pág. 4315
SEMANTIC ANALYSIS OF DUBBING: THE CASE
OF A SONG FROM ADVENTURE TIME
ANÁLISIS SEMÁNTICO DEL DOBLAJE: EL CASO DE UNA
CANCIÓN DE HORA DE AVENTURA
Bryan Ignacio Ramírez Ramírez
Universidad Juárez Autonoma de Tabasco
pág. 4316
DOI: https://doi.org/10.37811/cl_rcm.v9i6.22545
Semantic analysis of dubbing: the case of a song from adventure time
Bryan Ignacio Ramírez Ramírez1
Bryan_ignaciorr14@hotmail.com
https://orcid.org/0009-0002-1524-7076
UNIVERSIDAD JUÁREZ AUTONOMA DE TABASCO
Tabasco, México
ABSTRACT
Previous research on audiovisual translation and song dubbing has highlighted the challenges of
preserving meaning, rhythm, and cultural resonance when adapting lyrics across languages, building on
this line of inquiry, the present study aims to analyze the dubbing of the song “My Best Friends in the
World” from the animated series Adventure Time and its Spanish version “¿Qué soy para ti?” From a
semantic perspective. Using a qualitative and descriptive approach, the study identifies and categorizes
translation techniques, strategies, and errors, examining their impact on the transmission of the original
message. A qualitative descriptive study using a concentration table and a comparative chart was
conducted to identify changes in lyrics, thematic focus, and the use of linguistic resources. Findings
reveal that, although both versions preserve the core theme of friendship, the Spanish adaptation
introduces omissions, generalizations, and a shift toward unrequited romantic feelings, partially
modifying the original intent. The study provides analytical insights valuable for future research on song
translation and dubbing in audiovisual media, highlighting the importance of balancing fidelity and
cultural adaptation.
Keywords: Audiovisual; Dubbing; Semantic; Analysis; Translation.
1 Autor principal
Correspondencia: Bryan_ignaciorr14@hotmail.com
DOI: https://doi.org/10.37811/cl_rcm.v9i6.22545
Semantic analysis of dubbing: the case of a song from adventure time
Bryan Ignacio Ramírez Ramírez1
Bryan_ignaciorr14@hotmail.com
https://orcid.org/0009-0002-1524-7076
UNIVERSIDAD JUÁREZ AUTONOMA DE TABASCO
Tabasco, México
ABSTRACT
Previous research on audiovisual translation and song dubbing has highlighted the challenges of
preserving meaning, rhythm, and cultural resonance when adapting lyrics across languages, building on
this line of inquiry, the present study aims to analyze the dubbing of the song “My Best Friends in the
World” from the animated series Adventure Time and its Spanish version “¿Qué soy para ti?” From a
semantic perspective. Using a qualitative and descriptive approach, the study identifies and categorizes
translation techniques, strategies, and errors, examining their impact on the transmission of the original
message. A qualitative descriptive study using a concentration table and a comparative chart was
conducted to identify changes in lyrics, thematic focus, and the use of linguistic resources. Findings
reveal that, although both versions preserve the core theme of friendship, the Spanish adaptation
introduces omissions, generalizations, and a shift toward unrequited romantic feelings, partially
modifying the original intent. The study provides analytical insights valuable for future research on song
translation and dubbing in audiovisual media, highlighting the importance of balancing fidelity and
cultural adaptation.
Keywords: Audiovisual; Dubbing; Semantic; Analysis; Translation.
1 Autor principal
Correspondencia: Bryan_ignaciorr14@hotmail.com
pág. 4317
Análisis semántico del doblaje: el caso de una canción de Hora de Aventura
RESUMEN
Investigaciones previas sobre la traducción audiovisual y el doblaje de canciones han puesto de relieve
los desafíos de preservar el significado, el ritmo y la resonancia cultural al adaptar letras entre lenguas.
En continuidad con esta línea de estudio, la presente investigación tiene como objetivo analizar el
doblaje de la canción “My Best Friends in the World” de la serie animada Adventure Time y su versión
en español “¿Qué soy para ti?” desde una perspectiva semántica. Mediante un enfoque cualitativo y
descriptivo, el estudio identifica y clasifica técnicas, estrategias y errores de traducción, examinando su
impacto en la transmisión del mensaje original. Se llevó a cabo un estudio cualitativo descriptivo
utilizando una tabla de concentración y un cuadro comparativo para identificar cambios en la letra, el
enfoque temático y el uso de recursos lingüísticos. Los hallazgos revelan que, aunque ambas versiones
conservan el tema central de la amistad, la adaptación al español introduce omisiones, generalizaciones
y un desplazamiento hacia sentimientos románticos no correspondidos, modificando parcialmente la
intención original. El estudio aporta análisis útiles para futuras investigaciones sobre la traducción y el
doblaje de canciones en medios audiovisuales, destacando la importancia de equilibrar la fidelidad y la
adaptación cultural.
Palabras clave: Audiovisual; Doblaje; Semántica; Análisis; Traducción.
Artículo recibido 02 enero 2026
Aceptado para publicación: 30 enero 2026
Análisis semántico del doblaje: el caso de una canción de Hora de Aventura
RESUMEN
Investigaciones previas sobre la traducción audiovisual y el doblaje de canciones han puesto de relieve
los desafíos de preservar el significado, el ritmo y la resonancia cultural al adaptar letras entre lenguas.
En continuidad con esta línea de estudio, la presente investigación tiene como objetivo analizar el
doblaje de la canción “My Best Friends in the World” de la serie animada Adventure Time y su versión
en español “¿Qué soy para ti?” desde una perspectiva semántica. Mediante un enfoque cualitativo y
descriptivo, el estudio identifica y clasifica técnicas, estrategias y errores de traducción, examinando su
impacto en la transmisión del mensaje original. Se llevó a cabo un estudio cualitativo descriptivo
utilizando una tabla de concentración y un cuadro comparativo para identificar cambios en la letra, el
enfoque temático y el uso de recursos lingüísticos. Los hallazgos revelan que, aunque ambas versiones
conservan el tema central de la amistad, la adaptación al español introduce omisiones, generalizaciones
y un desplazamiento hacia sentimientos románticos no correspondidos, modificando parcialmente la
intención original. El estudio aporta análisis útiles para futuras investigaciones sobre la traducción y el
doblaje de canciones en medios audiovisuales, destacando la importancia de equilibrar la fidelidad y la
adaptación cultural.
Palabras clave: Audiovisual; Doblaje; Semántica; Análisis; Traducción.
