Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
बला चाप्यथ विज्ञेया देवानां सप्त मूर्छनाः । आप्यायिनी विश्वभृता चंद्रा हेमा कपर्दिनी ॥ ३६ ॥
balā cāpyatha vijñeyā devānāṃ sapta mūrchanāḥ | āpyāyinī viśvabhṛtā caṃdrā hemā kapardinī || 36 ||
‘பலா’ முதலியவை தேவர்களின் ஏழு மூர்ச்சனைகள் என அறியப்பட வேண்டும்—ஆப்யாயினீ, விஷ்வப்ருதா, சந்த்ரா, ஹேமா, கபர்தினீ—இவை தெய்வீக ஸ்வரநடைகள்.
Sanatkumara (teaching Narada in a Moksha-Dharma/Vedic-knowledge sequence)
Vrata: none
Primary Rasa: adbhuta (wonder)
Secondary Rasa: shanta (peace)
It emphasizes that sacred sound is a disciplined science: knowing the divine mūrchanās supports correct Vedic recitation, which purifies the mind and becomes an aid to Moksha-Dharma.
Bhakti in the Purāṇic framework is strengthened by proper praise and chanting; this verse points to the technical foundations (intonation/modes) that make hymn-singing and liturgical devotion spiritually effective.
Śikṣā (phonetics/recitation) and Sāma-vedic musical method: mūrchanā as structured progressions of notes/intonations used to preserve and correctly render sacred chant.