日文歌曲译配的基本原理与方法——以「故郷」和「春が来た」二首为例

Basic Principles and Methods of Translation and Composition of Japanese songs: A Case Study of Furusato and Harugakita

基于中日诗歌在韵律方面均以音数律为基础,各音节等时的原理,本文提出日文歌曲译配的"分割对应法"。尽量让译文在内容上与日文歌词整体相近的同时,与歌词原文的语音结构和音数也大体一致,从而保证译文与音乐旋律之间的对应关系与歌词原文相近,以便再现原曲风貌。本文以「故郷」和「春が来た」二首著名日文歌曲的译配为例,就"分割对应法"的应用以及与先行译配的比较进行说明。

In view of the fact that both Japanese and Chinese poetry have taken the equivalence in the number of notes as the rhyming basis, with the same principle of isochronism in pronouncing syllables, the paper has proposed the method of ＂segmentation correspondence＂ in the translation and composition process of Japanese songs. Apart from realizing the integral similarity between the content of translated lyrics and that of the original ones, this method has also achieved similarities in phonetic structures as well as the number of notes on the whole, guaranteeing that the translated lyrics are in correspondence with the melodies of the songs, which is similar to the corresponding relations between the lyrics and melodies of the original songs, in order to maintain the musical styles and features of the original ones. Taking the two famous Japanese songs, Furusato（＂Hometown＂） and Harugakita（＂Spring Has Come＂） as examples, the paper has applied the method of ＂segmentation correspondence＂ in the process of translating and composing the two songs and has made in-depth explanations through comparing them with the methods adopted in the previously translated and composed versions.