Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
विस्तरं विरसं चैव विश्लिष्टं विषमाहतम् । व्याकुलं तालहीनं च गीतिदोषाश्चतुर्दश ॥ ४५ ॥
vistaraṃ virasaṃ caiva viśliṣṭaṃ viṣamāhatam | vyākulaṃ tālahīnaṃ ca gītidoṣāścaturdaśa || 45 ||
અતિ વિસ્તૃત ખેંચાણ, રસહીનતા, વિખૂટાપણું, અસમાન આઘાત, વ્યાકુલતા અને તાલનો અભાવ—આ (આદિ) ગીતીના ચૌદ દોષોમાં ગણાય છે।
Sanatkumara (in dialogue instructing Narada on disciplined sacred practice and technical correctness)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: none
It teaches that sacred sound—whether mantra, stotra, or devotional singing—must be disciplined and well-formed; careless delivery (without rasa, coherence, or tāla) becomes a ‘fault’ that diminishes the sanctifying power of worship.
Bhakti is not only emotion but also right offering: devotional song should be steady, coherent, and rhythmically grounded, so the mind becomes one-pointed rather than ‘vyākula’ (agitated).
Śikṣā (phonetics and disciplined vocal delivery) and allied concerns of rhythm/measure (tāla) are emphasized—practical rules for correct recitation and performance so that sacred sound remains precise and effective.
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