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Translation, Interpreting, Editing/proofreading, Voiceover (dubbing), Training
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Specializes in:
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Music
Education / Pedagogy
General / Conversation / Greetings / Letters
Certificates, Diplomas, Licenses, CVs
Also works in:
History
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Journalism
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French to English - Rates: 0.05 - 0.07 USD per word / 30 - 40 USD per hour
French to English: Biographie / Biography (with editing suggestions accepted by client)
Source text - French A-N B. a fait des études de piano au Conservatoire National de Région de Douai (Nord) dans la classe de C. H. et s’est perfectionnée à Paris avec W.V. Diplômée des universités de Paris IV-Sorbonne et de Toulouse II, A.-N. prépare actuellement sa thèse sur la pratique du piano-forte d’après les méthodes publiées pour l’instrument publiées à Paris entre 1760 et 1822, à l’Université de Toulouse II-Le Mirail, sous la direction de Jean Gribenski (Université de Poitiers), P. C. et J. M. (Université de Toulouse II-Le Mirail). Parallèlement, elle poursuit ses activités de chef de chœur tout en se perfectionnant auprès de maîtres tels que Philippe Caillard, Jean-Marc Andrieu et Gunnar Eriksson.
Translation - English A-N. B. graduated from the Department of Music of the University of Paris IV-Sorbonne and received a Master’s degree from the University of Toulouse II-Le Mirail. She studied piano at the Conservatoire National de Région de Douai (Nord) in the class of C. H., and continued her studies with W. V. in Paris. She is currently preparing a doctorate on pianoforte performance practices as seen in the tutors published in Paris between 1760 and 1822, under the direction of J. G. (Poitiers), P. C. and J. M. (Toulouse). At the same time, she works as a choir director, having studied with masters such as Philippe Caillard and Jean-Marc Andrieu (France), and Gunnar Eriksson (Sweden).
French to English: Résumé du sujet de thèse / thesis subject summary:
Source text - French L’étude vise à dégager les caractéristiques de la pratique du piano-forte en France, entre les années 1760 et 1822, d’après ce que l’on peut observer dans les méthodes publiées pour l’instrument à Paris au cours de cette période.
Un aspect de la problématique est de déterminer quelles sont les différentes orientations prises par les différents auteurs de méthodes dans la pratique du piano-forte, si elles s’opposent et de quelle manière, et si l’on peut alors parler en termes d’écoles de piano-forte. Les noms qui se détachent sont principalement Jean-Louis Adam (auteur de la méthode officielle de piano du Conservatoire) et Hélène de Montgeroult (auteur de la méthode la plus importante et la plus détaillée de cette période). Un autre aspect de la problématique est le questionnement quant à la possibilité et la pertinence d’un impact de cette étude sur la pratique actuelle du piano-forte dans les départements de musique ancienne.
C’est aussi l’endroit pour tenter une esquisse de l’évolution de la pratique du piano-forte sur les soixante années de la période, au cours de laquelle le concert à bénéfice se développe, les pratiques amateurs de salons sont très présentes et non dénuées de qualité, où la notion de pianiste virtuose apparaît et où le répertoire évolue de la sonate aux pièces de plus petite envergure (nocturnes, préludes et bien sûr études) mais aussi à des genres plus épisodiques comme le pot-pourri.
Publications et interventions :
•à paraître : compte-rendu, pour la Société Française de Musicologie, sur Hélène de Montgeroult. La Marquise et la Marseillaise., de Jérôme Dorival, Lyon : Symétrie, 2006.
•« Montgeroult, Hélène-Antoinette-Marie de Nervo, Mme de »,
•en collaboration avec Florence GETREAULT : « Un portrait présumé d’Hélène de Montgeroult dans l’ancienne collection d’A. P. de Mirimonde », Musique, Images, Instruments, dirigée par Florence Gétreault, vol. I/1, 1995, p. 68-75.
•« L’improvisation chez Grétry. A propos de la Méthode simple pour apprendre à préluder », Bulletin de la Société Liégeoise de Musicologie, dirigée par Philippe Vendrix, n° 86, sept. 1994, p. 5-13.
Translation - English This survey aims to bring out the characteristics of fortepiano performance practice in France between 1760 and 1822, based on a study of the piano-tutors published in Paris during that period.
Our first concern is to show the different views of the authors of those tutors, to what extent and in what ways these points of views differ, and if these differences justify speaking in terms of schools of fortepiano. Two names stand out: Jean-Louis Adam, author of the official piano tutor of the Conservatoire,00 and Hélène de Montgeroult, whose tutor is the most detailed, and the most consequential, in this period. We will examine the question of whether this survey can have an impact on today’s fortepiano performance.
We also will begin to sketch the evolution of French fortepiano performance practice throughout that 60-year period, which saw the development of paying public concerts, even as continued amateur participation in the salons, often of high quality, retained its important place in musical life, and the idea of the pianist as a virtuoso began to develop. During this period there was also a trend toward a change in repertory, from the sonata to smaller pieces (nocturnes, preludes and, of course, studies) as well as to shorter genres like the pot-pourri.
