Launeddas spread, in Sardinia, has been reduced little by little, during the 20th century, due to diffusion of other musical instruments like accordion and the advantage of modern musical styles.
Tradition has been kept in singular areas, thanks to the presence of deep-rooted schools that have, soon after, imposed their models to new players.
The first player to record his pieces was Efisio Melis (1890-1970) coming from Sarrabus School. His musical genius has been recorded in Milan in 1930,1937,1950 and 1962, in part on 78 rpm, remastered and recently pubblished on CD. (Punt''e organu)
Unanimously judged the best launeddas player E. Melis had a troubled life. (Mediana) His innovating music was not always accepted. Antonio Lara (1886-1979), coming from Sarrabus school as well, was often preferred to him for a more traditional way of playing.(Mediana a pipia)
They reached maximum levels of virtuosity and together went to Milan to record “a cuncordia”(duet) some historical pieces. (Punt’’e organu e Fiorassiu)
Sarrabus traditional style was got ahead by Aurelio Porcu (Spinellu a pipia), who was a traditional singeras well (Cantzoni a curba) and Luigi Lai, known all over the world also for his performances in classical and jazz groups.
A less famous pupil of Melis and Lara was Felicino Pili (1910-1982) (Tripidi a Fiorassiu)
The most important contemporary player of Trexenta school has been Dionigi Burranca (Mediana a pippia)born in Samatzai, pupil of Beppi and Francischeddu Sanna.
Campidano di Cagliari school was represented by Giovanni Pireddu and Pasqualino Erriu (Punt’’e organu).
Famous for his religious pieces was Efisio Cadoni (Messa)
Campidano di Oristano tradition is kept by Giovanni Casu. (Passu ‘e tresi)
Recently, new players have enriched traditional music, preventing the possibility for the launeddas to disappear.