In 1936 attorney Evan S. Pillsbury left a legacy to establish a foundation for the advancement of music education. To determine how the funds might be most usefully spent, the three appointed trustees sought the advice of conductor Leopold Stokowski. He told them that what he thought was most needed was an in-depth study of the spontaneous music and musicality of young children, and he suggested that they establish a school for this purpose, and the author of this article was recommended for the position of the school's music director. Within the environment of the Pillsbury School, freedom was provided for the children to ride on tricycles and in wagons, to run and dance, to play instruments and sing, to have parades, to give shows, to invent plays, and to celebrate spontaneously festive occasions. This freedom did not interfere with their required academic studies, guided by an able, certified teacher. As the music director, one of the author's functions was to try to discover how creative music activity was provoked and generated in young children, and to give technical assistance and information. After almost eight years of day-to-day creative companionship with young children, Donald Pond collected enough material to come to some conclusions about the emergence of their musicality and the roots from which it sprang. To uncover those roots was the objective he set for himself when he began to explore the young child's world of music, without knowing, however, that young children, in their relationship to music, already were being systematically redirected by the ignorantly unexamined methodologies of the music education establishment. In this article, Pond's shares some of his observations, conclusions, and convictions.