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In English, the circumflex, like other diacritics, is sometimes retained on loanwords that used it in the original language (for example entrepôt, crème brûlée). In mathematics and statistics , the circumflex diacritic is sometimes used to denote a function and is called a hat operator .
Phonetically reconstructed as a falling syllable tone. Within Balto-Slavic framework, recessive circumflex corresponds to the Latvian falling intonation à and the Lithuanian circumflex ã . [8] [9] [10] The long is mainly used on final vowels in the word form. A striking example of this is the “long yer” in the genitive plural. [11] [12] [13]
If the intonation is acute the word has a mark 3a, 34a, (35a, 36a) written by in dictionaries, and if a circumflex or short, the mark is 3b, 34b, (35b, 36b); the number three means the number of an accentuation pattern, the letter a means the acute intonation, the letter b is for a circumflex intonation or a short stress; if the accent is in a ...
In distinction to the angled Latin circumflex, the Greek circumflex is printed in the form of either a tilde ( ̃) or an inverted breve ( ̑). It was also known as ὀξύβαρυς oxýbarys "high-low" or "acute-grave", and its original form ( ^ ) was from a combining of the acute and grave diacritics.
The pitch accent of Vedic Sanskrit, or Vedic accent (Vedic: स्वराः svarāḥ) for brevity, is traditionally divided by Sanskrit grammarians into three qualities, udātta उदात्त "raised" (acute accent, high pitch), anudātta अनुदात्त "not raised" (unstressed, or low pitch, grave accent) and svarita स्वरित "sounded" (high falling pitch ...
According to the formulation of the Moscow Accentological School, in the Early Proto-Slavic (most likely Balto-Slavic) languages, accent shifted from dominant short and dominant circumflex syllables to syllables with an internal dominant acute, and there was no shift to both recessive aсutе and long syllables that had a circumflex intonation.
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When the accent is a circumflex, the music often shows a fall from a higher note to a lower one within the syllable itself, exactly as described by Dionysius of Halicarnassus; examples are the words Μουσῶν Mousôn 'of the Muses' and εὐμενεῖς eumeneîs 'favourable' in the prayer illustrated above.