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German to English: A composer's performance instructions General field: Art/Literary Detailed field: Music
Source text - German (Jakob Ullmann kennt die reproduzierenden Möglichkeiten seines Gewerbes zu gut, um die alten Tricks umgehen zu können.) Deshalb war es erforderlich, mit der Notation Bedingungen zu ersinnen, die der jeweilige Musiker nur spielend einlösen konnte. Dazu gehörten neben herkömmlichen Noten und einigen dynamischen und agogischen Anweisungen graphische Zeichnungen für den Gesamtverlauf und für die Gestaltung in einigen Details, - ein Zeichensystem, in das die Musiker sonst interpretatorische Freiheit hineinlesen, das hier aber, zusammen mit den anderen Anweisungen, etwas Bestimmtes im spielerischen Vermögen des Musikers festlegt.
Translation - English Jakob Ullmann knows the performance possibilities of his métier well enough to be able to avoid the old tricks. That is why it was necessary to devise a notation that the individual musician could only realize in performance. In addition to conventional notes and some dynamic and agogic instructions, his notation includes illustrations of the entire process and some specific details of the graphic notation: a system of symbols which musicians might otherwise read as interpretational freedom, but which here, in combination with the other instructions, stipulates a certain technique in the musician’s performing arsenal.
English: A composer's performance instructions. Combining two texts into one. General field: Art/Literary Detailed field: Music
Source text - English voice, books and FIRE I
explanations for the instruments
For the instruments the piece contains
5 transparent sheets
20 sheets containing coloured graphic constellations. These 20 sheets are divided into 5 groups of different numbers of sheets, which contain indications of 5 different kinds of sound:
– real pitches – constellations of pitches (category 1 – 5 sheets)
– soft multiphonics (category 2 – 3 sheets)
– sharp multiphonics (category 3 – 4 sheets)
– very short, hard („dry“) actions (category 4 – 4 sheets)
– noisy sounds (category 5 – 4 sheets)
The usage of these materials is as follows:
The transparent sheets have to, the other sheets can be realized more than one time.
The connection between the transparents and the sheets with the coloured graphic constellations (=„configuration“) is free. Despite this fact no such „configuration“ should be repeated. The minimum number of such „configurations“ for any performance are 6.
The duration of every configuration is at least 3 ½ min.
The duration of the different „configurations“ can change.
staff of the performance:
The piece can be performed with or without instruments.
The number and the kind of instruments are free. Electronic sounds produced on a pure electronic way should not be used.
It should be considered, that – if instruments are used in the performance – a number less than 3 instruments is not useful. For the arrangement of the instruments it should be taken in account, that the instruments on one hand should be able to produce very soft sounds (or the space of the performance allows such a far position for the instrument, that the sound is quiet enough for the performance) and on the other hand should be able to produce continuous sounds. Instruments, which are not able to produce such continuous sounds (e.g. piano without electronic modification), should be used only if enough instruments are present which can produce continuous sounds.
The range of ppp – pppp should be left only in special moments (e.g. sound of category 4) and for very short time. It should paid attention to the fact that every action of any voice one should be able to hear despite the actions of other participants of the performance. This requires executing every action very cautious.
The amount and duration of breaks, which are caused by arrangement of the material can be enlarged, it shall not become reduced!
coordination of the instruments:
In the case that the piece is performed with instruments, the relation between the instruments can be organized in two different ways:
1 – ensemble of soli
In this case, every player of an instrument acts as a soloist. The necessary decisions concerning the used „configurations“ of transparents and the other sheets, the order and duration of the different configurations are free for every player.
Despite this freedom of decisions:
a – the duration of the whole performance is the same for all instruments
(This means that if e.g. one player plays 20 constellations with durations of around 3 ½ min, an other needs per configuration e.g. 5 minutes, the second can perform only 14 configurations.)
b – it should be avoided that to many players perform „configurations“ at the same time which base on sheets demanding the same kind of sound (see above) or that different players have the same „configuration“ at the same time.
2 – ensemble of instrumental groups
In this case every group of instruments acts like a soloist; this requires a maximum of coordination inside every single group. The result should be a „differentiated unisono“. This doesn’t mean that only instruments of the same kind can form such a group. On the contrary the difference of kind of the instruments can be used to differentiate the „unisono“.
For every group the necessary decisions are as free as for the soloists in case 1. Also in this second case the same is valid what it is said before:
a – the duration of the whole performance is the same for all groups
b – it should be avoided, that two groups perform „configurations“ at the same time which base on sheets demanding the same kind of sound (see above) or that different groups have the same „configuration“ at the same time.
The number of participants of every single group should not exceed the number of groups!
coordination of instruments and voice(s):
In the case that the piece is performed with instruments, the relation between the instruments and the voice(s) can be organized in two different ways:
1 – „related“ performance
Between the voice(s) and the instruments can be reached an agreement which divides the performance into different „movements“ corresponding to the sheets of the voice(s). Between these „movements“ a clear caesura should happen. This needs – in respect to the normally different duration of sheets for the voice(s) and configurations for the instruments – a high level of coordination and common preparations as well as rehearsals!
