Cuba has been influential in developing numerous melodic styles in the nineteenth and twentieth hundreds of years. The underlying foundations of Cuban music was in the Cabildo which is best characterized as a type of social club among African slaves conveyed to the island. The Cabildos protected African social conventions. Santeria, which is a religion that spread after the emancipation in 1886, influenced Cuba’s music. The religion of Santeria influenced Cuba’s music with the implementation of percussion, which is an essential part of the religion. However, the slaves did not give up on their culture.They substituted the names of their African divine beings by substituting them with the names of the Catholic holy people. For instance, their lord of war Chango moved toward becoming Saint Barbara. Every god is related with hues, feelings, and Roman Catholic holy people and drum designs known as toques.Afro Cuban music consists of various musical instruments which belong to the percussion family of instruments. Such are the bongo drum, cowbell, conga, claves timbales, Maraca, Guiro, and the Cajon. Some of the most famous Afro Cuban songs are “Amor Verdadero,” “Pio Mentiroso,” “Alto Songo,” “Fiesta de la Rumba,” “A Toda Cuba le Gusta,” “Chan Chan.” In addition, some of the most popular artists of Afro Cuban music are Buena Vista, Tito Puente, Irakere, Mongo Santamaria, Dayme Arocena, Gonzalo Rubalcaba, Sierra Maestra among others. Afro Cuban type of music contributed to the development of jazz, salsa, tango, and many more. This type of music is composed of many different rhythms. For instance, one specific genre of Afro Cuban music is Son which is the music that has been vigorously impacted by African beats (and it is additionally the national people music of Cuba), and it sounds fundamentally the same as Salsa music. The beat and the percussion sounds African, though the instrument that is culled is like a Spanish guitar.Tribal Music of AfricaTribal music of Africa shifts from tribe to tribe having unmistakable melodic customs because of the unfathomability of the continent. In Africa, the music is essential to religion since melodies and music are utilized as a part of customs and religious services. In these functions and/or ceremonies, individuals go down stories from age to age and also move and sing to the music they play. The fascinating truth about the innate music of Africa is that it is passed down orally. This kind of music often depends on percussion instruments of each assortment. These instruments incorporate Xylophones, djembes, drums, and tone-delivering instruments, for example, the mbira or “thumb piano.”African tribal music was in some degree an influential part of many distinct music genres. Some of the genres are soco, calypso, and zouk, rumba, conga, bomba, cumbia, salsa, and samba. The music of the tribal music of Africa is a very rhythmic music. Another interesting fact about the tribal music of Africa is that it consists of a calling and responding aspect. In other words, the person or people singing would say sing something and the audience or another group of people would respond singing something back. This is not only done with singing but it also extends to the instruments as well. For instance, one drum will play a rhythmic pattern, and another drum would play the same pattern as if it were its echo. Moreover, this type of music consists of much improvisation. This is one of the reasons why the music is not written down. African melodic instruments incorporate an assortment of drums, opening gongs, rattles and twofold chimes, distinctive sorts of harps, and harp-like instruments, for example, the Kora and the ngoni, and in addition fiddles, numerous sorts of xylophone and lamellophone, for example, the mbira, and diverse kinds of wind instruments like woodwinds and trumpets. Some of the famous artists of African music are Miriam Makeba, Fela Kuti, Angelique Kidjo, Toumani Diabate, Oliver Mtukudzi, Oumou Sangare, Ismael Lo, among others. Indian RagaIndian Raga music has ancient roots and it was developed because of the reverence for arts for spirituality and entertainment purposes in Hinduism. Raga is historically an essential part of Hinduism along with the performance arts such as dance and music. Hindu people believe that music is a spiritual pursuit and a way to be liberated. According to Hinduism, music appeals to humans because they are hidden harmonies of the ultimate creation. The ragas are considered by Hindus, as a manifestation of the divine, a musical note treated as god with complex personality. A raga could be best described as a melodic rule set that a musician works with, According to Dorottya Fabian and others, a raga of the ancient Indian tradition is best described as “a non-constructible set in music,” just like non-constructible set in language for human communication. Musicians playing a raga is free to improvise certain degrees of the scale. Some ragas are Shape of You, Edm Thilana, Cheap Thrills, Enna Thavam Seithanai, Ragatone, Ragabond, Laali Laali, Nirupamana and Trikala Jathi. Some of the artists of Raga are Ravi Shankar, Ali Akbar Khan, Tansen, M. S. Subbuslakshmi, Hariprasad Chaurasia, Shivkumar Sharma, A. Kanyakumari, Vishnu Narayan Bhatkhande, among others. Some interesting facts about Raga is that the notes are less important than the mood or the lyrics that define Raga. Moreover, Ragas are played based on a specific time. It can be either during the evening, morning, afternoon, or night time. Some Ragas are played specifically based on the season. Ragas are divided due to the styles, traditions, and regions.  Something extremely interesting about Indian Raga is that it is improvised which means that it is composed right then and there when the musician is playing it making every Indian classical music performance different. Nevertheless, even though their music is improvised, they do not play whatever they want. Instead, they have the rules of the raga to guide their improvisations. Each raga has the following, scale: specific pitches used in a musical piece, arohana: ascending form of the scale, etc.