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14

Writing the lyrics this way allows the artist to convey an extra bit of the ulterior meaning. To use the first example, where 希望 is sung as ゆめ, we can assume that ゆめ was chosen because it fit well with the surrounding syllables. But ゆめ by itself isn't specific: it could be an abstract dream of what one wants to do or accomplish, or it could be the sort of ...


14

They're contracted from かけちゃおう and つないじゃおう, which are colloquial versions of 駆{か}けてしまおう and 繋{つな}いでしまおう, "let's run" and "lets connect", in this case 手を繋ぐ, "hold hands" The auxiliary verb しまう usually means "do something accidentally", but in this case in the volitional form, it's used to express carefreeness. 手を繋いじゃおう Let's hold hands (and not care ...


9

From an interview with Kyary Pamyu Pamyu: ──まず伺いたいんですが、「にんじゃりばんばん」ってどういう意味なんでしょうか? 私も中田(ヤスタカ)さんに「どういう意味なんですか?」って聞いたんですけど、「俺にもわからない」って言ってました(笑)。だから正解はたぶん誰にもわかんないと思います。 My quick translation: Q. First I want to ask, what does "にんじゃりばんばん" mean? A. I also asked Mr. Nakata (Nakata Yasutaka, the person who wrote and produced the song) what it means ...


9

It is common in songs, and it is not specific to children’s songs. In the first case, the pitch of the lyric line is probably something like: し(G) ら(G) ん(G) ぷ(G) り(G) を(F#) し(G) た(E) っ(F#) て(D) but if you try to sing this as it is, there is a problem: gemination is not a sound but just a pause, and you cannot sing it with any pitch. Therefore, the ...


7

First of all this isn't a translation, just an explanation, so excuse the result not sounding pretty: ただ会いたくて 声も無くしそうで "I wanted to meet you so much that I felt I might lose my voice," でも会えなくて 夢さえ恨んだ "But unable to (meet you), I (ended up) hating even my dreams." (I would guess this hating dreams would refer to hating dreaming about being together in ...


7

At the risk of going slightly off-topic, I'm going to agree 100% with Kentaro and say that putting the demonstrative determiner (learned a new term today!) in the middle sounds more literary. But there are cases where you can (and indeed must) use this "literary" form in everyday Japanese to avoid ambiguity. Take the following examples: 絵を描いたあの子供 ...


6

I believe よなも is 世な面, meaning roughly "the surface of the world". Here's how it breaks down: よ is 世 (world) な is the archaic case particle な, which is the same as the modern particle の も is 面 (surface), a word derived from おも (the お is elided) The case particle な is rare in modern Japanese. It's preserved in several words: 眼(まなこ=[目]{ま}な[子]{こ}, ...


5

I think it might be the 連用形 of 為す, so that the meaning is roughly 八紘を宇となし make the whole world our home Also, ん is most likely む, which carries the meaning of ~う・~よう, giving 正しき平和打ちたてん let us establish true peace


5

I think you are right in saying 君がくれたもの doesn't have to be a physical object. It could be life experiences, an understanding of things, etc. The common thread seems to be that these are things that can be kept. On the other hand, 君がくれたこと would, I think, often be understood as 'the fact that you gave to me' ('the fact of your giving to me'). 君が教えてくれたこと ...


5

It's quite common on Japanese Songs, because they want to express the meaning more precisely at lyrics. 未来 - future (which mean - will forever ...) あす - tomorrow (using "future" when singing will be overact or over.. something, so they pronounce it as あす) also same for 希望 (hope, for long ), ゆめ (a dream - a short timed)


5

Songs are poetry; poets work hard to get exactly the feeling they want from the reader/hearer. Since kanji have semantic values to them, with readings that fluctuate anyway, this happens pretty often. I guess here it gives the feeling of a dream which is a hope, not just a vision seen while sleeping. You'll find videogame/anime/manga stuff that has an ...


4

You will often find this in songs as well as many Japanese manga's. If you watched ef (the anime), you will see this technique used exclusively. It is done for artistic purposes just like you said. It is also to give reader a deeper meaning behind the word that it is used on. In your case the sentence is meant to be pronounced 君がゆめに変わってゆく but the presence ...


4

This shows up even in regular writing (i.e. not lyrics to a song). There's no cultural reason for it, it's more just a way for the writer to express two different things at the same time. The author might have a string of kanji written out but the furigana might end up being some foreign word in katakana or even in the Latin alphabet. For example, I've seen ...


4

After investigating this, it appears that the "glory" referenced by Lady Gaga in this song is referring to "death," and was written shortly after her uncle's death. Taking this information into consideration, I agree that 果て -- which seems to have an implication of the far edge, rather than the nearest -- isn't the right word for it. In reality, a 1:1 ...


4

My first impression is that the only purpose of the extra mora is to create an additional mora for rhythmic reasons. Vowel lengthening does occur for expressive reasons, but I don't think any connection can be drawn to gemination. From a phonological perspective, I see no reason a vowel would lengthen before a geminate. I don't recall ever seeing such a ...


