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cadence appears to be implied by the canto, tenor, and basso in the second beat of m. 9, but the
canto and basso move to C instead, providing a decidedly unfinished sound to the end of the
phrase. This unfinished quality does not linger as the basso begins the next phrase, “Perch’in te
non regna il core” (Because in you the heart does not reign). The basso initiates the section with
the question “Perchè?” (Why?) with an octave leap reminiscent of the alto’s first entry (and its
association with the role of Death). The basso drops out, but the tenor picks up the line, also
initiated with an octave leap. The basso and tenor create a relaxed G cadence on the word, “core”
in m. 11, tying off the section before the entrance of the argument.
The argument section is the only section of the piece that has been discussed by other
scholars. Pescerelli and Briscoe note that, “the exclamations ‘sì fa!’ and ‘non fa!’ inspired a
musical interpretation using the corresponding notes B (si) and F (fa). At measure 17 ‘sì fa’ is set
to B and C; and immediately thereupon in the alto ‘non fa’ is set to E and F.” 80 This observation
poses several interesting questions that Pescerelli and Briscoe do not address. Any and all
discussion of mode (or even, anachronistically, key) is lacking, and so any discussion of “fa” or
“si” pointless and unhelpful. In an attempt to assign a mode to the piece, one finds that the tenor
line does not outline a particular mode. The absence of accidentals in the key signature suggests
and untransposed mode, and the final cadence on D suggests mode 1. As the majority of internal
cadences fall on G, a common cadence point in mode 1, this hypothesis is strengthened. This
being the case, F in mode 1, would not be “fa”. Additionally, “si” was not used as a solfege
syllable at all, and wouldn’t have had a note equivalent. Therefore, this assertion is unfounded
and irrelevant. In my reading, the importance in this section centers on metaphor, not specific
80 Beatrice Pescerelli, “Maddalena Casulana,” in New Historical Anthology of Music by Women,
ed. James R. Briscoe (Bloomington, IN: Indiana University Press, 2004), 45.
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