Se considera a la Música...

Discussion in 'Spanish-English Vocabulary / Vocabulario Español-Inglés' started by Afrodita, Apr 11, 2005.

  1. Afrodita Senior Member

    Spain Spanish
    Hello all!! I really need your help. I've been given a thesis summary in spanish for translation today and I must give it in on wednesday morning. I have given it a try. Please, I would be so helpful if you could read through what I've written and correct me (I'm not professional doing translations, it is just a favour... and I'm so stuck) and there is a bit I couldn't translate (in bold):

    "Se sostiene que existe un azar creador y generador de novedades que opera en la música fundamentalmente a través de la práctica de la improvisación y que posteriormente estas innovaciones son plasmadas y conservadas en las composiciones.

    Se considera a la Música como un sistema complejo conceptual, al que por homología (si algo es un sistema tendrá ciertas características, independientemente de su naturaleza) y similitud estructural se lleva a un isomorfismo de leyes, aplicables en diferentes niveles o ámbitos. La interacción improvisación-composición será pues la de un sistema (abierto) con su entorno, que para nosotros supone la representación en la Música de un nuevo concepto de historia como adaptaciones entre bifurcaciones, de la dialéctica entre el determinismo (evolución, trabajo) y el azar (autoorganización, revolución) existente en el punto de bifurcación del sistema fluctuante y desestabilizado.

    El azar del que se trata será pues el descrito en la física termodinámica de procesos irreversibles, el existente en el denominado orden por fluctuaciones, aplicado en la música a través del equivalente en Teoría de la Información del concepto de entropía.

    Una vez realizado un breve recorrido por los hechos más importantes que este proceso ha provocado en la Historia de la Música nos detenemos en el Barroco tardío para explicar la cadena de acontecimientos que lleva a la forma de primer movimiento de sonata.

    La tradicional práctica de la improvisación en la música de danza condicionará a las formas binarias y ternarias que, configuradas plenamente en el Barroco tardío (fundamentalmente en la música para teclado), conformarán las características principales de la morfología de la sonata.

    Esta forma, máximo y más prestigioso exponente de elaboración y complejidad en la historia de la composición musical aparece así también como resultado de la actividad improvisatoria, incierta, y como ejemplo de que azar y determinismo son conceptos que lejos de excluirse se complementan y de cuyo equilibrio depende el progreso del arte."

    Here is my translation:

    "The theory is maintained that there exists a novelty creating and generating chance which operates in music fundamentally through the practice of improvisation and that later these innovations are captured and conserved in compositions.



    Music is considered as a complex conceptual system (...) The improvisation-composition interaction will therefore be an (open) system with its environment, which for us will suppose the representation in Music of a new concept of history like adaptations between bifurcations, of dialectics between determinism (evolution, work) and chance (self-organisation, revolution) existing in the point of bifurcation of the fluctuating and destabilized system.



    The chance we are dealing with here will be the one described in thermodynamic physics of irreversible processes, the one existing in the so-called order by fluctuations, applied to music through the equivalent concept of enthropy in the Theory of Information.



    As soon as we carry out a brief visit to the most important facts that this process has caused in the History of Music we will stop in the late Barroque period to explain the chain of events which leads to the first movement of Sonata form.



    This form, most brilliant and prestigious exponent of elaboration and complexity in the history of musical composition appears in this way too as a result of improvisatory activity, uncertain, and as an example that chance and determinism are concepts that far from excluding each other, complement each other and make the progress of art depend on their balance."

    Thankyou all for your kind help in advance!
     
  2. Lizajoy Senior Member

    Spain
    US English
    Hola Afrodita,


    Music is considered as a complex conceptual system to which an isomorphism of laws--applicable at different levels or in different environments--is brought by homology (if something is a system, it has certain characteristics independently of its nature) and structural similitude.

    O bien, si quieres evitar la forma pasiva dos veces en una misma frase:

    Homology (if something is a system, it has certain characteristics independently of its nature) and structural similitude bring an isomorphism of laws--applicable at different levels or in different environments--to music, which is considered as a complex conceptual system.

    Un saludo,
    Lizajoy
     
  3. Afrodita Senior Member

    Spain Spanish
    ¡¡Muchísimas gracias Lizajoy!! ¿qué tal está lo que he traducido yo? ¿Es aceptable? ¡Agradezco mucho las correcciones!

    ¡Gracias!
     
  4. Lizajoy Senior Member

    Spain
    US English
    De nada, Afrodita!

    No voy a poder mirar el resto (hice la traduccion sobre la marcha) pues los ninyos me estan pidiendo la cena ya! Pero manyana...

    Saluditos,

    Lizajoy
     
  5. Afrodita Senior Member

    Spain Spanish
    Please, please, please... don't forget me!! I must hand this in tomorrow morning. If anybody could just check what I've translated I would be really grateful!!

    Thanks!

    Afrodita
     
  6. Lizajoy Senior Member

    Spain
    US English
    Afrodita,

    Aqui tienes unas ideas mias...


    ...history like...-->...history as...

    ...(open) system with... --> ...system open with...

    ...existing in the point --> ...existing at the point...

    The chance we are...--> The randomness we are...

    enthropy-->entropy

    As soon as we carry out a brief visit to the most important facts...-->As soon as we've completed an overview of the most important events...

    ...lleva a formar-->...brings about (I like "brought" better but it is in the present in the original)

    This form, most...-->This form, the most...

    ...appears in this way too...-->...also seems this way...

    ...uncertain--> (unsure puede que sea mejor, no lo se en este caso)

    ...an example that chance and determinism are concepts that far fromr.-->
    ...an example of chance and determinism as concepts that, far from...

    ...and upon whose balance art's progress depends...(o bien, whose balance the progress of art depends, lo cual me gusta mas)

    Espero que te sirva!

    Lizajoy
     
  7. Afrodita Senior Member

    Spain Spanish
    Muchísimas gracias Lizajoy. ¡Me ha servido de mucha ayuda!
     
  8. Chaucer Senior Member

    US inglés/español
    Una sugerencia de traducción para tu primer párafo:

    Se sostiene que existe un azar creador y generador de novedades que opera en la música fundamentalmente a través de la práctica de la improvisación y que posteriormente estas innovaciones son plasmadas y conservadas en las composiciones.

    The theory is maintained that there exists a novelty creating and generating chance which operates in music fundamentally through the practice of improvisation and that later these innovations are captured and conserved in compositions.

    A creative and generative randomness of newness is widely accepted to be in fundamental operation through the practice of improvisation, and that afterwards these innovations are materialized/set and preserved in compositions.
     
  9. Afrodita Senior Member

    Spain Spanish
    Thankyou very much Chaucer, I much prefer this!

    I have a little bit more to translate, this is the title:

    EL AZAR EN LAS INTERACCIONES ENTRE IMPROVISACIÓN Y COMPOSICIÓN: RASGOS IMPROVISATORIOS DE LAS FORMAS BIPARTITAS Y TRIPARTITAS DE TECLADO DEL BARROCO TARDÍO EN EL DESARROLLO MORFOLÓGICO DE LA SONATA

    And this is what I've come up with:

    Chance in the interactions between improvisation and composition: improvisatory characteristics of the bipartite and tripartite keyboard forms of the late Baroque in the morphological development of the Sonata.

    Is it ok?
     

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