Stage 1

Music Anthropology: A Global Perspective

Background/Context: This course is intended for upperclassman students in the music program
of this high school. A pre-requisite to this course is Introduction to Music Theory, offered to
underclassman students in the music program and for students outside the music program. Those
students not already allowed in the class may take a placement test to attempt and pass over the
Introduction class. This course generally has 20-30 students in it, and meets every school day for
one period. The only hours required outside the classroom will be for homework assignments.

Transfer Goals: (After they leave this course, what will students be able to do independently?)
1. Students will be able to describe distinguishing features of musical styles and forms from
cultures around the world.
2. Students will be able to recognize ways in which technology and culture impact the
growth and development of music over time.
3. Students will be able to explore and describe music’s role in society through comparison
and contrast on the development of music around the world.
4. Students will be able to perform basic aspects of music from various cultures of the
world.
5. Students will be able to analyze and describe different styles of music from various
cultures through active listening.
6. Students will be able to arrange or compose music, with specific guidelines, that reflects
aspects of music from a particular culture.

Enduring Understandings: (What will students understand at a deep level after this course?)
1. Music is a form of communication, with many different dialects used around the globe.
2. Through experiencing music, we gain a more authentic understanding of it.
3. Personal reactions to music are different for everyone.
4. Music is not the product of rapid development, but rather the result of thousands of years
of innovation and experimentation.

Essential Questions: (What questions will students ponder both during and after the course to
help them reach the understandings?)
1. How did our system of musical communication we use today become so popular?
2. What causes people to form opinions about music?
3. How do different art forms draw from each other for inspiration?
4. Why did music originate?
5. Why is it necessary to understand the importance of music outside of our own culture?
6. Music is its own language; however, is it a universal language?

Acquisition List: (What specific pieces of knowledge and skills will need to be taught in this
course for students to reach the understandings? May be divided into Skill and Knowledge lists,
or may be divided differently, as here.)
 Music History and Cultural Context
o Chapter I: Introduction to World Music
 What is “world music”?
  Introduction to cultures being studied in course
o Different areas of Africa
 Sub-Saharan/West Africa
 Middle East/East Africa
 Why should we study “world music”?
o Importance of understanding roots of our own music
 Basic Elements of World Music
o Who
o What
o When
o Where
o Why
o How
 Lesson I: Anthropological definition of the word “culture”
 How is culture formed?
o Beginnings of social interaction
o Culture: “the full range of learned human behavior patterns
 Incorporation of music into culture
o Formal events, informal events
o Education
o Actual written systems
 Babylonian manuscripts
 Greek lute music
 Gregorian chant
 Notre Dame/Aquitainian
 Mensuration signs
 Development of European written music
 Lesson II: The relationship between music and language
 How they function as systems of meaning
o Different global systems of music notation
o History of notation itself
 See previous lesson
 Sound versus silence
o How silence is used to communicate ideas
 Creating emotion and feeling with sound
 Is it a universal language?
o Discussion on how music is communicated
o Musical language barriers
 Difference in notation
 Ability level of performers
 Inconsistency in teaching
 Oral vs. written tradition
 Lesson III: Music Culture
o How different genres of music generate
  Reviewing general culture
 Different aspects of culture that may use music
 Religion
 Celebration
 Entertainment
o Today’s music culture: where did it come from?
 Changing developments in pop music
 Technology
 Pandering to demographics
o The effect of technology and social media on music culture
 Lesson IV: Sociopolitical Factors
 Guiding Factors for researching and understanding music
o Nationalism
o Ethnicity
o Religion
o Regionalism
o Immigration

o Chapter II: Africa and the Middle East

 Module I: Music as a Vehicle of Worship and Culture: Sub-Saharan/West
Africa
 Lesson I: Distinct cultural characteristics of African music
o Why: calls for war, prayer, work songs
o Who: Tribes of Sub-Saharan/West Africa
o What: Meter and rhythm construction
o When: ca 8000-3000 BC
o Where: Sub-Saharan/West Africa
o How: climate change drawing tribes closer together
 Combining and creating new cultures
 Cause for use of music
 Lesson II: African music characteristics in American folk music
o calls for war, prayer, work songs
o ca 8000-3000 BC
o Additive rhythmic patterns
o Improvisation
o More compounding topics on Lesson I
 Module II: Music as a Vehicle of Worship and Culture: The Middle
East/North Africa
 Lesson I: Arab society and culture
o Why: calls for war, prayer, work songs
o Who: Tribes and people of the Middle East/North Africa
o What: Difference between the practices of Islam and music
performance
 Introduction to mode and structure
 Incorporating melodic modes and rhythm into
music
 Distinction of Middle Eastern harmony and scales
from typical western music
o When: ca 8000-3000 BC
o Where: Middle East/North Africa
o How: climate change drawing tribes closer together
 Combining and creating new cultures
 Cause for use of music

