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Musica Popolare Italiana


  Instruments by regions (Click on a region to see the corresponding instruments) Campania, Sicily, Molise, Lombrady, Veneto, Trentino Alto Adige, Emilia Romagna, Basilicata, Puglia, Sardinia, Piedmont, Calabria, Lazio Dances by regions (Click on a region to see the corresponding dance) Campania, Sicily, Veneto, Emilia Romagna, Basilicata, Puglia, Sardinia, Piedmont, Calabria, Marche, Lazio, Abruzzo, Valle d’Aosta, Friuli Venezia Giulia, Tuscany


  • harp
  • lute
  • guitar
  • mandolin
  • putipù
  • triccaballacche
  • scetavajasse
  • Mariolu or Marranzanu or ngannalaruni (Jew’s-harp)
  • Azzarinu (sistrum)
  • Friscalettu (flute)
  • Tammurinu (big drum)
  • Ciaranedda (bagpipe)
  • Circhettu
  • Marranzano (musical instrument of the family of idiophones pinch, many are its phonetic variants in Sicily: Mariolu is the term of Palermo, Marranzanu to Catania, Messina marranzuni. Lexical Other variants are: ngannalarruni, nningalarruni, camarruni, malularruni, etc. .)
  • Tambourine (musical instrument belonging to the class of membranophones, is formed by a membrane of skin stretched over a wooden circle, a few centimeters high, which bears within the appropriate slits, a number of small metal plates coupled, rotatable on a wire , in Sicily, ‘commonly called Tambureddu or tammureddu, its appearance, probably dates back to the seventh century BC, during Greek colonization)
  • Friscalettu (reed pipe, musical instrument of the family of aerophones, similar to the flute timbre but more ‘robust and brilliant, and’ consists of a hollow cylinder barrel containing a total of 9 holes: 7 front and 2 rear, the main instrument of complex Sicilian folklore and folk, is usually built in shades ‘of dO-SOL-LA, its name varies from place to place, so you can’ see him as friscaliettu, friscaliattu, friscarettu, etc. friscaloru.; exception San Fratello (Messina)
  • Quartara (used as a musical instrument from the farmers at the beginning of 900, today is an integral part of the complex folklore, is played by blowing into a particular characteristic that determines a sound to be low; Piò be classified in the family of aerophones)
  • Bagpipe
  • Ciaramella
  • Guitar swing, the frame drum
  • Barrel organ and accordion
  • Whistle
  • Flute cortex
  • Double flute
  • Terrarella or quartara (clay jar)
  • Colascione (tubular zither)
  • Striculatora (stropicciatore)
  • Tablet
  • Traccola
  • Traccagnola (Castagnetta)
  • Treefrog
  • Bells
  • Bufù (friction drum)
  • Mandolin
  • Guitar
  • Accordion
  • Mandolin
  • Violin
  • Thimpano (harpsichord)
  • Pive
Trentino Alto Adige
  • Melodeon
  • Bagpipes
  • Violin
  • Guitar
  • Flutes
  • Ocarina
  • Mandola
  • Mandolin
  • Basset
Emilia Romagna
  • Diatonic accordion bellows
  • Violin
  • Clarinet
  • Lirone (a kind of cello)
  • Arpa Viggiano
  • Sampagna cane
  • Guitar swing
  • Tambourine
  • Gloomy gloomy (friction drum)
  • Triangle
  • Castagnola
  • Launeddas
  • Sonettu (accordion)
  • Ghiterra (guitar)
  • Fife
  • Accordion
  • Squeeze-box
  • Tambourine
  • Calabrian Lira (traditional musical instrument, characteristic of some areas of Calabria area of Locri and area of ​​Monte Poro (resort between Vibo Valentia Tropea and Nicotera, and from which all members of the group)
  • Guitar swing (another typical instrument of the Calabrian tradition, already present in the country since the fourteenth century, of undoubted home educated, it is also known as the Italian guitar as opposed to the guitar “classical” which was imported from France only a few centuries ago, is indicated with the term of French guitar; has a shape similar to an elongated eight, the shoulders have in fact a width close to that of the belly)
  • Pipita
  • Bagpipe
  • Friscaletto
  • Double flutes
  • Mandolin
  • Accordion
  • Tambourine
  • Castanets
  • Guitar
  • Accordion
  • Mandolin


  • Tarantella
  • Dancing on the drum (usually the large family of tarantella, spread around the Vesuvius in Campania, have been identified so far 3-4 typological different sub-genres of dance on the drum: the domiziano (with a strong correspondence between sound and musical repertoire) , that Vesuvius (still well maintained and structured), the Lattaro (tending to “vutata” in a clockwise direction) and Nocera-Sarno (in an advanced state of corruption). [See specific page on this website: ]).