Artículo recibido 02 enero 2026
Aceptado para publicación: 30 enero 2026
pág. 4318
INTRODUCTION
The objective of this study is to analyze the dubbing of the song “My Best Friends in the World” from
the animated series Adventure Time from a semantic perspective, identifying and categorizing the
techniques, strategies, and errors present in its Spanish adaptation, “Qué soy para ti”. This focus on
semantic analysis is essential, as meaning shifts in audiovisual translation not only affect audience
comprehension but also reshape cultural resonance and emotional interpretation.
This semantic perspective is grounded in the identification of categories such as literal translation,
creative adaptation, omission, generalization, and reformulation. These categories provide a framework
to examine how meaning is preserved, adapted, or lost in the transfer from source to target text. Unlike
studies that have primarily focused on rhythm or lip synchronization, this research highlights how
semantic modifications alter not only the transmission of the original message but also the emotional
impact of the audience. By foregrounding semantics, the study underscores the ways in which translation
decisions influence interpretation, cultural adaptation, and reception.
Globalization has significantly expanded the circulation of audiovisual products across linguistic and
cultural borders, including films, television series, and songs. However, not all audiences are proficient
in languages other than their own, which has given rise to audiovisual translation modalities such as
dubbing and subtitling. While dubbing facilitates comprehension and accessibility, it also presents
challenges in preserving the original meaning, tone, and cultural nuances of the source material. This is
especially evident in the translation of songs, where adaptation must balance lyrical content, rhythm,
and audience reception, often resulting in semantic shifts that alter the intended message.
Translation studies as a field have long recognized the complexity of transferring meaning from one
language to another. Catford (1995) described translation as the replacement of textual material in one
language by equivalent material in another, emphasizing linguistic equivalence. Later perspectives, such
as those of Déjean (1993), broadened this view by highlighting the importance of style, quality, and
communicative purpose. Within this field, audiovisual translation (AVT) has emerged as a specialized
area, defined by Chaume (2004) as the transfer of multimodal texts that require attention to both verbal
and non-verbal elements. Dubbing, in particular, has been conceptualized not only as a linguistic transfer
INTRODUCTION
The objective of this study is to analyze the dubbing of the song “My Best Friends in the World” from
the animated series Adventure Time from a semantic perspective, identifying and categorizing the
techniques, strategies, and errors present in its Spanish adaptation, “Qué soy para ti”. This focus on
semantic analysis is essential, as meaning shifts in audiovisual translation not only affect audience
comprehension but also reshape cultural resonance and emotional interpretation.
This semantic perspective is grounded in the identification of categories such as literal translation,
creative adaptation, omission, generalization, and reformulation. These categories provide a framework
to examine how meaning is preserved, adapted, or lost in the transfer from source to target text. Unlike
studies that have primarily focused on rhythm or lip synchronization, this research highlights how
semantic modifications alter not only the transmission of the original message but also the emotional
impact of the audience. By foregrounding semantics, the study underscores the ways in which translation
decisions influence interpretation, cultural adaptation, and reception.
Globalization has significantly expanded the circulation of audiovisual products across linguistic and
cultural borders, including films, television series, and songs. However, not all audiences are proficient
in languages other than their own, which has given rise to audiovisual translation modalities such as
dubbing and subtitling. While dubbing facilitates comprehension and accessibility, it also presents
challenges in preserving the original meaning, tone, and cultural nuances of the source material. This is
especially evident in the translation of songs, where adaptation must balance lyrical content, rhythm,
and audience reception, often resulting in semantic shifts that alter the intended message.
Translation studies as a field have long recognized the complexity of transferring meaning from one
language to another. Catford (1995) described translation as the replacement of textual material in one
language by equivalent material in another, emphasizing linguistic equivalence. Later perspectives, such
as those of Déjean (1993), broadened this view by highlighting the importance of style, quality, and
communicative purpose. Within this field, audiovisual translation (AVT) has emerged as a specialized
area, defined by Chaume (2004) as the transfer of multimodal texts that require attention to both verbal
and non-verbal elements. Dubbing, in particular, has been conceptualized not only as a linguistic transfer
pág. 4319
but also as an interpretative act shaped by synchronization, cultural adaptation, and performance
(Chaume, 2016; Palencia 2000).
Song translation represents an even more complex challenge within AVT. As scholars suh as Low
(2005) and Franzon (2008) argue, music imposes additional constraints such as rhythm, rhyme, and
singability, which frequently require translators to go beyond literal equivalence. Recent studies have
examined how these constraints often lead to reformulation, omission, or creative adaptation to achieve
a natural flow in the target language (Arjona & Escobar, 2022; Vega, 2020; Callejero, 2019). In the
context of animation, Hernandez (2015) shows that dubbing songs requires striking a delicate balance
between fidelity to the original lyrics and cultural resonance for local audiences.
This research contributes to existing literature by approaching song dubbing through a semantic
perspective, with a particular focus on how translation techniques, strategies, and errors reshape
meaning in an animated context. Unlike previous studies that have emphasized rhythm or
synchronization, this study highlights semantic shifts in wording, thematic focus, and tone between the
original English version of the song and its Latin American Spanish adaptation. By centering on these
aspects, the study underscores the cultural and emotional consequences of translation decisions.
In doing so, the research positions semantic analysis not only as a theoretical lens but also as a practical
approach to understanding how audiovisual translation influences reception. This emphasis reflects the
broader dynamics of Latin American Spanish dubbing, which often privileges emotional and romantic
undertones to resonate with local audiences. By examining this case, the study demonstrates how subtle
translation choices can shape both narrative interpretation and cultural adaptation.
Ultimately, the study aims to provide insights for translators, dubbing professionals, and researchers by
showing how meaning is negotiated between fidelity to the source text and cultural localization. This
semantic perspective reinforces the relevance of dubbing research in a globalized media landscape,
where audiovisual products must communicate across diverse linguistic and cultural contexts.
but also as an interpretative act shaped by synchronization, cultural adaptation, and performance
(Chaume, 2016; Palencia 2000).
Song translation represents an even more complex challenge within AVT. As scholars suh as Low
(2005) and Franzon (2008) argue, music imposes additional constraints such as rhythm, rhyme, and
singability, which frequently require translators to go beyond literal equivalence. Recent studies have
examined how these constraints often lead to reformulation, omission, or creative adaptation to achieve
a natural flow in the target language (Arjona & Escobar, 2022; Vega, 2020; Callejero, 2019). In the
context of animation, Hernandez (2015) shows that dubbing songs requires striking a delicate balance
between fidelity to the original lyrics and cultural resonance for local audiences.
This research contributes to existing literature by approaching song dubbing through a semantic
perspective, with a particular focus on how translation techniques, strategies, and errors reshape
meaning in an animated context. Unlike previous studies that have emphasized rhythm or
synchronization, this study highlights semantic shifts in wording, thematic focus, and tone between the
original English version of the song and its Latin American Spanish adaptation. By centering on these
aspects, the study underscores the cultural and emotional consequences of translation decisions.
