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 ||
「引き延ばし過ぎ、味わい(ラサ)を欠き、ばらばらで、打ち方が不均等で、心が乱れ、さらにターラ(tāla・拍子)を失う」――これらは歌唱の十四の過失(ギーティ・ドーシャ)のうちに数えられる。
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.