o Chapter III: India

 Module I: India
 Lesson I: Hindustani: North India, Karnatak: South India
o General characteristics of each kind of music
o Scales and modes, rhythm organization
 Raga and tala respectively
 How do these differ from Western systems?
 Lesson II: Classical Indian Performance Technique
o Specifics of Indian performance organization
o Roles of each instrument
 Voice is considered an instrument, but how?
 Speaking versus singing
 Intricacies of actually using the voice to sing
o Role of improvisation
 Context
 Type of music
 Religious
 Entertainment
 Lesson III: Musical Connections
o How this music is taught and passed on
 Importance of aural skill/improvisation
 Use of actual notation for this genre
o Connections
 How music, dance, and spiritual practice work
together as one
 Bhangra
o Context in which Bhangra is learned
and performed

 Chapter IV: Indonesia

 Lesson I: Importance of Javanese Music Tradition
o Ancient court music and instruments
o Javanese Gamelan tradition
 Contents of a traditional gamelan ensemble
 Use of dance and puppetry in performance
  Lesson II: Religion in Indonesian Music
o Difference between Javanese and Balinese gamelan
o Inclusion of mixture of Hinduism and Islam
o Performance techniques
 Balinese: more abstract and expressive
 Javanese: less pageantry
o Tuning of gamelan
 importance

o Chapter V: Migration and Spread

 Module I: European Spread to the Americas
 Lesson I: Western Music Study
o Traditional European music
o Renaissance, Baroque, Classical, Romantic
o How these periods built off each other
o Increase in technology
 Printing press
 New instruments
 Mass distribution of music
 Lesson II: Music in the Church
o Protestant Church music with Martin Luther
 Unifying the congregation so everyone could sing
o Puritan traditions
 Why the Puritans left the Anglican church
 Lesson III: Colonization
o Migration of people AND ideas

o Chapter IV: Latin and North America

 Module I: The Effects of the Great Migration
 Lesson I: The Caribbean
o The instant impact of the slave trade
 African music traditions
 Cultural fusion
 Slave revolution
o Religious symbolism and festivals
 Their impact on secular music
 Lesson II: Cuba
o Distinction of Afro-Caribbean and Afro-Cuban rhythms
 Rumba, son, batá
o Emersion of Santería
o Cuban folk and popular tradition
 The effect of this on Latin music overall
 Lesson III: Brazil
o Afro-Brazilian influence
o Religious and musical traditions
  Candomblé, carnival and samba music
o Merging of African ideas and instruments
 Choro, forró, samba, bossa nova, MPB

 Music Vocabulary
o Specific Vocabulary in each chapter
 Africa and the Middle East
 Instruments
 Music notation/terminology
 Other vocabulary
 India/Indonesia
 Instruments
 Music notation/terminology
 Other vocabulary
 Migration and Spread
 Instruments
 Music notation/terminology
 Other vocabulary
 Latin and North America
 Instruments
 Music notation/terminology
 Other vocabulary

 Music Listening
o Aural identification
 Instrumentation: what kind of ensemble is performing the music
 Form
 Harmonic structure: how the piece fits in musically (is it polyphony or
polyphony? Is it tonal or atonal? Is it chromatic or diatonic?)

