Collins, Derek. 2004. Master of the Game: Competition and Performance in Greek Poetry. Hellenic Studies Series 7. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_CollinsD.Master_of_the_Game.2004.
7. The Skolion Game
δεσπόται τοιάνδε μελίφρονος ἀρχάν εὑρόμενον σχολίου
ξυνάορου ξυναῖς γυναιξίν.
But I wonder what the lords of Isthmus will say about me
composing a beginning such as this of a honey-sweet skolion
as a companion for prostitutes.
The second description is 2) Schol. Aristophanes, Clouds 1364 (= fr. 89 Wehrli):
Unlike Vetta I would put improvised skolia into a fourth category, which has the disadvantage of being ephemeral and of not being easily associated with a known poet or text. Nevertheless it is clear enough that poetic responses were invented extemporaneously either from scratch or by adaptation from known material. This ability is related to the tradition that masters such as Simonides could improvise (ἀποσχεδιάζω) extended epigrams at symposia.  And so I would add:
Thus it seems almost certain that in raucous and physically abusive, not to mention sexually provocative, atmospheres of this kind, guests would hardly be in a position to take edifying discourse seriously.  I am not claiming that we take any of these descriptions as valid for all dinner parties in this period. There is no need to universalize; rather, I am suggesting that Plutarch, like his predecessors, idealizes sympotic discourse—even if it is true that Old Comedy becomes less fashionable in favor of Middle or New—in the mold of a literary tradition that for all intents and purposes begins with Plato.
For beggar envies beggar, and singer envies singer.