Rationale
Music plays a vital role in human life by uplifting spirits, fostering connections, inspiring thoughts, and enhancing health Similarly, language is crucial for effective communication, allowing individuals to share emotions and ideas The fusion of music and language gives rise to songs that embody these values Composing a song is a complex artistic endeavor, requiring artists to craft meaningful melodies and lyrics that resonate with listeners However, the role of translators is even more challenging, as they must faithfully convey the original message of songs into different languages, navigating the difficulties of reproducing existing works while maintaining the essence of the art.
As the music industry rapidly evolves globally, Vietnamese musicians have produced numerous beautiful songs with sweet melodies and meaningful lyrics However, these songs often remain unknown outside of Vietnam, primarily due to the challenges faced in the song translation process Effective integration of the music and translation industries is hindered by cultural references, untranslatable concepts, and linguistic differences, which complicate the task for translators.
Translating songs requires careful attention to unique elements such as rhyme, syllabication, and melodic stress, while also considering their poetic and artistic values The inherent differences between source and target languages can complicate this process, as varying word stress patterns restrict available vocabulary to those that fit the song's melody Lexical challenges frequently arise, where the source language may feature concise, catchy words, while their translations can be lengthy and unwieldy Additionally, original songs often utilize wordplay, idioms, or even neologisms for artistic effect This creates a tension between the need for accurate meaning and the desire to maintain rhythm, melody, and beat As Schleiermacher noted, translators often find themselves in a conflict between fidelity to musical elements and adherence to grammar, leading them to prioritize one aspect over the other, which can result in a "pertinacious one-sidedness."
As a passionate music lover and aspiring translator, the researcher is intrigued by the English translations of Vietnamese teenager songs These songs present unique challenges for translators, as they must effectively convey both the semantic meaning and aesthetic beauty inherent in the original Vietnamese lyrics.
Despite the existence of several Vietnamese teenager songs translated into English, there has been a lack of research comparing the quality and impact of these English versions with their Vietnamese originals This gap highlights the need for a study that explores the translation of Vietnamese teenager songs into English, focusing on the common strategies employed by translators and their effectiveness The current research, titled “STRATEGIES IN TRANSLATING VIETNAMESE,” aims to address this issue.
TEENAGER SONGS INTO ENGLISH” is being carried out for the reasons listed above
Research aims and research questions
This research focuses on two primary objectives: first, to identify the strategies commonly used by translators when translating Vietnamese teenager songs into English, while assessing the consistency and effectiveness of these strategies through an analysis of meaning and naturalness in the translations compared to the original songs Second, the study aims to establish a framework of suitable translation strategies for Vietnamese to English song translations.
More specifically, the research is intended to address the following questions:
1 What strategies are applied in translating Vietnamese teenager songs into English?
2 To what extent do the translations of those songs achieve equivalent effect?
The significance of the research
This research aims to shed light on the translation of Vietnamese songs into English, focusing on the strategies translators use to navigate the semantic and aesthetic nuances of teenage music It will evaluate the effectiveness of these strategies, contributing to translation theory and offering students a foundational understanding of Vietnamese-English translations of teenage songs Additionally, the study seeks to encourage further exploration of this topic.
The methods of the research
The primary research samples include "How I See You," "Chalk Dust," "Wobbling," "The Moon Cries," "The First Lesson," "Road to the Mount," and "Loving School." These works collectively explore themes of education, nostalgia, and emotional connections to school life.
The blog http://baihatdich.blogspot.com serves as the primary source for collecting data It features both Vietnamese and English lyrics for each song, enabling a thorough comparison between the source and target texts.
To address the research questions, a descriptive methodology was employed for data analysis, utilizing specific instruments Textual analysis was conducted to identify and compare the semantic features of the lexicon as well as the syntactic features of phrases and sentences across the two language versions.
Some interviews with selected foreigners were also conducted to evaluate the equivalent effect achieved by those songs.
The structure of the research
The rest of the research consists of the following chapters
Chapter 2 – Literature Review – introduces the most relevant theoretical background knowledge on translation, translation methods and procedures, song translation and equivalence effect
Chapter 3 – Methodology – provides a detailed description of the methods utilised to conduct the research
Chapter 4 – Findings and Discussion – presents the analysis and comparison of the translated lyrics and original ones of sample songs, thereby indicating strategies used in these songs translation and their equivalence effect Chapter 5 – Conclusion – summaries major findings, limitations of the research and suggestions for further study
Theoretical background
A song is defined as a brief musical composition featuring lyrics that are sung, as noted by the Oxford Advanced Learner’s Dictionary Additionally, Duong (2000) and Nguyen (2001) describe a song as a text designed to be performed with melody and rhythmic musical elements.
To improve the understanding about song, Nguyen (2001) added: “Music is a form of art; therefore, the text needs to have a literary value, in both form and content.”
