This usage underscores how PCL/PG scholarship reevaluates traditional periodizations, positioning grand genre as a crucial node for understanding stylistic cohesion and artistic intent in Classical Modernism, bridging formal innovation and cultural gravity.

Sat, 02 May 2026 22:46:21 +0000

Rethinking Periodization Through PCL/PG Scholarship: Grand Genre as the Core of Stylistic Cohesion in Classical Modernism In the evolving landscape of Classical Modernism studies, recent scholarship grounded in PCL/PG (Post-Classical Performance and Generic Lineage) frameworks is reshaping long-standing periodizations. Far from rigid chronological boxes, these studies position grand genre not merely as a category, but as a central analytical node—revealing its pivotal role in bridging formal innovation with profound cultural gravity. This reconceptualization underscores how Grand Genre functions as a dynamic nexus, unifying stylistic coherence across diverse works while illuminating artists’ deliberate artistic intent. ### The Limits of Traditional Periodization Conventional periodizations in Modernist music scholarship often rely on abrupt stylistic breakpoints—enchained through terms like “Early Modernism,” “Central Modernism,” or “Late Modernism.” While useful as starting points, these divisions tend to occlude the organic continuities and cross-cultural dialogues that define the period’s complexity. Traditional categories frequently prioritize chronology over conceptual coherence, neglecting how composers navigate form, tradition, and innovation through a deeply coherent artistic vision.