Typically associated with Christmas and pastoral settings, the zampogna is a musical instrument whose origins and craftsmanship continue to captivate with their charm.

From the very beginning, the zampogna marked the most important milestones in the ancient agricultural calendar, and among shepherds, knowledge of this instrument and its artisanal construction was passed down orally for generations.

The sound of the zampogna was believed to ward off evil spirits, invoke saints during festivals, or simply provide entertainment during lonely days spent in the mountains.

In Italy, the zampogna is deeply tied to a cultural heritage that deserves preservation and appreciation: here is its history and unique characteristics.

The History of the Zampogna

Shepherds, often illiterate, learned to play the zampogna from their fathers or grandfathers. Despite lacking formal musical training and living in extreme poverty, they would craft their own zampogna using materials found at home, making it a melancholic companion during days spent watching over their flocks.

These same shepherds often performed with the zampogna to supplement their meager incomes. Over time, a romanticized literature emerged around the figure of the zampognaro, portraying them as reserved, somewhat gruff individuals, fiercely protective of their instrument and the associated playing techniques.

The Mythological Origins of the Zampogna

The zampogna has its roots in mythology: it is said to trace back to Pan, the Greek god who was half-man, half-goat and a protector of mountains and pastoral life.

Pan, a lover of music, added a new element to his famous flute made of reeds of varying lengths: a leather bag, also known as a bladder.

This modification gave birth to the zampogna, known to the ancient Romans as “tibia utricularis,” which spread across Europe, Asia, and parts of Africa.

In Italy, the zampogna and the figure of the zampognaro are particularly associated with the south. In Molise, it is even considered the regional instrument and plays a central role in many traditions and local festivals. Its notes still resonate in Calabria, Basilicata, Lazio, and Sicily.

The Zampogna Through the Centuries

It is said that even Emperor Nero enjoyed playing the zampogna, and in 55 BC, Julius Caesar used the instrument to frighten British enemies into retreat.

From the medieval period onwards, the instrument diversified into various regional variants: in Scotland and Ireland, it became the bagpipe, in France the musette, and so on. However, its primary purpose remained the same: to mark significant moments in daily agrarian life.

In ancient times, zampogna instruments were adorned with amulets, charms, and talismans to ward off the evil eye.

In addition to Molise, the zampogna features prominently in Calabrian folklore, especially in the areas around the Serre mountains.

Here, it is still used in its original context: shepherds play it to gather animals or as entertainment during transhumance.

During novenas and folk festivals, the zampogna is often accompanied by the pipita, a wooden reed instrument.

Structural Characteristics and Sound of the Zampogna

The zampogna consists of four or five wooden pipes, bound together by a block called the testale.

While the pipes play different tones and vary in length, in the case of a five-pipe zampogna, three of them play the same note. These pipes are called cardiu, masculu, and trumbuni, while the other two are melodic (destra and manca).

This aerophone instrument features reeds that can be single or double, traditionally made of cane (or plastic in modern models). Double reeds are found in the zampognas of Lazio, Molise, and Sicily, while Basilicata and northern Calabria favor single reeds.

The bag, or bladder, made from goat or sheep skin, houses the testale. The goat’s legs are tied off, except for one to which the inflator is attached, while the neck holds the zampogna.

When played, air is blown into the inflator, then into the bag, producing sound based on the pressure applied by the zampognaro.

Zampogna instruments come in various lengths, measured using a traditional unit called the palmo.

Building the Zampogna

Materials Used

In Basilicata, zampogna makers primarily use maple, cherry, and boxwood, aged for two years. Wood pieces from trunks are then shaped on a lathe after being divided into four main sections.

The reeds are also aged, and the goat skin used for the bag is cured with salt. The skin is turned inside out, leaving the fur on the inner side.

In Calabria, Erica arborea wood is favored for pipes, while various fruitwoods are used for bells. Horn embellishments are often added for decoration.

Handcrafting the Instrument

Creating a zampogna takes about a month of work. It is entirely handmade, and even the tools required for its creation are crafted by the artisans themselves.

Each master craftsman constructs these instruments using materials they personally source, refusing to share them with others. Building a zampogna is a complex process, known only to those deeply familiar with the craft.

The Role of the Zampognaro

Zampognari wear distinctive, typically pastoral-inspired clothing.

Their attire often includes a cloak, hat, fustian jacket, vest, trousers, leg warmers, and mountain boots.

Traditionally, the pipitaro (reed player) wears the cloak, while the zampognaro wears the vest.