Despite being defined by various individuals across different eras, all definitions of a song highlight its two essential components: music and lyrics These elements are fundamentally interconnected and together form the core of what constitutes a song.
Each song uniquely blends two languages: the language of music and the language of words The integration of lyrical content within the musical framework enhances the song's accessibility, allowing everyone, even those unfamiliar with music theory, to fully grasp its message.
According to Duong (2000), the process of crafting song lyrics is governed by three key principles: linguistic, poetic, and musical rules, with musical rules being the most critical However, he emphasizes that neglecting the other rules can diminish the essence of a song, reducing it to merely a vehicle for melody rather than a true musical composition.
Translation is a complex concept and many key thinkers have introduced their definitions
Translation, as defined by the Oxford Advanced Learner’s Dictionary, refers to either the process of converting written or spoken content into another language or the act of transforming something into a different form.
Translation is defined as the process of replacing a text in one language with an equivalent text in another, as outlined by Hartman and Stock (1972) Larson (1984) emphasizes that this involves examining the lexicon, grammatical structure, communication context, and cultural background of the source language to accurately interpret its meaning, followed by reconstructing that meaning in a way that is suitable for the target language and its cultural nuances.
Nida emphasized that translation involves creating the closest natural equivalence of the source language message in the receptor language, focusing primarily on meaning and secondarily on style.
Translation involves transferring a text from one language to another while maintaining the original message and style as accurately as possible This process of conveying meaning is known as equivalence.
Translation methods and procedures
The following are the different translation methods proposed by Newmark (1988):
- Word-for-word translation: preserve the SL word order and translate the words singly by their most common meanings, out of context
- Literal translation: convert the SL grammatical constructions to their nearest equivalents, but again translate the lexical words singly, out of context
- Faithful translation: produce the precise contextual meaning of the original within the constraints of the TL grammatical structures
- Semantic translation: differ from “faithful translation” only in as far as it must take more account of the aesthetic value of the SL text
- Adaptation: the freest form of translation, and is used mainly for plays
(comedies) and poetry; the themes, characters, plots are usually preserved, the SL culture is converted to the TL culture and the text is rewritten
- Free translation: produce the TL text without the style, form, or content of the original
- Idiomatic translation: reproduces the “message” of the original but tends to distort nuances of meaning by preferring colloquialism and idioms where these do not exist in the original
- Communicative translation: render the exact contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readership
Among the eight translation methods proposed by Newmark, literal translation and adaptation are the most frequently used for linguistic purposes and in literary translations, particularly song lyrics These methods prioritize the meaning, message, and aesthetic values, ensuring that the essence of the original text is effectively conveyed in the target language.
8 grammatical structure of the text can be changed as well as the creativity of the translator as the reproducer of the text is acceptable and sometimes necessary
Newmark (1988) distinguished between translation methods and translation procedures, stating that translation methods pertain to entire texts, whereas translation procedures apply to sentences and smaller language units He identified various procedures used in the translation process.
- Transference: the process of transferring a SL word to a TL text
- Through translation (Loan translation/ Calque): the literal translation of common collocations, names of organisations, the components of compounds and perhaps phrases
- Naturalization: the adaptation of a SL word first to normal pronunciation, then to the normal morphology (word-forms) of the TL
- Cultural equivalent: the translation of a SL cultural word to a TL cultural word
- Functional equivalent: requiring the use of a cultural-free word, sometimes with a new specific term
- Descriptive equivalent: translating a cultural SL term by explaining it in several words
- Synonymy: this procedure is a “near TL equivalent” Here economy precedes accuracy
- Reduction and Expansion: these are imprecise translation procedures, applied in some cases, particularly in poorly written texts
- Paraphrase: an amplification or explanation of the meaning of a segment of the text
- Compensation: this procedure occurs when loss of meaning in one part of a sentence is compensated in another part
- Shifts (Transposition): involving a change in the grammar from SL to TL
- Modulation: involving a change in viewpoint, perspective and very often in category of thought
- Componential analysis: the splitting up of a lexical unit into its sense components, often one-to-two, -three or –four translations
- Recognized translation: this procedure occurs when the translator
“normally uses the official or the generally accepted translation of any institutional term.”
- Translation label: an approximate equivalent, sometimes proposed as a collocation in inverted commas, which may later be accepted
- Couplets: combining two of the above-mentioned procedures for dealing with a single problem
- Notes: additional information in a translation
Translation scholars have often failed to clearly distinguish between the terms "strategy" and "procedure." This research aligns with Kearns (2009), as noted in the Routledge Encyclopedia of Translation Studies, edited by Mona Baker and Gabriela Saldanha, which suggests that these terms can be used interchangeably for translating units smaller than text Consequently, this study will utilize the term "strategy."
Art songs, as noted by Low (2006), possess inherent complexity and literary merit akin to poetry, leading to a greater reverence for the lyrics compared to other song genres In songs where verbal understanding is crucial to their impact, high-quality translations become essential Additionally, when set to music, the rhymes typically adhere to the syllable structure of the original text.
