The application of this principle to instrumental writing was partly an extension of the forces of change in "vocal writing" stemming from the Florentine Camerata and their head Count Giovanni de' Bardi, who deliberately sought to change the way music was written, and adopted an overarching goal of a music renaissance. In a c. 1580 letter to Giulio Caccini, a composer and member of the Camerata, Bardi decried counterpoint's obscuring of the text in vocal settings and advocates a return to the music of the ancient Greeks, which he believed consisted of a single melodic line and simple accompaniment, allowing direct, intelligible expression of the text. He instructed Caccini to "make it your chief aim to arrange the verse well and to declaim the words as intelligibly as you can." While Bardi's letter dealt with vocal music, the principle of a single, clear melody dominating a simple accompaniment easily carries over to the instrumental realm. This is seen in the proliferation of hitherto unknown solo instrumental sonatas beginning shortly after Caccini's "Le Nuove Musiche" in 1601.