Inspired by the magnetic power of Cuban music and the world-renowned music skills of Cuban musicians, I am conducting exploratory research on how Cuban musicians learn clave-based music with the aim to increase knowledge on Cuban music, particularly on how it is transmitted in its original cultural milieu. The enquiry starts by outlining the main stylistic and sociohistorical elements of Cuban music, drawing out the distinctions between how Cuban music is defined in Cuba and in how it is portrait in the wider international context. Then it analyses the rhythmic foundations of Cuban music – making special reference to the clave rhythm – before examining them against conceptions of rhythm from other music cultures so as to the discern the extent to which clave-based music constitute a distinct rhythm construct.

On this backdrop, and taking the concept of formal and informal learning as a frame of reference, this study investigates the main learning and teaching approaches evidenced in the transmission of clave-based music, identifying patterns of learning approaches in connection to different educational environments as well as communities of practice of Cuba society. Following this, this project proceeds by narrowing down the focus of enquiry on foundational features, such as the clave, spotlighting the way it is experienced in Cuban musicians’ life-word.

Finally, this research propounds that Cuban music has the potential to foster music education more broadly. In spite its wide influence on Wester popular music and global reach, Cuban music has been kept apart from other major African-diasporic traditions, such as jazz for example, precluding the richness of genres, rhythm, and the accentuated participatory dimension derived from the indissoluble link to dancing from inspiring and enriching the lives of music students in the West.

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