In 1877, the float of the " Itinerant Theatre " innovates by animating its marionettes in the sound of an orchestra placed in front of the float and which plays the music. The importance of the grotesque processions from the end of last century and the increasing number of floats and masquerades influenced and modified the role of the music on the parade and provoked the appearance of floats of music, towards 1890.
By putting the musicians on a platform fitted out in terraces, one increased the tone of instruments, on the other hand, the float of music became the companion of official floats of S. M Carnival and his wife.
Certain floats of music, very often conceived by G-A Mossa, or Larnach remained famous in the recollection of carnavaliers of Nice, as the " Babaoù " (1905), "Pears (1914)", etc….
Often, these floats had the shape of an instrument: a bass was pressed on partitions (1891), monumental organ (1894), immense accordion with a white clowl in the summit playing the slide trombone (1896); the other floats treated local or international events, the float of the line Nice-Coni (l909), the dragonfly (in 1910, honoring to Santos-Dumont), Pears (1914). All the floats adopted afterward an orchestra behind their platform, in a way that the numerous disguised follow floats, by dancing, by jumping, by laughing. Certain groups of big heads, also, were accompanied by an orchestra where the " georgina " (this small accordion) was employed.
At the end of the parade, the musics and military brass bands (notably those of the alpine hunters) were collected. In the four corners of the place Masséna, l0 000 in 15 000 disguised, participated cheerfully in farandoles - at the rate of the famous " Es rotta la casserola ".