style of accompanied solo song consisting of a vocal line, which is frequently embellished, and simple, often expressive, harmonies. It arose about 1600, particularly in Italy, as a response to the contrapuntal style (based on the combination of simultaneous melodic lines) of 16th-century vocal genres such as the madrigal and motet. Ostensibly in an attempt to emulate ancient Greek music, composers placed renewed emphasis on proper articulation as well as expressive interpretation of often highly emotional texts. These effects could be achieved only by abandoning counterpoint and replacing it by simply accompanied recitative.

This new monodic style, pioneered by the Florentine Camerata and other humanistic circles in Italy, quickly grew into the dramatic stile rappresentativo of early opera as well as the style (concertato style) that revolutionized sacred music shortly after 1600. In both instances the dense textures of 16th-century polyphony yielded to the polarization of treble parts and the ubiquitous basso continuo, or figured bass, played by an instrumentalist or instrumentalists who were free to play any notes that they liked as long as they followed the harmonic figures written above the bass part. Giulio Caccini (Caccini, Giulio)'s Le nuove musiche (1602; The New Music), a collection of solo songs with continuo accompaniment, exemplifies early monody, as do many solo compositions of Claudio Monteverdi (Monteverdi, Claudio). The use of the word monody to designate an unaccompanied melodic line, properly called monophony, is confusing, despite its long tradition, especially in Great Britain.