ὑπάτη: Difference between revisions
Ὁ συκοφάντης ἐστὶν ἐν πόλει λύκος (τοῖς πέλας λύκος) → Calumniator, quemquem novit, huic lupus'st → Der Denunziant lebt in der Stadt gleichsam als Wolf (ist seinen Nachbarn wie ein Wolf)
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|Definition=(sc. <b class="b3">χορδή</b>), ἡ, <span class="sense"><p> <span class="bld">A</span> <b class="b2">the highest of the three strings</b> which formed the framework of the musical scale (opp. <b class="b3">νεάτη, μέση</b>), but <b class="b2">the lowest</b> in pitch, <span class="bibl">Philol.6</span>, <span class="bibl">Pl.<span class="title">R.</span>443d</span>, etc.; αἱ ὑπάται <b class="b2">the highest tetrachord</b>, Anon.<span class="title">Oxy.</span>667.16; <b class="b3">τὴν ἀπὸ τῶν ὑπάτων . . ἐπίτασιν</b> raising of pitch from the <b class="b2">low notes</b>, Antyll. ap. <span class="bibl">Orib. 6.10.7</span>; τὸ βομβυκέστερον τῶν ὑπατῶν <span class="bibl">Nicom.<span class="title">Harm.</span>11</span>; <b class="b3">ὑπάτη ὑπατῶν</b> ibid. (but ὑ. ὑπάτων <span class="bibl">Cleonid.<span class="title">Harm.</span>4</span>).</span> | |Definition=(sc. <b class="b3">χορδή</b>), ἡ, <span class="sense"><p> <span class="bld">A</span> <b class="b2">the highest of the three strings</b> which formed the framework of the musical scale (opp. <b class="b3">νεάτη, μέση</b>), but <b class="b2">the lowest</b> in pitch, <span class="bibl">Philol.6</span>, <span class="bibl">Pl.<span class="title">R.</span>443d</span>, etc.; αἱ ὑπάται <b class="b2">the highest tetrachord</b>, Anon.<span class="title">Oxy.</span>667.16; <b class="b3">τὴν ἀπὸ τῶν ὑπάτων . . ἐπίτασιν</b> raising of pitch from the <b class="b2">low notes</b>, Antyll. ap. <span class="bibl">Orib. 6.10.7</span>; τὸ βομβυκέστερον τῶν ὑπατῶν <span class="bibl">Nicom.<span class="title">Harm.</span>11</span>; <b class="b3">ὑπάτη ὑπατῶν</b> ibid. (but ὑ. ὑπάτων <span class="bibl">Cleonid.<span class="title">Harm.</span>4</span>).</span> | ||
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|lstext='''ὑπάτη''': (ἐξυπακ. [[χορδή]]), ἡ, ἡ ὑψίστη ἢ μεγίστη (κατὰ τὸ [[μῆκος]]) χορδὴ ἀλλὰ κατωτάτη κατὰ τὴν ὀξύτητα τοῦ τόνου ἐκ τῶν τριῶν χορδῶν, αἵτινες ἀπετέλουν τὴν Ἑλληνικὴν μουσικὴν κλίμακα (ἴδε [[μέση]], [[νεάτη]]), Πλάτ. Πολ. 443D, κλπ., πρβλ. [[παρυπάτη]], καὶ ἴδε Chapell Anc Mus. σ. 36. - Ἴδε Γ. Κατζιδάκι Βιβλιοκρισίαν ἐν Ἀθηνᾶς τόμ. ΙΓ΄, σ. 532, [[ἔνθα]] ἡ γενικ. πληθ. ὑπατῶν. | |||
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Revision as of 09:57, 5 August 2017
English (LSJ)
(sc. χορδή), ἡ,
A the highest of the three strings which formed the framework of the musical scale (opp. νεάτη, μέση), but the lowest in pitch, Philol.6, Pl.R.443d, etc.; αἱ ὑπάται the highest tetrachord, Anon.Oxy.667.16; τὴν ἀπὸ τῶν ὑπάτων . . ἐπίτασιν raising of pitch from the low notes, Antyll. ap. Orib. 6.10.7; τὸ βομβυκέστερον τῶν ὑπατῶν Nicom.Harm.11; ὑπάτη ὑπατῶν ibid. (but ὑ. ὑπάτων Cleonid.Harm.4).
Greek (Liddell-Scott)
ὑπάτη: (ἐξυπακ. χορδή), ἡ, ἡ ὑψίστη ἢ μεγίστη (κατὰ τὸ μῆκος) χορδὴ ἀλλὰ κατωτάτη κατὰ τὴν ὀξύτητα τοῦ τόνου ἐκ τῶν τριῶν χορδῶν, αἵτινες ἀπετέλουν τὴν Ἑλληνικὴν μουσικὴν κλίμακα (ἴδε μέση, νεάτη), Πλάτ. Πολ. 443D, κλπ., πρβλ. παρυπάτη, καὶ ἴδε Chapell Anc Mus. σ. 36. - Ἴδε Γ. Κατζιδάκι Βιβλιοκρισίαν ἐν Ἀθηνᾶς τόμ. ΙΓ΄, σ. 532, ἔνθα ἡ γενικ. πληθ. ὑπατῶν.