Creating a singable translation of song lyrics is a complex task that prioritizes musicality over strict accuracy, often leading to structural and semantic inaccuracies that can confuse singers A line-by-line translation approach is too limiting, restricting the use of essential translation techniques like transposition and paraphrase Since the typical audience for song translations is often music enthusiasts rather than poetry lovers, translators must carefully consider cultural and contextual details to enhance understanding The challenge lies in crafting a version that aligns with the original music's rhythms, phrasing, and stresses while minimizing awkward sounds Ideally, the new text should feel as if it was composed for the music, yet many translations fall short due to forced rhymes and unnatural language, making them difficult for performers to deliver convincingly Ultimately, translators are evaluated on five criteria: singability, sense, naturalness, rhythm, and rhyme.
Some of the special difficulties of song translation are explained by Hurtado
In 2001, it was emphasized that the integration of linguistic and musical codes requires translators to prioritize the musical rhythm and tonal groups when translating This approach necessitates creating a harmonious synchrony between the text and the music to ensure an effective translation.
Haupt (1957) stated that there are two types of popular lyric-song translations: (1) “those which completely change the original text”; and (2)
“others which try to reproduce the source text and only make minimal changes necessitated by musical constraints” (p.228)
Translating song lyrics is a complex task that poses challenges even for skilled translators When translating, they must carefully consider five key aspects: singability, sense, naturalness, rhythm, and rhyme The two primary strategies employed in this field include creating a new version of the lyrics inspired by the original or making minimal adjustments to the source lyrics while adhering to musical constraints.
Equivalence and Equivalence effect
Equivalence is a fundamental concept in translation studies, yet it remains a topic of controversy, sparking intense debates among translators regarding its definition, nature, and practical application.
In his 1959 analysis, Jakobson highlighted the challenges of achieving full equivalence in meaning between words across different languages, noting that “there is ordinarily no full equivalence between code-units” (p 114) He illustrated this with the English word “cheese,” which does not fully correspond to the Russian “syr,” as the latter excludes the concept of cottage cheese While Jakobson does not claim that translation is impossible, he emphasizes the structural and terminological differences inherent in languages.
Nida (1964) distinguishes between formal equivalence and dynamic equivalence in translation Formal equivalence closely mirrors the source text in both form and content, while dynamic equivalence focuses on conveying the source text in a natural manner in the target language Central to Nida's theory is the concept of "naturalness," which he considers essential for achieving an "equivalent effect." He emphasizes that the goal is to produce the closest natural equivalent to the source language, highlighting the importance of adapting grammar and cultural nuances in the translation process.
Nida emphasizes the importance of preserving the meaning of the text over its style, enabling translators to achieve equivalent effects in their translations.
Newmark (1981) challenged Nida's receptor-oriented approach by arguing that the success of equivalent effect in translation is "illusory," highlighting the persistent conflict between source and target language loyalties as a major issue in translation theory and practice He proposed mitigating this gap by adopting the concepts of semantic and communicative translation, which align with Nida's formal and dynamic equivalence, respectively Nevertheless, Newmark distanced himself from fully endorsing the principle of equivalent effect, stating that such an effect becomes irrelevant if the text does not fit within the target language's context and timeframe.
Koller (1979: 176-91, quoted by Munday, 2001) devoted a large part of his research to the examination of the relation between ‘equivalence’ and
In the study of translation, 'correspondence' refers to the comparison of equivalent items in both the source text (ST) and target text (TT), drawing on De Saussure's concept of ‘langue’ This contrasts with contrastive analysis, which is rooted in ‘parole’ To address the question of equivalence, Koller (1979) identified five types: (a) denotative equivalence, which pertains to the extralinguistic content of a text; (b) connotative equivalence, focused on lexical choices; (c) text-normative equivalence, associated with different text types; (d) pragmatic equivalence, which considers the audience's reception; and (e) formal equivalence, concerning the text's form and aesthetics (p.186-191).
Translation scholars have long focused on the concept of equivalence, which generally refers to the notion that the source text and target text exhibit a degree of "sameness" or similarity.
The research focuses on the nature and extent of similarity that leads to various forms of equivalence Rather than delving deeply into the theory of equivalence and its effects, the study aims to explore these different types of equivalence.
This research utilizes a framework for evaluating song lyric translations, emphasizing the aesthetic characteristics and formal equivalence as outlined by Koller It specifically examines selected samples of song translations, incorporating three of the five criteria identified by Low (2006): singability, sense, and naturalness, to assess the equivalent effect of the translations.
This chapter provides an overview of song and translation, defining a song as a brief musical composition with lyrics that blend musical and linguistic elements It outlines the translation process, emphasizing the importance of accurately conveying the meaning and aesthetic qualities of the original text in the target language Additionally, it introduces translation strategies proposed by Peter Newmark, which include eight methods and seventeen procedures Finally, the chapter discusses theories of equivalence and equivalence effect, establishing a framework for evaluating the translation of selected Vietnamese songs used in the research.
