Narada Purana — Purva Bhaga, Shloka 55
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
ईषत्पृष्टो निषादस्तु गांधारश्चाधिको भवेत् । धैवतः कंपितो यत्र स षङ्गयाम ईरितः ॥ ५४ ॥
īṣatpṛṣṭo niṣādastu gāṃdhāraścādhiko bhavet | dhaivataḥ kaṃpito yatra sa ṣaṅgayāma īritaḥ || 54 ||
Wenn Niṣāda nur leicht berührt wird, Gāndhāra hervorgehoben ist und Dhaivata mit zitternder (schwingender) Intonation erklingt, wird dieser musikalische Modus Ṣaṅgayāma genannt.
Narada (teaching technical characteristics of musical modes within Vedic sciences)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: shanta
FAQs
It frames disciplined sound (svara) as a regulated Vedic science: correct intonation and emphasis are treated as a precise practice that supports sacred recitation and elevating aesthetic experience.
Indirectly: by defining how notes should be rendered, it supports devotional singing and liturgical music, where accurate melody and tone help steady the mind and intensify reverence in worship.
Śikṣā/Gāndharva-veda style phonetics and musical science—specifically raga-lakṣaṇa—showing how particular notes (Ni, Ga, Dha) are to be touched, emphasized, and oscillated (kampita).