中国博大精深的音乐历史文化，也使得国外学者迷恋，同样，中国学者也很迷恋国外音乐，那么大家了解有关乐器名称的翻译吗?下面翻译公司来为大家介绍：

　　The profound music history and culture of China also fascinate foreign scholars. Similarly, Chinese scholars are also infatuated with foreign music. Do you know about the translation of musical instrument names

　　现在大家看到钢琴、小提琴、大提琴、吉他、曼陀林等名称不会感到陌生了，但联想到中西之间没有共通的乐器，因此在开始翻译这些名称时应该是煞费苦心，我们读到的一些早期名家的作品里面，可以发现对同一种乐器有不同的译名，比如在朱自清的《荷塘月色》中, 有这么一段话“但光与影有着和谐的旋律，如梵婀玲上奏着的名曲”，其中“梵婀玲”直接从“violin”音译，现在则通译为小提琴。

　　Now you can see the names of piano, violin, cello, guitar, mandolin, etc. are not strange, but you think there is no common instrument between China and the west, so you should take great pains to translate these names when you start. In the works of some early famous artists we read, you can find that there are different translations for the same instrument, such as the moonlight in lotus pond by Zhu Ziqing 》Among them, there is a saying "but light and shadow have a harmonious melody, such as the famous music played by vata Ling", in which "vata Ling" is transliterated directly from "violet", and now it is translated into violin.

　　我们可以发现，尽管译法千差万倍，但不外乎两大类，一类是意译，如钢琴、小提琴等，一类是音译，如吉他，曼陀林等。早期翻译比较喜欢用意译，近来则越来越倾向于音译。对此，我是意译的拥护者，音译可能出于中西无对应的乐器，还不如保留原文的考虑，但是这忽略了一点，原文是有明显的或隐含的意义的，而音译成外文，则只是一串音素的堆砌，失去了原文的意味。

　　We can find that although the translation method is thousands of times different, there are no more than two categories, one is free translation, such as piano, violin, etc., the other is transliteration, such as guitar, mandolin, etc. In the early stage, free translation is preferred, but in recent years, transliteration is more and more preferred. To this end, I am a supporter of free translation. Transliteration may be due to the fact that there is no corresponding musical instrument between China and the west, so it is better to keep the original. However, this ignores that the original has obvious or implied meaning, while transliteration into foreign language is just a string of phonemes, losing the meaning of the original.

　　试想一下，如果我们熟悉的钢琴(piano)被翻译成“皮诺”，小提琴(violin)翻译成“瓦尔林”，大提琴 (cello)译为“切罗”，不知道大家有何感想。虽然说现在这些翻译也并非尽善尽美，但是我们仔细观察下，会发现最初翻译者的良苦用心。

　　Imagine if the piano we are familiar with is translated into Pino, the violin into warlin, and the cello into cello. I don't know what you think. Although these translations are not perfect at present, we will find the good intentions of the original translators after careful observation.

　　当最初的翻译者看到“piano”这个词时，首先应该考虑的是它可以用哪个中国乐器的概念来对应，我们自然而然会想到古琴(当初称为琴，近代为和其它乐器区别加了个古字)，两者都各自文化里的乐器王者，而且都是弹拨乐器，但是piano 和古琴形状用法大相径庭，译者巧妙地加上了“钢”字，暗示了其体型的庞大，结构的坚固，因此用“钢琴”来翻译piano算是一个成功的案例。而如果翻译成“皮诺”，则就不知所云了。

　　When the original translators see the word "Piano", they should first consider which Chinese musical instrument it can use to correspond to it. We naturally think of Guqin (originally called Qin, but in modern times, an ancient character was added to distinguish it from other musical instruments). Both of them are musical instrument kings in their respective cultures, and both are plucked instruments, but piano It is quite different from the shape and usage of Guqin. The translator cleverly added the word "steel" to indicate its huge size and strong structure. Therefore, the translation of piano is a successful case. If it is translated into Pinot Noir, it will be lost.

　　中西文化开始接触的时候，西方文化处于绝对强势地位，因此大量的西洋乐器被介绍到中国，而幸运的是，当时有一大批学贯中西的大家，因此有些非常精妙的翻译流传了下来。随着国家的发展，中国的乐器也越来越为人熟知，纷纷走出了世界，而如何将中国乐器翻译成外文也成了一大难题，我现在发现音译成了绝对主流，也许是现代生活节奏快，人们已经不屑于停下来慢慢思考，”Qin”(琴), ”Zheng(筝)”, ”Pipa(Pipa)”, “Erhu (二胡)”, “Sanxian (三弦)” ……, 这些在汉语里充满文化意味的乐器变成了一串串拼音符号，不知道老外见了有什么感想，最好的做法是模仿将piano 翻译成“钢琴”的方法，找到对应的外文作为基础词，再根据乐器本身形状和特点加上修饰词，当然这样做的要求很高，需要很高的语言素养和乐器指示，而且现在泛滥的拼音译法已经流畅开来，更改不易，因此只能是作为一种期望吧。

　　When Chinese and Western culture began to contact, western culture was in an absolute dominant position, so a large number of Western musical instruments were introduced to China. Fortunately, there were a large number of people who had learned both Chinese and Western culture at that time, so some very exquisite translations were handed down. With the development of the country, Chinese musical instruments have become more and more familiar, and have gone out of the world. How to translate Chinese musical instruments into foreign languages has become a big problem. I now find that transliteration has become the absolute mainstream, perhaps because of the fast pace of modern life, people are not willing to stop to think slowly, "Qin", "Zheng", "Pipa", "erhu", "Sanxian" , These cultural instruments in Chinese have become a string of pinyin symbols. I don't know what foreigners think. The best way is to imitate piano The way to translate it into "Piano" is to find the corresponding foreign language as the basic word, and then add the modifiers according to the shape and characteristics of the instrument itself. Of course, this requires high requirements, high language literacy and instrument instructions. Moreover, the current overflowing pinyin translation method has been fluent and difficult to change, so it can only be regarded as an expectation.

中译国际翻译（北京）有限公司
China International Translation service Co., Ltd.