Design of the study
This research aimed to investigate the strategies used by translators when translating Vietnamese teenager song lyrics into English and their equivalence effects To achieve this, the study was divided into two phases: the first focused on analyzing the translated song lyrics to identify the strategies employed, while the second involved interviewing a selection of song audiences to evaluate the effectiveness of these strategies Different data collection instruments were utilized in each phase to address specific research questions.
Phase one
This phase aims to seek the answers for the first question: What strategies are applied in translating Vietnamese teenager songs into English?
The research focuses on "Em trong mắt tôi" (How I see you), "Bụi phấn" (Chalk dust), "Chênh vênh," "Vầng trăng khóc" (The moon cries), "Bài học đầu tiên" (The first lesson), "Đường lên đỉnh núi" (Road to the mount), and "Mái trường mến yêu" (Loving school) for two main reasons.
The Vietnamese adaptations of the songs "Em trong mắt tôi" by Nguyễn Đức Cường and "Chênh vênh" by Lê Cát Trọng Lý have gained immense popularity among Vietnamese teenagers, earning the prestigious Song of November and Song of December Awards in 2008.
The Vietnamese Songs Contest, hosted by Vietnam Television, features the widely popular song "Đường lên đỉnh núi," performed at the end of the quiz show "Đường lên đỉnh Olympia." This song quickly gained popularity among teenagers following its debut Other iconic songs from the 20th century, such as "Bụi phấn," "Bài học đầu tiên," and "Mái trường mến yêu," remain favorites among Vietnamese youth Additionally, the collaboration of musician Nguyễn Văn Chung with singers Nhật Tinh Anh and Khánh Ngọc led to the success of the hit song "Vầng trăng khóc," which became a sensation in 2007.
The English-translated versions of these songs are officially provided by a reputable blog backed by the Young Translators Foundation, following a thorough assessment process The blog transparently lists information about the translators and the completion dates of the translations Notably, the translations of "Chênh vênh" and "Em trong mắt tôi" were completed by their original authors, enhancing the reliability and practical significance of this research.
Data collection procedure was divided into two steps, based mainly on document observation and textual analysis methods:
Step 1: Collecting Vietnamese and English lyrics of sample songs
The initial step of this research involved collecting song lyrics, focusing on eight selected Vietnamese teenager songs The lyrics, available in both Vietnamese and English, were sourced from the blog http://baihatdich.blogspot.com This project, dated October 10, 2010, builds upon previous scientific research titled "Translation of Music in Vietnam and the Establishment of Initial Databank of Vietnamese-English and English-Vietnamese Song Lyrics." It was conducted by student Phan Tuan Quoc, under the supervision of MSc Nguyen Thi Nhu Ngoc, and reviewed by Dr Le Hoang Dung, all affiliated with Ho Chi Minh University.
Social Sciences and Humanities The research won the first prize at university level
The researcher collected these lyrics by copying directly the lyric of each song in Vietnamese and English respectively from the blog and then pasting them into Microsoft Word
The list would be enclosed in Appendices
Step 2: Identifying strategies applied in Vietnamese – English translation of teenager song lyrics
In this step, the researcher printed out the list of song lyrics and highlighted phrases and sentences which contain translation strategies as discussed in Chapter 2
After the phase of data collection, the data acquired in the study consisted of Vietnamese lyrics and their English translations
With captured data, translated and original versions of the sample songs were compared and contrasted to discover the similarities and differences between the two versions
The researcher analyzed the strategies employed by translators in the translation of Vietnamese teenager songs, contrasting and describing the data collected She calculated the frequency of each strategy used in the samples, determining the ratio of each strategy's occurrences to the total number of strategies identified This analysis provided insights into the most commonly applied strategies in the Vietnamese-English translation of teenager song lyrics The findings were visually represented in a pie chart, illustrating the percentage usage of these prevalent strategies.
Phase two
This phase targeted at giving the answers to the second question: Do the translations of those songs achieve equivalent effect?
To address the second question, we engaged with song audiences who met specific criteria: they had to be familiar with the selected songs, possess a general interest in music, and demonstrate proficiency in both Vietnamese and English Participants were chosen purposefully based on these qualifications However, logistical challenges, particularly time constraints in reaching out to potential subjects, resulted in only five individuals being available for the interviews.
The data collection procedure basically consisted of two main steps, which were presented as follows:
The research process began with drafting interview questions, incorporating both open-ended and close-ended formats, to explore participants' perceptions of song lyrics, focusing on aspects like singability, naturalness, and comprehension of the songs' messages The aim was to assess whether the target audience could understand and sing along with the original sound beats, thereby evaluating the effectiveness of translations Following this, eligible participants were contacted, informed about the study's objectives, and assured of their confidentiality To facilitate thoughtful responses, the draft questions and selected song lyrics were shared in advance, allowing participants ample time to prepare The interviews were scheduled only after the questions received approval from the participants.
