href="@public@vhost@g@gutenberg@html@files@40559@[email protected]#Page_xxiii" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">xxiii

Five classes of dances, xxiii Purpose and characters, xxiv The Logas, xxv Las Inditas, xxv The Chinegritos, xxvi The Negritos, xxvi Toro-Guaca and other dances, xxvi The drama of the Ollita, xxvii § 3. Nicaraguan Musical Instruments and Music. xviii The Marimba, its form and origin, xxviii The Drum, xxx The Ollita or Musical Jar, xxxi The Pito or Whistle, xxxiii Specimens of Airs, xxxiv The long Flute, xxxv The Juco, xxxv The Quijongo or Carimba, xxxvi The Chilchil or Ayacachtli, xxxvi The Cacho, xxxvii Character of native music, xxxvii Air of the Malinche, xxxviii Choruses and Cofradias, xxxviii Melodies from the Güegüence, xl § 4. History of the "Baile del Güegüence." xli Whence the text was obtained, xli Time and manner of its rehearsal, xli Age of the play, xlii Reasons for considering it a native production xlii How different from the Spanish comedy, xliii Native plots of similar character, xliv Native comedians, xlv § 5. The Dramatis Personæ of the Güegüence. xlv The Güegüence, xlv Derivation of the name, public@vhost@g@gutenberg@html@files@40559@[email protected]#Page_xlv"