  • Tammurriate (which still create an atmosphere while celebrating ecstatic Dionysian rites linked to the Virgin Mary in a plot typical of the syncretic religion Southern)
  • Mascherada (typical dance of Serinense, in the province of Avellino, carnival story in music and dance, a misadventure of Pulcinella represented in the spectacle of “Zeza”)
  • Tarantella MonMomenti of Vitarano (Ballad for three days accompanies the life and death of Carnival)
  • Pastoral
  • Ballittu (It has many similarities with the wider family of the southern tarantella; was performed in most cases and not mixed couple; many local variants, some of them in bound form and very “rude” (pirullè), as well as vast is the musical repertoire refers to ballittu lu)
  • bridal chiavu
  • Lu diavulecchiu (circle)
  • The puliciusa (Tarantella)
  • The fasola
  • Venetian (dance sung of Renaissance origin, which takes its name from the Venetian female figure who is the protagonist, the epicenter of diffusion seems to have been of Tuscany, danced in four, with two mixed couples)
Emilia Romagna
  • Vinchia (circle dance documented on the Adriatic coast, but already known in the early decades of the twentieth century. Friuli; ​​probable origins of the Austro-Hungarian, looks like dancing in a circle with the interval of gestures or rhythmic beats)
  • Dancing with the scythe
  • Dance with a crossroad
  • Tarantella with the town
  • Pizzica Pizzica Pizzica and fencing (from Salento to the whole Bari, Matera in Basilicata’s Ionian area was widespread until the last policy and social struggles of the name of the pinch pinch to indicate a lively dance of torque that flanked or sometimes mingled with the tarantella same; linked to the therapeutic ritual of tarantism, the pinch pinch appears as a term in the choral sources only from the early years of the nineteenth century., today the practice alive in the original forms of the dance is almost extinct, from the morphological point of view several documents gathered from the video replay of the elderly, bind the pinch pinch to a larger subset of the Apulian-Lucania southern tarantella; once the dance also included the invitation with the delivery of the handkerchief from the second half of the 90s in Salento Lecce some operators have issued a neo-pinches situation completely different from the structures and style of traditional executive, selling it as a dance DOC, a niche market mainly youth has transposed this new myth as a sort of “alternative” along with a sense of collective fascination produced by the rediscovery of the phenomenon of tarantism; near Lecce, near Brindisi and Tarantino is practiced by men only duellata the form of pinches, called pinches fencing or screen, and there are different ways of shielding and the fencers are often linked to the world prison and sedentary Roma [See specific page on this website: / pinches])
  • The Pinch of Love (also known as Asia Minor or Pizzicarella, ballad with the sword dance, dance of courtship and challenge: both male, with the struggle of knives called “swords”, both female)
  • The Pizzica Taranta (dance music therapy, with roots in Arab culture, used for healing bites of tarantulas and snakes, but also for the care of any imbalance of psychological malaise and masked behind the sting of such animals)
  • Ballu tundu (choreographic form dominant in ancient and widely witnessed in the Middle Ages to the Renaissance siono, is now fully justified especially in Sardinia, where there are many variations modular with different names: passu, torrau passu, dillu, Dantza, bicchiri, tsoppu, etc.. , on ballu tundu in recent decades often tends to open up and “show” on the outside, probably this “break” the circle is also stimulated by the increasingly frequent spectacle of the many folk groups, for which the introversismo excludes the look of the dance mother of the viewer from the scene of the space choral); [See specific page on this website:].)
