This paper explores how Cohn’s (2018) beat-class theory, represented through visualizations and sonifications using cyclic graphs, provides a suitable approach for the analysis of Ikorodo music of the Igbo people of Nigeria. Unlike traditional music theory, Cohn’s instruments of music theory have the capacity to represent the listener’s temporal experience of music because modern meter theory encompasses the recognition and documentation of the experience of mathematics during listening. Our presentation explains how embodied mathematics and music can be represented through visualizations and sonifications of beat-class theory when listening to Ikorodo music. Arguably, the use of traditional Western music theory in classroom textbooks to analyse all music has resulted in a ‘dumbing down’ of music curricula in general (Calilhanna, 2018, 2019b). However, recent research indicates the efficacy of teaching the isomorphic relation of mathematics and music in an interdisciplinary and student-centered approach (Cohn, 2018; Milne, 2019; Calilhanna, 2017; Calilhanna and Webb 2018; Calilhanna, 2018; Hilton, Calilhanna and Milne, 2018; Hamilton, T. et al, 2018). Thus, through the application of mathematics to analyse Ikorodo music we will demonstrate how the Igbo’s Ikorodo music can be recognised for its complexity, beauty, unique characteristics, and cultural importance.