- is
traditionally divided by
Sanskrit grammarians into
three qualities,
udātta उदात्त "raised" (acute accent, high pitch), anudātta अनुदात्त "not raised"...
-
Traditional chanting renders the
udātta as an
unaccented mid-tone and the
first half of the
svarita as
higher than an
udātta; the
other half is
rendered the...
- on
three accent pitch or levels:
svarita (sounded, cir****flex normal),
udatta (high, raised) and
anudatta (low, not raised). However,
scholars question...
- bar
below the line (◌॒),
svarita with a
stroke above the line (◌॑)
while udātta is unmarked. The end of a
sentence or half-verse may be
marked with the...
- must
revert to a
sequence of two syllables, the
first of
which carries an
udātta and the
second a so-called
dependent svarita.
Early Vedic was thus definitely...
-
Heritage of
Humanity on
November 7, 2008.[a]
Vedic chantings use 4
tones –
udātta उदात्त (middle tone), anudātta अनुदात्त (lower tone),
svarita स्वरित (higher...
- itihāsa-kath-ôdbhūtam,
itarad vā sad-āśrayam, | catur-varga-phal'-āyattaṃ, catur-
udātta-nāyakam, nagar'-ârṇava-śaila'-rtu, | udyāna-salila-kṛīḍā-madhu-pāna-rat'-ôtsavaiḥ...
- itihāsa-kath’’-ôdbhūtam,
itarad vā sad-āśrayam, | catur-varga-phal’-āyattaṃ, catur-
udātta-nāyakam, nagar’-ârṇava-śaila’-rtu, | udyāna-salila-kṛīḍā-madhu-pāna-rat’-ôtsavaiḥ...
-
ancient Indian grammarians described the
accent as
being a high
pitch (
udātta)
followed by a
falling tone (svarita) on the
following syllable; but occasionally...
- used in
reciting Vedic and
Upanishadic hymns and mantras.[citation needed]
Udātta: high
pitch Anudātta: low
pitch Svarita:
descending pitch (usually follows...
