8
There was also another mood in use among the ancients, called Cradias, which Hipponax says Mimnermus always delighted in. For formerly they that played upon the flute sang also elegies at the same time set to notes. Which the description of the Panathenaea concerning the musical combat makes manifest. Among the rest, Sacadas of Argos set several odes and elegies to music, he himself being also a good flute-player and thrice a victor at the Pythian games. Of him Pindar makes mention. Now whereas in the time of Polymnestus and Sacadas there existed three musical moods, the Dorian, Phrygian, and Lydian, it is said that Sacadas composed a strophe in every one of those moods, and then taught the choruses to sing the first after the Dorian manner, the second according to the Phrygian, and the third after the Lydian manner; and this nome was called Trimeres (or threefold) by reason of the shifting of the moods, although in the Sicyonian catalogue of the poets Clonas is said to be the inventor of this name.
9
Music then received its first constitution from Terpander at Sparta. Of the second constitution, Thaletas the Gortinean, Xenodamus the Cytherean, Xenocritus the Locrian, Polymnestus the Colophonian, and Sacadas the Argive were deservedly acknowledged to be the authors. For these, having introduced the Gymnopaediae into Lacedaemon, settled the so-called Apodeixeis (or Exhibitions) among the Arcadians, and the Endymatia in Argos. Now Thaletas, Xenodamus, and Xenocritus, and their scholars, were poets that addicted themselves altogether to making of paeans; Polymnestus was all for the Orthian or military strain, and Sacadas for elegies. Others, and among the rest Pratinas, affirm Xenodamus to have been a maker of songs for dances (Hyporchemes), and not of paeans; and a tune of Xenodamus is preserved, which plainly appears to have been composed for a dance. Now that a paean differs from a song made for a dance is manifest from the poems of Pindar, who made both.
