Narada Purana — Purva Bhaga, Shloka 55
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
ईषत्पृष्टो निषादस्तु गांधारश्चाधिको भवेत् । धैवतः कंपितो यत्र स षङ्गयाम ईरितः ॥ ५४ ॥
īṣatpṛṣṭo niṣādastu gāṃdhāraścādhiko bhavet | dhaivataḥ kaṃpito yatra sa ṣaṅgayāma īritaḥ || 54 ||
เมื่อแตะเสียงนิษาทะเพียงเล็กน้อย ยกคันธาระให้เด่น และทำเสียงธัยวตะให้สั่นไหว—ลักษณะนี้ประกาศว่าเรียก ‘ษังคยามะ’.
Narada (teaching technical characteristics of musical modes within Vedic sciences)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: shanta
FAQs
It frames disciplined sound (svara) as a regulated Vedic science: correct intonation and emphasis are treated as a precise practice that supports sacred recitation and elevating aesthetic experience.
Indirectly: by defining how notes should be rendered, it supports devotional singing and liturgical music, where accurate melody and tone help steady the mind and intensify reverence in worship.
Śikṣā/Gāndharva-veda style phonetics and musical science—specifically raga-lakṣaṇa—showing how particular notes (Ni, Ga, Dha) are to be touched, emphasized, and oscillated (kampita).