"Music," said quaint old Thomas Puller, "is nothing else but wild sounds civilized into time and tune," and Wallaschek, in his recent volume on _Primitive Music_, has shown how every nation under heaven, even the most savage and barbarous of peoples, have had a share in the work of civilization. Music has been called "the language of the gods," "the universal speech of mankind," and, early in the golden age of childhood, the heaven of infancy, is man made captive by "music's golden tongue." As Wallaschek has said of the race, Tracy says of the individual, "no healthy, normal child is entirely lacking in musical 'ear.'" The children of primitive races enjoy music, as well as their fellows in civilized communities. The lullaby, that _quod semper ubique et ab omnibus_ of vocal art, early engages and entrances the infantile ear, and from the musical demonstrations of his elders, the child is not always or everywhere excluded. Indeed, the infant is often ushered into the world amid the din and clamour of music and song which serve to drown the mother's cries of pain, or to express the joy of the family or the community at the successful arrival of the little stranger. Education in music and the dance begins very early with many peoples. At the school of midwifery at Abu-Zabel in Egypt, according to Clot-Bey, in cases of difficult childbirth, a child is made to hop and dance about between the legs of the mother in order to induce the foetus to imitate it (125. II. 159). As understudies and assistants to shamans, "medicine-men," and "doctors," children among many primitive peoples soon become acquainted with dance and song.