英語の和訳をお願いします。

質問

Romanesque art was not abstract, but because it was representational only within limits, partly because the artists were incapable of representing nature was not art, stained glass was a magnificent midium for this formalizing genius, which made features of limitations; by emphasizing the black lines of the lead joints they increased the brilliance of their blues and rubies, and by bending their iron supports into medallions and outlines of borders they gave their glass a jewel-like quality that quite transformed the interior of their churches.
At the same time there was a transformation of Church music, the begining of polyphony.
The organum, the singing of the same melody in parellel fourths and fifths, inevitably developed into the conductus, the singing by two or more voices of different melodies that harmonized with the main one, or canto fermo. Moreover, unlike plainsong and organum, the conductus was metrical, for the words were those of met-rical Latin hymns. Much as the nave and chancel of a church had become a progression of bays defined by wallshafts and intersecting ribs, so music became a measured progression of notes that could have been defined by bar-lines. It was still all very elementaly, and in cathedrals, in Winchester Cathe-dral at least, the singing was led by a primitive organ, the greast keys of which had to be thumped with fists, while seventy blowers, for each pine had its own bellows, supplied wind for the two players.

回答No.1

Nakay702 · ベストアンサー

以下のとおりお答えします。
誤植と思われるところが2, 3か所ありましたので、原文も併記します。

＞Romanesque art was not abstract, but because it was representational only within limits, partly because the artists were incapable of representing nature was not art, stained glass was a magnificent midium for this formalizing genius, which made features of limitations; by emphasizing the black lines of the lead joints they increased the brilliance of their blues and rubies, and by bending their iron supports into medallions and outlines of borders they gave their glass a jewel-like quality that quite transformed the interior of their churches.
⇒ロマネスク様式の芸術は抽象的ではなかったが、限られた範囲内でしか表現されなかったので、また一部には、自然を表現することができなかったので、ロマネスク様式は（ある意味）芸術ではなかった。ステンドグラスは時代の特質を定式化する壮大な手段であり、以下のような制約を特徴づけた。すなわち、リードジョイント（主接合）の黒い線を強調することによって青とルビー色の輝きを高め、鉄製の支持体をメダリオン内に曲げ入れてそのガラスの境目の輪郭を描き出し、教会内部（の景観）を大きく変えて、宝石のような質感を与えた。

＞At the same time there was a transformation of Church music, the begining (→beginning) of polyphony.
⇒同時に、教会音楽の変化が起こって、多声音楽が始まった。

＞The organum, the singing of the same melody in parellel fourths and fifths, inevitably developed into the conductus*, the singing by two or more voices of different melodies that harmonized with the main one, or canto fermo. Moreover, unlike plainsong and organum, the conductus was metrical, for the words were those of met-rical Latin hymns.
⇒オルガヌム（9世紀に始まる多声音楽）は、4番と5番で平行して同じ旋律を奏でたが、それは必然的にコンドゥクタス*に発展し、主旋律やカントフェルモ（基本となる定旋律）と調和した2つ以上の異なる旋律からなる歌声に発展した。さらにコンドゥクタスは、単旋律聖歌（グレゴリオ聖歌）やオルガヌムとは違って韻文的であった。というのも、その用語が、韻律を持つラテン系の賛美歌だったからである。
＊2~13世紀のラテン語で書かれた行列歌。

＞Much as the nave and chancel of a church had become a progression of bays defined by wallshafts and intersecting ribs, so music became a measured progression of notes that could have been defined by bar-lines. It was still all very elementaly, and in cathedrals, in Winchester Cathe-dral at least, the singing was led by a primitive organ, the greast (→great) keys of which had to be thumped with fists, while seventy blowers, for each pine (→pipe) had its own bellows, supplied wind for the two players.
⇒教会の本堂や内陣（司祭や合唱隊の席）が、壁や肋材に区切られる柱の続きの間に限定されることになったのと同じように、音楽もまた楽譜の音符の続きが小節に限定され、縦線で区切るようになった。しかしまだほんの初歩的で、ウィンチェスター寺院では、歌唱は原始的なオルガンによって導かれた。その大きな鍵盤は拳（げんこ）でたたいて鳴らさなければならず、70本の伝音菅が、１本のパイプごとに独自の送風機をもって2人の奏者に風を供給していた。

お礼

いつもありがとうございます。
感謝しております。