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1
An Ancient Christian Hymn with Musical Notation: Papyrus ...
Section 2 (lines 9-16, except for last two notes of I 6 The predominant tonos is
Hyperphrygian chromatic. But in the middle of line 13 there is a modulation briefly
into Phrygian diatonic, or at least a use of notes that briefly echo the Phrygian ...
Charles H. Cosgrove, 2011
2
Documents of Ancient Greek Music: The Extant Melodies and ...
... consistently avoiding b/, (cf. above). A dt at line 7, from the (Hyperphrygian)
conjunct tetrachord, prepares us for the next section (9-16). Here the notes used
are a; b c' df d (K) d (I) ef f g' a/. The d' (I) and ef (©) still recall the earlier Phrygian,
...
Egert Pöhlmann, Martin Litchfield West, 2001
3
Greek Musical Writings: Volume 1, The Musician and His Art
In fact I do not accept that even the Hyperphrygian has a special character of its
own. And yet some people claim to have discovered another new harmonia, [t] a
Hypophrygian.115 But a harmonia must have a definite It is conjectured that this
...
4
A Dictionary of Music, Theoretical and Practical. To which ...
Thomas Busby, Samuel Arnold. lowest sound was equivalent to our B natural
above the fifth line in the bass. HrPEH-Mixo-LYDiAN. (Greek.) One of th« ancient
Greek modes, called by Euclid the Hyperphry- gian. See Hyperphrygian.
Thomas Busby, Samuel Arnold, 1817
5
Complete dictionary of music ...
Like the Hyper~ lydian, it was less ancient than the other modes. The lowest
sound was equivalent to our B natural above the fifth line in the bass. Hyper-Mixo
-Lydian. (Gr.) One of the ancient Greek modes, called by Euclid the
Hyperphrygian.
6
A dictionary of three thousand musical terms (revised by ...
Hyperiastian. (Greek ) The Hyperiastian, or Hyper- Ionian mode, was a fourth
above the Ionian. Hyperlydian. (Greek.) That mode of the Greeks which was a
fourth higher than the Lydian. Hyper-Mixo-Lydian. See Hyperphrygian.
Hyperphrygian.
Thomas Busby, James Alexander Hamilton, 1840
7
A Dictionary Music: Theoretical and Practical
Theoretical and Practical Thomas Busby. lowest sound was equivalent to our B
natural above the fifth line in the bass. Hyper-Mixo-Lydian. (Greek.) One of the
ancient Greek modes, called by Euclid the Ryptrphry* gian. See Hyperphrygian.
8
Harmonika Stoicheia (The Harmonics of Aristoxenus)
In this scheme the Mixolydian key took the name of Hyperdorian on the analogy
of Hyperionian and Hyperphrygian. At a still later date two higher keys were
added at intervals of a semitone and tone above the Hyperphrygian, and were
called ...
Aristoxenus, Henry Stewart Macran, Aristoxenus von Tarent, Aristoxenus, Henry Stewart Macran
9
Between Modes and Keys: German Theory, 1592-1802
These two modes [Hyperaeolian and Hyperphrygian] are rejected by most
musicians and called spurious on account of the aharmonic triad. But truly the
more reasonable musicians will decide, with me, that they not be done away with
...
10
The Journal of Hellenic Studies
If the symbol was indeed intended to be a lambda, then the music would here
shift into either the trite synemmenon of the chromatic Phrygian, the parhypate of
the chromatic Hyperphrygian, the trite diezeugmenon of the chromatic Dorian, ...
