| 单词 | hyperphrygian |
| 释义 | > as lemmashyperphrygian (a) In the names of the musical modes hyperaeolian, hyperdorian, hyperionian, hyperlydian, hypermixolydian, hyperphrygian, denoting either (a) the acute modes in ancient Greek music, which began at a definite interval above the ordinary Æolian, Dorian, etc., or (b) the ‘authentic’ modes in mediaeval music (the same as Æolian, Dorian, etc.) as contrasted with the ‘plagal’ modes hypoæolian, -dorian, etc. ΘΚΠ society > leisure > the arts > music > musical sound > pitch > system of sounds or intervals > [noun] > medieval mode > authentic modes Aeolian1589 Ionian1589 authent1597 Dorian mode1603 authentic1609 Ionic1616 Aeolic mode1636 Locrian1753 hyperdorian1761 hyperionian1761 hyperlydian1761 Aeolian mode?1775 Ionian mode?1775 society > leisure > the arts > music > musical sound > pitch > system of sounds or intervals > [noun] > ancient Greek modes > specific Dorian mode1603 Locrian1753 hyperaeolian1761 hyperlydian1761 hypermixolydian1761 hyperphrygian1761 Ionian mode?1775 1761 F. H. E. Stiles in Philos. Trans. 1760 (Royal Soc.) 51 713 The modes being thus augmented to fifteen..their meses will be found to stand..in the following order. Hyperlydian, Hyperæolian, Hyperphrygian or Hypermixolydian. 1761 F. H. E. Stiles in Philos. Trans. 1760 (Royal Soc.) 51 722 They placed the Hypermixolydian at a diapason from the Hypodorian, towards the acute, giving it that denomination from its position above the Mixolydian. 1867 G. A. Macfarren Six Lect. Harmony i. 14 The fourth mode Ambrose selected is the Hyper-Lydian sometimes called Mixo-Lydian. 1873 H. C. Banister Music 31 The authentic modes were also called Hyper-Ionian, Hyper-Dorian, etc. 1922 J. Joyce Ulysses ii. xv. [Circe] 474 It is susceptible of nodes or modes as far apart as hyperphrygian and mixolydian. < as lemmas |
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