arsisn.

Brit.

/ˈɑːsɪs/, U.S.

/ˈɑrsəs/

Origin: A borrowing from Latin. Etymon: Latin arsis.

Etymology: < classical Latin arsis metrical term taken by Latin metrists to indicate the raising of the voice on an emphatic syllable (2nd cent. a.d.) < ancient Greek ἄρσις lifting, raising, (in music) unstressed beat (as opposed to θέσις accented beat: see thesis n.), in Hellenistic Greek also (in prosody) unstressed part of a metrical foot < αἴρειν to lift (see aorta n.) + -σις -sis suffix. Compare thesis n., and also per arsin adv., per arsin et thesin adv.With sense 2b compare French arsis stressed syllable in a metrical foot (1751). Sense 2a reflects Greek use, derived from the raising and lowering of the foot in beating out time (i.e. the lowering of the foot marks the accented beat, the raising of it the unaccented); sense 2b reflects the tradition amongst Latin scholars (in both classical Latin and post-classical Latin) who identified the terms with the raising and lowering of the voice (i.e. the raising of the voice marks the stressed or heavy syllable).

Music and Prosody.

†1. Music. The raising of the voice; the raising of pitch of a voice or instrument. Obsolete.

ΚΠ

a1398 J. Trevisa tr. Bartholomaeus Anglicus De Proprietatibus Rerum (BL Add. 27944) (1975) II. xix. cxxxi. 1387 Arsis is rerynge of þe voice [L. arsis est vocis eleuatio], and is þe bigynnynge of songe. Thesis is settynge, and is þe ende.

1664 J. Birchensha tr. J. H. Alsted Templum Musicum x. 92 There is both Arsis and Thesis. i.e. Elevation and Demission of the Sound [L. in quo est ἄρσις καὶ θέσις, elatio & demissio, soni].

1795 W. Mason Ess. Eng. Church Music iv. 258 What the writers on Verbal Pronunciation mean by acute and grave sounds, or what they technically term Arsis and Thesis.

2. Both arsis and thesis have been used in contradictory ways with regard to musical accent and poetic metre since at least the late 18th cent., on account of a divergence in use by Greek and Latin writers: see etymology for further details. Throughout the period of English use sense 2b has been more common.

a. The unstressed or unaccented beat in a bar; the unstressed or light syllable in a metrical foot.

ΘΚΠ

society > leisure > the arts > music > musical sound > duration of notes > proportion of notes or rhythm > [noun] > beat > unaccented beat

thesisa1398

anacrusis1763

arsis1775

upbeat1869

afterbeat1901

offbeat1901

1775 J. Steele Ess. Melody & Meas. Speech i. 11 Modern musicians, very improperly, use the words accented and unaccented in the place of thesis and arsis.

1819 J. M. Good et al. Pantologia (new ed.) (at cited word) Thesis implies the emphatic or accentuated part of the bar; and arsis the weak, or unaccented part.

1878 J. W. White tr. J. H. H. Schmidt Introd. Rhythmic & Metric of Classical Langs. vii. 22 We should, however, and this will be in accordance with our own practice in beating time, employ the terms as they were used by the Greeks themselves, i. e. call the downward beat thesis, and the upward beat arsis.

1956 Jrnl. Aesthetics & Art Crit. 15 234 Greek music employed the thesis, or stressed downbeat, and arsis, or unstressed downbeat, to mark off its feet or measures.

2015 D. Trout Damasus of Rome 20 Ferrua designates the first half of the poetic foot the arsis and second half the thesis. I follow here the now more familiar usage: thesis to designate the first half of the dactyl and arsis the second.

b. The stressed or accented beat in a bar; the stressed or heavy syllable in a metrical foot.

ΘΚΠ

society > leisure > the arts > music > musical sound > duration of notes > proportion of notes or rhythm > [noun] > beat > accented beat

downbeat1766

arsis?1775

thesis1864

back beat1928

society > leisure > the arts > literature > poetry > versification > rhythm > [noun] > beat > rhythmical or metrical stress

accent1550

stroke1576

impression1643

percussion1674

pulse1677

ictus1752

arsis?1775

elevation1776

thesis1864

upbeat1883

?1775 W. Waring tr. J.-J. Rousseau Dict. Music 24 Arsis signifies the bold and strong time [Fr. Arsis indique le temps fort].

1823 J. B. Seale Anal. Greek Metres (ed. 9) 3 In the Iambus and Trochee, the Arsis (or Ictus) is invariable, being upon the long syllable of each.

1834 Penny Cycl. II. 406/2 The dactylic arsis, or the arsis followed by two depressions.

1876 B. H. Kennedy Public School Lat. Gram. (ed. 4) §259 In Dactylic and Trochaic verse the arsis is on the first part of each foot; lítora, árma. In Anapæstic and Iambic on the last: patulǽ, canó.

1939 G. Haydon tr. K. Jeppesen Counterpoint iii. 116 The arsis (the accented portion of the measure) may have only consonance.

2008 B. W. Forston Lang. & Rhythm Plautus ii. 23 The underlying heavy position of an iamb or trochee is termed the strong time or arsis.

This entry has been updated (OED Third Edition, September 2018; most recently modified version published online March 2022).

