Sandro Volta

Classical mandolin refers to the Western art‑music tradition of writing for and performing on the mandolin, from the Baroque and Classical eras through the Romantic period and into the contemporary concert repertoire. Centered originally in 18th‑century Naples, the tradition includes solo sonatas, concerti, chamber music with continuo, and later Romantic character pieces and virtuoso showpieces. Typical textures rely on the mandolin’s bright, bell‑like attack and sustained tremolo to emulate a singing line, supported by functional tonal harmony. Across the 19th and early 20th centuries the instrument also fostered large mandolin orchestras (plectrum ensembles), a pedagogical literature, and a distinctive performance practice that remains active today both in historically informed performance and in new commissions.

Medieval music refers to the diverse sacred and secular musical practices of Europe between the fall of the Western Roman Empire and the dawn of the Renaissance. It spans more than eight centuries, from early monophonic chant to the first notated polyphony. Core features include the use of church modes rather than major/minor, extensive reliance on vocal music (Latin sacred chant as well as vernacular song), and the progressive development from unmeasured chant to rhythmic modal notation and, later, mensural notation. Texture evolves from monophony (plainchant, troubadour songs) to organum, conductus, and the motet, culminating in complex isorhythmic works by the late 13th–14th centuries. Secular traditions—troubadours and trouvères in France, Minnesänger in German lands, and the Iberian Cantigas—coexisted with and influenced sacred practice. Instruments such as the vielle, harp, psaltery, recorder, shawm, hurdy-gurdy, and portative organ often doubled or accompanied voices, though much music remained purely vocal.