![]() ![]() ![]() Lower reliability was attributed to characteristics specific to participants (homogeneity of the population, familiarity with the task, and if the material was recently studied), and content of the statement itself (whether it implied more than one language skill or none at all, whether it contained a contradiction, or was confusing or unfamiliar). ![]() Statements that negatively affected the reliability of the scale were analysed. Mokken scaling was thus used to measure the reliability of can-do statement scales from the five skills of the CEFR-J’s five A sublevels of A1.1, A1.2, A1.3, A2.1, and A2.2. Although extensive empirical evidence supports these claims for the CEFR, the same cannot yet be said of the CEFR-J. A theoretical model is proposed as one way of conceptualizing various approaches to cultural translation in music.īoth the Common European Framework of Reference (CEFR) and the CEFR-Japan (CEFR-J), an alternate version designed for Japanese learners of English, provide measurements of language proficiency via assessment or self-assessment on scales of descriptors of communicative competences (known as can-do statements). Artistic choices to (or not to) explicitly aim for this mode of cultural translation are routinely made by contemporary musicians active in hybrid genres, and analysis of specific examples from such ensembles as the Helsinki Koto Ensemble, Yoshida Brothers, Moscow Pan-Asian Ensemble, and Tokyo Brass Style illustrate how cultural translation can be either conscious or unconscious, and deliberately highlighted or shunted in such music projects. While much has already been theorized regarding how foreign musical genres may be transplanted, adopted and fused with indigenous traditions, the notion of cultural translation may most accurately fit the specific objective of intentionally representing significant aspects of one musical tradition through the techniques of another distinct tradition. Music, like language, qualifies as a field in which “ideological horizons of homogeneity have been conceptualized,” and postcolonialist scholars such as Homi Bhabha and Paul Gilroy have acknowledged its critical role as an emblem of identity within the very sites of hybridity that particularly interest scholars of cultural translation. ![]() Explores various ways that intercultural analyses of musical meanings may offer theoretical insights applicable to the broader field of cultural translation. ![]()
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