct, it would sound forced.

Text example: Analysis of a musical composition

Even though the study of specific problems might me helpfull in your translation as we tried in our latest post, we need to read more than just a few sentences in order to get a feeling for the content we want to translate, it’s meaning and the way of expressing it.

Therefore, let’s give a look into an example of a music theory text: an analysis of the piece Cathedrale Engloutie from Claude Debussy. In the box below you can find this text in all three languages:

At the first skim we can see that they look very similar and there is seemingly not that many terminology that could get us into trouble. But if we take a dive further into it, we can tell that the problem is rather in which of the polysemic words will change into something completely different. For example, the same polysemic spanish word pedal does not refer at all to the sustain pedal from the piano, but to a composition tecnique, whereas it needs to be translated as:

  • Bordune (GER).
  • Drones (EN).

Another example would be the spanish word registro. In this word has not any of the meanings you would find, for example, in the RAE dictionary (see entry 17.m and 18.m). It is not a division of a scale and it does not refer to the human voice either. It refers to the range from the deepest and highest note played in the musical piece. Therefore, we have used the following translations:

  • Reichweite (GER).
  • Range (EN).

Tips on translating contemporary music

One of the greatest difficulties when translating texts from the musical field lies in the terms of extended techniques, that is, of the new ways of generating sounds with a musical instrument developed since the 20th century. This difficulty stems from the fact that, from this point on, there is no consensus on the name given to these techniques, rather composers or experts have been developing their own definitions and labels for the techniques.

There do not seem to be any specialized translation studies in contemporary academic music terminology. This can generate doubts when facing an assignment of this nature, about the best sources for documentation and preparation. Here are some suggestions to fill this gap.

Orientation through the mixture of languages

As we all know, any language has loanwords from foreign languages, as a result of continuous cultural or historical exchanges over the centuries. In the same way, in the world of musical training, different musical schools have always competed with different perceptions about the functioning and teaching of music and, therefore, impregnating musical terminology with their words depending on which musical school was in question. boom of the time. Therefore we should not be surprised if, when we come across a musical text, many of the musical terms are, for example, Italian or French.

What is most interesting in view of the need to translate a musical text is the fact that, as a general rule, it is these French or Italian terms that do not require translation, but must remain the same. These are accepted terms in the community. On the contrary, expressions or indications in the language of the text, especially if they are English or Spanish texts, must be translated, as they are not transparent or universally known terms.

Here are some examples, taken by Allan and Patricia Strange in their manual The contemporary violin – Extended performance techniques (11-13):

Use expert monographs

To understand the meaning of extended techniques, a list of recommended resources for documentation is attached here. These are manuals for expert interpreters of each instrument:

On the one hand, a list of different manuals of extended techniques of the instruments in which the Spanish, English or German terminology on said instruments can be extracted:

  • Weiss, Marcus; Netti, Giorgio. (2010) The Techniques of Saxophone Playing. Die Spieltechnik des Saxophons. (Ciudad): Bärenreiter Kassel.
  • Strange, Allen & Patricia. (2001). The contemporary violin. Extended Performance Tecniques. California: University of California Press.
  • Antequera Antequera, María Carmen. (2015) Catalogación sistemática y análisis de las técnicas extendidas en el violín en los últimos treinta años del ámbito musical español. Rioja: Universidad de la Rioja.
  • Cherry K., Amy. (2009) Extended trumpet. Cincinnati: University of Cincinnati.

And, finally, at a purely theoretical level, this monograph compiles the symbology of the different contemporary works:

Locatelli, Maria, A. (1972) The notation of contemporary music.

In case you feel still somehow lost and are unnable to find, please consider visiting the Website of SATMUS. SATMUS dedicates itself to distribute music theory information and offers free acces to numerous doctoral thesis and articles written both in spanish and in english. Therefore, it offers a valuable resource for documentation porpuses and greater understanding of the terminology used in this kind of texts.

You can also find my own analysis and their translations on my web.