4

As for the short shouts, Japanese popular songs are influenced by American culture, so you can hear almost anything that you would expect to be shouted in an American or other English songs. As for the sound used for some length, I think ら is the most popular one: 桜らららら 悲しみにさようなら A standard song sang in elementary school: 気球に乗ってどこまでも You can hear it ...


4

After reviewing the song, I've completely flipped on my answer. The whole song is definitely from his perspective, and this part is definitely him saying he might hurt her feelings. Original Answer: I definitely feel it's the 'each other' one. It's just saying that there are days they will hurt each other's feelings, and days they won't think the same ...


4

This 「ぞ」 is a 係助詞{かかりじょし} (binding particle) from classical Japanese. History: It was originally そ in the Nara period, then ぞ in the Heian period, gone in the Muromachi period except for people intentionally trying to sound poetic, such as the author of this poem. Semantics: It stresses/emphasizes what it marks Syntax: It occurs in the usual spots of a ...


4

I'd have to say the answer is "no". Removing で would totally change the meaning from "to not be" to "to not exist": 約束もなくて: "there is also no 約束" 約束でもなくて: "it is neither a 約束" It is talking about a subject (which I couldn't determine) which: are not (human) words (described by 言葉じゃなく), and have no rules or fate (約束もなく). I'm inclined to think it's more ...


4

Kohsuke Kawaguchi already answered your question, but I want to add a little bit of detail about ゆかん. You wrote the following: nor have I seen an an ending unless it was going to be あない. This stem of the verb is called the 未然形{みぜんけい} in traditional Japanese grammar, and several things can attach to it besides the auxiliary ない. Historically, there was ...


3

First example: Your misunderstanding as Earthling points out Second example: Ending a sentence with a noun or noun phrase, which is very common in Japanese poetry or lyrics Third example: Grammatically correct, though it uses the techniques like inversion of the word order and ending a sentence with a noun I think, generally speaking, Japanese language, ...


3

いざ is an older expression that means "let us", and や is adding an emphasis. As a Japanese I don't particularly feel odd that 行く is written as ゆく, especially because 行く has a risk of being read as いく. ~かん is another older expression that means "about to [do]". I think the reason you feel odd about this whole sentence is that the whole thing uses ...


3

「の」=「もの」or「こと」. 「[目指]{めざ}したの」=「目指したもの」 「の」 is a nominalizer; It nominalizes the preceding verb or adjective. 「目指したの」= "what I/we ran toward" = "my/our destination" Other examples: 「[赤]{あか}いのがほしい。」= "I want a red one." 「[行]{い}きたいのは[京都]{きょうと}です。」= "Where/The place I want to go to is Kyoto, (not another town)."


3

Not hugely confident in this answer, but I'll try. The gemination is supposed to be accomplished by a glottal stop in speech, and singing with a glottal stop is awkward at best and would sound strange even done properly. I imagine that the vowel lengthening is done to fill in a mora for rhythm/time purposes, and to indicate the omission. (That is, I know ...


3

One thing that struck me quite vividly when I first started to listen to Japanese lyrics is the near-ubiquity of mora-rhythm correspondence. You have probably already noticed, but compared to English, syllables and vowel/consonant combinations are broken or skipped much less often. I won't say you can't (especially in hip-hop), but it seems to be avoided. ...


2

I'm going to try to parse the stanza: 孤独{こどく}は - loneliness (establish context) いつでも - any time 自由{じゆう}の代償{だいしょう}に - price of freedom (dative/locative case?) (A pause in the singing) 言葉{ことば}を失{な}くして - to get rid of (the) word(s) (requesting) 壁{かべ}は- wall/barrier (establish context) 無{む}関{かん}心{しん} - indifferent 耐{た}えるしかないよ - no choice but to endure ...


2

The answer to your question is simple. We have this grammar in a lot of Japanese Christian prayers. For example we say: 王なる神様、this means Our God King 聖なる神様、our Holy God Now there are some words that can be used with the なる form and some that can only use the な form きれいなる女 is incorrect because the adjective きれい can not take the なる form. There is no real ...


2

Wild speculation here, but the Japanese polite conjugations seem especially unsuitable for singing. です and ます sound weird with a fully-voiced す taking a full mora, yet Japanese poetry is very strict with moras - almost always, for example, っ and ん do take a full note in songs. In addition, they take up lots of space, which is really at a premium with ...


2

I believe it's just a fancy reading for 世の面: 1) よ is the usual reading for 世 (e.g. この世), and it's basically synonymous to 世界 in this reading. 2) な can be used instead of の: Using な particle after common nouns (non na-adjectives) 3) も is a non-standard reading for 面 (e.g. 美面 or 水面 are read 「みなも」)


1

One way of translating is to employ several expressions to convey the meaning of "edge", when you can't find a word-for-word solution. Here's my attempt at it: もう すぐそこまできてる It's almost there, あと一歩、あと一歩、 only a step away, あと一歩、あと一歩、 a step, a step, あと一歩、 a step, もう 光輝きはじめてる I'm already seeing the shining light 君といる この一瞬にすがりながら I'm with ...



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