Scope and Sequence: (Representation of how the content in your Acquisition list will be divided
up throughout the year. May be organized in any way that makes sense to you; this is one
possible organization. Many people prefer visual organizations like charts.)
First Quarter
o Chapter I: Introduction to World Music
 What is “world music”?
 Introduction to cultures being studied in course
o Different areas of Africa
 Sub-Saharan/West Africa
 Middle East/East Africa
 Why should we study “world music”?
o Importance of understanding roots of our own music
 Basic Elements of World Music
 o Who
o What
o When
o Where
o Why
o How
 Lesson I: Anthropological definition of the word “culture”
 How is culture formed?
o Beginnings of social interaction
o Culture: “the full range of learned human behavior patterns
 Incorporation of music into culture
o Formal events, informal events
o Education
o Actual written systems
 Babylonian manuscripts
 Greek lute music
 Gregorian chant
 Notre Dame/Aquitainian
 Mensuration signs
 Development of European written music
 Lesson II: The relationship between music and language
 How they function as systems of meaning
o Different global systems of music notation
o History of notation itself
 See previous lesson
 Sound versus silence
o How silence is used to communicate ideas
 Creating emotion and feeling with sound
 Is it a universal language?
o Discussion on how music is communicated
o Musical language barriers
 Difference in notation
 Ability level of performers
 Inconsistency in teaching
 Oral vs. written tradition
 Lesson III: Music Culture
o How different genres of music generate
 Reviewing general culture
 Different aspects of culture that may use music
 Religion
 Celebration
 Entertainment
o Today’s music culture: where did it come from?
 Changing developments in pop music
 Technology
  Pandering to demographics
o The effect of technology and social media on music culture
 Lesson IV: Sociopolitical Factors
 Guiding Factors for researching and understanding music
o Nationalism
o Ethnicity
o Religion
o Regionalism
o Immigration
Second Quarter
 Chapter II: Africa and the Middle East
o Module I: Music as a Vehicle of Worship and Culture: Sub-Saharan/West Africa
 Lesson I: Distinct cultural characteristics of African music
 Why: calls for war, prayer, work songs
 Who: Tribes of Sub-Saharan/West Africa
 What: Meter and rhythm construction
 When: ca 8000-3000 BC
 Where: Sub-Saharan/West Africa
 How: climate change drawing tribes closer together
o Combining and creating new cultures
o Cause for use of music
 Lesson II: African music characteristics in American folk music
 calls for war, prayer, work songs
 ca 8000-3000 BC
 Additive rhythmic patterns
 Improvisation
 More compounding topics on Lesson I
o Module II: Music as a Vehicle of Worship and Culture: The Middle East/North
Africa
 Lesson I: Arab society and culture
 Why: calls for war, prayer, work songs
 Who: Tribes and people of the Middle East/North Africa
 What: Difference between the practices of Islam and music
performance
o Introduction to mode and structure
o Incorporating melodic modes and rhythm into music
o Distinction of Middle Eastern harmony and scales from
typical western music
 When: ca 8000-3000 BC
 Where: Middle East/North Africa
 How: climate change drawing tribes closer together
o Combining and creating new cultures
o Cause for use of music
Third Quarter
 Chapter III: India
 Module I: India
 Lesson I: Hindustani: North India, Karnatak: South India
o General characteristics of each kind of music
o Scales and modes, rhythm organization
 Raga and tala respectively
 How do these differ from Western systems?
 Lesson II: Classical Indian Performance Technique
o Specifics of Indian performance organization
o Roles of each instrument
 Voice is considered an instrument, but how?
 Speaking versus singing
 Intricacies of actually using the voice to sing
o Role of improvisation
 Context
 Type of music
 Religious
 Entertainment
 Lesson III: Musical Connections
o How this music is taught and passed on
 Importance of aural skill/improvisation
 Use of actual notation for this genre
o Connections
 How music, dance, and spiritual practice work together as
one
 Bhangra
o Context in which Bhangra is learned and
performed

 Chapter IV: Indonesia

 Lesson I: Importance of Javanese Music Tradition
o Ancient court music and instruments
o Javanese Gamelan tradition
 Contents of a traditional gamelan ensemble
 Use of dance and puppetry in performance
 Lesson II: Religion in Indonesian Music
o Difference between Javanese and Balinese gamelan
o Inclusion of mixture of Hinduism and Islam
o Performance techniques
 Balinese: more abstract and expressive
 Javanese: less pageantry
o Tuning of gamelan
 importance

