Śrīmad-Bhāgavatam 10.33.8
Blended reading (Sanskrit + English inline)
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rakta-kaṇṭhyaḥ
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whose throats were colored
Rakta = red/colored. Throat-pigment from betel and song. Gauḍīyas read rakta double-edged: also reddened by emotion, kaṇṭha being the seat of bhāva in singing.
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kṛṣṇa-abhimarśa-muditāḥ
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joyful from Kṛṣṇa's touch
Abhimarśa (touch, contact) + mudita (joyful). Sparśa-bhakti — the rasa of physical contact with Bhagavān. Gauḍīyas: in mādhurya-rasa, touch is not preliminary to union; it is itself the union.
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idam āvṛtam
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this universe is pervaded
Āvṛta from √vṛ (to cover). The gopīs' song covers the whole brahmāṇḍa. Echo of Gītā 8.22: puruṣaḥ sa paraḥ — Kṛṣṇa pervades all; here His devotees' song does the same, by His own power.
According to an authoritative book on music called Saṅgīta-sāra, tāvanta eva rāgāḥ sūryāvatyo jīva-jātayaḥ, teṣu ṣoḍaśa-sāhasrī purā gopī-kṛtā varā: “There are as many musical rāgas as there are species of life. Among these rāgas are sixteen thousand principal ones, which were manifested by the gopīs. ” Thus the gopīs created sixteen thousand different rāgas, or musical modes, and these have subsequently been disseminated throughout the world. The words yad-gītenedam āvṛtam also indicate that even today devotees throughout the world sing the praises of Kṛṣṇa, following the example of the gopīs.
The gopis danced and danced (nrtyamana), or were honored by Krsna for dancing, and sang and sang, with their throats tinged with various ragas (rakta kantha). Ragas are explained in the Sanita Sara. "There are as many ragas as there are species of life. Among those ragas the sixteen thousands produced by the gopis are best." They were attached to the affection showed by Krsna (rati priya). Being blissful because of the touch of Krsna, they did not feel any fatigue after dancing and dancing. The universe (idam) became filled (avrta) with this singing. Another meaning is "They were songs which even today all people of the universe sing."
Having described the prominent position of the gopīs’ dancing because of great joy, now the prominence of singing is described. While dancing they sang. This shows their skill in dancing since they could also sing at the same time. The goal of singing and dancing was Kṛṣṇa’s pleasure (rati-priyāḥ). One should not fear that they would become tired by singing and dancing for they were overjoyed by the touch of Kṛṣṇa. That was the only cause of their dancing. Their singing was so loud that it spread over the universe. Or, the universe became filled with their spontaneous rāgas, which made the universe prone to singing as well. The scriptures on music say that the gopīs’ rāgas numbers sixteen thousand. Saṅgīta-sāra says tāvanta eva rāgāḥ syur yāvatyo jīva-jātayaḥ teṣu ṣoḍaśa-sāhasrī purā gopī-kṛtā varā There are as many musical rāgas as there are species of life. Among these rāgas sixteen thousand principal ones were performed by the gopīs previously. Or, the gopīs were respected by Kṛṣṇa because of their dancing (nṛtyamānāḥ). Their throats were smeared with prema (rakta-kaṇṭhyaḥ). This indicates the great sweetness of their singing. The cause of the loud singing was their affection for Kṛṣṇa whose other name is Rati (rati-priyāḥ). They sang loudly because of Kṛṣṇa’s loud singing. Parāśara says: rāsa-geyaṁ jagau kṛṣṇo yāvat vyāyata-dhvaniḥ sādhu kṛṣṇeti kṛṣṇeti tāvat tad dviguṇaṁ jaguḥ When Kṛṣṇa sang at the rāsa dance the gopīs sang twice as loud, saying “Kṛṣṇa sings well. Kṛṣṇa sings well.” The reasons for their singing loudly are three: their voices were filled with prema, they were affection to him, and they were joyful with Kṛṣṇa’s touch. The related causes should be understood. Just as Kṛṣṇa became more beautiful because of the gopīs and the gopīs became more beautiful because of Kṛṣṇa, so the qualities of their singing and dancing became more attractive by Kṛṣṇa’s singing and dancing. This will be clear in later verses.
A single touch of Kṛṣṇa, and the gopīs' song fills the universe — not because their voices are loud, but because the universe was made to resonate with that frequency in the first place. Bhakti is not amplification; it is finally turning on the instrument the cosmos was tuned to play.
My note
Source: vedabase.io