As to the value of the music which was obtained from these instruments, it is difficult to arrive at an opinion from capable judges. Nearly all who have been in a position to study the subject have lacked acquaintance with the scientific principles and developmental history of music as an art.
Hence it has usually been stated, and accepted without inquiry, that the aborigines of America were exceedingly deficient in musical ability, and that their best efforts rarely went beyond creating discordant noise. Late investigations by competent critics have disproved this opinion, and show that the melodies of the natives are in accordance with a recognized scale, though not that to which we are accustomed. For a parallel we must go back to the ancient Phrygian and Lydian measures, where we shall find a development of the art in a similar direction to that among the natives of this continent.[39] As is remarked by Mr. A. S. Gatschet, "Although the Indian uses all the seven notes of our musical scales, he avoids many of our melodial sequences; the majority of his tunes follow the dur or sharp scales, and the two-eighths or two-fourths measure."[40]
In Central America, the native race has a keen musical sense. Von Tempsky found that they learned by ear, with great ease, the compositions of Bellini; and in Vera Paz and among the Lacandons, Morelet heard upon the Chirimoya, an aboriginal wind instrument, an air which he characterizes as "very remarkable" and "extremely touching." What brings this air into relation to my present theme is the singular fact that it was known as la Malinche, but Morelet could not learn from what connection.[41] Quite possibly it was from the character of that name in the play of Güegüence.
In the public bailes in ancient times, as we are informed by both Oviedo and Benzoni, the musicians were separated from the singers and other performers, forming an actual orchestra, and this is also intimated in the Güegüence. Having thus the position of a class by themselves, it may fairly be presumed that they cultivated with assiduity their peculiar art.
In later days, the cofradias, the brotherhoods and sisterhoods organized in connection with the churches, made it part of their business to learn singing and music, so as to take part in the celebration of church festivals. It was through these cofradias that the art of playing on the ancient instruments was preserved. By the loss of influence of the church at the separation of the colonies from the mother country, the cofradias were mostly dissolved.[42]
The music which accompanies the ballets in the Güegüence has been written down, and is familiar to many in Nicaragua. I have obtained a portion of it, through the obliging efforts of Dr. Earl Flint, of Rivas, an earnest cultivator in the field of archaeological research. The score appears, however, on examination by competent persons, to be probably of Spanish origin, and it would not be worth while to give more than a specimen of it. (See p. [xl].)
