But Gawain spoke no word of the green lace which the lady had given him.
The day of the New year came in with storm: bitterly the winds howled and the sleet lashed against the window pane, and gawain, who had slept but little, rose at the first light.
しかし、ガウェインは彼女からもらった緑のレースについて一言も話さなかった。
新年は嵐とともにきました。ひどく風はうなり、みぞれは窓枠を激しく打ち付けて、ガウェインは夜が明けるまで少ししか寝れなかった。
自分は上記の文をこのように訳したのですがどこかおかしい点はないでしょうか？
もしあれば教えていただけると幸いです。
ＮＨＫラジオ英会話講座より
Don't throw that receipt away. Show it next time you buy something. They'll give you a discount.
質問：Show it next time you buy something.でお尋ねします。
（１）SVＯの文型ですね？
（2）you buy something がnext timeを修飾していますが、何も連結する語句が見当たりません。関係副詞whenの省略でしょうか？関係詞であった場合、どういう条件で省略可能ですか？ 以上
What's your view on the music scene at present? Is there a crisis?
現在の音楽シーンをどうみていますか？ 危機感を感じますか？
Depends on what we are talking about. If we are talking about music itself, I cannot see a crises. There is a lot of stuff around. Maybe there isn’t a specific genre, which I find especially interesting, but everything is present at the same time. There is not a certain style which reflects these days - at least for me. Probably I have to do more research to find music, which I like. The reason simply might be the signal-to-noise ratio...it is easy to produce music and it became easier to present it to the public. So everybody has access to tons of great tracks - and of course also to pieces in which you are not interested in. Anyway, the music scene is becoming more and more a parallel world or worlds in itself, where different approaches to music coexist at the same time. That means, if you are looking for a particular style that overshadows the rest for a certain period - like punk, techno etc. did -then you might be perhaps disappointed.
下から4行目にある、 the music scene is becoming more and more ～あたりからわかりません。
worlds in itselfですが、itselfとは音楽のことですよね。音楽の中に世界がたくさんある（複数形）つまり、いろいろなジャンルが多くあるということでしょうか？
そしてthat means, if you are ～ですが、
「つまりこういうことさ。もし、君が特定のスタイル？？？？？？このへんのかたまりがよくわかりません。例えばパンクやテクノやそのた諸々・・・。それだったら君はがっかりするだろうね。」と最後はつながっていくと思うのですが、どうもよくわかりません。それに did - thenのdidは何を意味しているのでしょうか？
それにがっかりするだろうねと言っていますが、なぜがっかりするのだろうか・・・。ここでまたしても「この人は一体何が言いたいのか？」の壁です。
What's your view on the music scene at present? Is there a crisis?
現在の音楽シーンをどうみていますか？ 危機感を感じますか？
Depends on what we are talking about. If we are talking about music itself, I cannot see a crises. There is a lot of stuff around. Maybe there isn’t a specific genre, which I find especially interesting, but everything is present at the same time. There is not a certain style which reflects these days - at least for me. Probably I have to do more research to find music, which I like. The reason simply might be the signal-to-noise ratio...it is easy to produce music and it became easier to present it to the public. So everybody has access to tons of great tracks - and of course also to pieces in which you are not interested in. Anyway, the music scene is becoming more and more a parallel world or worlds in itself, where different approaches to music coexist at the same time. That means, if you are looking for a particular style that overshadows the rest for a certain period - like punk, techno etc. did -then you might be perhaps disappointed.
