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Japanese to English English (monolingual)
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AI + Human review (MT post-editing), Training, Copywriting, Transcreation, Translation, Editing/proofreading, Subtitling, Native speaker conversation, Language instruction, Software localization, Website localization, Transcription
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Sample translations submitted: 2
Japanese to English: Pascal Schumacher album liner notes translation General field: Art/Literary Detailed field: Music
Source text - Japanese 日本人は、全体的調和を重んじる。自己主張を抑制することが、かえって受け手の想像力を刺激することになり、結果として奥深い表現に到達できるという芸術表現に対する考え方がある。「レフト・東京・ライト」でのパスカル・シューマッハのヴィブラフォンはその日本的な美意識のように、時には他の楽器の傍に寄り添いながら、すべてを全体的調和と、最後に残る圧倒的な余韻に導く役割を担っている。
パスカル・シューマッハは、2012年の初来日以来、毎年、来日公演をおこなっている。更にはプライベートでも日本を訪れ、東京を拠点に京都、長野などを旅して日本の街や自然に親しんでいる。
「レフト・東京・ライト」の意味についてパスカルは「ライトは浅草、寺社、着物の女性、太鼓のような伝統的な“古い”日本を表している。レフトは秋葉原、渋谷、ネオン街、J-Popのようなスーパーモダンな“新しい”、“派手な”日本。僕はこの二面性の強い文化が好きなんだ。日本社会はヨーロッパに比べて、モダニズムと伝統的な要素を上手に共存させていると思う。そのことに僕はとても強烈な印象を受けたし、そのコントラストにとても惹き付けられている」と話している。
この作品には、日本文化に触れた影響で加味された彼独自の解釈によるオリエンタリズム、“侘・寂”の見地からのミニマリズムの追求、調和と混沌など、レギュラーカルテットで磨き上げてきた精緻な音のアートを下地に、様々な要素が加えられ、これまでの彼の作品以上の多様性を見せている。自身のカルテット名義で5枚の作品を発表しているが、今作で初めて自身名義の作品となるのも、このような多様性がバンドサウンドとは別の表現の方向であり、ミルトン・ナシメントの1曲を除いて、東京で作曲した彼自身の楽曲を収めた個人的な世界観の表現となっているからであろう。今作の録音は気心の知れたレギュラーカルテットとおこなわれているが、彼らが良き理解者としてパスカルのヴィジョンの具現化を助けている。ゲストプレイヤーのアリエノール・マンセップのハープによる「さくらさん」のイントロは日本人が好きな桜の花の散る風景（何事も永遠には続かないという不完全の美学＝侘び）をイメージさせるし、マジック・マリークのフルートは篠笛（竹で作られた日本古来からの横笛）の音を連想させる。ヴェルネリ・ポーヨラ(tp)とシルヴァン・リフレ(sax, cl)のスピリチュアルな響きと熱量は、楽曲の心象風景に壮大な響きを与えることに貢献している。
この作品を聞いて、ヴィブラフォンの持つ音の美しさと響き、ヴィブラートしながら空気に染みこむように消える儚い音に、“侘・寂”のイマジネーションを刺激された。それはパスカル・シューマッハというアーティストの芸術性が、ヴィブラフォンという楽器を通じて形になるとき、日本人の心に訴えかけるものがあった、ということだ。（松永誠一郎）
Translation - English “Left Tokyo Right” is the name of my new solo album. “Right” is the Asakusa district of Tokyo, the temples, women in kimonos, taiko drummers, the traditional “old” Japan. “Left”’ are the Akihabara and Shibuya districts of Tokyo, neon lights, J-pop, the super-modern, flashy, “new” Japan. I like both of these strong cultural aspects. I believe the Japanese society is at once both more modern and more traditional than the European society. All of these things make strong impressions on me, and I feel very attracted by this huge contrast. (Pascal Schumacher)
Pascal Schumacher made his first visit to Japan in 2012 and has returned to perform every following year. In addition he has traveled to Japan on vacation, starting in Tokyo and moving on to cities such as Kyoto and Nagano, developing his love for Japan’s cities and nature.
Incorporating influences from Japanese culture into his work, Pascal has put his own spin on Orientalism, pursuing a style of minimalism from the Japanese concept of “wabi-sabi,” combining harmony and disorder. With the subtle, polished sound of his former quartet as a base, he has introduced a wide range of additions, creating a piece of art more diverse than anything he has recorded to this point. He has produced five previous releases as the Pascal Schumacher Quartet, but this is his first recording under his own name, his diverse influences resulting in a different artistic direction. With the exception of tracks of Milton Nascimento and Ryuichi Sakamoto, all of the album’s tracks were composed in Tokyo by Pascal, expressing his unique view of the city through the music. The album was recorded with the members of his former quartet (Franz Von Chossy, piano – Jens Düppe, drums – Pol Belardi, bass guitar), but incorporates contributions from several other like-minded artists to help complete the artistic vision. Guest player Aliénor Mancep’s harp can be heard during the intro to “Sakura-san,” conjuring the image of cherry blossoms falling, an expression of “wabi,” the aesthetic concept of impermanence so beloved by Japanese. Magic Malik’s flute reminds the listener of the Shinobue, a traditional Japanese bamboo wind instrument. Trumpet player Verneri Pohjola and saxophonist Sylvain Rifflet contribute spiritual, impassioned playing, painting a grand musical landscape reflecting the album’s aesthetic vision, all sound designed by a creative Joachim Olaya.
Listening to this creative work, the beauty of the vibraphone reverberating, the sound traveling through the air and disappearing, brings up visions of “wabi-sabi.” Pascal Schumacher’s artistic skill can be felt through his vibraphone, truly touching the Japanese soul. (Seiichiro Matsunaga)
Japanese to English: VORC Records "8-Bit Prophet" compilation CD: promotional information (excerpt) General field: Art/Literary Detailed field: Music
Source text - Japanese 参加アーティストは、はじめて制作したデモ・ソングがフランスのレーベルに採用、海外からリリースを果たした日本人先駆者の一人、そしてオンライン・コンペティション“Famicompomini”主催「K->」を中心に、ファミコン音源に徹底してこだわり、電子音による環境音や生楽器シミュレートを得意とするチップチューン・アコースティックの第一人者「梟乃森啓人」、固定されたイメージ拒否するが如く色を変え、そのゲームテイスト溢れる作品を精力的に放っていく異色ユニット「Tanikugu」が参加。ボーナストラックには、デリック・メイ、大沢伸一ら世界の大物達と共に競演、2008年末に1stAlbum「Overlapping Spiral」をリリースした「Saitone」が、昨年大ヒットしたTM NETWORKトリビュート・アルバム「I LOVE TM NETWORK」のAsianDynasty Records をフィーチャー。
Translation - English The album’s chief contributor is K->, a pioneering Japanese artist who, in addition to having his first demo recordings released on a French record label, is also the organizer of “Famicompo mini,” an online chiptune music competition. Other contributors include Keito Kyonomori, the foremost musician specializing in the “chiptune acoustic” style, painstakingly manipulating Famicom-sourced audio to simulate environmental sounds and live instrumentation, and Tanikugu, a unit that actively rejects predefined concepts while creating their unique, game-influenced music. The album’s bonus track is performed by Saitone, an artist who released his debut album, "Overlapping Spiral," at the end of 2008, as well as having his work appear alongside luminaries such as Derrick May and Shinichi Osawa. Saitone’s track also features AsianDynasty Records, the label that released last year’s hit TM Network tribute album, "I Love TM Network."
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Experience
Years of experience: 17. Registered at ProZ.com: Jun 2009.
Expertise