Semi-structured interviews were conducted online using Skype, allowing for both predetermined and spontaneous questions to enhance clarity and gather additional insights To facilitate data revision, all interviews were recorded in Microsoft Word with the consent of the participants.
In order to analyse collected data, the transcripts of interviews were studied for several times in order to interpret the emerging themes relating to researched issue
Next, the data were coded and integrated into different themes of translations’ singability, sense and naturalness and presented systematically in order to answer the research question
The analysis involved comparing data from various cases with existing literature to identify similarities and differences The findings were discussed in relation to the research question, providing a comprehensive understanding of the topic.
The research was conducted in two phases to address specific research questions In the first phase, eight Vietnamese teenager songs were purposefully selected, and their Vietnamese and English lyrics were analyzed to identify common translation strategies used by translators In the second phase, qualified individuals were interviewed using a mix of closed and open-ended questions, with the sessions recorded for thematic analysis The findings will be presented and discussed in Chapter 4, accompanied by illustrative charts.
Research question 1: What strategies are applied in translating Vietnamese
This article analyzes the translation methods used in Vietnamese teenager songs and their English versions, utilizing Newmark’s theory of translation The research categorizes the strategies into two main approaches: adaptation and semantic translation for entire songs Additionally, it delves into specific translation strategies for individual sentences and phrases, providing a detailed discussion on these methods.
Adaptation is defined as the most flexible translation method, where the translator takes on the role of a second author This approach allows for the preservation of the original text's theme, characters, and plot while creating a new form using the translator's own words to convey the intended meaning Translating songs, however, poses unique challenges due to musical constraints, making adaptation a preferred method for translators working with lyrics This technique provides translators with significant creative freedom to reinterpret the original content.
This section analyzes three selected songs—“Chênh vênh,” “Bụi phấn,” and “Vầng trăng khóc” by Only Brian—out of a total of 20 research samples These songs will be examined in detail to provide illustrative examples of the translation method used.
The primary characteristic of the adaptation method is the retention of themes, characters, and plots from the original source in the new context In the song "Chênh vênh," love serves as the central theme, with the character "anh" playing a significant role in conveying this emotion.
The songs "em" and "Bụi phấn" feature two main characters, with the theme of love clearly preserved in their translations, where "you" (anh) represents one character and "I"/"me" (em) represents the other Similarly, "Thầy" and "em" in the Vietnamese lyrics are translated as "you" and "I"/"me," reflecting the student's gratitude towards the teacher The translation of "Vầng trăng khóc" by Only Brian also maintains its love theme and character dynamics Although the translators alter the wording and expressions, they successfully convey the original songs' deeper meanings and messages, effectively rewriting the pieces while preserving their essence.
(1) In the song “Chênh vênh”:
Thương em anh trèo non cao
Mua mưa thâu mây tan mệnh bạc
Thương anh em lội sông sâu
Trôi hương trôi hoa tan phận ngọc
For you, I’d do anything Take flight, late night, silently For me, you’ve done many things Sacrifice, protecting lies, your family
The phrases “Thương em anh trèo non cao” and “Thương anh em lội sông sâu” translate to “Love you I climb high mountains” and “Love me you wade across deep rivers.” In the English adaptation, the terms “love,” “high mountains,” and “deep rivers” are replaced with “for,” “anything,” and “many things.” While these substitutions do not directly match the original words, they effectively capture the essence of the sentiment, illustrating that “I” would go to great lengths, even facing significant challenges, out of love for “you.”
Unlike the song "Chênh vênh," the message of this song is conveyed through the entire lyrics rather than individual sentences, resulting in a lack of direct similarity between the Vietnamese and English versions A thorough analysis of the text is essential to assess how faithfully the original message is translated The Vietnamese version prominently features two key images: "chalk dust" and the teacher's hair color, symbolizing the student's respect and gratitude towards the teacher Although these images are absent in the English translation, the core message of the original song is still effectively communicated.
The English translation of the song “Vầng trăng khóc” by Only Brian closely follows the structure of “Bụi phấn.” While there may not be direct equivalences between corresponding sentences, the essence of the original song is effectively preserved.
While there may not be a direct English equivalent for every Vietnamese word in the three discussed songs, the emotional essence of the originals is effectively captured in the translations The translators employed varied imagery that, despite differences in expression, conveys the same core messages about love and the sacrifices made for loved ones, as well as the accompanying sadness that love can bring.
A student's gratitude and respect for a dedicated teacher highlight the importance of meaningful connections in education By translating songs effectively, the translator enhances the audience's understanding of the lyrics, making the songs more relatable and accessible in the target language.
Translating songs requires a delicate balance between maintaining the original meaning and preserving the song's rhythm This task is particularly challenging due to the differences in syllable structure between Vietnamese, which is monosyllabic, and English, which is multisyllabic Translators must carefully consider not just the word count but also the syllable count to ensure the lyrics fit the existing musical pattern Despite these complexities, translators have successfully adapted songs like "Chênh vênh" while honoring the essence of the original work.