In doing so, the research positions semantic analysis not only as a theoretical lens but also as a practical
approach to understanding how audiovisual translation influences reception. This emphasis reflects the
broader dynamics of Latin American Spanish dubbing, which often privileges emotional and romantic
undertones to resonate with local audiences. By examining this case, the study demonstrates how subtle
translation choices can shape both narrative interpretation and cultural adaptation.
Ultimately, the study aims to provide insights for translators, dubbing professionals, and researchers by
showing how meaning is negotiated between fidelity to the source text and cultural localization. This
semantic perspective reinforces the relevance of dubbing research in a globalized media landscape,
where audiovisual products must communicate across diverse linguistic and cultural contexts.
pág. 4320
METHODOLOGY
This study adopts a qualitative approach with a descriptive and exploratory scope, aimed at analyzing
semantic variations between the original version of the song “My Best Friends in the World” from the
animated series Adventure Time and its Latin American Spanish adaptation “¿Qué soy para ti?”. The
research is framed within the descriptive branch of Translation Studies, following the classification
proposed by Holmes and cited by Toury (2004), which focuses on collecting and systematizing
empirical data for observation and analysis.
The design of the study is observational and cross-sectional, as the analysis was conducted on the two
versions of the song at a specific point in time without any manipulation of variables. The object of
study consisted of the original and dubbed song lyrics, which were selected due to their cultural
relevance and notable semantic differences, Data were collected directly from these two sources,
ensuring that the analysis was based on primary material.
Two instruments were employed to support the analysis: a concentration table and a comparative chart.
The concentration table was used to record and organize general musical aspects, semantic elements,
and translation strategies, while the comparative chart contrasted specific verses in order to highlight
thematic focus, tone, and meaning transmission between the source and target versions. Both
instruments were validated through expert review to confirm their consistency and applicability to
semantic analysis in translation studies.
The semantic analysis was guided by set of categories that allowed for a systematic interpretation of
meaning shifts. These categories included literal translation, creative adaptation, omission,
generalization, and reformulation. Each verse of the song was examined according to these parameters
to determinate how the dubbed version preserved, modified, or omitted elements of the original message.
This process made it possible to identify the degree to which semantic fidelity was maintained and how
cultural adaptation shaped the final product.
Ethical considerations were respected throughout the process, as all materials used were publicly
available and the study did not involve human subjects, Limitations of the study include its focus on a
single song, which, while enabling a deep analysis, restricts the generalizability of the findings to other
cases of audiovisual translation.
METHODOLOGY
This study adopts a qualitative approach with a descriptive and exploratory scope, aimed at analyzing
semantic variations between the original version of the song “My Best Friends in the World” from the
animated series Adventure Time and its Latin American Spanish adaptation “¿Qué soy para ti?”. The
research is framed within the descriptive branch of Translation Studies, following the classification
proposed by Holmes and cited by Toury (2004), which focuses on collecting and systematizing
empirical data for observation and analysis.
The design of the study is observational and cross-sectional, as the analysis was conducted on the two
versions of the song at a specific point in time without any manipulation of variables. The object of
study consisted of the original and dubbed song lyrics, which were selected due to their cultural
relevance and notable semantic differences, Data were collected directly from these two sources,
ensuring that the analysis was based on primary material.
Two instruments were employed to support the analysis: a concentration table and a comparative chart.
The concentration table was used to record and organize general musical aspects, semantic elements,
and translation strategies, while the comparative chart contrasted specific verses in order to highlight
thematic focus, tone, and meaning transmission between the source and target versions. Both
instruments were validated through expert review to confirm their consistency and applicability to
semantic analysis in translation studies.
The semantic analysis was guided by set of categories that allowed for a systematic interpretation of
meaning shifts. These categories included literal translation, creative adaptation, omission,
generalization, and reformulation. Each verse of the song was examined according to these parameters
to determinate how the dubbed version preserved, modified, or omitted elements of the original message.
This process made it possible to identify the degree to which semantic fidelity was maintained and how
cultural adaptation shaped the final product.
Ethical considerations were respected throughout the process, as all materials used were publicly
available and the study did not involve human subjects, Limitations of the study include its focus on a
single song, which, while enabling a deep analysis, restricts the generalizability of the findings to other
cases of audiovisual translation.
pág. 4321
RESULTS AND DISCUSSION
The analysis of the dubbing reveals a series of techniques, strategies, and errors present in the adaptation
of the song “My Best Friends in the World” into Latin American Spanish under the title “¿Qué soy para
ti?”. While both versions communicate a central message about the value of friendship, the most
significant findings emerge at the semantic level, where omissions, generalizations, and reformulations
reshape the emotional and thematic impact of the song.
From a semantic standpoint, one of the clearest cases is the omission of specific details such as “I lost a
piece of your hair”, which in the original functions as a concrete nostalgic trigger but is generalized in
the Spanish version as “perdí un pedazo de ti”. Similarly, the translation of “my best friends in the
world” as “mis amigas sin igual” illustrates a semantic shift: while the rhyme is preserved, the sense of
inclusivity and universality conveyed in the source text is reduced to a more limited expression. These
examples demonstrate how the dubbed version narrows the scope of meaning, weakening certain
emotional nuances of the original.
Another key semantic modification is the introduction of verses that emphasize the protagonist´s
unrequited romantic feelings. This change shifts the thematic center of the song away from collective
friendship and shared memories toward personal emotional conflict. As Agost (1999) suggests, cultural
adaptation can sometimes alter the pragmatic function of a text, leading to semantic loss. In this case,
the Spanish version reinterprets the song´s intent, making it more aligned with Latin American audience
preferences for sentimental and romantic undertones.
At the same time, literal translation and creative adaptation strategies coexist throughout the text. Literal
translation appears in lines where structural fidelity is prioritized, while creative adaptation is evident in
cases where rhythm and rhyme must be preserved in the target language, as noted by Hernández (2015).
However, the semantic consequences of these strategies vary: in some cases, they succeed in maintaining
meaning, while in others they introduce notable shifts that alter interpretation.
Although structural and musical aspects (such as the verse-stanza-chorus format and rhyme schemes)
remain consistent across versions, these elements are secondary to the semantic changes identified. The
findings indicate that is precisely through omissions, generalizations, and thematic shifts that the
audience´s emotional reception is most affected.
RESULTS AND DISCUSSION
The analysis of the dubbing reveals a series of techniques, strategies, and errors present in the adaptation
of the song “My Best Friends in the World” into Latin American Spanish under the title “¿Qué soy para
ti?”. While both versions communicate a central message about the value of friendship, the most
significant findings emerge at the semantic level, where omissions, generalizations, and reformulations
reshape the emotional and thematic impact of the song.
