Narada Purana — Purva Bhaga, Shloka 39
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
धैवते चापि विज्ञेया मूर्छना तूत्तरा मता । निषादे रजनीं विद्यादृषीणां सप्त मूर्छनाः ॥ ३९ ॥
dhaivate cāpi vijñeyā mūrchanā tūttarā matā | niṣāde rajanīṃ vidyādṛṣīṇāṃ sapta mūrchanāḥ || 39 ||
وعلى نغمة «دهايفاتا» (Dhaivata) تُعرَف المُورْتشَنَا المسماة «أوتّارا» (Uttarā)، وعلى نغمة «نيشادَا» (Niṣāda) فاعلم المُورْتشَنَا المسماة «راجَني» (Rajanī). وهكذا علّم الرِّشيون سبع مُورْتشَنَات.
Sanatkumara (teaching Narada in a technical exposition)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: none
FAQs
It frames music (nāda) as a disciplined sacred science: specific mūrchanās are mapped to specific svaras, showing that sound is to be learned in an ordered, rishi-transmitted way.
Indirectly: by systematizing sacred sound, it supports correct chanting, singing, and musical recitation used in devotional practice, where precision in tone and mode strengthens focused worship.
A technical teaching aligned with Śikṣā and Gandharva-veda: classification of musical modes (mūrchanā) by the notes Dhaivata and Niṣāda, culminating in the traditional count of seven mūrchanās.