Incas, so their music and musical instruments differ from the northern cultures that fell under Andean influence. Spanish chroniclers observed their musical rituals with interest, and their observations have allowed historians to compare this early music with the Mapuche music of the modern day. Historian Samuel Marti writes that the Mapuche “do not dance or sing to demonstrate knowledge and skill, or to entertain spectators, but to honour their gods”. Mapuche music today, despite the influence of Christianity, is still an expression of faith, hopes or fears to the traditional gods, because the conquest did not change the spirit of these peoples, even though it introduced new cultural elements. The Franciscan missionary Geronimo de Ore (Lima, Peru, circa 1598) noted that Mapuche children learned songs from a very young age and demonstrated excellent memory and sense of rhythm. De Ore, realizing that these skills could be used as an evangelization and religious indoctrination tool, proposed that Christian prayers should have been taught in the native language and sung to native or European tunes. The same method was used in Chile by Jesuit priests. Jesuit priest Bernardo Havestadt came to Chile in 1748 and worked as missionary in La Mocha Concepción, Rere and Santa Fe. In 1777, he published a document in Westphalia that contains 19 Mapuche songs accompanied by European-style music. Unlike the Andean peoples, the Mapuches did not develop a theoretical musical system, but in practice one is imposed by the limitations of their instruments. The technique of playing these instruments has been preserved from generation to generation and melodies are formed by linking periods. There are no long notes in Mapuche music and the scales and melodic schemes of their music have no relation to the panphonic Andean music. In the seventeenth century, chronicler Gonzalez de Najera described the music as “more sad than happy” and the instruments as basic drums and flutes made of the shin bones of Spaniards and other native enemies. Other chroniclers agreed with Gonzalez de Naveja's observations, including the jesuit Juan Ignacio Molina (Abate Molina). Mapuche musical instruments wind instruments include: Trutruca, or trutruka: a kind of trumpet, straight or spiral-shaped, made of colihue wood (Chusquea culeou) with a terminal or lateral mouthpiece and a cattle horn to amplify the sound. similar to the trutruca but smaller, made of ñolkin cane, a native plant species. Pingkullwe: a transverse flute with 5 holes, made