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Contemporary Music

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Our instrument is very new in musical history, thus commissioning and performing new pieces is truly our greatest option for studying interesting repertoire. This enables us to produce new art and give back to the world of music. We musicians may discover our individual voices and perform music that has meaning for us by performing new music.

The health of our instrument and music in general depends on the study of modern music. Most people are unaware that “standard repertoire” that was often played didn’t exist until very recently. Therefore, the way we currently present music and the culture of the concert hall as museum are not how music has historically been performed. New music used to be all there was. It amazes me that the majority of artists still avoid modern music, but I believe I can understand why: during the past 150 years, we have experienced an unheard-of rate of change and advancement in virtually every facet of our lives. It’s quite difficult to comprehend these shifts, but when you stop to think about it, music unquestionably represents the turmoil and changes of the times. No one would assert, for instance, that with the development of the steam engine, technology stopped making our lives better. The issue is that a lot of people have been socialised to disapprove of music that doesn’t fit within a very limited and defined concept. Like any other kind of art, music should advance, evolve, and conjure up fresh methods to convey the nuanced feelings and complicated concepts that people experience. So I guess that’s my response: current music pushes us to think differently about the same issues we’ve always faced while also assisting us in better understanding ourselves and the world around us. And now, my appeal to everyone who still doubts their understanding. Just listen; there’s nothing to “get”!

Traditional and current music are different

• We don’t believe the problem is how old the music is; there is good modern music and good traditional music for us to sing, but there is also awful contemporary music and bad traditional music.

• One advantage of traditional music is that it serves to remind listeners of our shared historical roots. Utilizing sounds that appeal to modern ears is one of the advantages of current music, which has evangelistic potential.

• Different churches have different repertoires, with varying ratios of traditional to contemporary music. This is their choice, and it should probably be periodically discussed with a variety of people, including the ministers and parishioners.

• It is impossible to always and consistently please everyone. In fact, singing a type of music that we dislike but that we know other members of our congregation enjoy is beneficial for the church because it shows love. We ought to all be prepared to do it.

• The style in which a song is performed differs depending on where it came from. For instance, modern songs are occasionally performed by a contemporary band while traditional songs can be performed by a small classical ensemble. We must consider the congregation’s musical tastes as well as its musical talents.

• Although the musical components are significant, the words are more crucial since getting them wrong might be more expensive than having them right. Even yet, I continue to believe that there is a tremendous cost associated with choosing the incorrect music, particularly in terms of the enormously missed chance to build relationships.

• Contemporary lyrics are frequently shorter and simpler than hymn lyrics, though this is not always the case. Hymn lyrics are frequently more poetic and colourful. People need to strike a balance in this because maintaining both clear communication and rich expression is vital. Look for tunes that do both.

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