中國博大精深的音樂歷史文化，也使得國外學(xué)者迷戀，同樣，中國學(xué)者也很迷戀國外音樂，那么大家了解有關(guān)樂器名稱的翻譯嗎?下面翻譯公司來為大家介紹：

　　The profound music history and culture of China also fascinate foreign scholars. Similarly, Chinese scholars are also infatuated with foreign music. Do you know about the translation of musical instrument names

　　現(xiàn)在大家看到鋼琴、小提琴、大提琴、吉他、曼陀林等名稱不會感到陌生了，但聯(lián)想到中西之間沒有共通的樂器，因此在開始翻譯這些名稱時應(yīng)該是煞費(fèi)苦心，我們讀到的一些早期名家的作品里面，可以發(fā)現(xiàn)對同一種樂器有不同的譯名，比如在朱自清的《荷塘月色》中, 有這么一段話“但光與影有著和諧的旋律，如梵婀玲上奏著的名曲”，其中“梵婀玲”直接從“violin”音譯，現(xiàn)在則通譯為小提琴。

　　Now you can see the names of piano, violin, cello, guitar, mandolin, etc. are not strange, but you think there is no common instrument between China and the west, so you should take great pains to translate these names when you start. In the works of some early famous artists we read, you can find that there are different translations for the same instrument, such as the moonlight in lotus pond by Zhu Ziqing 》Among them, there is a saying "but light and shadow have a harmonious melody, such as the famous music played by vata Ling", in which "vata Ling" is transliterated directly from "violet", and now it is translated into violin.

　　我們可以發(fā)現(xiàn)，盡管譯法千差萬倍，但不外乎兩大類，一類是意譯，如鋼琴、小提琴等，一類是音譯，如吉他，曼陀林等。早期翻譯比較喜歡用意譯，近來則越來越傾向于音譯。對此，我是意譯的擁護(hù)者，音譯可能出于中西無對應(yīng)的樂器，還不如保留原文的考慮，但是這忽略了一點(diǎn)，原文是有明顯的或隱含的意義的，而音譯成外文，則只是一串音素的堆砌，失去了原文的意味。

　　We can find that although the translation method is thousands of times different, there are no more than two categories, one is free translation, such as piano, violin, etc., the other is transliteration, such as guitar, mandolin, etc. In the early stage, free translation is preferred, but in recent years, transliteration is more and more preferred. To this end, I am a supporter of free translation. Transliteration may be due to the fact that there is no corresponding musical instrument between China and the west, so it is better to keep the original. However, this ignores that the original has obvious or implied meaning, while transliteration into foreign language is just a string of phonemes, losing the meaning of the original.

　　試想一下，如果我們熟悉的鋼琴(piano)被翻譯成“皮諾”，小提琴(violin)翻譯成“瓦爾林”，大提琴 (cello)譯為“切羅”，不知道大家有何感想。雖然說現(xiàn)在這些翻譯也并非盡善盡美，但是我們仔細(xì)觀察下，會發(fā)現(xiàn)最初翻譯者的良苦用心。

　　Imagine if the piano we are familiar with is translated into Pino, the violin into warlin, and the cello into cello. I don't know what you think. Although these translations are not perfect at present, we will find the good intentions of the original translators after careful observation.

　　當(dāng)最初的翻譯者看到“piano”這個詞時，首先應(yīng)該考慮的是它可以用哪個中國樂器的概念來對應(yīng)，我們自然而然會想到古琴(當(dāng)初稱為琴，近代為和其它樂器區(qū)別加了個古字)，兩者都各自文化里的樂器王者，而且都是彈撥樂器，但是piano 和古琴形狀用法大相徑庭，譯者巧妙地加上了“鋼”字，暗示了其體型的龐大，結(jié)構(gòu)的堅(jiān)固，因此用“鋼琴”來翻譯piano算是一個成功的案例。而如果翻譯成“皮諾”，則就不知所云了。

　　When the original translators see the word "Piano", they should first consider which Chinese musical instrument it can use to correspond to it. We naturally think of Guqin (originally called Qin, but in modern times, an ancient character was added to distinguish it from other musical instruments). Both of them are musical instrument kings in their respective cultures, and both are plucked instruments, but piano It is quite different from the shape and usage of Guqin. The translator cleverly added the word "steel" to indicate its huge size and strong structure. Therefore, the translation of piano is a successful case. If it is translated into Pinot Noir, it will be lost.

　　中西文化開始接觸的時候，西方文化處于絕對強(qiáng)勢地位，因此大量的西洋樂器被介紹到中國，而幸運(yùn)的是，當(dāng)時有一大批學(xué)貫中西的大家，因此有些非常精妙的翻譯流傳了下來。隨著國家的發(fā)展，中國的樂器也越來越為人熟知，紛紛走出了世界，而如何將中國樂器翻譯成外文也成了一大難題，我現(xiàn)在發(fā)現(xiàn)音譯成了絕對主流，也許是現(xiàn)代生活節(jié)奏快，人們已經(jīng)不屑于停下來慢慢思考，”Qin”(琴), ”Zheng(箏)”, ”Pipa(Pipa)”, “Erhu (二胡)”, “Sanxian (三弦)” ……, 這些在漢語里充滿文化意味的樂器變成了一串串拼音符號，不知道老外見了有什么感想，最好的做法是模仿將piano 翻譯成“鋼琴”的方法，找到對應(yīng)的外文作為基礎(chǔ)詞，再根據(jù)樂器本身形狀和特點(diǎn)加上修飾詞，當(dāng)然這樣做的要求很高，需要很高的語言素養(yǎng)和樂器指示，而且現(xiàn)在泛濫的拼音譯法已經(jīng)流暢開來，更改不易，因此只能是作為一種期望吧。

　　When Chinese and Western culture began to contact, western culture was in an absolute dominant position, so a large number of Western musical instruments were introduced to China. Fortunately, there were a large number of people who had learned both Chinese and Western culture at that time, so some very exquisite translations were handed down. With the development of the country, Chinese musical instruments have become more and more familiar, and have gone out of the world. How to translate Chinese musical instruments into foreign languages has become a big problem. I now find that transliteration has become the absolute mainstream, perhaps because of the fast pace of modern life, people are not willing to stop to think slowly, "Qin", "Zheng", "Pipa", "erhu", "Sanxian" , These cultural instruments in Chinese have become a string of pinyin symbols. I don't know what foreigners think. The best way is to imitate piano The way to translate it into "Piano" is to find the corresponding foreign language as the basic word, and then add the modifiers according to the shape and characteristics of the instrument itself. Of course, this requires high requirements, high language literacy and instrument instructions. Moreover, the current overflowing pinyin translation method has been fluent and difficult to change, so it can only be regarded as an expectation.

中譯國際翻譯（北京）有限公司
China International Translation service Co., Ltd.