Today's classical music has achieved a highly developed sound range with the new playing techniques that emerged especially after 1950. New playing techniques can be grouped in three different ways: improved versions of traditional techniques, those borrowed from other instruments, and those developed independently from older techniques. In this study, an answer to the question of whether a training other than the classical music education currently given in conservatories in Turkey is necessary to perform contemporary classical music repertoire was sought. In doing so, contemporary classical music activities in Turkey and Austria, which is considered to be the cradle of classical music, were examined and compared, and then the activities and trainings in the field of contemporary music in Europe and North America were mentioned. The aim here is to determine the extent to which contemporary classical music exists in the classical music world and to make suggestions about what can be done in Turkey in this direction. Then, examples of extended playing techniques and notation used in music movements developed after 1950 were examined and the extent of training required to perform these works was discussed. The results show that while some works in contemporary music can be played with traditional techniques, many works require serious training and playing practice, and that contemporary classical music performance is an area of specialization in many educational institutions in Europe and America, and that there is an increasing need for specialized interpreters in this field in Turkey