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Translation, Interpreting, Editing/proofreading
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Specializes in:
Music
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Poetry & Literature
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Sample translations submitted: 1
English to Spanish: Collaborative songwriting – the ontology of negotiated creativity in popular music studio practice General field: Art/Literary Detailed field: Music
Source text - English Joe Bennett
Bath Spa University
j.bennett (at) bathspa.ac.uk
Abstract
The relationship between songwriting practice and song product is an under-explored one in popular musicology, still
less so in a studio-based environment. Our research sources are accordingly limited, drawing mainly on first-hand
retrospective interviews with artist-songwriters, who may have an incentive for self-mythologising, or at least
romanticising their songwriting methods to preserve fan perceptions of authenticity. There are no available real-time
observations of the collaborative processes involved in creating popular song, despite the huge economic and artistic
successes of songwriting partnerships throughout the history of our field. Sloboda (1985) identifies the reluctance
displayed by composers of any sort to participate in detailed analyses of their processes; these difficulties are
exacerbated further by some songwriters’ apparently deliberate mystification of their craft. Attempts to analyse
processes of musical composition have generally focused on single-composer models (Nash 1955); even studies
relating to collaboration remain concerned with instrumental art music (Hayden & Windsor 2007) or educationallybased observation subjects (Burnard & Younker 2002).
This paper builds on the single-songwriter research of McIntyre (2009) and the theoretical definitions of creativity
provided by Csikszentmihalyi (1996). It explores, through analysis of ‘hits’ and examples of emerging practitionerbased research, the inferences that can be made by comparing historical and current songwriting practice with the
finished product, and attempts to identify commonly-used collaborative models, including a discussion of the effect of
the presence (or absence) of studio technologies as mediator of the songwriting process.
Translation - Spanish Composición en colaboración – la ontología de la creatividad negociada en la práctica de producción de música popular
Joe Bennett
Bath Spa University
j.bennett (at) bathspa.ac.uk
Translated by: Abner Perez
Abstracto
Uno de los aspectos menos explorados en musicología popular es la relación entre el proceso de composición de una canción y la canción en sí misma, y mucho menos aún a manera de análisis. Así, nuestras fuentes de investigación son limitadas, son fuentes de primera mano obtenidas principalmente de entrevistas en retrospectiva con artistas-compositores quienes puede que tengan una razón para auto-mitificar, o por lo menos, romantizar sus métodos de composición para preservar la percepción de autenticidad por parte de sus fans. A través de la historia de la música popular hay un enorme éxito económico y artístico de canciones compuestas en colaboración; sin embargo, no hay archivos disponibles de observaciones directas durante un proceso colaborativo de composición. Sloboda (1985) identifica el rechazo de parte de los compositores de cualquier tipo para participar en análisis detallados de sus procesos; estas dificultades son exacerbadas por algunos compositores de canciones por la aparente mistificación deliberada de su arte. Los intentos para analizar procesos de composición musical han sido generalmente enfocados en modelos que se aplican a compositores-solistas (Nash 1955); incluso los estudios que se relacionan con colaboraciones se enfocan en música instrumental (Hayden & Windsor 2007) o son observaciones de sujetos desde un punto de vista educacional (Burnard & Younker 2002).
Este estudio parte de la investigación del compositor-solista de McItyre (2009) y las definiciones teoréticas de creatividad proveídas por Csikszentmihalyi (1996). Se intenta explorar, a través del análisis de ‘hits’ y ejemplos de estudios prácticos emergentes, las inferencias que pueden resultar de la comparación de las prácticas antiguas y modernas de composición de una canción y su producto final. Finalmente, se intenta identificar los modelos de colaboración más comunes, incluyendo una discusión del efecto de la presencia (o ausencia) de la tecnología de un estudio de grabación como mediador del proceso de composición.
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Translation education
Bachelor's degree - Bath Spa University
Experience
Years of experience: 16. Registered at ProZ.com: Oct 2012.
I was born in Ecuador and moved to London 9 years ago. I have experience as a translator, songwriter, performer, media manager/producer. I'm a thinker, a traveler, a dreamer. I want to increase my translating portfolio by getting actively involved with this community.
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