 Both Monteverdi and Galilei faced the reaction of more conservative figures. Giovanni Maria Artusi (c. 1540–1613), in L’Artusi or Of the Imperfections of Modern Music (1600), attacks the work of an unnamed composer, though it is apparent that he has in mind composers such as Monteverdi and Carlo Gesualdo (1566–1613). Artusi concedes that the newly developed monodic style is expressive, but denies that expression is worth the sacrifice of compositional rules that are dictated by reason. The dispute between Artusi and Monteverdi crystallized the clash between the so-called prima and seconda prattica, the former indicating the old polyphonic style, the latter the new preference for accompanied monody.