From a semantic standpoint, one of the clearest cases is the omission of specific details such as “I lost a
piece of your hair”, which in the original functions as a concrete nostalgic trigger but is generalized in
the Spanish version as “perdí un pedazo de ti”. Similarly, the translation of “my best friends in the
world” as “mis amigas sin igual” illustrates a semantic shift: while the rhyme is preserved, the sense of
inclusivity and universality conveyed in the source text is reduced to a more limited expression. These
examples demonstrate how the dubbed version narrows the scope of meaning, weakening certain
emotional nuances of the original.
Another key semantic modification is the introduction of verses that emphasize the protagonist´s
unrequited romantic feelings. This change shifts the thematic center of the song away from collective
friendship and shared memories toward personal emotional conflict. As Agost (1999) suggests, cultural
adaptation can sometimes alter the pragmatic function of a text, leading to semantic loss. In this case,
the Spanish version reinterprets the song´s intent, making it more aligned with Latin American audience
preferences for sentimental and romantic undertones.
At the same time, literal translation and creative adaptation strategies coexist throughout the text. Literal
translation appears in lines where structural fidelity is prioritized, while creative adaptation is evident in
cases where rhythm and rhyme must be preserved in the target language, as noted by Hernández (2015).
However, the semantic consequences of these strategies vary: in some cases, they succeed in maintaining
meaning, while in others they introduce notable shifts that alter interpretation.
Although structural and musical aspects (such as the verse-stanza-chorus format and rhyme schemes)
remain consistent across versions, these elements are secondary to the semantic changes identified. The
findings indicate that is precisely through omissions, generalizations, and thematic shifts that the
audience´s emotional reception is most affected.
pág. 4322
The novelty of this study lies in its detailed semantic comparison of two versions of a single song within
an animated audiovisual context-an area rarely explored in existing literature. By foregrounding
semantic shifts as the central results, this research demonstrates the importance of meaning-focused
approaches in audiovisual translation, offering guidance for translators and dubbing professionals on
balancing fidelity and cultural adaptation in song translation.
ILUSTRATIONS, TABLES AND FIGURES
Table 1. Central Conceptual Axes in Translatios, Dubbing, Semantic and Audiovisual translation
WORD DEFINITION YEAR AUTHOR
Translation Translation is the replacement of textual material in
one language (SL) by equivalent textual material in
another language (TL)
1995 Catford
Translation is generally used to refer to all the process
and methods used to convey the meaning of the
source language in to the target language
1995 Ghazala
The translation is a text in a language X, of equivalent
style and of an editorial quality at least equal to that
of the original text and intended to transmit the same
message to the same category of readers and for the
same purpose as that of the original text.
1993 Karla Déjean Le
Féal
Translation is the oldest work of all, for centuries this
phenomenon has been carried out, which can be
evidenced in the translation of the Bible from Hebrew
to Latin by Saint Geronimo, around 384 AD. c.
1975 Steiner
Translation is an act through which the content of a
text is transferred from the source language in to the
target language
1958 Foster
The novelty of this study lies in its detailed semantic comparison of two versions of a single song within
an animated audiovisual context-an area rarely explored in existing literature. By foregrounding
semantic shifts as the central results, this research demonstrates the importance of meaning-focused
approaches in audiovisual translation, offering guidance for translators and dubbing professionals on
balancing fidelity and cultural adaptation in song translation.
ILUSTRATIONS, TABLES AND FIGURES
Table 1. Central Conceptual Axes in Translatios, Dubbing, Semantic and Audiovisual translation
WORD DEFINITION YEAR AUTHOR
Translation Translation is the replacement of textual material in
one language (SL) by equivalent textual material in
another language (TL)
1995 Catford
Translation is generally used to refer to all the process
and methods used to convey the meaning of the
source language in to the target language
1995 Ghazala
The translation is a text in a language X, of equivalent
style and of an editorial quality at least equal to that
of the original text and intended to transmit the same
message to the same category of readers and for the
same purpose as that of the original text.
1993 Karla Déjean Le
Féal
Translation is the oldest work of all, for centuries this
phenomenon has been carried out, which can be
evidenced in the translation of the Bible from Hebrew
to Latin by Saint Geronimo, around 384 AD. c.
1975 Steiner
Translation is an act through which the content of a
text is transferred from the source language in to the
target language
1958 Foster
pág. 4323
Dubbing “the translation and adjustment of a script of an
audiovisual text and the subsequent interpretation of
this translation by the actors, under the direction of
the dubbing director and the advice of the linguistic
advisor, when this figure exists”
2004 Chaume
We understand dubbing as the process by which the
voices of the actors in an audiovisual product are
replaced by recording other voices that interpret the
dialogues and other verbal content in a language other
than that of the original product and coinciding with
that of the recipient to whom the folded product is
directed.
2000 Palencia Villa
Semantics Semantics is the part of linguistics that is concerned
with meaning.
2002 Lobner
Semantics is the study of how language organizes and
express meaning
1998 Kreidler
Semantics is the study of meaning communicated
through language
1997 Saeed
Semantics is the study of meaning in language 1983 Hurford and
Heasley
Semantics is the study of meaning 1977 Lyons
Audio-visual
translation
The audiovisual texts that are the object of the transfer
are so because they provide translatable information
through certain channels (acoustic and visual)
2004 Chaume
It includes the transfer of texts in any of the physical
media or supports currently existing, so that it is not
limited to a cinema screen or a television, but includes
2004 Chaume
Dubbing “the translation and adjustment of a script of an
audiovisual text and the subsequent interpretation of
this translation by the actors, under the direction of
the dubbing director and the advice of the linguistic
advisor, when this figure exists”
2004 Chaume
We understand dubbing as the process by which the
voices of the actors in an audiovisual product are
replaced by recording other voices that interpret the
dialogues and other verbal content in a language other
than that of the original product and coinciding with
that of the recipient to whom the folded product is
directed.
2000 Palencia Villa
Semantics Semantics is the part of linguistics that is concerned
with meaning.
2002 Lobner
Semantics is the study of how language organizes and
express meaning
1998 Kreidler
Semantics is the study of meaning communicated
through language
1997 Saeed
Semantics is the study of meaning in language 1983 Hurford and
Heasley
Semantics is the study of meaning 1977 Lyons
Audio-visual
translation
The audiovisual texts that are the object of the transfer
are so because they provide translatable information
through certain channels (acoustic and visual)
2004 Chaume
It includes the transfer of texts in any of the physical
media or supports currently existing, so that it is not
limited to a cinema screen or a television, but includes
2004 Chaume
pág. 4324
computers. Thus, we could say that it includes what is
currently known as localization, that is, translation
and adaptation of computer products.
