A Dictionary of Greek and Roman biography and mythology

(Σακάδας,) of Argos, one of the

most eminent of the ancient Greek musicians, is mentioned by Plutarch (de Mus. 9, p. 1134b.) as one of the masters who established at Sparta the second great school or style (κατάστασις) of music, of which Thaletas was the founder, as Terpander had been of the first. His age is marked and his eminence is attested by the statement of Pausanias (10.7.3), that he gained the prize for fluteplaying at the first of the musical contests which the Amphictyons established in connection with the Pythian games (Ol. 47. 3, B. C. 590), and also at the next two festivals in succession (Ol. 48. 3, 49. 3, B. C. 586, 582). From the manner, however, in which his name is connected with those of Polymnestus and Alcman, in several passages, and perhaps too from the cessation of his Pythian victories, we may infer that these victories were among the latest events of his life. Pausanias elsewhere (2.22.9) speaks of these Pythian victories as having appeased the anger against the music of the flute, which Apollo had conceived on account of his contest with Silenus (comp. MAR SYAS). Plutarch, relating the same fact, adds that Sacadas was the author of a new nome, in which the three modes of music were combined; the first strophe sung by the chorus being in the Dorian mode, the second in the Phrygian, and the third in the Lydian, whence the nome was called the tripartite (τριμερῆς); but that another authority ascribed its invention to Clonas. (Plut. de Mus. 8, p. 1134a.) Pollux (4.79) speaks expressly of a Pythian nome as the composition of Sacadas. Plutarch also informs us that, in his rhythms, Sacadas, like Polymnestus, adhered to the pure and beautiful style which had been introduced by Terpander. (Ib. 12, p. 1135c.)

In the time of Sacadas most of the musicians were poets also, though the connection between the two arts had not become so close as it was afterwards. The kind of poetry which these masters cultivated was chiefly, if not exclusively, the elegy. Accordingly we find Sacadas mentioned as a good poet, and a composer of elegies (Plut. l.c.). It was, however, in the music of the flute alone, unaccompanied by the voice, that he gained his Pythian victories. At the same games there was another and a different prize for elegies sung to the music of the flute; and this was gained by Echembrotus of Arcadia. The music of Sacadas was auletic, that of Echembrotus aulodic. Pausanias names the contest in which Sacadas gained his victories, αὔληνα τὸ πυθικόν (2.22.9). From the same passage we learn that a monument was erected to Sacadas in his native city. His statue also had a place among those of the poets and musicians on Mount Helicon; and, from a statement made by Pausanias in connection with this statue, we learn that Pindar composed a prom in praise of Sacadas and his flute-playing. (Paus. 9.30.2.) Plutarch (de Mus. 8, p. 1134a.) also refers to the mention of him by Pindar. Athenaeus (xiii. p. 610c.) ascribes to Sacadas a poem on the taking of Troy (Ἰλίου πέρσις), at least if the emendation of Schweighäuser on the various corrupt forms of the name in that passage be correct, which is not universally admitted. If Sacadas really composed such a poem, it must have resembled the epico-lyric poems of Stesichorus ; but the account given of it by Athenaeus can hardly be understood as applying to the work of a flute-player and elegiac poet. (Müller, Gesch. d. Griech. Lit. vol. i. pp. 291, 292; Ulrici, Gesch d. Helen. Dichtk. vol. ii. pp. 431-433.)

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