With respect to this particular view, music has been considered as a form of art that is hard for understanding as it mostly gets influenced by a number of different attributes. Based on various interview series on musicians (aged from 15 to 50), exploration was done by Lucy Green on pop musicians nature towards informal practices of learning with respect to their beliefs and values. 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.
In consideration with the western music, since the 20th century, composers such as Steve Reich, Philip Glass, Bela Bartok, and Igor Stravinsky had written more complex training methods of rhythm utilizing techniques and odd meters like the additive rhythm and phasing. At the same point of time, modernists like Olivier Messiaen and his pupils had utilized high level of complexity for the disruption of the sense with respect to regularity in beat that eventually lead towards the widespread utilization of rhythms in an irrational manner within the new complexity. This utilization can be explained through a comment related to John Cage where it had been noted by him that regularity in rhythms can result in causing sounds for being heard as an entire group instead of the individual context.