 Galilei faced criticism from his former teacher Zarlino. In his Sopplimenti musicali (1588), Zarlino argues that the imitation of impassioned speech belongs to the art of rhetoric or to declaimed poetry, not music. Musicians should confine themselves to the imitation of the text’s content, rather than to its possible delivery, and they should do so through the choice of appropriate harmonies (Zarlino 1588: 316–318). Zarlino’s reservations about expressive melody are of particular importance, as they may be seen as the first manifestation of a recurring contrast between two opposite tendencies, epitomized by the clash between Rousseau and Rameau (see  §3.5).  Whereas one strand locates music’s chief source of expression in melody, the other defends the primacy of harmony, often downplaying the role of possible resemblances between melodic contour and human expressive behavior (Young, forthcoming, names the two tendencies empiricism and rationalism, respectively, following their development and occasional overlap).