from The Century Dictionary and Cyclopedia

  • n. In ancient music, the first or lowest tone in the lowest and in the next to the lowest tetra-chords of the recognized system of tones, corresponding loosely to the modern B and E.


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  • But it may be ridiculous to describe the first, middle, and last by their place; since we see hypate highest in the harp, lowest in the pipe; and wheresoever you place the mese in the harp, provided it is tunable, it sounds more acute than hypate, and more grave than nete.

    Essays and Miscellanies

  • Indeed, according to the natural system of the parts, the place of the irascible faculty must be in the middle, and of the rational in the highest, which the Greeks call hypate.

    Essays and Miscellanies

  • But it holds the chief and highest power, as mese to hypate, in respect of the concupiscent; as mese to nete, in respect of the irascible; insomuch as it depresses and heightens, — and in fine makes a harmony, — by abating what is too much and by not suffering them to flatten and grow dull.

    Essays and Miscellanies

  • What is called lichanos in the enharmonic is at the interval of a semitone from hypate; but when shifted to the chromatic, it goes two semitones away; and in the diatonic it is at an interval of three semitones from hypate.

    The Ten Books on Architecture

  • Thus, parhypate, which in the enharmonic is at the interval of half a semitone from hypate, has a semitone interval when transferred to the chromatic.

    The Ten Books on Architecture

  • Scandinavian musicians were in possession of an art of expressive melody resting upon a simple harmonic foundation, these writers can find nothing to say but to repeat over and over again their tedious calculations concerning the intonations of _nete hypate_ and the other

    A Popular History of the Art of Music From the Earliest Times Until the Present

  • This order also keeps the analogy of the symphonies, i.e. the proportion of the irascible to the rational (which is placed as hypate) making the diatessaron (or fourth), that of the irascible to the concupiscent (or nete) making the diapente (or fifth), and that of the rational to the concupiscent (as hypate to nete) making an octave or diapason.

    Essays and Miscellanies

  • This assumption, then, must be made, and also the following: that it is easier to discern each object of sense when in its simple form than when an ingredient in a mixture; easier, for example, to discern wine when neat than when blended, and so also honey, and [in other provinces] a colour, or to discern the nete by itself alone, than [when sounded with the hypate] in the octave; the reason being that component elements tend to efface [the distinctive characteristics of] one another.

    On Sense and the Sensible


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