Is a type of specialized translation that encompasses
those texts intended for the film, television, video and,
in general, multimedia products sector
1999 Agost
It has its own characteristics, since it implies that the
professional has special knowledge both of the
thematic field that the content deals with, which can
be very varied, and of the limitations and techniques
of the specialty, which inevitably limit the translation.
1999 Agost
Note: SL = Source Language; TL = Target Language
Table 2. Basic Terms of Translation and Dubbing
Word Authors Year Definition
Translation Foster 1958 Translation is an act through which the content of a text is
transferred from the source language in to the target
language
Translation Steiner 1975 translation is the oldest work of all, for centuries this
phenomenon has been carried out, which can be evidenced
in the translation of the Bible from Hebrew to Latin by
Saint Geronimo, around 384 AD. c.
Translation Karla
Déjean Le
Féal
1993 … is a text in a language X, of equivalent style and of an
editorial quality at least equal to that of the original text
and intended to transmit the same message to the same
category of readers and for the same purpose as that of the
original text.
computers. Thus, we could say that it includes what is
currently known as localization, that is, translation
and adaptation of computer products.
Is a type of specialized translation that encompasses
those texts intended for the film, television, video and,
in general, multimedia products sector
1999 Agost
It has its own characteristics, since it implies that the
professional has special knowledge both of the
thematic field that the content deals with, which can
be very varied, and of the limitations and techniques
of the specialty, which inevitably limit the translation.
1999 Agost
Note: SL = Source Language; TL = Target Language
Table 2. Basic Terms of Translation and Dubbing
Word Authors Year Definition
Translation Foster 1958 Translation is an act through which the content of a text is
transferred from the source language in to the target
language
Translation Steiner 1975 translation is the oldest work of all, for centuries this
phenomenon has been carried out, which can be evidenced
in the translation of the Bible from Hebrew to Latin by
Saint Geronimo, around 384 AD. c.
Translation Karla
Déjean Le
Féal
1993 … is a text in a language X, of equivalent style and of an
editorial quality at least equal to that of the original text
and intended to transmit the same message to the same
category of readers and for the same purpose as that of the
original text.
pág. 4325
Translation Ghazala 1995 … refer to all the process and methods used to convey the
meaning of the source language in to the target language
Dubbing Palencia
Villa
2000 … the process by which the voices of the actors in an
audiovisual product are replaced by recording other voices
that interpret the dialogues and other verbal content in a
language other than that of the original product and
coinciding with that of the recipient to whom the folded
product is directed.
Dubbing Chaume 2004 “the translation and adjustment of a script of an audiovisual
text and the subsequent interpretation of this translation by
the actors, under the direction of the dubbing director and
the advice of the linguistic advisor, when this figure exists”
Table 3. Current Research Trends in Semantic Analysis of Song Dubbing
Thematical Trend Theoretical Trend Methodological Trend
Music in translation (2) the language in the translation
of songs
-Music as universal language
(reference)
- Translation strategies
• Descriptive,
explicative and
qualitative study
• observation scheme
Song dubbing cultural referents of dubbing • Descriptive,
explicative and
qualitative study
• observation scheme
Translation Ghazala 1995 … refer to all the process and methods used to convey the
meaning of the source language in to the target language
Dubbing Palencia
Villa
2000 … the process by which the voices of the actors in an
audiovisual product are replaced by recording other voices
that interpret the dialogues and other verbal content in a
language other than that of the original product and
coinciding with that of the recipient to whom the folded
product is directed.
Dubbing Chaume 2004 “the translation and adjustment of a script of an audiovisual
text and the subsequent interpretation of this translation by
the actors, under the direction of the dubbing director and
the advice of the linguistic advisor, when this figure exists”
Table 3. Current Research Trends in Semantic Analysis of Song Dubbing
Thematical Trend Theoretical Trend Methodological Trend
Music in translation (2) the language in the translation
of songs
-Music as universal language
(reference)
- Translation strategies
• Descriptive,
explicative and
qualitative study
• observation scheme
Song dubbing cultural referents of dubbing • Descriptive,
explicative and
qualitative study
• observation scheme
pág. 4326
Translation into film music (4) - Translation Strategies
- Audio-visual
translation
- Translation and
adaptation of songs
from animated movies
• Descriptive,
explicative and
qualitative study
• observation scheme
• comparative chart
• comparative analysis
Dubbing of songs in cartoons Adaptation of the translations
to the rhythm and register of
the original song
• descriptive and
qualitative study
• observation scheme
Translating musical texts rhyming and lip
synchronization
• descriptive and
qualitative study
• observation scheme
Film music Cinematography • descriptive and
qualitative study
• observation scheme
Note. This table shows the thematical trend, theoretical trend and the methodological trend of each article
Translation into film music (4) - Translation Strategies
- Audio-visual
translation
- Translation and
adaptation of songs
from animated movies
• Descriptive,
explicative and
qualitative study
• observation scheme
• comparative chart
• comparative analysis
Dubbing of songs in cartoons Adaptation of the translations
to the rhythm and register of
the original song
• descriptive and
qualitative study
• observation scheme
Translating musical texts rhyming and lip
synchronization
• descriptive and
qualitative study
• observation scheme
Film music Cinematography • descriptive and
qualitative study
• observation scheme
Note. This table shows the thematical trend, theoretical trend and the methodological trend of each article
pág. 4327
Table 4. Representative Excerpts from the Original and Dubbed Versions of the Song
My Best Friends in the World ¿Qué soy para ti?
What I lost, was a piece of your hair Que perdí, Un pedazo de ti
When I just, just had all of you there
Oh, just had all of you there with me, my friends
If you're even my friends.
Pues sin tí, Yo no puedo vivir
Con... Mis amigos
Podré seguir y así
Soñar con tu amor...
What am I to you?
Am I a joke, your knight, or your brother?
¿Qué soy para ti?
¿Soy una broma o tu hermano?
Oh, you a-a-a-a-are my best friends in the world.
You a-a-a-a-are my best friends in the world.
Ustedes soooooon mis amigas sin igual
Lo soooooon no hay nadie mas así,
I'm gonna sing a song to you and I refuse to
make it fake.
Make no mistake,
I'm gonna sing a song that feels so real, it'll
make this do-o-o-o-or break!
Yo les canto mi canción
Y lo haré de corazón...
Lo haré de tal manera y
Tan real que así
Podré abriiiir la puerta.
Table 4. Representative Excerpts from the Original and Dubbed Versions of the Song
My Best Friends in the World ¿Qué soy para ti?
What I lost, was a piece of your hair Que perdí, Un pedazo de ti
When I just, just had all of you there
Oh, just had all of you there with me, my friends
If you're even my friends.
