In the years following 1948, the activity of many of the Italian composers that the Encyclopedia continued has already reported, from the representatives of the 1880 generation, Gian Francesco Malipiero and Ildebrando Pizzetti, to those of the 1890 generation, such as Giorgio Federico Ghedini and Lodovico Rocca, to those of the 1900 generation, among whom Luigi Dallapiccola confirmed their pre-eminent place and Goffredo Petrassi, to the youngest. Also in Italy, as in other countries, there has been an approach of several composers to the dodecaphonic technique: alongside Dallapiccola, who is the best known of these composers, Gino Contilli, Carlo Jachino, Riccardo Malipiero, Riccardo Nielsen, Mario Peragallo, Antonio Veretti, Roman Vlad, Adone Zecchi and most of the exponents of the last generation, some of whom have joined the postwebernian avant-garde. In addition to those already mentioned in the previous appendix, Cesare Brero, Alberto Bruni Tedeschi, Fiorenzo Carpi, Luigi Cortese, Vito Frazzi, Gianandrea are among the composers of various directions, who are substantially informed by tonal principles by developing them in a more or less modern way. Gavazzeni, Gian Carlo Menotti, Virgilio Mortari, Nino Rota, Gian Luca Tocchi, Giulio Viozzi. There are numerous new composers, born in the years from 1920 onwards; in addition to the names of Bruno Maderna, Vieri Tosatti and Mario Zafred, already mentioned in the previous appendix, there are those of Luciano Berio, Niccolò Castiglioni, Luciano Chailly, Aldo Clementi, Franco Donatoni, Franco Evangelisti, Vittorio Fellegara, Carlo Franci, Giorgio Gaslini, Domenico Guaccero, Sergio Lauricella, Egisto Macchi, Giacomo Manzoni, Gianfranco Maselli, junior, Ennio Morricone, Luigi Nono, Boris Porena, Massimo Pradella, Carlo Prosperi, Flavio Testi, Camillo Togni. Luciano Berio, Franco Evangelisti, Bruno Maderna are particularly interested in the very recent experiences of electronic music.
According to travelationary.com, the theatrical and concert life has had a great development in recent years. The shows at La Scala in Milan, rebuilt after the damage of the war, have regained great splendor; the symphonic orchestras of RAI, of the Accademia di Santa Cecilia in Rome, of the Maggio Musicale Fiorentino have carried out an extensive activity: annual festivals musical events took place in Florence, Venice, Perugia, Spoleto. Among the young Italian artists and ensembles who acquired international fame in this period are the conductors Guido Cantelli, who died immaturely in 1956, and Fernando Previtali, the singers Maria Callas (Italian by adoption), Renata Tebaldi, Mario Del Monaco, Giuseppe Di Stefano, Nicola Rossi Lemeni, the pianist Arturo Benedetti Michelangeli, the Trieste Trio, the Italian Quartet.
As far as the field of musicology and music criticism is concerned, to the names given in the previous Appendix, the names of writers who are generally still active, must be added, among others, those of Beniamino Dal Fabbro, Luigi Magnani, Giorgio Vigolo, Roman Vlad.
