A Program in Translation Lecture about Translation and Music
How might we think about music – supposedly a universal language - in terms of translation? I will consider the translator as a kind of accompanist - engaged in playful dialogue with the lead author - and the accompanist as a kind of translator, who facilitates and enables the reception of the soloist’s performance. My remarks will thus dwell on the relationship between language and music, between notions of single authorship and collaboration, between reading and performance. These considerations will draw on recent work in translation studies and music history, citing examples from Renaissance poetry, Chopin’s cello sonata, Katy Briggs (This Little Art) and Gerald Moore (The Unashamed Accompanist).
Co-Sponsored by the Program in Translation, Department of Music, Program in Linguistics and the Program in Italian Studies
About the Artist:
Jane Tylus is Andrew Downey Orrick Professor of Italian and Comparative Literature at Yale University, where she is also teaching in the Divinity School. She previously taught at NYU and the University of Wisconsin-Madison. Recent books include Siena, City of Secrets (2015), Early Modern Cultures of Translation (co-edited with Karen Newman, 2015), The Poetics of Masculinity in Early Modern Spain and Italy (co-edited with Gerry Mulligan, 2011), and Reclaiming Catherine of Siena: Literature, Literacy, and the Signs of Others (2009), which received the Howard Marraro Prize for Outstanding Work in Italian Studies from the Modern Language Association. She is General Editor for the journal I Tatti Studies in the Italian Renaissance and serves on the editorial board of PMLA. She has translated the complete poems of Gaspara Stampa (2011) and Lucrezia Tornabuoni de’ Medici’s Sacred narratives (2002).
Tylus is currently at work on two monographs, “Saying Good-bye in the Renaissance” and “Sanctuary and Linguistic Hospitality in Early Modern Europe,” as well as a translation of Dacia Maraini’s Chiara di Assisi: Elogio della disobbedienza. She is a socio corrispondente (honorary member) of the Accademia degli Intronati of Siena. She has spent many years accompanying choirs and vocal and instrumental soloists, and her concert venues include the Oberlin Conservatory of Music and Carnegie Hall.