Epicurea, Lucretiana, Philosophica by Guido Milanese
The meaning of «happiness» in Lucretius and in the Epicurean tradition: the unity of life, life a... more The meaning of «happiness» in Lucretius and in the Epicurean tradition: the unity of life, life as a project. Appendix I: on the meaning of «summum bonum» and the starting point of Epicurean ethics; Appendix II: Hellenistic ethics and «virtue ethics».
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Scripta classica Iohanni Tarditi oblata, ed. Belloni, L.; Milanese, G. ; Porro, A., 1995
A study on some passages of Tibullus I 1 shows that some Tibullan topics are not mere "poetical" ... more A study on some passages of Tibullus I 1 shows that some Tibullan topics are not mere "poetical" passages but that they share important ideas and themes with the philosophical literature of the 1st century BC, particularly with texts of Philodemus.
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Epicureismo greco e romano. Atti del Congresso Internazionale: Napoli 19-26 maggio 1993, Napoli (1996), I 269-286, 1996
A study on a basic question of Epicurean philosophy of language: what is the "link" of words and ... more A study on a basic question of Epicurean philosophy of language: what is the "link" of words and objects?
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Notes on the research of Alberto Grilli (1920-2007) on Antiochus and Cicero, with some new data s... more Notes on the research of Alberto Grilli (1920-2007) on Antiochus and Cicero, with some new data supporting Grilli's views.
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What is the real meaning of Lucretius II 22 (delicias quoque uti multas substemere possint) ? Thi... more What is the real meaning of Lucretius II 22 (delicias quoque uti multas substemere possint) ? This study, focussing on the semantic of the Latin verb _sternere_, proposes a new interpretation of this text through a comparison with Epicurean sources.
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Can a poet write about everything? Or can a subject be "too much" for the strength of an author? ... more Can a poet write about everything? Or can a subject be "too much" for the strength of an author? This problem emerges from Lucretius prologue to Book 5, and this passage is explained through a comparison with Horace's "Ars Poetica", Philodemus and other authors. A textual problem in Horace's "Ars" line 40 is also examined.
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Aevum-rassegna Di Scienze Storiche Linguistiche E Filologiche, 1986
A note on the Epicurean sources of this passage of Lucretius.
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Explorations in a Scholarly Genre, 2015
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The Classical World, 1991
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Latin language and/in Gregorian Chant by Guido Milanese
Rivista Liturgica, 2004
A research on the Italian text of hymns/songs composed for liturgical use in Italy. The semantic ... more A research on the Italian text of hymns/songs composed for liturgical use in Italy. The semantic world of these texts depicts a basically "horizontal" pattern, dealing with earthly problems and almost never with religious issues, not to mention the theological ones.
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CURIOSITAS Studi di cultura classica e medievale in onore di Ubaldo Pizzani. Edited by ANTONINO ISOLA — ENRICO MENESTÒ — ALESSANDRA DI PILLA, 2002
A research on the meaning of "paraphonia" and "paraphonista" in the sources of the Late Antiquity... more A research on the meaning of "paraphonia" and "paraphonista" in the sources of the Late Antiquity, compared with Greek and Latin lexicography, shows that already in the 7th century the performance of liturgical music in Rome could be polyvocal.
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The origin of the "Gregorian chant" repertoire is linked to the linguistic interests of the Carol... more The origin of the "Gregorian chant" repertoire is linked to the linguistic interests of the Carolingian culture, and particularly to the issue of the new unified pronunciation of Latin and to the interest in a new unified Latin.
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Aevum-rassegna Di Scienze Storiche Linguistiche E Filologiche, 1995
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Hispania terris omnibus felicior: premesse ed esiti di un processo di integrazione, pp. 357-371, 2002
The influence of the Hispanic liturgical repertoire on the new Carolingian liturgy and music has ... more The influence of the Hispanic liturgical repertoire on the new Carolingian liturgy and music has been recognized at least since Baroffio's work on the Ambrosian offertory. The purpose of this essay is to study some lexical problems (offertorium / sacrificium) and stylistic features (the magniloquent repetitions of the Spanish style). It is suggested that the origin of word "sonetto" (= little "sono") is to be traced back to the technical word "sono" / "sonus" / "son", typical of the Hispanic liturgy.