下から4行目にある、 the music scene is becoming more and more ～あたりからわかりません。
worlds in itselfですが、itselfとは音楽のことですよね。音楽の中に世界がたくさんある（複数形）つまり、いろいろなジャンルが多くあるということでしょうか？
そしてthat means, if you are ～ですが、
「つまりこういうことさ。もし、君が特定のスタイル？？？？？？このへんのかたまりがよくわかりません。例えばパンクやテクノやそのた諸々・・・。それだったら君はがっかりするだろうね。」と最後はつながっていくと思うのですが、どうもよくわかりません。それに did - thenのdidは何を意味しているのでしょうか？
それにがっかりするだろうねと言っていますが、なぜがっかりするのだろうか・・・。ここでまたしても「この人は一体何が言いたいのか？」の壁です。
以前もこの文章について質問をしましたが、もっと深く理解したいです。
”つまり何が言いたいのか？”それを知りたいです。
To me, „Transition“ is an almost tender album, which very much relies on a sense of breath and a precise placement of elements. How do you see the possibility of recreating this mood in a live setting?
The precise placement is hopefully something we can achieve by simply practicing. This special mood is for sure another question. With this kind of music it seems it is important that you are pretty much aware of where exactly you perform it. We found out: Some locations are just wrong. It must be a room and a light setting which helps to create this intimate feeling. Think of a theater stage: the audience sits in a convenient way and is not distracted. Their focus is on the stage, the lights go down, your senses are sharpened. Under these conditions it can work. For sure, you don´t find this everywhere.
In addition to this scenario, we play with a drummer - Bernhard Breuer, from Vienna - on some occasions. This gives the whole set an extroverted effect. For me it is always interesting to see that the same piece can work in two versions. There is no good or bad version, it seems it is about the actual situation - between the audience, the room and the musicians. And I am happy that we can choose between the trio and the duo version.
答えの最後から3行目のThere is no good or bad version,～and the musicians. までの解釈でつまづいています。一体何を言いたいのか？
そのままや訳すと、
「良いバージョンや、悪いバージョンがあるということではないよ。それは、現在の状況についての話に見える。つまり、オーディエンス、空間、そしてミュージシャンという関係についての話だ」となりますが、ここから何が言いたいのか？
この人が言いたい事は、オーディエンス、空間、そしてミュージシャンという関係があり、その結果、2つのバージョンが生まれた、ということでしょうか？だから良いバージョンとか悪いバージョンとかそういう話ではないと・・・。そういう解釈であってますか？
よろしくお願いいたします。
Do you see yourself as part of a certain tradition or as part of a movement?
No, not really. I mean, when I started making music more seriously there was (and still is) a vivid electronica scene here in Vienna (Mego,Cheap, etc), which influenced me for sure. But the music I listen to is so diverse.... I am looking for general functions in pieces of other musicians and not so much for aesthetics. So the music or let’s say one aspect of a piece which has an influence on what I do, can come from nearly everywhere. Diversity is so important for me that I can hardly imagine to be part of a movement - at least not a strict one that has any kind of "rules".
Q1 4行目の、I am looking for general functions in pieces of other musicians and not so much for aestheticsですが、and以降はどこからの続きになっているのでしょうか？
それとここはどういった意味になるのでしょうか？それと最初の1行目で、no, not reallyと言っていますが、「いや、そうでもない」という意味ですが、つまり疑問文をorで区切るのではなく、答えを見てどちらかを削るのがわかりやすい流れでしょうかね？
How would you describe your method of composing?
あなたの曲作りの方法というものをどのように定義しますか？
Usually i have an idea of the effect, which the piece should have. Then I try to build sounds and tonal relationships to establish that. But I don’t follow the tracks all the time – sometimes there happens an exciting fragment on the original way and I continue with that. Most of the time there is a small structure, a small texture by an acoustic instrument in the beginning and by the time I build more and more around it. When I have found the basic modules, then I think about the general structure and so on. It is a modular system, but not in a specific order - what I mean is that I don’t necessarily start with a theme or something.
Q2
1行目ですが文法の構造としては、コンマの前の文自体が先行詞ですよね。つまり、強引に組み立てると The piece should have [I have an idea of the effect,]. こうなるのでしょうか？
あと訳がいまいちわからないです。
大抵の場合、俺はアイデアを持っている。→効果についての。
→楽曲が・・・うーんいまいちわかりません。
よろしくお願いいたします。