o Chapter V: Migration and Spread

  Module I: European Spread to the Americas
 Lesson I: Western Music Study
o Traditional European music
o Renaissance, Baroque, Classical, Romantic
o How these periods built off each other
o Increase in technology
 Printing press
 New instruments
 Mass distribution of music
 Lesson II: Music in the Church
o Protestant Church music with Martin Luther
 Unifying the congregation so everyone could sing
o Puritan traditions
 Why the Puritans left the Anglican church
 Lesson III: Colonization
o Migration of people AND ideas
Fourth Quarter
 Chapter V: Latin and North America
o Module I: The Effects of the Great Migration
 Lesson I: The Caribbean
 The instant impact of the slave trade
o African music traditions
o Cultural fusion
o Slave revolution
 Religious symbolism and festivals
o Their impact on secular music
 Lesson II: Cuba
 Distinction of Afro-Caribbean and Afro-Cuban rhythms
o Rumba, son, batá
 Emersion of Santería
 Cuban folk and popular tradition
o The effect of this on Latin music overall
 Lesson III: Brazil
o Afro-Brazilian influence
o Religious and musical traditions
 Candomblé, carnival and samba music
o Merging of African ideas and instruments
 Choro, forró, samba, bossa nova, MPB

Stage 2
Music Anthropology: A Global Perspective

Transfer Goals: (After they leave this course, what will students be able to do independently?)
 1. Students will be able to describe distinguishing features of musical styles and forms from
cultures around the world.
2. Students will be able to recognize ways in which technology and culture impact the
growth and development of music over time.
3. Students will be able to explore and describe music’s role in society through comparison
and contrast on the development of music around the world.
4. Students will be able to perform basic aspects of music from various cultures of the
world.
5. Students will be able to analyze and describe different styles of music from various
cultures through active listening.
6. Students will be able to arrange or compose music, with specific guidelines, that reflects
aspects of music from a particular culture.

Enduring Understandings: (What will students understand at a deep level after this course?)
1. Music is a form of communication, with many different dialects used around the globe.
2. Through experiencing music, we gain a more authentic understanding of it.
3. Personal reactions to music are different for everyone.
4. Music is not the product of rapid development, but rather the result of thousands of years
of innovation and experimentation.

Performance Tasks: (These should evaluate the Transfer goals and Understandings – these are
the larger “project-based” assessments that show deep knowledge. These should usually involve
some form of student decision-making, and often include reflective essays to make students’
thought processes evident. Be sure that all of your Understanding goals and all or nearly all of
your Transfer goals are reflected here.)

 Students will choose an instrument from a list of provided instruments (bansuri, sitar,
zither, mizmar, gamelan, pianoforte, trumpet, violin, conga, batá). Students will find five
works, those of which must come from varying points in history, of music in which their
selected instrument is used, either as a solo instrument or an part of ensemble in some
way. These works must encompass different eras in history, including at least three
separate centuries in which a work of music includes their instrument of choice. After
experiencing this, students will research the history, development, and current use of their
selected instrument and/or any current relatives of said instrument. This research will
culminate in a 5-7 page paper including their reactions to each piece they found with their
instrument, describing the piece from the standpoint of an unbiased listener, and their
description of the history and context of the instrument and its family. The paper will also
include a discussion on the difference in use of the instrument and how that genre of
music played into the cultural atmosphere of the time, and then more broad comparison
on the role technology played in the development of that instrument and where it would
fit in on a global timeline.
o This project aligns with Transfer Goal 2, “Students will be able to recognize ways
in which technology and culture impact the growth and development of music
over time”. This is covered through the research and analysis of multiple uses of
these instruments over time, and the impact of their music on culture. It also
aligns with Transfer Goal 3, “Students will be able to explore and describe
 music’s role in society through comparison and contrast on the development of
music around the world”. This is covered through the comparisons in the latter
portion of the assignment.
o This project aligns with Enduring Understandings 2, 3, and 4. EU 2 applies to the
experiencing of each work of music. EU 3 applies to the follow up reactions of
the experience, and EU 4 applies to the research portion of the project.
 Students will compose a short, 8-16 bar melody to be sung over a hand-drumming
rhythm or pattern. This rhythm can come from the African, Middle Eastern, Indian,
Indonesian, or Afro-Cuban/Afro-Brazilian studies of hand-drumming. The melody must
include lyrics related to a folk story, one actually from their selected culture or one that is
made up, and must follow the harmonic and melodic structures of that culture. This
project may be performed live or recorded at home. It also may be done in groups of
students up to four. In addition to the written composition of this work, each student must
include a reflection of their research, practice, and performance of this music in order to
demonstrate their further understanding of whichever culture they chose to represent.
o This project aligns with Transfer Goal 4, “Students will be able to perform basic
aspects of music from various cultures of the world”, and Transfer Goal 6,
“Students will be able to arrange or compose music, within specific guidelines,
that reflects aspects of music from a particular culture”.
o This project aligns with Enduring Understandings 1, 2, 3, and 4.
Other Evidence: (This is where you will list more discrete tests, worksheets, and other smaller
assignments that will mostly measure the Acquisition knowledge. In a performing ensemble, this
might include things like pass-offs, scale tests, SmartMusic or Google Classroom recording
assignments, and so forth. Consider how often you are assessing students – a good target is at
least once per week.)