The songs "Bụi phấn" and "Vầng trăng khóc" (Only Brian) perform well, while "Chênh vênh" features both a Vietnamese and an English version, each consisting of three paragraphs with four sentences The primary difference between the original and translated versions lies in the word count of each sentence due to musical constraints Notably, some sentences in the English version match the syllable count or sound beats of the original, showcasing a careful adaptation.
(2) Thương em anh trèo non cao
1 2 3 4 5 6 For you, I’d do any-thing
The song "Bụi phấn" features a translation that maintains the same number of paragraphs and sentences as the original Unlike the translation of "Chênh vênh," the Vietnamese version of "Bụi phấn" successfully preserves the syllable count in nearly every sentence of the translated version.
(3) Có hạt bụi nào rơi trên bục giảng
You o-pened up my heart and mind
Similarly, in the translated version of “Vầng trăng khóc” by Only Brian,
(4) Đã không còn người yêu hỡi,
Wipe your tears walk a-way
The adaptation method in translating songs such as “Chênh vênh,” “Bụi phấn,” and “Vầng trăng khóc” by Only Brian exemplifies a creative approach where translators prioritize conveying the underlying meaning rather than direct word-for-word translation This technique allows for the replacement of Vietnamese expressions with English equivalents that maintain the lyrical flow and singability of the original melodies Notably, translators like Only Brian and Lee Kirby, who are not native Vietnamese speakers, often face challenges in fully grasping the nuances of Vietnamese lyrics Consequently, the adaptation method offers them greater creative freedom while preserving the essential elements of the songs, making it an effective choice for achieving a harmonious translation.
Besides, there appear other cases in which semantic translation is employed as the major method of song translation
Semantic translation serves as the primary approach for translating entire songs, guiding translators in selecting suitable strategies to address the specific semantic characteristics of the texts.
Summary of the research
This research focuses on the strategies used in translating Vietnamese teenager songs into English, utilizing Newmark’s theory of translation methods and Koller’s theory of formal equivalence After analyzing the semantic features of eight selected Vietnamese teenager songs, the researcher presents key findings that highlight the effectiveness of these translation strategies.
Translators employ two primary methods when translating song lyrics: adaptation and semantic translation Adaptation involves translators rewriting lyrics as second authors, focusing on maintaining the song's plot, characters, and messages while adhering to musical constraints This method is often used by foreigners who are more proficient in the target language than the source language In contrast, semantic translation emphasizes fidelity to the original lyrics, with translators translating word by word and sentence by sentence Domestic translators, who have a deep understanding of the original songs, typically favor this more literal approach.
In the semantic translation of songs, omission, addition, and paraphrase are key procedures, with omission being the most prevalent at 52% Addition follows at 30%, while paraphrase accounts for 18% of the strategies used These methods enable translators to maintain musical patterns but may lead to challenges in accurately conveying the detailed meaning of the songs.
The translated lyrics of selected songs effectively convey the original messages and can be sung along with the music However, they lack natural expression and contain vocabulary and grammar errors that need improvement for enhanced quality.
Limitations of the research
In spite of the researcher’s effort, shortcomings are inevitable due to the lack of resources and time pressure
The study focuses on a limited selection of Vietnamese teenager songs, which means that the findings regarding common translation strategies may only be applicable to this specific set and not to all translations of Vietnamese teenager songs into English.
The limited number of interviewees, who are foreigners unfamiliar with the Vietnamese language and music style, raises concerns about the reliability of their assessments Given their brief exposure to unfamiliar sounds and reliance solely on song lyrics, their evaluations of the singability of these songs may not be entirely accurate.
Besides, because of the researcher’s limited knowledge about translation theory, the mistakes in analyzing data were unavoidable.
Suggestions for further research
To enhance the reliability of findings in song translation research, future studies should focus on analyzing a larger dataset and evaluating the effectiveness of various translation strategies Additionally, it is essential to conduct research that assesses the quality of translated song lyrics, establishing a framework for standards that can improve the overall quality and popularity of translated songs Furthermore, the scope of song translation studies should extend beyond teenage music to encompass a broader range of genres.
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APPENDIX 1 ORIGINAL AND TRANSLATED VERSIONS OF SAMPLE SONGS VẦNG TRĂNG KHÓC - THE MOON CRIES (1)
Translator: Tyrantlubu Đã không còn người yêu hỡi, ngày xưa ấy đôi ta bên nhau không rời
Ngồi trên cát nhìn biển đêm, hát vu vơ mấy câu tình ca
Trái tim buồn vì thương nhớ, vì đau xót sao đôi ta mau chia lìa Đời giông bão nhiều đắng cay, cuốn trôi mau biết đâu tình nồng
Thì thôi em đừng mong nhớ, đừng thương tiếc chi thêm đau lòng
Tình chúng ta đã phôi pha, em và anh mỗi người một nơi
Ngồi nơi đây mình đơn côi, vầng trăng khóc sao rơi sông dài
Tiếc cho tôi, tiếc cho người và cho bao yêu thương đã trao
It is gone - the good times, the times when you and I were side by side
Sitting here, watch the waves, singing songs of you and me
My heart aches - I miss you, why must we go different ways tonight?
