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n. pl. ar·ses (-sēz′)
a. The short or unaccented part of a metrical foot, especially in quantitative verse.
b. The accented or long part of a metrical foot, especially in accentual verse.
2. Music The upbeat or unaccented part of a measure.

[Middle English, raising of the voice, from Late Latin, raising of the voice, accented part of a metrical foot, from Greek, raising of the foot (marking the upbeat), the unaccented part of a metrical foot, from aeirein, to lift; see wer- in Indo-European roots.]


n, pl -ses (-siːz)
(Poetry) (in classical prosody) the long syllable or part on which the ictus falls in a metrical foot. Compare thesis6
[C18: via Late Latin from Greek, from airein to raise]


(ˈɑr sɪs)

n., pl. -ses (-sēz).
1. the upward stroke in conducting music; upbeat. Compare thesis (def. 4).
a. the part of a metrical foot that bears the ictus or stress.
b. a part of a metrical foot that does not bear the ictus. Compare thesis (def. 5).
[1350–1400; Middle English: raising the voice < Latin < Greek]


the accented part of a foot of verse.
See also: Verse
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Arsis Bibi, a year five teacher at Oak Primary, explained why the project is so important.
The Secretary General also met other leading Thai dignitaries during the day, including Secretary General of Thailand's National Security Council General Thaweep Netrniyom and the Sheikhul Islam of Thailand Arsis Pitakkhumphol.
Hirsch has performed with many contemporary ensembles throughout New England, and has recorded for New Albion, MSR and Arsis.
She was taken to the Arsis child rescue centre in the port city of Alexandroupolis where social workers desperately tried to trace her parents.
The company, according to its website, has developed a preliminary feasibility study for the construction of the natural gas infrastructure in Skopje and to this effect it has also held talks with Arsis, a group for technical assistance.
Indeed, one could go further and say that the rhapsodes' practices probably diverged markedly from the choral and other styles; the terminology of ano and kato, mentioned by Plato, seems to have been quite different from the dancer's thesis and arsis.
Some of the ideas Tucke recorded that might have been discussed further include the relationship of notational coloration to heraldry (which Woodley announces will appear in a forthcoming publication), the use of arsis and thesis for retrograde and inversion in melody, the astrological and metallurgical parallels to the solfeggio system, and the combination of musical rhythm with Greek poetic meters that might be traced to the Oxford quadrivial scholar and author of an important treatise on alchemy at the beginning of the fourteenth century, Walter Odington.