Narada Purana — Purva Bhaga, Shloka 52
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
ऋषभो मूर्छितवर्जितो धैवतसहितश्च पंचमो यत्र । निपतति मध्यमरागे स निषादं षाङ्जवं विद्यात् ॥ ५१ ॥
ṛṣabho mūrchitavarjito dhaivatasahitaśca paṃcamo yatra | nipatati madhyamarāge sa niṣādaṃ ṣāṅjavaṃ vidyāt || 51 ||
Im Madhyama-rāga gilt: Wenn Pañcama absteigt, begleitet von Dhaivata, und dabei die mūrchita‑Bewegung (ornamentiert/gebündelt) des Ṛṣabha auslässt, dann erkenne man, dass jener Niṣāda zur Ṣāṅjava‑Klasse (auf Ṣaḍja gegründet) gehört.
Sanatkumara (teaching Narada in a technical section on śikṣā/saṅgīta-svara classification)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: shanta
FAQs
It treats sacred sound with precision—showing that disciplined knowledge of svara (tones) and their correct identification is part of śikṣā, supporting purity in recitation and contemplative practice where nāda (sound) becomes a means toward inner steadiness.
Indirectly: bhakti in the Purāṇic tradition is sustained by correct singing/recitation of divine names and hymns; this verse provides technical criteria so devotional music and chanting remain aligned with śāstric sound-order.
Śikṣā (phonetics) and allied svara-science: it gives a rule for recognizing Niṣāda in relation to Madhyama-rāga, using markers like the descent of Pañcama with Dhaivata and the avoidance of mūrchita movement of Ṛṣabha.