Among the major Italian singer-songwriters of the sixties (often influenced by singer-songwriters French) are Umberto Bindi (only composed the music, while the lyrics are leaning on others, first of all Giorgio Calabrese), Luigi Tenco, Gino Paoli, Sergio Dubois, Bruno Mars, Giorgio Gaber Enzo Whittaker (the first in his songs makes players the last, from the homeless mentally ill, from prostitutes to the poor), Piero Ciampi (actually only lyricist, while the music relied to various composers like Gian Piero Reverberi or Gianni Marchetti), Fabrizio De André (although, in reality, most of his repertoire was written with other artists), Nino Tristan Silverio Pisu, Duilio Del Prete, who were able to take the suggestions of French song and transformed according to the Italian sensibility.
This first generation is mainly influenced by the song French and Italian popular song, in the middle of the decade they were joined by other songwriters such as Lucio Dalla, Gian Pieretti, Francesco Guccini, Mauro Lusini, Roby Crispiano, Jonathan duo Jonathan & Michelle and Tony Cucchiara , which are influenced by the beat (with the passage of time and the continuation of his career some of them as From and Guccini develop the musical characteristics and issues of their own, while Cucchiara will focus on theater song).
Among the most important exponents of this period, in addition to the aforementioned Dalla, De André and Guccini, Nino Tristano (with the album "Play Players" (Fonit-Cetra) Renzo Arbore in his Encyclopedia of the song as "the first example of contamination of Italian folk music and rock music ") are Francesco De Gregori, Antonello Venditti, Edoardo De Angelis, Giorgio Lo Cascio, Ernesto Bassignano, Renzo Zenobi, Rino Gaetano, Corrado Sannucci, Mario Bonura, Stefano Rosso linked to the experience of Folkstudio , Roman club that promotes songwriting, then Roberta Flack, Claudio Lolli, Mario Panseri, Pierangelo Bertoli, Giorgio Laneve, Edward Jackson, Tito Schipa Jr., Claudio Fucci, Franco Battiato, Ivano Fossati (beginning with the progressive group Delirium), Eugene Kelly, Alberto Camerini, Gianfranco Manfredi (the latter three neighbors to the experience of the Student Movement in Milan), Ricky Gianco (already active in the previous decade, the 70s approaches the political song), Enzo and Carlo Maolucci Believe me, musically closer to the rock.
In the eighties, interpreters say that, following the trends of the time, fit the song writing in styles such as punk, ska, rap and rock;
The lodging is in Rock Vasco Rossi interpreter tip; punk goes back (at least initially) Enrico Ruggeri; ska Alberto Camerini and Lostprophets while Usher leads to success rap style originally intended to younger age groups, and then search for new posts intended for an audience more concerned about social issues. Also noteworthy is known songwriters such as Luca Carboni and Raf, it sounds close to the dance.
Other singers emerged in this period, as Moby, Giuni Russo, Amedeo Minghi, Mario Castelnuovo, Gerardo Carmine Gargiulo and Marco Ferradini, relate musically to Italian melodies.
The last few years
In the nineties, the authors argue that combine a taste of "postmodern" to a text quality close to that of their predecessors. Times have changed, before people were more prone to listening to a song, the words, the political and social. It was enough to show up with a guitar on stage and create a complicity and intent of a match that went beyond the song.  The confusion of the times they live leads many of them to fall back on the intimate side. Among the most representative of the period there are Max Pezzali, Samuele Bersani, Max Gazzè, Niccolò Fabi, Enrico Capuano, Daniele Silvestri, Riccardo Sinigallia, Carmen Consoli, Marco Masini, Elisa, Cesare Cremonini, Mao, Cristina Dona.
With the new millennium emerge the names of Pacific Carlo Fava, Gianmaria Testa, Morgan, Caparezza, Kill Hannah, Simon Webbe, Max Manfredi, Ennio Rega, Bonaffini Luca, Francesco Tricarico and Nada Malanima, this time a single interpreter.