For every of these „movements“ the same conditions mentioned under the previous point should be valid. Especially there should be no change from „ensemble of soli“ to „ensemble of groups“ or vice versa.
It is not necessary that every soloist or every group of instruments participate on every „movement“.
This „related“ performance fits better if the performance covers only a part of the material. If the whole or nearly the whole material is performed, the second way should be prefered.
2 – „unrelated“ performance
The performance consists of only one „movement“. The voice(s) and the players of the instruments (groups or soloists) prepare the performance independently. The changes of sheets and of configurations are not connected to each other.
The transition from one configuration to the next should happen in a very continuous way.
It has to be kept in mind, that the duration of the whole performance is the same for all participants of the performance (the difference should not exceed 1% of the duration of the performance).
voice, books and FIRE I
The piece consists of material:
for the voice(s): 14 sheets containing graphics and texts,
for the instruments: 5 transparent sheets
20 coloured sheets containing the graphic constellations,
extent and duration:
The piece can be performed as a whole or in parts. If the piece isn’t performed as a whole the minimum is the execution of at least 5 sheets of the material for the voice(s). This means that in this case the duration is about 30 min. (see the explanations for the voice(s)).
staff of the performance:
for the voice(s): the piece can be performed by only one female voice. If the piece is performed by several female voices or by several female and male voices for execution see the instruction for the voice(s).
for the instruments: the piece can be performed with or without instruments. In the first case the number and the kind of instruments is free. For more detailed information concerning the combination of instruments and related questions see the explanations for the instruments.
electronic modification: due to a better inclusion of the space/room of the performance in the interpretation of the piece the sound produced by voice(s) and/or instruments can be modified by electronic means. This can be done also for the purpose of a better or „richer“ realization of the graphical constellations on the sheets for voice(s) and/or instruments. Electronic means can be used to make the performance more continuous and/or to avoid holes in the stream of sounds.
Electronic means should be used only to modify sounds produced by voice(s) and/or instruments. Sounds produced by pure electronic means should not be used.
the loudness of the piece is in general as quiet as possible (the guiding principle for loudness is the breathing of the voice(s)); the range of pppp should be left only in exceptional cases and for short time.
For every arising question concerning the performance of the piece the following principle is valid:
Every problem and every kind of necessary decision related to the performance should be formulated as a question at first. Then can be seen if there is any instruction answering the question. If yes, follow the instruction. If not, the answer or decision respectively is free (the own choice of the performer).
During the performance absolutely no chance operation should be carried out!
Every kind of expression or inner motion of the interpret should be strictly avoided!
Translation - English voice, books and FIRE III
The piece consists of the following material:
For the voice(s): Fourteen sheets containing graphics and texts
For the instruments: Five transparent sheets
Twenty colored sheets with graphic constellations
The piece can be performed as a whole or in parts. If the piece is not performed as a whole, the minimum execution is five sheets of the material for the voice(s). This corresponds to a duration of about 30 minutes (see the instructions for the voice).
The piece may be performed by a single female voice, several female voices, or several female and male voices. See the specific instructions for the voice for more information.
The piece may be performed with or without instruments. In the case that instruments are used, the instrumentation may be decided freely. For detailed information about instrumentation, see the specific instructions for the instruments.
• Electronic modification:
In order to better include the performance space in the interpretation of the piece, the sounds produced by the voice(s) and/or instruments may be modified electronically. Electronic modification may also be used to enrich the realization of the graphic constellations. The performance can also be made more continuous by avoiding holes or “dead spots” in the stream of sounds.
Electronics may only modify the live sounds of the voice(s) or instruments. Sounds produced by pure electronic means are not to be used.
The entire piece should be executed as quietly as possible. The guiding principle for the volume should be the breathing of the voice(s). The dynamic of pppp should be left only in exceptional cases and then for only very short amounts of time.
For any question that arises in the preparation or execution of this piece: Every problem or necessary decision related to the performance should first be formulated as a question. If the instructions fail to answer the question, the decision is to be taken freely by the performer.
During the performance, there should be absolutely no chance operations!
THE PERFORMERS SHOULD AVOID ALL FORMS OF PERSONAL EXPRESSION OR EMOTION!
Years of translation experience: 10. Registered at ProZ.com: Aug 2012.
I am a native speaker of American English who has been living, studying, and working in several European countries since 2001. Through my studies and travels as a freelance musician, I have accumulated over 10 years of professional hands-on experience in the technical jargon and artistic expressions used in my field (historical performance practice), as well as the related fields of visual art and European history.
I have translation experience in everything from academic research papers and legal documents to press releases and program notes.
Having grown up in a printshop, my aptitude for language and proofreading was fostered from a young age. My 13 years of university education developed my talents, while my years of living abroad and working as a freelance translator have honed my skills.
In addition to my translation work, I am employed as a teacher of English as a Second Language courses to adults living in Switzerland, where I am based. I hold various qualifications in pedagogy, including the Cambridge CELTA certificate.
I am genuinely looking forward to working with you - let's make your texts sing!
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