Contemporary commercial music
Differing from conventional compact disc records, CCM constitutes several unique aspects including easy production, storage, and dissemination into the market.
For instance, the upper-class was characterised by wealthy patrons who supported both the singers and composers, and there was a high demand for music by the churches to fulfil their liturgical needs.
[4] The creation of this music was made possible by trained singers and musicians who performed before elite audiences for almost two centuries before being availed for consumption by the public.
Since belting is a key vocal quality in several of the CCM styles, it should be subjected to further investigations before a clearer image of this form of music may be defined.
However, the music theatre is an obvious exception, since the singers generally tend to employ microphones but perform as if they were absent since no monitors are usually placed in front of them.
Therefore, it is essential to investigate the nature and dynamics of every single CCM style, hence the importance of research in clarifying their individual similarities and their variations with the classical technique of singing.
[8] Similarly, this is applicable to a section of CCM singers who attempted to make and record classical compositions since non-may be considered successful both in the context of sales or critically.
However, in tandem, both phrases lacked further association, and the employment of CCM as being generally equivalent to "classical" is considered successful in both regions and abroad.
For a long time, it has been presumed that the classical voice techniques associated with the western culture could thoroughly and adequately meet the various demands in the music industry.
However, based on scientific evidence, other voice pedagogues currently assert that the practical requirements of the contemporary form of music are not similar to the classical function.
However, it is only recently that some higher education programs started to acknowledge styles alongside their relevant techniques that are found beyond the pillar of Western art song and classical operatic literature.
Several highly publicized resources and seminars focused on CCM have developed in tandem with the rise in demands for training in contemporary commercial music, particularly beyond formal academic settings.
[10] The singing techniques for genres including rock, pop, jazz, blues, gospel, and folk, which are categorised under the new heading termed as CCM, are not yet comprehensively addressed nor clearly defined in conventional texts of voice pedagogy.
[13] One can create tonal or vowel qualities of sound via maneuvering the jaw, lips, tongue, velum, pharyngeal walls, laryngeal position, vocal folds, rib cage and abdomen.
Over the last few years, the remarkable growth of communication platforms besides the commercial botching of the public taste via mass media have yielded emerging and adverse challenges to the teacher of music.
Apparently, no one can refute the cultural advantages gained from cinema, television, recordings, and radio, but the impact of such media in shaping behaviour and preferences has similarly had a negative effect.
Generally, due to cross-cultural exchanges, technological advancements along with the popular western music culture, CCM is no longer exclusive to countries such as the UK and the USA where this form originated but has infiltrated other continents including Europe and Asia.
