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Hyagnis

Συγγραφή : Dipla Anthi (6/7/2001)
Μετάφραση : Chrysanthopoulos Dimitrios

Για παραπομπή: Dipla Anthi, "Hyagnis",
Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Μ. Ασία
URL: <http://www.ehw.gr/l.aspx?id=9874>
Ύαγνις (20/7/2009 v.1) Hyagnis (4/5/2011 v.1) 
 

1. Mythological tradition and action

Hyagnis or Agnis1 was a mythological musician from Celaenae of Phrygia and a member of the Phrygian Triad. He was the inventor of the aulos (double flute), the auletic art, the Phrygian harmony, a number of laws,2 the trichord and the diatonic genus.

According to tradition, his activities date back to the time when Erichthonius was king of Athens.3 He was a member of the so-called Phrygian Triad, along with Marsyas and Olympus, a pupil of the latter. According to another tradition, Hyagnis was a pupil of Mariandynus, who introduced or renewed the elegiac aulodia.4 Hyagnis is also referred to as the inventor of the aulos, both the single-reed and the double-reed5, and the auletic art.6

Another source mentions that Hyagnis was not only the first to invent the aulos in Celaenae, but he was also the first to play the aulos according to the Phrygian harmony and a number of laws, such as the wailing law, the law of the Mother-Goddess (Cybele), the law of Dionysus and the law of Pan.7 Hyagnis is also referred to as the inventor of the trichord or diatonic genus.8 However, we cannot be certain whether the term trichord refers to the musical instrument, also known as pandura, with three strings and a small resonator, the only ancient Greek musical instrument of the lute family with a neck,9 or the three-stringed manner of playing the primitive lyre, which had three strings and produced three sounds, a high-pitched, a medium pitched and a low-pitched one.10 The genus was the division of the tetrachord, a primitive system of 4 consecutive tones, the first and last of which (the “εστώτες”) formed a perfect fourth.11 The diatonic genus, the most ancient, simpler and more natural of the three known genera, was based on intervals of three tones and one semitone. Its sound was more virile and solemn.

The invention and spread of the aulos, the auletic art and the Phrygian harmony is generally attributed to the Phrygians12 or the Phrygian Triad. The distribution among the members of the Phrygian Triad is as follows: Marsyas and Hyagnis invented the aulos and the Phrygian harmony, whereas Olympus invented the auletic law.13 The Phrygians were also considered the inventors of the wailing aulos.14

It is mentioned that the Phrygian harmony was best heard through wind instruments. It is also noted that the aulos had the same effect as the Phrygian harmony, since they both produced an orgiastic and passionate sound.15 This view is consistent with the origin of the inventors of the Phrygian harmony, Hyagnis, Marsyas and Olympus, from Phrygia, home country of the aulos as well.16

1. The name “Άγνις” is mentioned in Clement of Alexandria (Strom. 1.76.15) and an inscribed late imperial mosaic. The mosaic depicts the musician being taught by Euterpe, the muse of music, to play the double-flute. Antike Denkmäler. Kaiserlich Deutsches Archäologisches Institut 1.4 (Berlin 1889), table 49.

2. Law: A special type of widely recognized and accepted musical composition and execution of religious music (odes, hymns, etc.) of grave and solemn nature and high artistic demands. Some laws were named after the musician who introduced them, the place of their origin or establishment and the deity they were associated with.

3. Parian Chronicle, verse 10 (Jacoby). Aulodia: A song accompanied by aulos. It presupposed the participation of an aulete (aulos player), usually of phrygian origin, and a singer, the aulodos. The role of the latter was considered more important, hence the award winning in the related musical contests.

4. Comment in Aesch., Pers. 940-941.

5. Dioscurides, Anth. Graec. 9.340; Nonn., D. 39.374; Apul., Flor. Double-reed aulos: A pair of uneven pipes with a different number of holes. The right one probably produced the melody, whereas the left one supported it.

6. Plut., Mor. 14 and On Music 1133A (refers to Alexander’s Collections on Phrygia), 1133F.

7. Parian Chronicle, verse 10 (Jacoby).

8. Clem. Al., Strom. 1.76.15.

9. Higgins, R.A. – Winnington-Ingram, R.P, “Lute-players in Greek Art”, JHS 85 (1965), pp. 62-71, tables 16-17.

10. Diod. S. 1.16.1 (Hermes is referred to as its inventor).

11. Perfect fourth: An interval of two tones and one semitone.

12. Athen. 14.625E.

13. Auletic law: A solo melody for aulos. The most significant was the so-called Pythian law, established by Sacadas, a renowned aulete from Argos, who won the first prize in the auletic art in the Pythian games of 586 BC.

14. Poll., Onom. 4.75. Wailing aulos: It accompanied the ululations during the funerals. It was rather long and its sound was deep (“βαρύφθογγος”) and lamenting.

15. Aristl., Polit. 1342 a-b.

16. Anonymous, On Music 28 (Bellerman).
     
 
 
 
 
 

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