You are not authorised for viewing the full article.i
Please send an email to the Amsterdam University Press.
An important strand of thought in the eighteenth century was one that saw the differences between major and minor as a reflection of nature. According to this view, the major was the more natural, the minor the less natural, of the two modes. This distinction had very specific compositional consequences in the abstract music of late eighteenth- and early nineteenth-century composers, such as Haydn, Mozart, and Beethoven. They treated the parallel minor as a destabilizing factor, particularly when the parallel minor appeared in a location where the parallel major had been expected.