A gentle reminder that this is a theory of music, not "the" music theory, or more specifically Western European music theory, rooted in 17th century Germany. A problem for many "21st century classrooms" is how they VASTLY over-state the universality and "superiority" of this form of music theory.

Thing about the snooty elitist vibes of the "classical" chamber music world, then realize that almost every base assumption made have real-world counter-examples. 12 equal-tempered subdivisions to an octave is (possibly) obvious one, but most people don't realize that many musical cultures don't subdivide measures into even pulses, or have even/equal-sized measures (see "additive rhythm").