  • Ballu sardu
  • On ballu tondu
  • Cantu to ghiterra
  • The pipiolu
  • Current (dance already present within the noblest of the seventeenth and eighteenth century., Is attested primarily in the Piedmont area, where it occurs more widely as a dance to more mixed couples)
  • The Monferrina (the best known ballad Piedmont)
  • Tarantelle
  • Pizziche
  • Tammurriate
  • La Tarantella Calabrese or Viddanedda (source magnogreca, with his choreographies marked by the circular controls capoballo)
  • Tarantella du Pollino (surely the dance that best represents harmony, strength, vivacity: elements that leaked strongly in our culture. Tarantella This was and is still danced in our small village and warm. Mormanno is at the heart of the National Park Pollino: the mountain, the mountain culture, the unique landscapes mean that the tradition remained alive and were mostly protected from external influences. This has resulted in a real specialization and differentiation of the various dances and songs for each country belonging to ‘ Pollino area, the circular and elliptical motion that is created during the dance describes the beginning and end of all things dance that “combines the cosmic perfection”)
  • Quadrille (perhaps one of the most popular dances in the world, a dance full of figures, images, danced the quadrille especially at weddings, a curiosity, then the music was only live who had no friends who knew how to entertain, should refer to their real orchestras and the burden renumerativo was and had to be fully covered by the “cumpari” (the man at the wedding), which among other things was to “lead the dance”)
  • Fagona (tarantella particular which was celebrated on the feast of St. Joseph, March 19 of each year, and tradition has it that every “vicinanzu” on the occasion of this holy day the children were marked early in the morning to pick up the blessed bread at the devout families, and the goodness of families devoted to the saint did not stop only in this dispensation of blessed bread, but it was so that anyone could I would say he had to go to lunch at the same, it was a lunch special, full of life, tradition , but above all love for others, usually the guests had the opportunity to taste the following dishes: “fasuli Russian n’dra piñata” (pinto beans cooked in special clay pots called Pignate), “laganu cu ciciri” ( a special pasta typical of Mormanno topped with the excellent chickpea grown in Pantano), and “cod frittu” (fried cod) in the month preceding the guys in the neighborhood of the village, they had a daunting task trying to collect a quantity of firewood that they can raise for that date a beautiful bonfire in honor of the holy in the evening every person who wanted to could celebrate dancing this dance around the bonfire, until late at night)
  • Scholtz (during the long life of Mormanno have followed various populations from the Lombards, the Basilian, the Normans, the Angevins and Aragonese Spanish, the French etc.., Each of which has left a strong imprint on the culture of the people of Mormanno, this dance nor is the confirmation: a minuet of French origin, was danced in the homes of Lords to celebrate the rite of betrothal)
  • Saltarello
  • Stornello or refrain
  • Lavanderina (in the regions belonging to the former state of the Church was widespread until a few decades ago, a dance said, according to the places, lavanderina, lavandera, lavandara, laundress dance or dance handkerchief is an ancient dance pantomime character to narrative and representative of general circulation in Europe since the late Middle Ages, as already mentioned branle des lavandères Thoinot by Arbeau in sec. XV in France, this type of dance was to have a wide spread throughout the peninsula, in the last century Belli cited this dance along with the pop-up dancing as one of the most popular used in Rome, there is still a widespread transformation singing and playful as children play under the name of “the beautiful lavanderina” while some versions sung and mimed called for a dialogue between a man and a laundress, in which shone as predominant aspect of the courtship, the versions of Romagna so far emerged from the descriptions mnemonic had lost the text dialogue and came in forms influenced by the cabal or quadrille)
  • Saltarello
  • Saltarella
Valle d’Aosta
  • Montagnes valdôtaines, Voici venir la nuit (?)
Friuli Venezia Giulia
  • La Furlana o friulana
  • Sor Cesare (mazurka figured the second half of the last century, probably born in Tuscany by a narrative song, which took a matter of gossip between Caesar Bon-Bon and a certain Nina, the song was spread by storytellers in the squares during the fairs, through the sale of loose sheets)
  • Venetian (dance sung of Renaissance origin, which takes its name from the Venetian female figure who is the protagonist, the epicenter of diffusion seems to have been of Tuscany, danced in four, with two mixed couples)