Galilei and Caccini were probably the first to write monodies, with such
success that by 1585 attention was strongly attracted to what seemed like a
new style of decided value. Just what these monodies were is not clear, but
they certainly contained the germ of both the recitative and the aria.
The monodic style was at once applied in musical plays, with
plot and personages. After some tentative essays (with more
or less madrigal material), in 1594 was produced the first real
musical drama, Dafne, with words by Rinuccini and music by
Peri and Caccini, followed in 1600 by two more significant works,
commonly known as 'the first opera' and 'the first oratorio'
respectively (see sec. 76).
71. Instruments and Instrumental Music.—The 16th century
inherited from its predecessors a bewildering variety of instruments,
most of which it continued to use, pending the time
when experience should determine which contained the largest
artistic possibilities. The keyboard instruments—the organ,
clavichord, harpsichord and their relatives—stood in a class by
themselves, having obvious capacity for concerted effects. The
remaining forms were small and portable, representing the
standard stringed, wind and percussive groups. These were
utilized variously, and the artistic importance of some of them,
especially the lute and the viol, were more and more perceived.
Virdung's Musica getutscht (1511) is an invaluable source on this subject
near the opening of the century, giving both descriptions and woodcuts.
His list includes, besides the keyboard instruments (omitting the
harpsichord proper), in the stringed group, the lyra (hurdy-gurdy), two
forms of lute, two viols (tenor and bass), harp, psaltery, hackbrett (dulcimer)
and trumscheit (nun's-fiddle); in the wind group, the schalmey and
bombarde (oboes), several varieties of flute or recorder, zinken, cromornes
and other horns, bagpipes, trumpet, clarion and trombone; and among
percussives, drums and some nondescript forms. Other similar sources
are Agricola's Musica instrumentalis (1528) and, about a
century after Virdung, Prätorius' Syntagma musicum (1615-9), which latter is the
most elaborate of all.
The lute was the characteristic instrument of the period, since
it gave opportunity for concerted effects and for variety of force
and color. Much pains were taken with its construction. All
kinds of music were arranged for it, most musicians sought proficiency
in playing it, and socially it was more fashionable than
any other instrument. That it contributed powerfully to the
