(redirected from anacrustic)


1. One or more unstressed syllables at the beginning of a line of verse, before the reckoning of the normal meter begins.
2. Music See upbeat.

[New Latin anacrūsis, from Greek anakrousis, beginning of a tune, from anakrouein, to strike up a song : ana-, ana- + krouein, to push.]


n, pl -ses (-siːz)
1. (Poetry) prosody one or more unstressed syllables at the beginning of a line of verse
2. (Classical Music) music
a. an unstressed note or group of notes immediately preceding the strong first beat of the first bar
b. another word for upbeat
[C19: from Greek anakrousis prelude, from anakrouein to strike up, from ana- + krouein to strike]
anacrustic adj


(ˌæn əˈkru sɪs)

n., pl. -cru•ses (-ˈkru siz)
1. an unstressed syllable or syllable group that begins a line of verse but is not counted as part of the first foot.
[1825–35; < Latin < Greek anákrousis=anakroú(ein) to strike up, push back (ana- ana- + kroúein to strike, push) + -sis -sis]
an`a•crus′tic (-ˈkrʌs tɪk) adj.
an`a•crus′ti•cal•ly, adv.
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References in periodicals archive ?
Are they accentual dactylic hexameters at times preceded by anacrustic syllables, as Haynes argues?
Taking what follows as prose, one would see "FRIEND (beCAUSE I am ALways TALKing),"--that is, an initial accent followed by the addition of anacrustic weak syllables until the energy spdls over into trochees.
It might also have been useful at this point to give an advisory note on the rhythmic interpretation of the anacrustic semiquaver at those places where it is concurrent with triplet quaver motion, as in parts of the air `Arise, my fair, and come away', but this is a common issue in music of the period and, in Solomon at least, it is unlikely to cause difficulties for today's stylistically informed performers.
This promise of an expansion or continuation of L is displaced with the emergence of event M which simply turns the eighth-note closing gestures of L (echoes of the close of [alpha]) into anacrustic openings and lightens the introductory sonority of K in its first downbeat at bar 12.
The anticipated (and denied) attack on the downbeat leaves a feeling of pent-up energy, which is expended suddenly via the grace-note attack before the softer, anacrustic second beat.
Omitting the anacrustic sixteenths and the appoggiaturas on the downbeats of bars 2-4, and adjoining the high "C" from the beginning of the next phrase, yields level i, where interval 5 (descending thirds/ascending sixths) is presented in the form of four successive melodic "chords of the sixth," the first and second related conjunctly, the second and third related disjunctly, the third and fourth related again conjunctly.