Music Linked Translation Analysis

The music-linked translation phenomenon has a significant imbalance between music and verbal text. Voice-over should be concerned with a tempo of a film and characters’ speech, when the music starts and stops, also try to depict as authentically as possible the characters’ dialect. In addition, long phrases in the target text can be changed and put somewhere else in the musical piece if there are repetitions. Although Holomb does not suggest doing so because it can miss essential parts of not only text but the whole film or another type of material (cf. Gorlée et al. 2005, 130). A chronological order should not be distorted. If it is needed then the rhythm, phrases, sound instalments can be sacrificed in translation in order to get the better semantic meaning. However, the theme of a film must be kept for it not to damage the plot, characterization of a song and characters.
In the book, Song and Significance, according to Peter Low, there are numerous of methods to overcome the difficulties when translating a discourse such as: paraphrase, transposition, modulation, replacement metaphors, compensation in place, calque, omission, explicitation, cultural adaptation, superordinates, stylistic equivalence, the suppression of difficult verses.
Thus, Venuti states that domestication happens when in the translated text there is not left any unfamiliar or foreign elements like it was in the source text (Venuti 1995, 20). The culture-specific differences are reduced to a minimum to make sure viewers get the whole concept of a film. Foreignization keeps all the non-native features, which usually suggest that it is a literal translation. Domestication even though it seeks to achieve complete naturalness, it interprets the original text differently whilst foreignization is not concerned with an