Narada Purana — Purva Bhaga, Shloka 60
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
सामवेदस्य स्वराणां सङ्गीतशास्त्रस्य स्वरेभ्यः तुलना । सामवेदः । सङ्गीतशास्त्रः । क्रुष्ट * । पञ्चमः । प्रथमः ॥ १ ॥
sāmavedasya svarāṇāṃ saṅgītaśāstrasya svarebhyaḥ tulanā | sāmavedaḥ | saṅgītaśāstraḥ | kruṣṭa * | pañcamaḥ | prathamaḥ || 1 ||
Kini perbandingan nada-nada Sāmaveda dengan nada dalam śāstra musik: nada yang ada dalam Sāmaveda itu dalam teori musik disebut ‘Kruṣṭa’; dalam Sāmaveda ia disebut ‘Pañcama’, sedangkan dalam sistem musik namanya ‘Prathama’.
Narada (teaching in a technical/śāstra mode within the dialogue tradition)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
FAQs
It emphasizes that sacred sound (Sāmavedic svara) is a precise science; correct tonal knowledge supports accurate chanting, which is traditionally held to preserve mantra efficacy and inner discipline.
By grounding devotional recitation and singing in exact svara-knowledge, it supports bhakti practices like kīrtana and Vedic chant as disciplined offerings rather than casual performance.
Śikṣā (phonetics/intonation): it correlates Sāmavedic tone-names with Saṅgītaśāstra note terminology (e.g., Kruṣṭa/Prathama and Pañcama) for correct pitch mapping.