单词	arsis
释义	arsisn. Brit. /ˈɑːsɪs/, U.S. /ˈɑrsəs/ Origin: A borrowing from Latin. Etymon: Latin arsis. Etymology: < classical Latin arsis metrical term taken by Latin metrists to indicate the raising of the voice on an emphatic syllable (2nd cent. a.d.) < ancient Greek ἄρσις lifting, raising, (in music) unstressed beat (as opposed to θέσις accented beat: see thesis n.), in Hellenistic Greek also (in prosody) unstressed part of a metrical foot < αἴρειν to lift (see aorta n.) + -σις -sis suffix. Compare thesis n., and also per arsin adv., per arsin et thesin adv.With sense 2b compare French arsis stressed syllable in a metrical foot (1751). Sense 2a reflects Greek use, derived from the raising and lowering of the foot in beating out time (i.e. the lowering of the foot marks the accented beat, the raising of it the unaccented); sense 2b reflects the tradition amongst Latin scholars (in both classical Latin and post-classical Latin) who identified the terms with the raising and lowering of the voice (i.e. the raising of the voice marks the stressed or heavy syllable). Music and Prosody. †1. Music. The raising of the voice; the raising of pitch of a voice or instrument. Obsolete. ΚΠ a1398 J. Trevisa tr. Bartholomaeus Anglicus De Proprietatibus Rerum (BL Add. 27944) (1975) II. xix. cxxxi. 1387 Arsis is rerynge of þe voice [L. arsis est vocis eleuatio], and is þe bigynnynge of songe. Thesis is settynge, and is þe ende. 1664 J. Birchensha tr. J. H. Alsted Templum Musicum x. 92 There is both Arsis and Thesis. i.e. Elevation and Demission of the Sound [L. in quo est ἄρσις καὶ θέσις, elatio & demissio, soni]. 1795 W. Mason Ess. Eng. Church Music iv. 258 What the writers on Verbal Pronunciation mean by acute and grave sounds, or what they technically term Arsis and Thesis. 2. Both arsis and thesis have been used in contradictory ways with regard to musical accent and poetic metre since at least the late 18th cent., on account of a divergence in use by Greek and Latin writers: see etymology for further details. Throughout the period of English use sense 2b has been more common. a. The unstressed or unaccented beat in a bar; the unstressed or light syllable in a metrical foot. ΘΚΠ society > leisure > the arts > music > musical sound > duration of notes > proportion of notes or rhythm > [noun] > beat > unaccented beat thesisa1398 anacrusis1763 arsis1775 upbeat1869 afterbeat1901 offbeat1901 1775 J. Steele Ess. Melody & Meas. Speech i. 11 Modern musicians, very improperly, use the words accented and unaccented in the place of thesis and arsis. 1819 J. M. Good et al. Pantologia (new ed.) (at cited word) Thesis implies the emphatic or accentuated part of the bar; and arsis the weak, or unaccented part. 1878 J. W. White tr. J. H. H. Schmidt Introd. Rhythmic & Metric of Classical Langs. vii. 22 We should, however, and this will be in accordance with our own practice in beating time, employ the terms as they were used by the Greeks themselves, i. e. call the downward beat thesis, and the upward beat arsis. 1956 Jrnl. Aesthetics & Art Crit. 15 234 Greek music employed the thesis, or stressed downbeat, and arsis, or unstressed downbeat, to mark off its feet or measures. 2015 D. Trout Damasus of Rome 20 Ferrua designates the first half of the poetic foot the arsis and second half the thesis. I follow here the now more familiar usage: thesis to designate the first half of the dactyl and arsis the second. b. The stressed or accented beat in a bar; the stressed or heavy syllable in a metrical foot. ΘΚΠ society > leisure > the arts > music > musical sound > duration of notes > proportion of notes or rhythm > [noun] > beat > accented beat downbeat1766 arsis?1775 thesis1864 back beat1928 society > leisure > the arts > literature > poetry > versification > rhythm > [noun] > beat > rhythmical or metrical stress accent1550 stroke1576 impression1643 percussion1674 pulse1677 ictus1752 arsis?1775 elevation1776 thesis1864 upbeat1883 ?1775 W. Waring tr. J.-J. Rousseau Dict. Music 24 Arsis signifies the bold and strong time [Fr. Arsis indique le temps fort]. 1823 J. B. Seale Anal. Greek Metres (ed. 9) 3 In the Iambus and Trochee, the Arsis (or Ictus) is invariable, being upon the long syllable of each. 1834 Penny Cycl. II. 406/2 The dactylic arsis, or the arsis followed by two depressions. 1876 B. H. Kennedy Public School Lat. Gram. (ed. 4) §259 In Dactylic and Trochaic verse the arsis is on the first part of each foot; lítora, árma. In Anapæstic and Iambic on the last: patulǽ, canó. 1939 G. Haydon tr. K. Jeppesen Counterpoint iii. 116 The arsis (the accented portion of the measure) may have only consonance. 2008 B. W. Forston Lang. & Rhythm Plautus ii. 23 The underlying heavy position of an iamb or trochee is termed the strong time or arsis. This entry has been updated (OED Third Edition, September 2018; most recently modified version published online March 2022). < n.a1398
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