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It's practically Berklee's middle name�but what are we talking about when we say "contemporary music"? We were the first music school to take seriously the idea that music could be taught effectively through popular contemporary styles, and that idea continues to stand behind so much of what Berklee does. Certainly jazz is no longer the only contemporary music a student can learn here�not by a long shot.

Instead, contemporary music, for Berklee, has more to do with an approach to music than it does with any particular type of music. To better understand this approach, we spoke to members from across the Berklee community about what making and teaching contemporary music means to them in their particular disciplines.

In the process, a few key features emerged that seem to be central to how many at Berklee approach the study of contemporary music:. Jonathan Bailey Holland , chair of composition, contemporary music, and core studies at Boston Conservatory at Berklee, describes the relationship between a classical grounding and a contemporary context at the Conservatory: "The Conservatory curriculum is rooted in the western classical tradition, but our students are vibrant creative artists living today and responding to their current condition.

For these students, creating and performing contemporary music means that their work is focused on communicating from an informed perspective, with a voice that is relevant to, and shaped by, the world in which they live.

It also means that they each define exactly what this means on an individual basis. We strive to create concept-driven, socially conscious productions that embrace the integration of multidisciplinary art forms, perspectives, and cultural influences. As the leader of an institute that works to strengthen creative exchange between Berklee and India, Philip also understands the ever-broadening interplay between cultures, genres, styles, and technologies.

Rahman song with "a string quintet, jazz influences, reharms, and what the students fondly call a 'dirty loops' section. Of course, part of what makes contemporary music's cross-pollination so successful at a place like Berklee is that the musical community here represents such a wide range of styles to begin with. Listen to Kim Perlak discuss stylistic tradition and collaboration on Sounds of Berklee :.

Ultimately, that common musical language and those tools, which apply to deep traditions and fledgeling styles alike, allow contemporary musicians to explore, collaborate, and eventually bring contemporary music into the future. Brown says. The other is to prepare students with the tools, including knowledge of history and instrumental technique, and also a sense of personal agency and an innovative spirit, to create the music of the future.

Vincent, Ramin Djawadi, and Esperanza Spalding. Watch Ramin Djawadi B. Perhaps nowhere is the future of music taking shape faster than in scoring for film and video games.

And since technology changes so rapidly, so does composition and contemporary music, as a result. While the Film Scoring curriculum heavily relies on technology, we don't teach software. We teach principles because principles don't change.

And if students understand principles they will be able to adapt to new technological tools�tools that don't even exist today�for a scoring career that requires lifelong learning. So this is what we mean when we talk about Berklee's approach to contemporary music: a rootedness in musical knowledge and technique, but also a sense of freedom and independence, and an eye to the future. Former Prince engineer Susan Rogers , a professor in the Music Production and Engineering Department , provides the last corner of the contemporary music puzzle.

Listening to contemporary music should be much more about feeling and much less about analysis, compared to listening to music from earlier Contemporary Patio Landscaping Worksheet times. It is the job of young people to rebel against musical norms; it is the job of older people to conserve what was good about them. So just get out there and make some new noise. What to call it is someone else's job. Listen to Susan Rogers discuss dissonance and underground music on Sounds of Berklee :. Don't see what you're looking for? Main Site Berklee.

September 13, Great music and musicians will always be relevant. Related Categories.


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