Narada Purana — Purva Bhaga, Shloka 33
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
भूर्ल्लोकाज्जायते षड्जो भुवर्लोकाञ्च मध्यमः । स्वर्गाभ्राच्चैव गांधारो ग्रामस्थानानि त्रीणि हि ॥ ३३ ॥
bhūrllokājjāyate ṣaḍjo bhuvarlokāñca madhyamaḥ | svargābhrāccaiva gāṃdhāro grāmasthānāni trīṇi hi || 33 ||
De Bhūrloka naît la note Ṣaḍja ; de Bhuvarloka, Madhyama ; et du ciel d’en haut (Svarga) vient Gāndhāra. En vérité, ce sont là les trois assises fondamentales (sources) du grāma, l’échelle musicale.
Narada (in instruction, within the Narada–Sanatkumara dialogue context)
Vrata: none
Primary Rasa: adbhuta (wonder)
Secondary Rasa: shanta (peace)
FAQs
It links musical sound (nāda) with the cosmic order of the three worlds, implying that disciplined sound—like mantra, chant, and sacred music—reflects and harmonizes with reality, supporting inner steadiness conducive to mokṣa.
By presenting notes as arising from cosmic realms, the verse elevates devotional singing and recitation as more than art—bhakti through kīrtana becomes participation in a sacred, world-sustaining vibration.
It highlights Śikṣā (phonetics/intonation) and the technical science of sound akin to Gandharva-veda: correct pitch and tonal foundations (grāma-sthāna) are treated as structured knowledge, not improvisation.