Changes

The ''Shiksha'' field of Vedic studies arranged the Sanskrit alphabet in a rational order, state Wilke and Moebus, each mapped to the anatomical nature of human sounds, from the back to the front - throat (at the very back), palate, palatal ridge, teeth and lips.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=478}} The letters of the Sanskrit alphabet were further organized by the Vedic scholars into a magic square, making symmetrical and resonant alternate readings of the letters possible, such as top to bottom in addition to left to right.{{Sfn|Annette Wilke|Oliver Moebus|2011|pp=478-479}} Further, the ''Shiksha'' scholars added ''Mudra'' (hand signs) to go with each sound, thereby providing a visual confirmation and an alternate means to check the reading integrity by the audience, in addition to the audible means.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=479}}

The ''Shiksha'' field of Vedic studies arranged the Sanskrit alphabet in a rational order, state Wilke and Moebus, each mapped to the anatomical nature of human sounds, from the back to the front - throat (at the very back), palate, palatal ridge, teeth and lips.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=478}} The letters of the Sanskrit alphabet were further organized by the Vedic scholars into a magic square, making symmetrical and resonant alternate readings of the letters possible, such as top to bottom in addition to left to right.{{Sfn|Annette Wilke|Oliver Moebus|2011|pp=478-479}} Further, the ''Shiksha'' scholars added ''Mudra'' (hand signs) to go with each sound, thereby providing a visual confirmation and an alternate means to check the reading integrity by the audience, in addition to the audible means.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=479}}

These Mudras continue to be part of the classical Indian dance tradition.{{Sfn|Annette Wilke|Oliver Moebus  |2011|pp=479-480}} This interplay of the gesture and sound in Sanskrit recital, state Wilke and Moebus, is similar to the gesture of a conductor and the sound produced by music players in any classical orchestra.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=480}} In Sanskrit, the posture of the performer is an added dimension to those of pronunciation and gesture, together these empowered muscular memory with acoustic memory in the Hindu tradition of remembering and transmitting Sanskrit texts from one generation to the next, state Wilke and Moebus.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=480}}

These Mudras continue to be part of the classical Indian dance tradition.{{Sfn|Annette Wilke|Oliver Moebus  |2011|pp=479-480}} In Sanskrit, the posture of the performer is an added dimension to those of pronunciation and gesture, together these empowered muscular memory with acoustic memory in the Hindu tradition of remembering and transmitting Sanskrit texts from one generation to the next, state Wilke and Moebus.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=480}}

The methodical phonetic procedure developed by ''Shiksha'' helped preserve the Vedas without the slightest variants in the most faithful way possible.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=495}} It made the Vedas and embedded Principal Upanishads the canonical scriptures of Hinduism. The rules and symmetric of Siksa helped the student to master enormous volumes of knowledge, and use the embedded codes and rules to self check his memory.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=495}}

The methodical phonetic procedure developed by ''Shiksha'' helped preserve the Vedas without the slightest variants in the most faithful way possible.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=495}} It made the Vedas and embedded Principal Upanishads the canonical scriptures of Hinduism. The rules and symmetric of Siksa helped the student to master enormous volumes of knowledge, and use the embedded codes and rules to self check his memory.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=495}}The reciter's mind and body are engaged, making language and sound as an emotional performance.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=499}} The study of phonetics functioned to transform a Vedic text, which traditionally was composed as language-music, into a musical performance.{{Sfn|Annette Wilke|Oliver Moebus|2011|pp=500-501}} Individual sounds in the Sanskrit have independent personalities, and the reciter helps develop their character and their timbre, state Wilke and Moebus. Naradiya Siksa, a phonetics treatise on the [[Sama Veda]] explains this aspects of phonology with various similes, such as,{{Quote|

 

