A Historical Overview of Musical Worship & Culture in Sardinia 465
gozos, while in the south, the term gòccius/gòggius (Campidanese
Sardinian language) is derived from the Catalan goigs. Today,
with the term gòsos are generically designated both the northern
and southern tradition. The gòsos, usually in octosyllabic verse,
consist of an introductory quatrain, from which the refrain is ob-
tained (in Sardinian language torrada; in the Catalan goigs: res-
post), followed by a strophe (in Spanish: cobla; in Catalan: copla),
usually with six lines, in turn followed by the refrain. In the sec-
ond part of the strophe (in Catalan retronxa), the rhymes of the
torrada are reproduced. The first Gozos attested in Sardinia (al-
though the tradition is certainly older) are: Los Gozos que se / can-
tan todos los Sabados despues / de la Salve y todos los dias del año /
delante la santiss(ima) Ymagen de / N. Señora de Buenayre (“Gozos
that are sung every Saturday after the Hail Holy Queen and every
day of the year in front of the image of Our Lady of Bonaria”), pub-
lished in Antiochus Brondo, Historia y Milagros de N. Señora / de
Buenayre (“History and Miracles of Our Lady of Bonaria”). [...] En
Callar. [...] / Por Iuan Maria Galcerino, Año 1595 (“In Cagliari [...] by
Giovanni Maria Galcerino, Year 1595”). The number of strophes is
variable (in some cases there are more than twenty). Among the
most common strophic patterns: abba [ba = torrada] | cddcca | ba
| effeea | ba | [...]. Musical scheme: xyxy | xyxyxy | xy | xyxyxy [...].
Gradual 1. Gradual. Chant of the Proprium missae. 2. Musical-liturgical
book that contains the chants of the Proprium missae.
Gregorian chant According to a universally popular historiography, indicates, by
definition, the tradition of monodic song par excellence of the
Roman Rite, with reference to Pope Gregory the Great (590–604).
In fact, in the territory of the Franks, during the Carolingian pe-
riod, the “Gregorian chant” originates from the merging of the
repertoires of the Gallican liturgical music with those of the old
Roman chant.
Hymn Poetical-musical piece for the Liturgy of the Hours. In the West,
in addition to the pioneering experiments of Hilary of Poitiers
(† 367) and Eusebius of Vercelli, a native of Sardinia († 371, 1
August), the hymn prevailed thanks to Ambrose, bishop of Milan
(† 397, 4 April) who adopted the *acatalettic iambic dimeter; later,
a wide range of other metrical patterns were added, including:
the trochaic dimeter, the trochaic tetramer (versus quadratus),
the sapphic, the trochaic tripodia. In their musical and metrical