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*NOTE* This article was written before Summorum Pontificum; as a consequence, the `practical' rem... more *NOTE* This article was written before Summorum Pontificum; as a consequence, the `practical' remarks are outdated. The historical reconstruction, however, may be still useful.
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This article examines the contribution that the so-called traditionalist movement can bring to the contemporary debate on sacred music in the Catholic liturgy. After Vatican II Annibale Bugnini developed a liturgical form that profoundly differed from the Catholic tradition; moreover, in practice the total abandonment of Latin rapidly imposed itself, against the (still very recent) decisions of Vatican II. The traditional movement was born in a context in which Latin, Gregorian chant, classical polyphony and traditional altars were considered as “anti-conciliar” (while the decisions of Vatican II had no connection with the practice established in the Seventies and Eighties). After the break with the Society of Saint Pius X founded by Mgr. Lefebvre, the Vatican allowed the celebration of the traditional liturgy on specific canonic conditions. Unfortunately the situation of sacred music in the churches where the traditional liturgy was adopted — places that could be thought to constitute the most favourable environments for the development of high- quality Catholic sacred music — is not without its problems. The paper tries to highlight the ups and downs of the liturgical-musical situation in the world of the traditionalist milieu.
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Dal mondo antico all ’ universo medievale: nuove modulazioni di lingue e di culture, ed. by Rosa Bianca Finazzi and Paola Pontani, 2013
Some events of the cultural and spiritual life of the 9th century may be at first sight interpret... more Some events of the cultural and spiritual life of the 9th century may be at first sight interpreted as not related: for example the origins of a unified liturgical repertoire and the interest in Latin lexicography. However, within the cultural environment of Alcuin and of the Carolingian Court it is easy to point to a common reason in the project of a new unified, European Latin.
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Epicurea, Lucretiana, Philosophica by Guido Milanese
Latin language and/in Gregorian Chant by Guido Milanese
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This article examines the contribution that the so-called traditionalist movement can bring to the contemporary debate on sacred music in the Catholic liturgy. After Vatican II Annibale Bugnini developed a liturgical form that profoundly differed from the Catholic tradition; moreover, in practice the total abandonment of Latin rapidly imposed itself, against the (still very recent) decisions of Vatican II. The traditional movement was born in a context in which Latin, Gregorian chant, classical polyphony and traditional altars were considered as “anti-conciliar” (while the decisions of Vatican II had no connection with the practice established in the Seventies and Eighties). After the break with the Society of Saint Pius X founded by Mgr. Lefebvre, the Vatican allowed the celebration of the traditional liturgy on specific canonic conditions. Unfortunately the situation of sacred music in the churches where the traditional liturgy was adopted — places that could be thought to constitute the most favourable environments for the development of high- quality Catholic sacred music — is not without its problems. The paper tries to highlight the ups and downs of the liturgical-musical situation in the world of the traditionalist milieu.
***
This article examines the contribution that the so-called traditionalist movement can bring to the contemporary debate on sacred music in the Catholic liturgy. After Vatican II Annibale Bugnini developed a liturgical form that profoundly differed from the Catholic tradition; moreover, in practice the total abandonment of Latin rapidly imposed itself, against the (still very recent) decisions of Vatican II. The traditional movement was born in a context in which Latin, Gregorian chant, classical polyphony and traditional altars were considered as “anti-conciliar” (while the decisions of Vatican II had no connection with the practice established in the Seventies and Eighties). After the break with the Society of Saint Pius X founded by Mgr. Lefebvre, the Vatican allowed the celebration of the traditional liturgy on specific canonic conditions. Unfortunately the situation of sacred music in the churches where the traditional liturgy was adopted — places that could be thought to constitute the most favourable environments for the development of high- quality Catholic sacred music — is not without its problems. The paper tries to highlight the ups and downs of the liturgical-musical situation in the world of the traditionalist milieu.