einander durchdringend
English translation: penetrating
| 07:44 Feb 21, 2006 |
| German to English translations [PRO] Tech/Engineering - Architecture | |||||||
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|  Selected response from: Alan Johnson Germany Local time: 23:13 | ||||||
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| Summary of answers provided | ||||
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| 3 | attaching |
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| 2 | penetrating |
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| 2 | interlocking |
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Answers
25 mins confidence: 
| eineinander durchdringender penetrating Explanation: As nobody has had a try yet: A formulation with "penetrating one another" or similar. |
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1 hr confidence:
interlocking Explanation: interwoven overlapping meshed more ideas to inspire others and for you to play with |
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4 hrs confidence:
attaching Explanation: This would need to be used together with my other responses. The whole sentence according to me would be something like: "The ... of the University of Toronto bridges interior and exterior spaces by attaching one building to another." Again here is the passage from my answer to Verschränkung, from which I am deriving my answer in light of the musical connotations of Verschränkung. A transition can be thought of as a bridge: it is attached at one end to the old idea, and at the other to the new idea. The bridge leads clearly and gradually from one idea to another. It is possible to "measure" the difference between any two musical ideas by comparing their constituent characteristics: line, texture, harmony, register, timbre, rhythm, etc. The more elements differ, the more contrasting the ideas, and the more stages will be required for a gradual transition. Since it is fairly easy to surprise the listener (the beginner's most common fault!) we will concentrate here on how to construct more gradual transitions. · gradual evolution: here the transition is a more or less fully developed section in its own right, acting as a bridge, as described above. Once the composer determines the main differences between the ideas to be connected, the next step is to devise a step by step progression between them. If there are important differences in more than one musical element, it is best not to change more than one at a time. For example: do not change register at the same time as changing rhythm. While this rule is not absolute, the principle is useful in that it can help the composer to gauge where a given transition needs to be compressed or expanded. Reference: http://www.musique.umontreal.ca/personnel/Belkin/bk/form.boo... |
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