Publications, Conferences, etc.
To be published : a review, for the Société Française de Musicologie, of Hélène de Montgeroult. La Marquise et la Marseillaise., by Jérôme Dorival, Lyon : Symétrie, 2006.
Entry in the Dictionnaire de la musique en France au 19e siècle, under the direction of Joël-Marie Faucquet, Paris, Fayard, 2003. : •« Montgeroult, Hélène-Antoinette-Marie de Nervo, Mme de »,
In collaboration with Florence GETREAULT : « A portrait presumed to be of Hélène de Montgeroult in the former collection of A. P. de Miramonde, in Musique, Images, Instruments, under the direction of Florence Gétreault, vol. I/1, 1995, p. 68-75.
French to English: Méthode de Serpent/ Serpent Method (extract intro.)
Source text - French This is the intro from a method for learning to play an unusual wind instrument, the Serpent.
I don't have the original text but it is a good example of my writing.
Translation - English PREFACE
Even though there are many “historical” antecedents, dedicating a method to an instrument like the Serpent remains a challenge.
Why a challenge ? Simply because with this instrument you cannot generalise, nor are there any absolute truths. Although the techniques of construction have changed very little since the 16th century , and even with the more standardized (almost “mass-produced”) instruments like many of those of the 19th century, experience has shown that no two instruments are alike in their sound, their qualities or even their fingerings. One can only talk about a given Serpent, or just a few... Why is that ? Much more than is the case with other instruments, the sounds that come from a Serpent depend on the individual player. It is still, above all, an instrument, in the sense of a tool, and each musician is different in his approach to using that tool. Instruments like the violin or the trombone make use of a “universal” technique, of which we could say that piano gives us the most extreme example, with its “fixed” sounds depending mainly on a mechanism. That is not the case with the Serpent.
This method is intended, above all, to be practical. To use it, you should be guided by your own intuitions, feelings, and sensations. It calls for reflection, but it also relies on plain old practicing, more than on any musicological or historical research. It is based on experience. It’s built on clues, and on examples taken from my long and varied practice of the instrument, which I have brought together and organised in a “subjectively logical” fashion.
My method deals with the 6-holed Church Serpent, held French style (vertically). It is addressed to musicians who, one expects, are already familiar with musical notation and whose first attraction is to the music, before the instrument itself. I hope it will find its users among those who are “ready, willing and able”, who are determined, and who have time to spend....
I mustn’t let you believe it’s easy : it’s not ! And I won’t tell you here "learn to play the Serpent without a teacher, results guaranteed in 48 hours with no effort, with this revolutionary method", as do so many ancient and modern methods. That would be fraudulent.
Does it sound discouraging ? On the contrary, it’s an enthralling adventure ! No, the "tricky beast" doesn’t let itself be mastered too easily. But it’s a great pleasure to learn to tame it.... Some days it "practically plays itself", other days it’s no use no matter what you do... Courage, great pleasures will reward your efforts.
I repeat : you are welcome to contradict me on any point : it’s very much a matter of personal experience. I am 100% sure about very few things, and I hope my readers will be the same...
English: Grottes de Fontirou
Source text - English Where life's adventure started about 30 million years ago... They offer you the sight of a boundless chain of all sorts of shapes and colours... the visit will take about 30 min. and is accompanied by a guide.
No tiredness, no danger. Nice temperature : 14°C
(original French :) Les Grottes
Dont l'aventure commença il y a environ 30 millions d'années, offrent aux regards une suite ininterrompue de concrétions de toutes formes et de couleurs variées brillant de mille feux. (sic)
Le parcours dure environ 40 mn et s'effectue sous la conduite d'un guide, sans fatigue ni danger. Temp. : 14°C (très appréciable par fortes chaleurs)
Translation - English Where the adventure of life began, about 30 million years ago... The eyes feast on a rich panorama of stalactites and stalagmites, of myriad shapes and brilliant colors. The guided visit, not tiring or dangerous, lasts about 30 minutes, and the moderate temperature (14°C) makes it a pleasant stop on hot days.
I'm a free-lance translator as well as a musician and music teacher, with a special interest in early music and writing. I perform and teach in Ann Arbor, MI but have time left for translating and English teaching. Having lived in France for 25 years, I think in French as much as in English! I have translated instrumental tutors, historical texts and an 18th century manuscript dictionary, magazine articles on aikido and Japanese health practices, plenty of CV's, thesis abstracts and conference presentations - in music, but also, recently, in philosophical theology (soon to be published). I do a lot of reading and am interested in society, ecology, etc.
I've also lived in Mexico for 6 years, and keep up my Spanish with friends. I read extensively in Spanish as well as in French and English.
I love words- I was a semi-finalist in a national writing contest (US) back in my school days, and am expanding my range in poetry at present. My first poems were published in 2016!
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