 Students will complete short worksheets focusing on vocabulary for the lesson being
studied at the time. These worksheets will be passed out on the first day of each lesson, as
not every lesson can be covered in one class period.
o This aligns with Transfer Goals 1, 2 and 3
 Students will take a quiz at the end of every lesson, incorporating the information
covered on the worksheets. These quizzes will also be in the same format as the
worksheets for a sense of consistency.
o This aligns with Transfer Goals 1, 2 and 3
 Students will complete a review guide prior to the end of each module. The review guide
will pull information from the lesson worksheets covered in the lessons of the module.
o This aligns with Transfer Goals 1, 2 and 3
 Students will take a module test at the end of every module to cover the information of
the module. The module test will cover the information from the review guides.
o This aligns with Transfer Goals 1, 2 and 3
 Students will complete a listening assignment at the beginning of every other class,
similar to an entry slip. As students walk in, a new piece of music will be played over the
speaker and students will be handed a slip of paper with instructions and questions about
the piece of music. Students will hold a brief, guided discussion about different elements
of music found in the excerpt.
 o This aligns with Transfer Goals 1, 2, 3 and 5

Grading Scale: (Explain how your assessments will be categorized, weighted, and turned into a
letter grade)

Category Grade Weight

Lesson Worksheets 10%
Lesson Quizzes 20%
Module Review Guides 10%
Module Tests 20%
Listening Entry Slips 5%
Instrument Research Project 15%
Hand-Drumming Composition Project 20%

93-100%...A 86-92%...B 78-86%...C 65-78%...D Below 65%...F

Assessment Tools: (Develop two assessment tools for use in your class. At least one must be a
rubric. Be sure that these are clearly connected to the assessments you listed, that they are as
thorough as possible, and that they follow best practices discussed in class.)

Instrument Analysis Portion Rubric (Instrument Research Project) – Target score: 3

0 – Nonparticipant 1 – Beginner 2 – Novice 3 – Proficient 4 – Advanced
Written Student does not Student has Student has Student has Student has no
Work show proper use of significant some mistakes in very few errors in
grammar, spelling mistakes in grammar, mistakes in grammar,
or writing format at grammar, spelling spelling, or grammar, spelling, or
all in the paper. or writing format. writing format. spelling, or writing format.
writing format.
Time Student does not Student provides Student provides Student Student provides
Range of include a varying very little and/or a wider variation provides a a thorough
Works time range of works inaccurate of times in which sufficient range historical
Included incorporating their reporting of time their instrument of time with timeline of
instrument. variation of works is used, but does their works for works featuring
incorporating not span the their their instrument.
their instrument. desired amount instrument.
 of time.
Analysis Student does not Student includes Student includes Student Student includes
of Works include an analysis very little and/or an analysis with includes an a thorough
Included of these works on inaccurate basic analysis which analysis of the
their project. analysis of the information that sufficiently works and links
works on their does not reflect addresses the them to other
project. anything outside works and the cultures outside
of the work cultural context of the one that
itself. of said works. lays claim to
their instrument.

Hand-Drumming Song Composition (Written Work Rubric) – Target Score: 3

0 – Nonparticipant 1 – Beginner 2 – Novice 3 – Proficient 4 – Advanced

Written Student does not Student includes a Student includes Student Student includes
Music complete a written written a completed includes a a well-organized,
submission of their submission of written legible, completely
music. their music, but it submission of completed engraved written
is incomplete or their music, but written submission of
inaccurate. it is illegible. submission of their music with
their music. no errors.
Melody Student does not Student alters the Student alters the Student alters Student alters the
include a melody melody with little melody with the melody with melody with
for their folk song. variation in some variation in significant significant
musical element musical element. variation in variation,
(rhythm, pitch, musical subsequently
mode). element. creating new
themes.
Personal Student does not Student includes a Student includes Student Student includes
Reflection include a personal vague, basic a personal includes a a thorough
reflection. personal reflection that personal personal
reflection (i.e “I gives some reflection with reflection that
didn’t like it, it insight to their clear thoughts touches on all
was boring) thought process, and ideas. aspects of the
but is still vague project and
or unclear. relates it to other
cultures or
subject areas.
 Lesson Plan: Music Anthropology

