Diverging patterns in mode’s associations with other musical cues carry
distinctive expressive connotations. The major and minor modes’
relationship with loudness and timing are often understood in absolute
terms, with major pieces described as being faster and louder than their
minor counterparts. However, recent findings suggest mode’s relationship to
other cues shifted markedly in the Romantic era (Horn & Huron, 2015). Here
we expand on previous work using cluster analysis to track expressive
changes in music history, applying this technique to Bach’s *The
Well-Tempered Clavier* (1722) and Chopin’s *Preludes* (1839). Analyzing
clusters of each composer reveals empirical support for mode’s changing
expressive associations. Specifically, Chopin’s minor pieces are
distinguished by fast attack rates and louder dynamics than Bach’s,
consistent with research highlighting mode’s changing musical meaning. In
tandem with our team’s work performing perceptual experiments with these
pieces, this analysis provides a valuable complement to the small but
growing body of research exploring changes in the use of emotive acoustic
cues over musical history.