Although _folk-song_ appears to be as old as the human race, the
history of _artistic_ song, or song written by professional composers
for the concert hall, can be traced back only about three centuries.
Before that time vocal music was generally polyphonic, that is, for
several voices; and a contrapuntal style of music had been introduced
into Italy from the Netherlands, which was so complicated and
artificial that the poetic text had no chance whatever of asserting
its rights and being understood. Now, the modern opera, which was
originated about three hundred years ago by a number of Florentine
amateurs, although it sprang from a desire to revive the ancient Greek
drama, in which music was united with poetry, represents at the same
time a reaction against this unintelligible Netherland style. The new
opera at first went to the opposite extreme, making the distinct
declamation of the text its principal object and neglecting vocal
ornamentation, and even melody, on purpose. The famous vocalist and
teacher, Caccini, although he taught his pupils how to sing trills and
roulades, declared that they were not essential to good singing, but
merely a means of tickling the ear, and, therefore, generally to be
avoided.
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