It gradually radiates from the lips through more general expressions of comfort in the face as a whole, and we have a clearly developed smile. Gradually it becomes associated with sounds--inceptive gurgling, simple droning, light chatter, and other inceptive forms of vocalization, always accompanied with a smile, which thus develops new meanings, and mother and child acquire mutual understandings, because from the first the mother tends to respond sympathetically in like language. As this association grows it takes the form of audible laughter which, at a comparatively high stage of development, becomes a "ha-ha-ha" with musical inflections. This is a form of language, still not expressing specific ideas, but the general attitudes of well-being, comfort, satisfaction of young life as a whole. The mother knows it, loves it, and responds accordingly; and this mother's response draws from the infant a growing hierarchy of new types of responses, meaning the same thing. Gradually these infantile sounds develop inflections and modulations in pitch, in loudness, in rhythm, and in tone quality. These inflections are the beginning of beauty in voice, and each new conquest gives a new form of satisfaction to the child and mother. The mother may stimulate natural forms for expression of mutual feeling by her own musical laughter. Gradually the playing with these sounds becomes an object in itself, the making of a particular sound for mere pleasure. This is the beginning of singing and the appreciation of musical sounds. We observe the child playing with modulations in pitch, in loudness, in duration, and in different kinds of tone quality. This is the beginning of musical experiment, of musical creation, and musical appreciation in the child. Blessed is the mother who can appreciate the music thus born. She then sees the significance of the rhythmic patty-cake as music which gives pleasure to mother and child alike. She then begins to understand that the jingling of a bell is sweet music to the child. She can see how the appreciation of rhythm is gradually revealed through the progressive development of means of making sounds and hearing varieties of sound. Perhaps unconsciously she sets patterns for a musical inflection which the child begins to imitate. To the child, noise is music, and the discovery of noises and the mastery of various noises play an immensely rich and important role, even in the highest forms of adult music. Thus, the recognition and feeling of pleasure in sounds, and the power to make agreeable sounds, reveal to the child an unfolding musical world. His whole organism responds to it. This is an element of musical feeling.