Narada Purana — Purva Bhaga, Shloka 37
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
मैत्री च बार्हती चैव पितॄणां सप्त मूर्छनाः । षड्जे तूत्तरमंद्रा स्यादृषभे चाभिरूहता ॥ ३७ ॥
maitrī ca bārhatī caiva pitṝṇāṃ sapta mūrchanāḥ | ṣaḍje tūttaramaṃdrā syādṛṣabhe cābhirūhatā || 37 ||
«مايتري» و«بارْهَتي»—وهما أيضًا ضمن المُورْچَنات السبع المنسوبة إلى الـPitṛs، أسلافٍ مُبجَّلين. وفي نغمة «شَدْجا» يُقال إنها في الماندرا الأعلى (المجال الغليظ)، وفي «رِشَبها» ترتفع صعودًا.
Narada (teaching technical sacred-sound knowledge within Moksha Dharma context)
Vrata: none
Primary Rasa: shanta (peace)
Secondary Rasa: adbhuta (wonder)
FAQs
It links sacred sound (nāda/svara) with ancestral (Pitṛ) associations, implying that correct tonal knowledge supports ritual precision and the subtle, dharmic ordering that underlies mokṣa-oriented practice.
While not directly preaching bhakti, it supports devotion indirectly by stressing correct sonic discipline—proper tonal movement in recitation and praise strengthens the efficacy and purity of devotional worship and mantra.
Śikṣā (phonetics): it references technical ideas like mūrchanā (modal progression) and the placement/movement of notes (Ṣaḍja, Ṛṣabha) across registers (mandra/ascending), relevant to accurate chanting and liturgical performance.