Life's a storm with heartache, blowing away my love from you
There's no point, don't feel sad, don't regret don't you feel bad
But our love, blown so far, you and I we're so apart
Sitting here loneliness, moon cries out, stars feel my pain
Sympathise with your pain and with all the love we had
Khóc chi người vì anh biết, nào ai muốn mai sau chia ly đôi đường
Tình yêu đến chợt bỏ đi, mấy ai vui với nhau muôn đời
Chắc khi nào tìm duyên mới, thì anh sẽ mau quên đi bao ân tình
Và em chúc người mới quen, sẽ bên anh yêu anh thật lòng
Thì thôi em đừng mong nhớ đừng thương tiếc chi thêm đau lòng
Tình chúng ta đã phôi pha, em và anh mỗi người một nơi
Ngày mai sau dù gặp nhau, thì xin hãy cho nhau một lời Để không quên những êm đềm mà tình yêu khi xưa đã trao
Don't you cry, because I know no one planned for us to be apart
Love will come, and will leave, there are few whose love won't part
Maybe when, you find love you will soon in time forgot bout me
I will bless, your new love, hope that she's the one you need
There's no point, don't feel bad, don't regret don't you feel sad
But our love, blown so far you and I we're so apart
As life flow, I'll see you, please give onto me one word
Won't forget, the good times that you have once gave to me
VẦNG TRĂNG KHÓC - THE MOON CRIES (2)
(Ver 1) Đã không còn người yêu hỡi, ngày xưa ấy đôi ta bên nhau không rời
Ngồi trên cát nhìn biển đêm, hát vu vơ mấy câu tình ca
Trái tim buồn vì thương nhớ, vì đau xót sao đôi ta mau chia lìa Đời giông bão nhiều đắng cay, cuốn trôi mau biết đâu tình nồng
Thì thôi em đừng mong nhớ, đừng thương tiếc chi thêm đau lòng
Tình chúng ta đã phôi pha, em và anh mỗi người một nơi
Ngồi nơi đây mình đơn côi, vầng trăng khóc sao rơi sông dài
Tiếc cho tôi, tiếc cho người và cho bao yêu thương đã trao
Wipe your tears walk away There's a lesson that has yet been told How love comes and it goes
Down the stream to where unknown Trust your heart and your soul You will turn the pain inside to gold When you find your true love
He will guide you down the road
Hold on and don’t lose hope; have faith to rise once more The connection we once shared has faded, and it feels like we can never be together again As I sit here beside you, I gaze at the sorrowful moon, feeling shame for both of us and reflecting on what we had in the past.
EM TRONG MẮT TÔI - HOW I SEE YOU
Em đẹp không cần son phấn
Duyên thầm xinh, thật xinh, rất hiền
Không quần jeans, giầy cao gót
Em chọn riêng mình em áo dài, duyên dáng
Giống như hoa kia bên thềm
Ngát hương không khoe sắc màu
Ngàn đóa hoa đang rực rỡ không sánh bằng
Nhẹ nhàng tung bay tà áo dài
Em phụ nữ Việt Ánh lên bao rạng ngời người phương Đông
Ngập tràn hạnh phúc bên em bừng lên khúc xuân xanh ngời
Pretty without makeup You look very angelic Don't need jeans or high heels, You choose for yourself áo dài, so fine
Like the blooming flowers Giving off those colors They don't look half as pretty as you
Your softly blowing áo dài, Representing
Shining beauty from Eastern lands
Or am I just Flooded in awe by you and your charming beauty
Người con gái Việt mặc chiếc áo dài Đẹp khắp bốn phương một nét Á Đông
Một ngày nơi xa, chiều buồn lang thang, tình cờ ngang qua
Một tà áo trắng, một bờ vai xinh tôi không quen
Lòng chợt ấm áp, gửi làn gió nói về miền yêu thương
Tôi yêu em, tôi nhớ em
A Viet woman, in her áo dài Radiating, oriental
One day by chance, in foreign lands, she came my way
A white flutter, pretty shoulders, unfamiliar
A warming heat, I felt complete oh my homeland
BÀI HỌC ĐẦU TIÊN - THE FIRST LESSON
Thưa thầy em đã thuộc, bài học sáng nay, trong bài giảng có bụi phấn trắng bay bay trên tóc thầy
Giọng thầy như tiếng hát, lời thầy như bài thơ, cho em những ước mơ, tới chân trời rộng mở
Bài học đầu tiên có bóng hình núi sông, yêu thương những cánh đồng, nối tiếp đường cha ông
Bài học đầu tiên ấm êm lời ru của mẹ, con cò trắng bay qua câu ca dao ngọt ngào
Bài học đầu tiên ấm êm lời biển xanh, căng no những cánh buồm chở tiếng hò quê hương
