German borrowings in the Ukrainian musical terminology
DOI:
https://doi.org/10.31548/philolog0(263).2017.065%20-%2074Abstract
The article is dedicated to the issue of the German language borrowings in the Ukrainian musical terminology. The research actuality is caused by the need of studying the peculiarities of lexical, grammatical and spelling adoption of the terms borrowed from the German language in the Ukrainian musical terminology.
The aim of the article is the thematic analysis of the German borrowings, tracing the ways of their adaptation to the contemporary Ukrainian language standards.
The following research methods and modes have been used to achieve this aim: descriptive and typological (for the German language borrowings detection and systematization), the dictionary definition analysis method (for the semantic structure clarification), the comparison mode (for detecting the specific features of the analyzed units), the quantitative calculations methods (for the German language borrowings numeric characteristics).
There has been the following research source basis: the lexicographical work by Yuriy Yutsevych “Music. Dictionary-Reference Book, the «Dictionary of the musical terminology» (Project, «The musical dictionary by Zynoviy Lys’ko” and the Dictionary of the Ukrainian language in 11 volumes have also been used for comparison.
65 terms borrowed from the German language have been detected in the musical terminology of the Ukrainian language. They represent different thematic groups: the musical instruments names (al’thorn (althorn), byuhel’horn (bugelhorn), aura (aura) sakshorn (saxhorn), flyuhelhorn (flugelhorn) etc.), the musical instruments details and devices names (blokfleyta (block flute), val’tsi (rollers), ventyl’ (mute), hryf (finger board) etc.), the professions, occupations, roles names (baletmeyster (ballet-master), wunderkind (child prodigy), kapelmeister (bandmaster), kontsertmeyster (accompanist) etc.), the musical pieces and genres names (kasatsiya (reversion), kontsertstyuk (konzerstuck), lendler (landler), lid (lead), tirol’yen (Tyrolienne), tush (flourish) etc.), the processes, metrical rhythmical notions, sounds and musical systems properties names (auftakt (upbeat), hastrol’ (concert tour), heneral-bas (general bass), klavir (clavier) etc.), the melody decorations names (forshlag (grace note), shleyfer (appogiatur), the directions names (doych-rok (German rock)), the groups names (trupa (troupe)).
The following changes occur during the musical terms borrowings:
- 1. The semantics narrowing occur. Only terminological meanings are transferred into the Ukrainian language, whereas the internal shape of these words is lost.
2. The term structure is changed. The derivative character of such terms bases can be defined only after examining the word etymology.
3. The borrowed terms are adapted to the phonetic and spelling standards of the Ukrainian language.
4. The grammar form of the German language borrowing changes.
5. The terms borrowed from the German language take part in the Ukrainian terms formation. A significant number of the compound terms has been formed.
In our opinion some borrowings from the German language should be replaced with their Ukrainian counterparts: auftakt (upbeat) – zatakt, dempfer (damper) – hlushnyk, mundshtuk (mouthpiece) – hubnyk.
Thus, the Ukrainian musical terminology have adopted the considerable number of the German terms – international terms. They nominate the important notions of the musical science. The main ways of the German language borrowings adaptation are the following: lexical translation, grammatical adjustment, spelling and phonetic arrangement of these lexemes.
References
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