1. INTRODUCTION
    A. OPENING PARAGRAPH
    B. GENERAL NATURE OF HYPOTH.'S 1-3 (ONE PARAGRAPH)
         WILL LOOK AT THESE IN ORDER AND DETAIL IN
         FOLLOWING. 

    C. CONT. - "IN ORDER TO BEGIN"  TO MEX.-AMER.
    D. TIME TYPES
       1. MAKE LEVI-STRAUSS  THEORY VERY CLEAR
          - DIFFERENCE  BETWEEN INDIVIDUAL AND CULTURAL PERCEPTIONS
          - WHY EASTERN IS 1 AND WHY COMPULSIVE 2 ISN'T 1
          - SOPHISTICATION (TECHNOLOGICAL) = MORE TT 1
       2.  WILL USE THIS DESCRIPTION OF TIME PERCEIVERS;
          - SOPHISTICATED AND NON-LIT. ARE SYNONYMOUS WITH
            TIME-TYPES I AND II.
       3.  HYPOTH 1. - CULTURAL COMPLEXITY AND ARTISTIC COMPLEXITY

    C.  SPECIFIC OUTLINE OF TEXT TO FOLLOW
       1.  HYPOTHESES TO LOOK AT - IN ORDER + APPROACHES
       2.  KINDS OF EVIDENCE TO LOOK AT
       3.  GENERAL KINDS OF CONCLUSIONS TO GET - I.E., DISPROOVE


2.  HYPOTH. 2 - STRICTNESS
    A.  SPELL OUT HYPOTH. AND IMPLICATIONS
    B. DRAW CONCLUSIONS
    C. PRESENT EVIDENCE
    D.  CLEAR CONCLUDING REMARK


3.  HYPOTH. 3 - COMPLEXITY
    A.  SPELL OUT HYPOTH. AND IMPLICATIONS
      - WE ARE DEALING WITH RHYTHMIC COMPLEXITIES AND NOT
        MUSICAL COMPLEXITIES - SPELL OUT
          I.E., PRIMITVE = SIMPLE CONSTRUCTIONS WITH COMPLEX RHYTHMS.
      - GENERAL MUSICAL SOPHISTICATION IS GREATER WITH
        CULTURAL COMPLEXITY BUT RHYTHMIC COMPLEXITY IS NOT.

    B.  DRAW CONCLUSIONS ABOUT HYPOTH.

    C.  EVIDENCE AND WHAT IT RELATES TO
      - EVIDENCE IS ONLY TOWARDS THIS HYPOTH. AND
        NOT TOWARDS DISTINCTIONS BETWEEN MUSICAL
        COMPLEXITIES.
      - ALTERNATE EVIDENCE FOR 1 + 2
         TOWARDS CAN'T BE DIFFERENTIATED ON THIS BASIS
    D.  SUMMARY OF HYPOTH. 1 + DISPROOF + CLEAR CONCLUDING 
            REMARK


4.  STRUCTURALIST APPROACH
    A.  DEFINITION
    B.  REDEFINE TIME TYPES (ALREADY DONE)


5.  CONCLUSION
    A.  RESTATE HYPOTHESES + CONCLUSIONS IN 1 OR 2 SENTENCES
    B.  GIVE PROBLEMS WITH THIS APPROACHE
    C.  RHYTHM IN MUSIC/SPEECH APPROACH.