Bài học đầu tiên cám ơn thầy, thầy đã dạy con đường tới tương lai xây đất nước đẹp giàu
Bài học đầu tiên em đã thuộc rồi thầy ơi, là bài ca yêu Tổ Quốc không bao giờ em quên
Master I've learnt all by heart the lesson this morning I could see chalk dust on your hair
As if you're singing or reading poem, taking me with dreams to open horizons
The first lesson was with rivers and mountains and rice fields, and with ancestors
The first lesson was with mom's lullabies, with flying white storks and with sweet folk songs
The first lesson whispered by blue sea, full of sailing boats with country yodels
The first lesson you've taught me, the way to future building good nation
I've learnt by heart your first lesson that's to love my motherland I'll never forget
44 ĐƯỜNG LÊN ĐỈNH NÚI - ROAD TO THE MOUNT
Cùng hát vang lên câu ca
Chúng ta bắt đầu hành trình chinh phục đỉnh núi Olym, nơi cao vời vợi đang thu hút những tâm hồn dũng cảm Con đường tiến tới tri thức đầy thử thách, nhưng cũng là cơ hội để khẳng định bản lĩnh Đỉnh vinh quang đang chờ đón những ai dám bước lên dẫn đầu.
Một vòng nguyệt quế cho người chiến thắng chiến thắng chiến thắng
Let's sing the song loudly Then we will climb up the mountains
The high Olympus still calls for those (who) overcome hardship
The path to science, the way of patience
The glorious mount still waits for those (who) come foremost
A winning wreath will be placed on the winner's neck
(An olive wreath waits for the winner winner winner.)
MÁI TRƯỜNG MẾN YÊU - LOVING SCHOOL
Translator: Phan Tuấn Quốc Ôi hàng cây xanh thẳm dưới mái trường mến yêu
Có loài chim đang hót âm thầm tựa như nói
Vì hạnh phúc tuổi thơ và cho đời thêm sức sống
Thầy dìu dắt chúng em với tấm lòng thiết tha
Khi bình minh hé sáng phố phường còn ngủ yên
Khi giọt sương long lanh vẫn còn đọng trên lá
Thấy bước đến trường em, mang một tình yêu ước mơ
Cho từng ánh mắt trẻ thơ cho từng khúc nhạc dịu êm
Như thời gian êm đềm theo tháng năm
Như dòng sông gợn đều theo cơn gió
Mang tình yêu của thầy đến với chúng em Để dựng xây quê hương tương lai sáng ngời
Over the branches of the trees in the yard,
There's a bird singing about my teacher
He taught us a lot to enliven the world
To make a better world for children's happiness
We're still sleeping while the dawn's coming to town
When the dewdrops are still on the green leaves
With a termless love, he goes to school alone,
Teaching the little kids to sing with melody
Time-like love goes by serenely Like a stream rippled with the winds
Bringing love to school, he teach us how
To construct a bright future nation
Author: Lê Văn Lộc và Vũ Hoàng
Khi Thầy viết bảng, bụi phấn rơi rơi
Có hạt bụi nào, rơi trên bục giảng
Có hạt bụi nào, vương trên tóc
Em yêu phút giây này
Thầy em, tóc như bạc thêm
Bạc thêm vì bụi phấn Để cho em bài học hay
Mai sau lớn, nên người
Làm sao có thể nào quên ?
Ngày xưa Thầy dạy dỗ
Khi em tuổi còn thơ
I love the way you changed my life You opened up my heart and mind
You encouraged me to follow my dream(s)
I loved all those days, when you showed me the way, to trust in myself and learn well each day
How could I forget, the time that we shared?
You helped me grow up to an adult instead
Author: Lê Cát Trọng Lý
Thương em anh trèo non cao
Mua mưa thâu mây tan mệnh bạc
Thương anh em lội sông sâu
Trôi hương trôi hoa tan phận ngọc
Còn chần chờ chi hỡi anh
Hôn em, ôm em cho nát chênh vênh Ừ tình là điên khát say
Hôn em, ôm em sao nát chênh vênh
Thương em thương tình đa ma``ng
Thương tôi thương phận long đong
Yêu tan mong manh, tan nhật nguyệt
For you, I’d do anything Take flight, late night, silently For me, you’ve done many things Sacrifice, protecting lies, your family
Oh can’t you see, its easy
Just come here with me and crush this disease
Love’s so extreme, insane Why hesitate, am I blinding your way?
Tried, tired, falling, falling sleepless eyes Recognise time flies, forgetting my life Chest pain, torn brain… I’m suffering
Fragile, empty smile, I’m helpless inside…