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Though at first the musical content of pan performances came from a certain echelon (layer) of society, it took the performance of the music that “belonged” to another echelon of society to “legitimize” the instrument and its use. What type of music was it — and what was it about that music — that helped in this transition of the pan from social scourge to the national instrument? (You may want to consider the [foreign] geographical location of one of these important performances, which is described in Dudley's writing.)

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