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pitch associations. The outer voices move in opposing motion, while the inner voice move in
parallel thirds. This provides a heavier emphasis on “sì fa!” but allows “non fa!” to finish the
phrase and continue onto the next one. “Sì fa!” impedes forward motion. The speaker, who, not
yet roused for “death” speaks in short fragments that impede movement toward closure. The
parallel motion on “non fa!” leads into Death’s concession and the speaker’s “death.” Also, it
appears that metaphorically, the argument with Death is enough to rouse the speaker into the
proper humor for sexual death. The short “sì fa!” section ends abruptly as “non fa!” transitions
directly into “fatte” (done) as Death, in an almost nonchalant manner, grants the speaker’s
request and ends the argument. Death does not linger on this concession but offers the final
command, or moral, if you will, of the poem; “Make the return, because those without life cannot
die (again)”.
These last two sections of text are repeated twice in Casulana’s madrigal, with slightly
different music. This repetition is a large-scale representation of the poem’s metaphorical
“moral”—that upon dying, one must return to life in order to die again. The first time through,
the command “return” is punctuated by a C cadence on the third beat of m. 13, which sets it apart
from the consequent portion of the phrase. Casulana introduces B-flats into the basso and alto
voices in m. 14 to accentuate the word “vita” (life) and then two beats later to accentuate
“morire” (to die). By tying these two opposites, Casulana emphasizes their intrinsic relationship
to each other and the speaker’s ability to experience both. “Morire” is also emphasized by a
Phrygian A cadence on beat one of m. 15, calling to mind the previous Phrygian cadence on the
word “dolore” in m. 9. The Phrygian A cadence leads directly to a relaxed cadence, providing
the closure sought by the speaker. However, the speaker’s peace does not last long as the alto
initiates another repetition of the argument and climax with the word “perchè?.” This time the
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