PREFACE

THE aim of this book should be easily deduced from its title. The author has endeavored to trace the development of the modern art of singing from the beginning of the Christian era to the time of Alessandro Scarlatti. He has treated of vocal forms only to the extent requisite to make clear the character of the technic and the style of each period. His main object has been to show what singers were expected to do and as far as possible how they prepared themselves for the delivery of the music placed before them.

The interesting changes brought into vocal art by the advent of opera and later by the action of public taste on the new form of amusement are described and a general survey of early ideals of lyric interpretation and their modifications by the alterations in the demands of audiences is made. Special attention has been given to vocal technic and teaching in the last years of the sixteenth and all of the seventeenth centuries. In treating of this subject in Chapters VIII and IX the author has leaned heavily on the scholarly and

-vii-

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