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out re-tuning, so Pronomus devised multimodal auloi, which came into general use among professionals.42 |
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Scarcely less famous was the probably somewhat younger Antigeneidas, also from Thebes.43 His activity seems to fall in the first third of the fourth century, though some anecdotes place him in settings that lie well outside this span. Apuleius describes him as 'a honey-sweet melodizer of every word and a practised player of every mode, whether you wanted the simple Aeolian or the diverse Ionian, the plaintive Lydian, the religious Phrygian, or the martial Dorian', and says that he was greatly distressed whenever he heard the noble title of piper applied to the hacks who blow hornpipes at funerals.44 He developed and made fashionable a playing technique described as 'moulded' or 'affected', which required flexibility in the reed and led to a change in the season at which the reeds were harvested.45 He is called the aulodeno doubt a mistake for 'aulete'of Philoxenus; perhaps it was he who had to accompany the chorus through the modulatory labyrinth of the Mysians. The same source records that he was the first to wear Milesian shoes, and that in the Reveller (another work of Philoxenus'?) he wore a yellow cloak.46 |
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These sartorial details suggest that in the dithyramb of this period the aulete had come to play a more conspicuous role than formerly. We recall the engagement of the aulete in the action of Timotheus' Scylla. It is significant in this connection that whereas the older inscriptions recording victories of the tribal choruses name only the choregos (the impresario) and the chorus-master (the composer, normally), in the fourth century the aulete is named too, at first mostly after the chorus-master, but later before him.47 |
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The outstanding citharist of the period was Stratonicus of Athens, active from about 410 to about 360, and remembered especially for his witticisms, many of which were at the expense of other musicians. |
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42 See p. 87, and ibid. on the related innovation attributed to another Theban aulete, Diodorus. |
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43 H. L. M. Dinse, De Antigenida Thebano musico (Berlin, 1856); K. yon Jan, RE i. 2400f. |
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44 Apul. Flor. 4. |
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45 Theophr. Hist. Pl. 4. 11. 4-5, cf. p. 84. Quint. Inst. 1. 11. 6-7 describes a type of 'moulded' or 'plastered' playing that involves closing the holes that give a clear tone and using the deep sound of the full pipe; it is analogous to elocution in which the voice's simple nature is coated in a fuller resonance. |
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46Suda i. 235. 10-12. |
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47 E. Reisch, RE iii. 2414. |
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