本文旨在析論卡契尼（Giulio Caccini）《新音樂》（Le Nuove Musiche）序言的理論基礎。因為遊走於音樂和說話之邊緣地帶的《新音樂》獨唱曲集，卻被卡契尼視為優雅合宜的歌唱音樂。他的見解純屬離經叛道？還是風格與美學的必然？西洋音樂史上提出「新音樂」理念者，並非卡契尼一人獨有；然而歷史學者咸信該歌曲集為開創音樂新時代新風格的開端。曲集序言闡明卡契尼《新音樂》的發表緣由，係源自佛羅倫斯同好會（Florentine Camerata）成員與學者啟發，以及他對作曲、歌唱藝術之專業見解，最終指向一種新柏拉圖主義的、以古希臘悲劇為原型的、趨近演員朗誦臺詞的聲調表現──「說話優先」。文藝復興時期激進的人文主義與自然主義，讓「主旋律獨唱曲」成為《新音樂》的核心，最終期望歌手演唱時能表達詞意與情感，激發聆聽者的感動，並且展現「冷靜自持」的高貴優雅，為這種演唱風格給予道德與美學的高度評價。

This essay aimed to search for the theoretical bases of Giulio Caccini’s Le Nuove Musiche, since he claimed all elegant properties of the monody which was ambiguously mingled with music and human speech. Was he simply rebellious? Or, had his ideal become an inevitability in style and aesthetics of music? Le Nuove Musiche, Caccini’s renown publication, was one among a few selftitled in “new music” which nevertheless was rarely seen to be truly advocated as a milestone of new era by music historians. Articulated in its preface, Caccini addressed to the readers why he published this song collection and what he claimed on composing music and singing practice which was influenced by scholars and members of Florentine Camerata. Consequently, they all pointed to a neoplatonic, ancient-Greek-tragedyoriented declamatory style of an actor so that “La musica altro non essere che la favella” (“music is nothing but speech”) was written down in Caccini’s preface. Through radical humanism and naturalism in Renaissance, monody became the core of Le Nuove Musiche so as to clarify the lyrics and ultimately to express affections therefore to arouse the passions of the soul; in addition, a singing style of nobility and elegance, namely sprezzatura, was highly recommended after an ethic and aesthetic appraisal.