However, state Wilke and Moebus, the Shiksha methodology has been not just highly technical, it has strong aesthetic "sensuous, emotive" dimension, which foster thinking and intellectual skills in a participatory fashion.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=499}} The reciter's mind and body are engaged, making language and sound as an emotional performance.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=499}} The study of phonetics functioned to transform a Vedic text, which traditionally was composed as language-music, into a musical performance.{{Sfn|Annette Wilke|Oliver Moebus|2011|pp=500-501}} Individual sounds in the Sanskrit have independent personalities, and the reciter helps develop their character and their timbre, state Wilke and Moebus. Naradiya Siksa, a phonetics treatise on the [[Sama Veda]] explains this aspects of phonology with various similes, such as,

 

{{Quote|

Just as a tigress takes her cubs tightly in her teeth without hurting them, whilst fearing that she might drop them and injure them, so one should approach the individual syllables.

Just as a tigress takes her cubs tightly in her teeth without hurting them, whilst fearing that she might drop them and injure them, so one should approach the individual syllables.

|Naradiya Siksa 2.8.31|Translated by Annette Wilke and Oliver Moebus,{{Sfn|Annette Wilke|Oliver Moebus|2011|p=500}}}}

|Naradiya Siksa 2.8.31|Translated by Annette Wilke and Oliver Moebus,{{Sfn|Annette Wilke|Oliver Moebus|2011|p=500}}}}

Pratisakhyas are the oldest ''Siksa'' textbooks of each branch of the Vedas.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=492}} Later Siksa texts are more specialized and systematic, and often titled with suffix "Siksa", such as the Naradiya-Siksa, Vyasa-Siksa, Pari-Siksa and Sarvasammata-Siksa.{{Sfn|Annette Wilke|Oliver Moebus|2011|pp=492-493}}

Pratisakhyas are the oldest ''Siksa'' textbooks of each branch of the Vedas.{{Sfn|Annette Wilke|Oliver Moebus|2011|p=492}} Later Siksa texts are more specialized and systematic, and often titled with suffix "Siksa", such as the Naradiya-Siksa, Vyasa-Siksa, Pari-Siksa and Sarvasammata-Siksa.{{Sfn|Annette Wilke|Oliver Moebus|2011|pp=492-493}}

The [[Pratisakhya|Pratishakhyas]], which evolved from the more ancient Vedic Texts [[padapatha]]s (''{{IAST|padapāṭha}}'') around 800 BCE, deal with the manner in which the Vedas are to be enunciated. There are separate Pratishakhyas for each Veda. They complement the books called Shiksha written by various authorities. Several Pratishakhyas have survived into the modern era, and these texts refine the structure of sound at different levels of nuance, some adding many more letters to the basic set in the Sanskrit alphabet:<ref name=egenesp152>{{cite book|author=Thomas Egenes|title=Introduction to Sanskrit|url=http://books.google.com/books?id=ZAu6xhfb4bUC&pg=PA152|year=1996|publisher=Motilal Banarsidass|isbn=978-81-208-1693-0|pages=152–154}}</ref>

The [[Pratisakhya|Pratishakhyas]], which evolved from the more ancient Vedic Texts [[padapatha]]s (''{{IAST|padapāṭha}}''), deal with the manner in which the Vedas are to be enunciated. There are separate Pratishakhyas for each Veda. They complement the books called Shiksha written by various authorities. Several Pratishakhyas have survived into the modern era, and these texts refine the structure of sound at different levels of nuance, some adding many more letters to the basic set in the Sanskrit alphabet:<ref name=egenesp152>{{cite book|author=Thomas Egenes|title=Introduction to Sanskrit|url=http://books.google.com/books?id=ZAu6xhfb4bUC&pg=PA152|year=1996|publisher=Motilal Banarsidass|isbn=978-81-208-1693-0|pages=152–154}}</ref>

* [[Rigveda]]-Pratishakya: 47 letters<ref name=egenesp152/>

* [[Rigveda]]-Pratishakya: 47 letters<ref name=egenesp152/>

* [[Shukla Yajurveda]]-Pratishakhya: 65 letters<ref name=egenesp152/>

* [[Shukla Yajurveda]]-Pratishakhya: 65 letters<ref name=egenesp152/>