the low—that gave the villancico its mass popularity. While the villancico in Spain and its American colonies generally share a common history of development, the Latin American villancico tradition is particularly known for its incorporation of dialects and rhythms drawn from its diverse ethnic population. The texts were mostly in Spanish, but some employed pseudo-African, Náhuatl, or corrupt Italian, French, or Portuguese words. Frequently named after the ethnic group that was characterized in the lyrics, these humorous songs were often accompanied by non-orchestral, "ethnic" instruments, such as rattles, tambourines, bagpipes, and gourds, while the lyrics mimicked the speech patterns of these groups. For example, villancicos called "negro" or "negrillo", imitated African speech patterns and used onomatopoeic phrases such as, "gulungú, gulungú" and "he, he, he cambabé!" possibly to invoke a childlike and uneducated stereotype of that marginalized group. Other negrillo lyrics, however, offer intriguing fraternal sentiments, such as the negro for Jan. 31, 1677 by the famed villancico poet Sor Juana Inés de la Cruz, which sings "tumba, la-lá-la, tumba la-lé-le/wherever Peter enters, no one remains a slave". Other examples of "ethnic" villancicos include the jácara, gallego, and tocotín. Villancico composers, who typically held positions as maestro de capilla (chapel master) at the major cathedrals in Spain and the New World, wrote in many different renaissance and baroque styles, including homophony, imitative polyphony, and polychoral settings. Among the most outstanding New World composers of villancicos are José de Loaiza y Agurto, Manuel de Sumaya, and Ignacio Jerúsalem in New Spain; Manuel José de Quirós and Rafael Antonio Castellanos, in Guatemala; José Cascante, in Colombia; and Juan de Araujo and Tomás de Torrejón y Velasco, in Peru. Portuguese type This type of poem has a mote—the beginning of the poem, which functions, when in music, as a refrain—followed by one or more intervening stanzas—the volta, copla or glosa—each one with 7 lines. The difference between the vilancete and the cantiga depends on the number of lines in the mote: if there are 2 or 3 it is a vilancete, if there are 4 or more it is a cantiga. Each line of a vilancete is usually divided in five or seven metric syllables ("old measure"). When the last line of the mote is repeated at the end of each stanza, the vilancete is "perfect". Here is an example of a Portuguese vilancete, written by Luís de Camões: Original (Mote:) Enforquei minha