Musical activity is normally a form of play, expression for the satisfaction in the expression itself without ulterior motive, and this attitude may be carried through life. A person who cannot take a play attitude toward music perhaps has no music in him. The play attitude does not free one from effort, even systematic and arduous effort, in the acquisition of the art. Witness all the sports at all stages of growth. There is nothing to relieve us from understanding facts involved in music; but the driving motive is found in the play attitude, and the result is pleasure in play. On these observations of nature's ways in play, the future pedagogy of music will be built. _Environment._ It is astonishing that the child is often treated as unmusical unless he can sing or play adult compositions or show an intelligent appreciation of high art forms. How pitiful it is for a mother to say that her child is not musical because he does not sing her songs and understand her artistic playing. How vastly could a mother's appreciation of the child be increased if she realized what constitutes music at his level and how fundamental the musical reactions at his level are to the development of music in the adult! To be musical, the child must be musical in response to his environment. There are natural laws of evolution in the race and in the development of the individual for types of reactions to the music that abounds around us in nature and for the various means at our command of expression through imitation of them. To the primitive tribe, the drum is a powerful, thrilling musical instrument. So are all forms of drumming to the child. He imitates the whistling, tooting, rattling, banging sounds in his environment, sometimes until he becomes noisily tiresome. He feels in harmony with the clock that ticks, the birds that sing, the dog that barks, the cat that mews. He loves to bang on the piano and blow his horn. This craving for pleasure in sounds radiates through the sense of rhythm into graceful movements, the beginnings of dancing and dramatic action, even from the crudest rhythmic kicking and tapping movements of the infant. His speech becomes rhythmic, melodic, dynamic, beautiful. His whole body becomes reverberant in response to the sounds of nature. Laughter progressively acquires new and beautiful forms. Even crying may give satisfaction of an artistic sort. The swinging of the pendulum of the old clock on the wall is music. The patter of rain, the splashing of water have musical elements. The child does not think of the artistic forms as does the musician; but like the canary which, even if grown in isolation in a soundproof cage, in due time produces his natural tours in repertoire, the child instinctively comes out in melody, dynamic modulation, and rhythm. But all these are modified by the environment.