Skanda Purana — Mahesvara Khanda, Shloka 53
सामध्वनिसमायुक्तां तृतीयस्वरनादिताम् । अतीव मनसो रम्यां शिव भक्तिमिवोत्तमाम्
sāmadhvanisamāyuktāṃ tṛtīyasvaranāditām | atīva manaso ramyāṃ śiva bhaktimivottamām
C’était empli du son des chants sāman, résonnant sur la troisième note ; d’une douceur extrême pour l’esprit, comme la bhakti suprême envers Śiva lui-même.
Nārada (continuation of first-person narrative context)
Listener: Pārtha
Scene: A chorus of chanters seated in rows, mouths forming elongated sāman notes; the ‘third svara’ emphasized; the air visibly ‘vibrates’ with sacred resonance, evoking Śiva’s presence as pure devotion.
FAQs
Vedic sound and devotion converge: sacred chant becomes a direct expression of the highest Śiva-bhakti.
The same festival/tīrtha setting, portrayed as sanctified by Vedic Sāman resonance and Śaiva devotion.
No explicit injunction; it praises Sāma-dhvani (Sāmaveda chanting) as an ideal devotional offering.