The majority of them don't have an author. Venetian chants were mainly choral and they were sung in aggregative moments. After a day of work on the mountain or in the fields (people who used to work in vineyards were forced to sing so the lord or later, the employer, could be sure that they weren't eating the grapes while working); after weddings, at night in an osteria or during filò (country vigils common in the winter). It was during sagre (country festivals) that folk songs flourished the most: the ecclesiastic censorship wasn't respected there, which reflected in more vulgar lyrics with a more liberating effect. Sagre are also the occasions where it's more frequent to hear folk music nowadays. Like in every oral tradition, a Venetian song can have various versions that can differ in content and in the dialect, which can vary drastically within 30 miles or less. It's also interesting noticing how this repertoire shares similarities and themes with the music of Istria; the song "La mula di Parenzo" (“Parenzo’s mule”), which refers to a Croatian city, is a famous example. Despite being often sung a cappella, Venetian folk music featured in the past some typical instrument which has felt into disuse before the 20th Century. Between them, the "baga" (a small bagpipe with two pipes) and the piva (bagpipe) (a recorder made of chestnut wood). Nowadays Venetian songs are often accompanied by an accordion or by guitars. The music is generally really simple, diatonic and strophic, often based on tonic to dominant progressions. Venetian songs often presents a love theme, usually situated in a rustic setting. Sexual themes presented in an irreverent way are common; one example is "L'oselin de la comare".(“The godmather’s little bird”). It's not rare to find dark theme linked in love songs: in "Donna Lombarda" (“Lombard woman”), a man convinces a woman (after getting her drunk) to cheat on her husband and even kill him. In the capital of Venice and nearby, canzoni da battello (boat songs) were a popular sub-genre. The love theme here is often presented on a gondola, the typical Venetian boat. Famous examples include “La biondina in gondoleta” (“The blonde girl in the gondola”) (Lamberti) and “Monta in gondola” (“Get on the gondola”) (Latilla, Boni); the second one, from the ‘50s, represent a more modern approach which was influenced by the pop music of the days. Lullabies are