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{{Short description|Muse in Greek mythology}}
{{for|the city in ancient Thessaly|Hypata}}{{for|the first string in an ancient Greek [[tetrachord]]|Genus (music)}}
{{For-multi|the city in Central Greece|Ypati|the first string in an ancient Greek [[tetrachord]]|Genus (music)}}
{{Greek myth (personified)}}
{{Greek deities (personifications)}}


In [[Greek mythology]], '''Hypate''' {{IPAc-en|ˈ|h|ɪ|p|ə|t|iː}} (Ὑπάτη) was one of the three [[Muses]] of the [[lyre]] who were worshipped at [[Delphi]], where the [[Temple of Apollo (Delphi)|Temple of Apollo]] and the [[Pythia|Oracle]] were located. Her name was also used to describe the first (lowest) note of the first [[tetrachord]] in ancient Greek music, which was also the tallest string on the lyre. Her sisters who were worshipped along with her were [[Nete (mythology)|Nete]] and [[Mese (mythology)|Mese]], who also have notes named after them in ancient Greek music theory<ref>{{Cite book |last=Williams |first=Charles Francis Abdy |title=The story of notation |publisher=London, The Walter Scott publishing co., ltd.; New York, C. Scribner's sons |year=1903 |edition=1st |location=London |pages=11-13 |language=English}}</ref>. These three muses were comparable to the original three, [[Aoide]], [[Melete]], and [[Mneme]]. Alternatively, they were [[Cephisso]], [[Apollonis]], and [[Borysthenis]], which portrayed them as the daughters of [[Apollo]].
In [[Greek mythology]], '''Hypate''' {{IPAc-en|ˈ|h|ɪ|p|ə|t|iː}} (Ὑπάτη) was one of the three [[Muses]] of the [[lyre]] who were worshipped at [[Delphi]], where the [[Temple of Apollo (Delphi)|Temple of Apollo]] and the [[Pythia|Oracle]] were located. Her name was also used to describe the first (lowest) note of the first [[tetrachord]] in ancient Greek music, which was also the tallest string on the lyre. Her sisters who were worshipped along with her were [[Nete (mythology)|Nete]] and [[Mese (mythology)|Mese]], who also have notes named after them in ancient Greek music theory.<ref>{{Cite book |last=Williams |first=Charles Francis Abdy |title=The story of notation |publisher=London, The Walter Scott publishing co., ltd.; New York, C. Scribner's sons |year=1903 |edition=1st |location=London |pages=11–13 |language=English}}</ref> These three muses were comparable to the original three, [[Aoide]], [[Melete]], and [[Mneme]]. Alternatively, they were [[Cephisso]], [[Apollonis]], and [[Borysthenis]], which portrayed them as the daughters of [[Apollo]].


==Place name==
==Place name==
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*{{cite web |url=http://www.mythindex.com/greek-mythology/M/Musae.html |title=MUSES, MUSAE, Greek Mythology Index |access-date=2007-12-29 |year=2007 |work=Myth Index}}
*{{cite web |url=http://www.mythindex.com/greek-mythology/M/Musae.html |title=MUSES, MUSAE, Greek Mythology Index |access-date=2007-12-29 |year=2007 |work=Myth Index}}


{{Muses}}
{{Greek mythology (deities)}}
{{Greek mythology (deities)}}

{{Authority control}}
{{Authority control}}


[[Category:Greek Muses]]
[[Category:Muses (mythology)]]





Latest revision as of 00:22, 13 September 2024

In Greek mythology, Hypate /ˈhɪpət/ (Ὑπάτη) was one of the three Muses of the lyre who were worshipped at Delphi, where the Temple of Apollo and the Oracle were located. Her name was also used to describe the first (lowest) note of the first tetrachord in ancient Greek music, which was also the tallest string on the lyre. Her sisters who were worshipped along with her were Nete and Mese, who also have notes named after them in ancient Greek music theory.[1] These three muses were comparable to the original three, Aoide, Melete, and Mneme. Alternatively, they were Cephisso, Apollonis, and Borysthenis, which portrayed them as the daughters of Apollo.

Place name

[edit]

The name of the ancient city Hypate (now Ypati, a village in Phthiotis west of Lamia) is unrelated to this Muse. It has a different etymology meaning "the height of Oeta (Oiti)".

References

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  1. ^ Williams, Charles Francis Abdy (1903). The story of notation (1st ed.). London: London, The Walter Scott publishing co., ltd.; New York, C. Scribner's sons. pp. 11–13.