Contemporary music is often opposed to traditional music, in the field of historicity and a socio-cultural connotation marked by modernism. This confusion is largely due to the assimilation of folklore and tradition, in the minds of the general public but also in the reinvestment of the trad movement, and to the fact that folk music is more subject to pictorial fixation.
Traditional music has largely suffered and benefited from successive innovations. Thus, the revivalist folk movement of the 1970s often brought about the electrification and rejuvenation of musical groups (such as Alan Stivell or Malicorne). Several festivals, such as the Gannat festival, the Cornouaille festival or the Rencontres musicales de Nedde, or associative structures and groups (La Chavannée, Les Brayauds, La Bouèze, Le Nouveau Pavillon...) nowadays participate in the reactivation and renewal of traditional music in France.
In the other direction, traditional music is sometimes a source of inspiration in so-called contemporary popular music (the presence of the hurdy-gurdy at Olivia Ruiz, the Breton repertoire revisited by Nolwenn Leroy or before Charles Trenet's song La belle sardane are examples of this). Proof that both so-called current music and traditional music are popularly based, that the distinction is above all commercial and sometimes prejudicial, and that traditional music, by definition moving and perpetually reinvented, provided that we do not erect crossbreeding and re-creation into dogmas, are just as current.