The translation of musical texts – or music-linked translation, in Harai Golomb's terms (2005: 121–162) – started to receive attention from translation researchers only in the last decade. One reason for this may be the methodological challenges that its study entails, for it redraws traditional boundaries such as those between ‘translation’, ‘adaptation’ or ‘rewriting’, it questions essential concepts such as ‘authorship’ or ‘source-text’ and it clearly calls for a multidisciplinary approach (Susam-Sarajeva 2008: 188–9). Three monographic publications have now joined the relatively small group of articles so far devoted to Music and Translation, which evinces a steadily growing interest in the topic: Gorlée 2005 and Susam-Sarajeva 2008, which show that the translation of musical texts goes well beyond opera, taking multiple forms – from the (literal) translations of CD inserts or printed libretti to sung translation, the rewriting of song lyrics, surtitling, subtitling or dubbing, and Minors 2013, whose studies expand the concept of translation, to incorporate the transferences between music and text, as well as the visual arts. This entry will present an overview of the field, focusing mainly on the translation of opera in its various forms – as it has attracted most attention –, and that of songs and musicals.
2007“Music to my ears, but words to my eyes? Text, opera and their audiences.” In A Tool for Social Integration? Audiovisual Translation from Different Angles, Aline Remael & Josélia Neves (eds). Special Issue of Linguistica Antverpiensia 6: 155–170. TSB
Díaz Cintas, Jorge, Orero, Pilar & Remael, Aline
(eds)2007Media for All: Subtitling for the Deaf, Audio Description and Sign Language. Amsterdam: Rodopi. TSB
Di Giovanni, Elena
2008“The American film musical in Italy: Translation and non-translation.”The Translator 14 (2): 295–318. TSB
2005“Musical comedy translation: Fidelity and format in the Scandinavian My Fair Lady.” In Gorlée (ed.), 263–298.
2008“Choices in song translation: Singability in print, subtitles and sung performances.”The Translator 14 (2): 373–399.
2005“Music-linked translation (MLT) and Mozart's operas: Theoretical, textual and practical approaches.” In Dinda L. Gorlée (ed.), 121–161.
Gorlée, Dinda L
(ed.)2005Song and Significance: Virtues and Vices of Vocal Translation. Amsterdam/New York: Rodopi. TSB
Herman, Mark & Apter, Ronnie
1991“Opera translation.” In Translation: Theory and Practice. Tension and Interdependence [ATA Scholarly Monograph Series 5], Mildred L. Larson (ed.), 100–119. Amsterdam/Philadelphia: John Benjamins. TSB
1995Die Oper als Textgestalt: Perspektiven einer interdisziplinären Übersetzungswissenschaft. Tübingen: Staufenburg Verlag Brigitte Narr. TSB
2005“The plurisemiotics of pop song translation: Words, music, voice and image.” In Gorlée (ed.), 235–262.
2013“Purposeful Translating: The Case of Britten's Vocal Music.” In Minors (ed.), 69–79.
2005“The Pentathlon approach to translating songs.” In Gorlée (ed.), 185–212. TSB
(ed.)2004La traduction des livrets: Aspects théoriques, historiques et pragmatiques. Paris: Presses de l’Université Paris-Sorbonne.
Matamala, Anna and Orero, Pilar
2008“Opera Translation. An Annotated Bibliography.”The Translator 14 (2): 427–451.. TSB
2007“Surtitling today: New uses, attitudes and developments.”Linguistica Antverpiensia 6: 135–154. TSB
2008“Anglo-American musicals in Spanish theatres.”The Translator 14 (2): 319–342. TSB
Minors, Helen Julia
(ed.)2013Music, Text and Translation. London: Bloomsbury (Bloomsbury Advances in Translation).
(ed.)2008Translation and Music. Special Issue ofThe Translator 14 (2).. TSB
2004“The source text of opera surtitles.”Meta 49 (1): 89–97.