Contemporary modal music is a term which Racheal Cogan acquired from Ross Daly, while working with him in Greece (2000-2001). It describes contemporary music that is based in modal melodic structures, as opposed to the foundation of chord progression that underpins conventional Western music.

Contemporary modal music is a development from the classical musics of Persia, India, Turkey, and elsewhere, and from various folk traditions. These music forms are strongly rooted in modal foundations (the Persian dastgah, Indian raga, Turkish makam) which are characterised by idiosyncratic intervallic structures, microtonality (notes outside the Western tempered scale), and considerable melodic embellishment. The integration of improvisation and composition are key features.

Modal music also has a very strong relationship with rhythm, as, in the absence of chord progression, significant structural markers are frequently given by rhythmic formulae in place of cadence – for example the Indian tihai. Structural markers can also be generated through judicious use of particular phrases that are characteristic of, and unique to, each mode.

One of the great strengths of contemporary modal music lies in the fact that it is firmly based in these living traditions which, like any tradition that is truly alive, are constantly evolving to meet the needs of contemporary musicians and contemporary society. It is not unusual for musicians with backgrounds in music from any of these traditions to find common meeting grounds that result in rich cross-fertilisation and meaningful dialogue. Contemporary modal music therefore takes these ideas, structures and principles, and generates new ideas through cross-fertilisation.

In modal musical traditions a musician is often expected to compose and pass the music on to others. In this manner, each musician who has reached a particular stage of development becomes a living link in the passing on of knowledge and music from the past into the future. Great emphasis is put not only on learning a large amount of repertoire, but also, when the style is absorbed, on making one’s own contribution to the tradition through composition. This develops in the individual musician a very educated and critical sense of repertoire choice. The priority is to choose music that is challenging, satisfying to play, and deeply meaningful.