Through this, she was able to analyse the formal music education experience for musicians by comparing the informal pop music learning characteristics to the education that takes place formally offering an insight into the way in which music involvement for musicians can be re-invigorated. Being said that, it also becomes important to analyse whether a culture of teaching that helps in recognizing and rewarding imitation of aural, improvement and experiment along with committing and being passionate, will result in motivating individuals for making music or not. From this perspective, the report has its basis on training methods of rhythm in western popular music.
Rhythm is viewed as the reflection with respect to constant existence of music. This refers to the fact that the existence of rhythm cannot be seen in the absence of music and it has been identified as being a part and parcel of a number of different sets of sounds that had been present within music (Touma, 2006). In such a situation, rhythm is thus seen as a tune being regulated and ordered. Moving ahead, a growth within this particular view is that rhythm can also be considered with respect to the relation of tone utilizing patterns of notes that long as well as short. Rhythm is extremely relevant amongst the Western music due to the fact that it has time, duration, tempo and meter.