Songs, which adults and elder children used to sing to the youngest ones to amuse or to soothe them, were commonly known as "clapping", "sawing", cuddling, bouncing, swinging, etc. Later, the term 'amusement' was suggested by the linguists. Compositions of this kind were short and primitive pieces, mostly of syncretc character; they occupied an intermediate position between games and songs. They differed from games, because the child did not play on its own, but was made to play by the adult. Generally, while singing or reciting a short, one-stanza verse, the adult was acting in a particular way: cuddling, swinging, tickling the child, playing with its hands, fingers, etc. Sometimes the songs were performed without accompanying movements. Anyway, their essential intention was to soothe the child, to amuse it, to arouse its joyful mood and vitality, to foster its concentration skills as well as physical powers, and to introduce the surrounding world.
The most common heroes of these compositions, like in fairy tales, were little birds - crows or magpies; little animals - mice, pussy cats, bears, goats; sometimes the child was regarded as a hero and had to ride a horse, or to go to the market to buy rolls, or to grind and cook porridge, and so no. Naturally, adults sought to use the language understandable to their children, which made the world reflected in the infant amusements look is if seen through the child's eyes and related to the child's needs.
The songs of this kind were designed to teach the child the most elementary actions. According to these actions and the functions performed, they can be subdivided into the following groups: 1) cuddling songs, accompanied by cuddling, soothing, stroking; [mp3] 
2) massage songs (the so-called laugh raising amusements), with simultaneous massaging of the child's stomach, back, legs or hands; [mp3] 
3) exercise songs, accompanied by leg or hand exercises; [mp3] 
4) clapping or "porridge cooking" songs, with the child clapping its hands or playing with the fingers; 
5) bouncing or swinging songs, with the child being bounced on the knee or swung on the leg. [mp3]
The tune of infant amusements was predetermined by their original intention, with, energetic rhythm prevailing, especially, in bouncing and clapping songs. Among other typical features the following are worth mentioning: melodic reciting and constant accents, repetition of melodic arrangements, symmetric meter and rhythm, closed form. In most cases, the ending part contained spoken elements and was characterised by expressiveness, unexpected effect and a wide compass of voice. The verse contained a large variety of imitative words, e.g. upa upa, këku këku, kicu kicu, zyru zyru, dþyru dþyru, kyku kyku, etc.
Unfortunately, no proper attention had been given to the description of movements, while recording the compositions; consequently, the samples of infant amusements included in "The Book of Lithuanian Folk Songs, Vol. 1" sometimes lack precise description. Anyway, these songs have preserved their educational value and even today have not lost their significance. Infant amusement songs that country woman keep singing to their grandchildren now emerge as true examples of our living tradition and really deserve meticulous attention of folklore collectors.