Pues sin tí, Yo no puedo vivir
Con... Mis amigos
Podré seguir y así
Soñar con tu amor...
What am I to you?
Am I a joke, your knight, or your brother?
¿Qué soy para ti?
¿Soy una broma o tu hermano?
Oh, you a-a-a-a-are my best friends in the world.
You a-a-a-a-are my best friends in the world.
Ustedes soooooon mis amigas sin igual
Lo soooooon no hay nadie mas así,
I'm gonna sing a song to you and I refuse to
make it fake.
Make no mistake,
I'm gonna sing a song that feels so real, it'll
make this do-o-o-o-or break!
Yo les canto mi canción
Y lo haré de corazón...
Lo haré de tal manera y
Tan real que así
Podré abriiiir la puerta.
pág. 4328
Table 5. Instrument 1. Concentration Table
ASPECTS DESCRIPTION DIFFICULTY
TO FIND THE
INFORMATION
(FROM 1 TO 5)
PERSONAL
OBSERVATIONS
SECTION 1: GENERAL ASPECTS
RIM AND RHYTHM The same in both 1 The same in both
MAIN THEME - Original song: The
importance of friendship
and nostalgia for the good
times shared.
- Adaptation song: The
need for recognition and
appreciation from another
person who does not
reciprocate your feelings.
1 …
SIGNIFICANT
CHANGE IN THE
LYRICS OR
MELODY
the melody is the same,
the significant change in
the lyrics is in the chorus,
and the omissions that are
made in things that are
said in English but in
Spanish are not
mentioned
3 There are many omissions
and how the sentences are
said in Spanish to make it
sound more natural, is what
causes the changes, for
example in English it is
"my best friends in the
world", whose literal
translation would be "my
best friends in the world ",
but for the song to be
Table 5. Instrument 1. Concentration Table
ASPECTS DESCRIPTION DIFFICULTY
TO FIND THE
INFORMATION
(FROM 1 TO 5)
PERSONAL
OBSERVATIONS
SECTION 1: GENERAL ASPECTS
RIM AND RHYTHM The same in both 1 The same in both
MAIN THEME - Original song: The
importance of friendship
and nostalgia for the good
times shared.
- Adaptation song: The
need for recognition and
appreciation from another
person who does not
reciprocate your feelings.
1 …
SIGNIFICANT
CHANGE IN THE
LYRICS OR
MELODY
the melody is the same,
the significant change in
the lyrics is in the chorus,
and the omissions that are
made in things that are
said in English but in
Spanish are not
mentioned
3 There are many omissions
and how the sentences are
said in Spanish to make it
sound more natural, is what
causes the changes, for
example in English it is
"my best friends in the
world", whose literal
translation would be "my
best friends in the world ",
but for the song to be
pág. 4329
heard, "my friends without
equal" was written, and
like this there are many
more examples
SECTION 2: SEMANTIC ASPECTS
TRANSLATION
STRATEGIES AND
TECHNIQUES
equivalence, adaptation,
reformulation, context,
omission, point of view,
localization and
transposition
4 There are many strategies
and techniques used for the
dubbing of the song, and
although it sounds very
good, it could have
sounded better not using so
many techniques and
leaving certain things that
are mentioned in English
and not in Spanish.
CATEGORIZATION
OF THE
TECHNIQUES
by approach (enfoque)
and level of intervention
4 It is important to classify
to facilitate the
organization of the
information that is
available on the techniques
used in dubbing
TRANSMISSION
OF THE MEANING
AND INTENTION
OF THE SONG
- “My best Friends in the
world”: Sad song that
talks about the pain of
separation and the
nostalgia for lost friends
2 I feel that the original song,
by mentioning so many
things, makes them
remember the moments
they lived and generates
nostalgia, as well as joy for
heard, "my friends without
equal" was written, and
like this there are many
more examples
SECTION 2: SEMANTIC ASPECTS
TRANSLATION
STRATEGIES AND
TECHNIQUES
equivalence, adaptation,
reformulation, context,
omission, point of view,
localization and
transposition
4 There are many strategies
and techniques used for the
dubbing of the song, and
although it sounds very
good, it could have
sounded better not using so
many techniques and
leaving certain things that
are mentioned in English
and not in Spanish.
CATEGORIZATION
OF THE
TECHNIQUES
by approach (enfoque)
and level of intervention
4 It is important to classify
to facilitate the
organization of the
information that is
available on the techniques
used in dubbing
TRANSMISSION
OF THE MEANING
AND INTENTION
OF THE SONG
- “My best Friends in the
world”: Sad song that
talks about the pain of
separation and the
nostalgia for lost friends
2 I feel that the original song,
by mentioning so many
things, makes them
remember the moments
they lived and generates
nostalgia, as well as joy for
pág. 4330
- “¿qué soy para ti?”:
Melancholic song that
talks about the doubts he
has about her because he
cannot be reciprocated
and that he also
appreciates the friendship
that she offers him and
their 2 other Friends.
being all friends, while the
dubbing does not mention
those memories and gives a
lot of weight to what they
feel the singer regarding if
at some point it will be
reciprocated, so it feels like
a melancholic song
Table 6. Instrument 2. Comparative Chart
ASPECTS ORIGINAL SONG “My
Best Friends in the
World”
TARGET SONG
“Qué Soy Para ti”
COMMENTS
MAIN MESSAGE Friendship is a valuable
treasure that must be cared
for and cultivated.
friendship can help
cope with a sad
feeling of not being
reciprocated
Both show that
friendship is something
to be cherished and
appreciated, in the
original version it is a
treasure, while the
Spanish version shows
that it helps him to cope
with certain feelings.
TRANSMITTED
EMOTIONS
Nostalgia, love and
gratitude for friendship.
Nostalgia, doubt,
love and gratitude
for friendship.
Practically both transmit
the same thing at the
moment of listening, the
- “¿qué soy para ti?”:
Melancholic song that
talks about the doubts he
has about her because he
cannot be reciprocated
and that he also
appreciates the friendship
that she offers him and
their 2 other Friends.
being all friends, while the
dubbing does not mention
those memories and gives a
lot of weight to what they
feel the singer regarding if
at some point it will be
reciprocated, so it feels like
a melancholic song
Table 6. Instrument 2. Comparative Chart
ASPECTS ORIGINAL SONG “My
Best Friends in the
World”
TARGET SONG
“Qué Soy Para ti”
COMMENTS
MAIN MESSAGE Friendship is a valuable
treasure that must be cared
for and cultivated.
friendship can help
cope with a sad
feeling of not being
reciprocated
Both show that
friendship is something
to be cherished and
appreciated, in the
original version it is a
treasure, while the
Spanish version shows
that it helps him to cope
with certain feelings.