Cuban Music Introduction

Objectives:
1. Students will be able to perform Cuban rhythms from notation and aural repetition.
2. Students will be able to discriminate between the 2-3 rumba, 3-2 rumba, 2-3 son, and 3-2
son clave rhythms through notation recognition and performance.
3. Students will be able to identify different instruments native to Cuban music.

Assessments:
1. Students will be provided with rhythmic patterns written on the board and will have
chances both as a class and as individuals to sing, clap, and sing and clap the rhythms.
2. Students will be provided rhythms aurally and be asked as a class to repeat the rhythms
both as a class and as individuals while singing, clapping, and singing and clapping.
3. Students will provide self-feedback on a four-finger system (1-I need a lot of help, 2-I
need some help, 3-I’ve got this, 4-I can help others)
4. Students will complete a simple worksheet including images of Cuban instruments.
5. Students will perform a short, provided melody in groups of 3-4 incorporating hand-
drums, claves, and a guiro.

Procedures:
 As students enter classroom, “Abre Que Voy” by Miguel Enriquez plays over speakers.
 Once students have arrived, ask leading questions
o “Did you recognize any instruments?”
o “What style of music would you call this?”
o “Were there any repeating rhythms or patterns?”
 Introduce the lesson on Cuba
o Overview of topics
o Instruments
o Rhythms
o Religion in Cuban music
o Cuban music as an element of culture
 Pass out instrument worksheet
o Pictures of different instruments
 Guiro
 Claves
 Congas
 More recognizable instruments
 Trumpet, trombone, keyboard
o Space to take notes on each instrument on the worksheet
o PowerPoint included for presentation on instruments
 On same PowerPoint, introduce clave rhythms
 o If the clave in the intro song wasn’t mentioned/recognized, this is the time to
introduce it
 Performance practice for implementation of the rhythm in music
o Definition of the clave rhythm
 3-2 versus 2-3
 Rumba versus son
 Implied versus actual use of the rhythm
o Songs that use this rhythm
 Echo clap the 3-2 son clave
o Teacher first, then class
o Keep repeating 3-2 son clave
 Hum the melody to “Lightly Row” while students continue rhythm
o Stop 3-2, begin 2-3 son clave
 Half the class claps, half the class hums
 Switch the two halves after one repetition of the song
 Echo clap the 3-2 rumba clave
o Repeat same steps as son clave procedures
 Introduce percussion instruments
o Conga, guiro, claves
 Any hand drum will do
o Discuss the possible combinations and rhythms for each instrument
o Reintroduce the concept of implicit vs. explicit use of the clave rhythm
 Does not have to be one particular
 For this purpose, it must be explicit on one of the instruments
 Each instrument must have a unique rhythm
 Split into groups of 3-4 to begin the process
 After 15 minutes, bring the class back together
o Each group presents their mini-arrangement
o Opportunities for peer feedback

Clave Arrangement Rubric: (Target: 4/2)

0 – Nonparticipant 1 – Beginner 2 – Novice 3 – Proficient 4 - Advanced

Musical Student does not Only one of Only two of All elements are All elements are
Content perform their the required the required included in the required and none
arrangement for elements is elements are performance but are incorrect.
the class included in included in one or more in Performance has
the the incorrect potential to include
performance performance advanced elements
Originality Student does not All three Two of the Each instrument Each instrument
perform their instruments instruments performs a performs a unique
arrangement for in the in the unique rhythm, rhythm and the
the class ensemble ensemble but it is not ensemble performs
perform the perform the played well in time together
same rhythm same rhythm together
Understanding Student does not Group does Group Group includes Group includes the
of the Clave perform their not include includes the the clave clave rhythm and
Rhythm arrangement for the clave clave rhythm rhythm, but it is performs it
the class rhythm but it is not the same as correctly
implied, not the one they
explicitly specified it
performed would be