anudattan.

1856 Jrnl. Amer. Oriental Soc. 5 203 A tone possessed of so little inherent force that, if a second acute follows it, it disappears altogether, and is replaced by the anudâtta.

1888 J. Wright tr. K. Brugmann Elem. Compar. Gram. Indo-Germanic Lang. I. 538 The high tone was called udātta, that is, ‘raised’... Opposed to it was the anudātta, that is, ‘unraised’.

1901 A. A. Macdonnell Sanskrit Gram. for Beginners App. III, 227 The anudātta preceding the acute is marked with a horizontal stroke below, and the svarita following it, with a vertical stroke above.

1957 New Oxf. Hist. Music I. iv. 200 The way of chanting the rigvedic hymns has definite musical importance, as the three accents employed, the udâtta, the anudatta, and the svarita, denote a distinct different in pitch.

2011 in K. Kuiper Culture of India vi. 247/2 The preceding syllable, anudatta, is a kind of preparation for the accent.