TRANSMITTED
EMOTIONS
Nostalgia, love and
gratitude for friendship.
Nostalgia, doubt,
love and gratitude
for friendship.
Practically both transmit
the same thing at the
moment of listening, the
pág. 4331
artists manage to connect
well with the audience.
SYMBOLISMS Friendship as a valuable
treasure and nostalgia for
shared moments.
You minimize me
for being young as
looking for an
answer that she does
not correspond to
him.
Due to the omission and
amplification of various
parts, it makes of another
type of message
CULTURAL
REFERENCES
Idioms and expressions
“Do you look down on me
cause I'm younger?”
“I'll remember the pasta
that we shared”
“Make no mistake”
Idioms and
expressions
“¡Yo no puedo
vivir!”
“Me minimizas”
“mis amigas sin
igual.”
“lo haré de
corazón.”
In the English version
certain words and
conjugations of everyday
and informal language
are used, as well as
abbreviations, in the
dubbed song certain
expressions and words
used by Latin people are
used, as well as certain
sentences that although
they are not used on a
daily basis, it could be
said that they are well
used.
PERCEPTION OF
THE SONG
Is perceived as a touching
and emotional song that
highlights the importance
and value of friendship. It
Is perceived as a
beautiful ode to
friendship, capable
of evoking genuine
Both are perceived in an
emotional way and are
considered beautiful
songs that speak of the
artists manage to connect
well with the audience.
SYMBOLISMS Friendship as a valuable
treasure and nostalgia for
shared moments.
You minimize me
for being young as
looking for an
answer that she does
not correspond to
him.
Due to the omission and
amplification of various
parts, it makes of another
type of message
CULTURAL
REFERENCES
Idioms and expressions
“Do you look down on me
cause I'm younger?”
“I'll remember the pasta
that we shared”
“Make no mistake”
Idioms and
expressions
“¡Yo no puedo
vivir!”
“Me minimizas”
“mis amigas sin
igual.”
“lo haré de
corazón.”
In the English version
certain words and
conjugations of everyday
and informal language
are used, as well as
abbreviations, in the
dubbed song certain
expressions and words
used by Latin people are
used, as well as certain
sentences that although
they are not used on a
daily basis, it could be
said that they are well
used.
PERCEPTION OF
THE SONG
Is perceived as a touching
and emotional song that
highlights the importance
and value of friendship. It
Is perceived as a
beautiful ode to
friendship, capable
of evoking genuine
Both are perceived in an
emotional way and are
considered beautiful
songs that speak of the
pág. 4332
generates a sense of
warmth and emotional
connection as it conveys
the deep feelings of love
and appreciation that the
character of Finn has for
his best friends.
The song evokes a sense of
nostalgia for the shared
moments and the
emotional bonds formed
throughout their
adventures. It inspires a
feeling of camaraderie and
unity, reminding us of the
significance of having true
friends in our lives.
emotions and
reminding listeners
of the importance of
having close and
dear friends in life.
However, the
enveloping music
and the emotive
voice of Finn (and in
the case of the
dubbing, of the actor
playing him)
reinforce the feeling
of affection and
highlight the
sincerity of the
feelings expressed
in the song.
value of friendship,
where you can feel the
connection of the
protagonist with his
friends, in addition to the
voices of the singers are
emotional and make the
verses are transmitted
with intensity, and in
both you can notice the
sincerity with which the
protagonist sings
CATEGORIZATION
OF THE
TECHNIQUES
No one because is the
original song
The categories of
the types of
techniques used that
could be observed
are the following:
1. Literal translation
techniques
2. Free translation
techniques
You can notice the
difference between the
songs, you can see that in
many cases a literal
translation is used,
because they are not so
complex sentences, you
can also see some free
translation because there
generates a sense of
warmth and emotional
connection as it conveys
the deep feelings of love
and appreciation that the
character of Finn has for
his best friends.
The song evokes a sense of
nostalgia for the shared
moments and the
emotional bonds formed
throughout their
adventures. It inspires a
feeling of camaraderie and
unity, reminding us of the
significance of having true
friends in our lives.
emotions and
reminding listeners
of the importance of
having close and
dear friends in life.
However, the
enveloping music
and the emotive
voice of Finn (and in
the case of the
dubbing, of the actor
playing him)
reinforce the feeling
of affection and
highlight the
sincerity of the
feelings expressed
in the song.
value of friendship,
where you can feel the
connection of the
protagonist with his
friends, in addition to the
voices of the singers are
emotional and make the
verses are transmitted
with intensity, and in
both you can notice the
sincerity with which the
protagonist sings
CATEGORIZATION
OF THE
TECHNIQUES
No one because is the
original song
The categories of
the types of
techniques used that
could be observed
are the following:
1. Literal translation
techniques
2. Free translation
techniques
You can notice the
difference between the
songs, you can see that in
many cases a literal
translation is used,
because they are not so
complex sentences, you
can also see some free
translation because there
pág. 4333
3. Cultural
translation
techniques
4. Creative
translation
techniques
5. Audiovisual
translation
techniques
6. Literary
translation
techniques:
are things that are not
mentioned in the original
version and are
mentioned in the
dubbing, the cultural
translation is used to use
sentences and common
expressions of the
dubbed language, and in
the music video you can
see that what the singer
sings goes according to
the movements of the
character.
VERSE ON WHICH
THE SONG
FOCUSES
Oh, you are my best
friends in the world
You are my best friends in
the world
That's right, I'm talking
about the two of you girls
And you Jake
I wanna sing a song to you
and I refuse to make it fake
¿Qué soy para ti?
¿Soy una broma o tu
hermano?
¿Qué soy para ti?
Me minimizas por
ser joven.
The focus of the verse
changes because of the
language, the song is
repetitive so it is not
difficult to give more
attention to another
verse, and, in fact, the
change of several things
in dubbing causes it to
focus on other verses,
plus the language
requires that change for
greater acceptance,
3. Cultural
translation
techniques
4. Creative
translation
techniques
5. Audiovisual
translation
techniques
6. Literary
translation
techniques:
are things that are not
mentioned in the original
version and are
mentioned in the
dubbing, the cultural
translation is used to use
sentences and common
expressions of the
dubbed language, and in
the music video you can
see that what the singer
sings goes according to
the movements of the
character.
VERSE ON WHICH
THE SONG
FOCUSES
Oh, you are my best
friends in the world
You are my best friends in
the world
That's right, I'm talking
about the two of you girls
And you Jake
I wanna sing a song to you
and I refuse to make it fake
¿Qué soy para ti?
¿Soy una broma o tu
hermano?
¿Qué soy para ti?
Me minimizas por
ser joven.
