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This text--in fact a set of two texts--is an important contribution to the understanding of Clementi's aesthetic and is the most extensively self-reflective writing of his career. An excerpt from this brief essay appeared in print soon after the original 1979 publication in Autobiografia della musica contemporanea, but this occasion marks the first time that the text has been translated in full. The translator has attempted to be faithful to the quirks of Clementi's literary style, which is highly allusory and difficult. On a purely superficial level, he uses far more dashes and parentheses than the translator usually would, for instance! The translator's role was to be idiomatic, while preserving as much as possible. Keywords: Autobiography; Canons; Clementi, Aldo (1925-); Graphic Notation; Informel; Premio Italia; Visual Music DOI: 10.1080/07494467.2009.494052

John Cage's 1958 visit to Darmstadt has taken on an unprecedented level of significance in the historiography of new music. Borio argues that Cage's physical arrival in Europe was one of four primary reasons for the dissolution of serial thinking. This article queries, though, whether the impact of Cage's visit was not created by Cage's own words or music, but instead by the translation of Cage's words into German. An analysis of the translation shows significant disparities between it and the original, making politically concrete in German what was only implicit in English. In short, this article will argue that one of the most significant controversies in the history of the post-war avant-garde became so through Cage's assimilation, through translation, into a burgeoning German political debate. Keywords: John Cage; Heinz-Klaus Metzger; Darmstadt; Translation

At some point during the editorial process of Valerie Samson's review of Celestial Airs of Antiquity (Notes, June 1999, pp. 988-91), the English translation for the guqin piece Liushui on [...]