Conducted during the Institute for Steelband Playing held in 1988, this study's aim was to understand how Trinidadian people view, experience, explain, and order specific elements of their musical world, with the goal of providing an information base for establishing steelband programs in Canadian schools. The study focused on (1) How did the steelband evolve as a musical ensemble? (2) How are steeldrums traditionally constructed and tuned? (3) What are the stylistic relationships between the calypso song form and the calypso steelband form? and (4) How is music taught and arranged in Trinidad? The methodology employed principles generally associated with qualitative orientations to conducting research. Data were collected and then an ordering of theoretical ideas from the interrelationships among concepts that emerged from the data took place. Some data sources included (1) the panyards where steeldrums were constructed and tuned; (2) Trinidadian panmakers-in-residence Jim St. Rose and Albert John; (3) institute rehearsals and instructional sessions conducted by Trinidadian pannist and arranger Ray Holman; and (4) visual records such as photographs and video. Data were gathered by observation, interviews, and discussions; photography; and audio-recording. The paper identifies important points in the evolution of Trinidadian steelband; identifies the various stages of the construction of steeldrums; summarizes the stylistic links between calypso and steelband; and examines how music is taught and arranged in Trinidad. Questions for further study are recommended. Tables, figures, examples, and photographs are provided. Contains 67 references. (LAP)