The focus of the verse
changes because of the
language, the song is
repetitive so it is not
difficult to give more
attention to another
verse, and, in fact, the
change of several things
in dubbing causes it to
focus on other verses,
plus the language
requires that change for
greater acceptance,
pág. 4334
however the main
objective of the song is
shifted a little, making it
necessary to analyze it
further to realize that if
they are about the same
thing and have the same
objective but a certain
verse is strengthened.
POSSIBLE
“ERRORS”
No one because is the
original song
Generalization of
some situations;
omission of some
memories; adding
certain parts that
change the main
theme of the song;
lack of vocabulary
of the culture
Putting very general
things, like in the part
where he mentions
losing something from
one of his friendships,
and in the original
version, he mentions that
it's a lock of hair, also
where he mentions
remembering all the
moments they lived and
erasing specific things
like the place where they
ate pasta, where
omission also comes into
play, and also changing
the main theme, although
it was well received in
however the main
objective of the song is
shifted a little, making it
necessary to analyze it
further to realize that if
they are about the same
thing and have the same
objective but a certain
verse is strengthened.
POSSIBLE
“ERRORS”
No one because is the
original song
Generalization of
some situations;
omission of some
memories; adding
certain parts that
change the main
theme of the song;
lack of vocabulary
of the culture
Putting very general
things, like in the part
where he mentions
losing something from
one of his friendships,
and in the original
version, he mentions that
it's a lock of hair, also
where he mentions
remembering all the
moments they lived and
erasing specific things
like the place where they
ate pasta, where
omission also comes into
play, and also changing
the main theme, although
it was well received in
pág. 4335
the dubbing, the
translation should
maintain the same verse
as the center and find a
better translation for "my
best friends in the world"
instead of leaving it as
"my unmatched friends"
since there are better
ways to phrase it, and
even if the verse had
been adjusted to rhyme,
it would have been the
best option.
CONCLUSION
Semantic analysis in translation is a crucial tool for understanding how meaning is transmitted, reshaped,
and reinterpreted across languages and cultures. In the case of “My Best Friends in the World” and its
Spanish adaptation “¿Qué soy para ti?”, this approach allowed us to examine how translation strategies,
omissions, and shifts in thematic focus influence both the narrative intent and the emotional reception
of the song.
The analysis revealed three key findings. First, translation techniques such as literal translation and
creative adaptation maintained the rhythm and musicality of the original while inevitably reshaping
certain expressions. Second, omissions and generalizations in the dubbed version simplified specific
details. Altering the nuances of nostalgia and shared memory. Third, the shift in thematic focus toward
unrequited romantic feelings redirected the listener´s perception, placing greater emphasis on individual
emotion than on collective friendship. Together, these findings demonstrate that even subtle changes in
the dubbing, the
translation should
maintain the same verse
as the center and find a
better translation for "my
best friends in the world"
instead of leaving it as
"my unmatched friends"
since there are better
ways to phrase it, and
even if the verse had
been adjusted to rhyme,
it would have been the
best option.
CONCLUSION
Semantic analysis in translation is a crucial tool for understanding how meaning is transmitted, reshaped,
and reinterpreted across languages and cultures. In the case of “My Best Friends in the World” and its
Spanish adaptation “¿Qué soy para ti?”, this approach allowed us to examine how translation strategies,
omissions, and shifts in thematic focus influence both the narrative intent and the emotional reception
of the song.
The analysis revealed three key findings. First, translation techniques such as literal translation and
creative adaptation maintained the rhythm and musicality of the original while inevitably reshaping
certain expressions. Second, omissions and generalizations in the dubbed version simplified specific
details. Altering the nuances of nostalgia and shared memory. Third, the shift in thematic focus toward
unrequited romantic feelings redirected the listener´s perception, placing greater emphasis on individual
emotion than on collective friendship. Together, these findings demonstrate that even subtle changes in
pág. 4336
translation can significantly influence how audiences interpret concepts like friendship, love, and
gratitude.
Beyond its academic contribution, this research highlights the value of semantic analysis in everyday
life. By critically examining how meaning evolves through translation, individuals can become more
aware of cultural diversity and the ways in which language shapes emotional understanding. For
educators, communicators, and artists, such analysis offers a practical means to foster intercultural
empathy and preserve the integrity of creative expression in translation.
Future research should extend this approach to a wider range of musical genres and dubbing contexts,
as well as explore audience reception to better understand the effects of semantic shifts. In doing so,
semantic analysis can continue to serve both as a rigorous scholarly method and as a practical bridge
connecting people through the shared experience of music.
REFERENCES
• Aminoroaya, S., & Amirian, Z. (n.d.). Investigating the translation of songs in Persian dubbed
animated movies. Skase.Sk. Retrieved October 7, 2022, from
http://www.skase.sk/Volumes/JTI11/pdf_doc/04.pdf
• Brownrigg, M. (2003, April). Film Music and Film Genre. Core.ac.uk.
https://core.ac.uk/download/pdf/40108516.pdf
• Callejero, A. M. (julio del 2019). La traducción audiovisual para el doblaje en las canciones
infantiles: «La Bella Durmiente». Uva.es.
https://uvadoc.uva.es/bitstream/handle/10324/41365/TFG-O-1813.pdf?sequence=1
• Camila Arjona Suárez María José Escobar Pulido. (s/f). Una aproximación al estudio de la
traducción de canciones de medios audiovisuales. Edu.co. Recuperado el 7 de octubre de 2022,
de
https://repository.javeriana.edu.co/bitstream/handle/10554/50242/Trabajo%20de%20Grado-
Arjona&Escobar.pdf?sequence=1
• Elisa Martínez Acebo Manuel Cristóbal Rodríguez Martínez. (24 de marzo de 2021). La
traducción de canciones en películas: análisis contrastivo de géneros cinematográficos.
https://revistas.ucm.es/index.php/ESTR/article/view/69389
translation can significantly influence how audiences interpret concepts like friendship, love, and
gratitude.
Beyond its academic contribution, this research highlights the value of semantic analysis in everyday
life. By critically examining how meaning evolves through translation, individuals can become more
aware of cultural diversity and the ways in which language shapes emotional understanding. For
educators, communicators, and artists, such analysis offers a practical means to foster intercultural
empathy and preserve the integrity of creative expression in translation.
Future research should extend this approach to a wider range of musical genres and dubbing contexts,
as well as explore audience reception to better understand the effects of semantic shifts. In doing so,
semantic analysis can continue to serve both as a rigorous scholarly method and as a practical bridge
connecting people through the shared experience of music.
REFERENCES
• Aminoroaya, S., & Amirian, Z. (n.d.). Investigating the translation of songs in Persian dubbed
animated movies. Skase.Sk. Retrieved October 7, 2022, from
http://www.skase.sk/Volumes/JTI11/pdf_doc/04.pdf
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