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But on the other hand it is impossible to be blind to its relationship to the more metrical arioso of Monteverde's earlier work or perhaps to the canzone of Caccini's "Nuove Musiche." The line of development or progress is distinctly traceable.
Caccini, at the beginning of the seventeenth century, broke away from the contrapuntal music of the church because it made the words unintelligible. Tosi, who published a vocal method in 1723, a little less than a century and a quarter after Caccini's declaration, still insisted on the importance of clear diction.
The revolt was not only against polyphonic music in which text was treated without regard for its communicative purpose, but also against the decorative manner of solo singing, which made words only backgrounds for arabesques of sound. On this point we have the conclusive evidence of Caccini's own words as found in the preface to his "Nuove Musiche."
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