DHUNI, from Skt. dhvani meaning sound, echo, noise, voice, tone, tune, thunder, stands in Punjabi generally for sound and tune. In the Guru Granth Sahib, the term appears in the sense of tune at the head of 9 of the 22 vars (odes) under different ragas or musical measures. Directions with regard to the tunes in which those vars were meant to be sung were recorded by Guru Arjan when compiling the Holy Book. The classical system of Indian music had well established tunes and corresponding prosodic forms; but the var, being basically a folk form, did not have any prescribed order.
The Guru laid down tunes at least for odes for which models existed. The vars, with corresponding dhunis, are: 1. Var Majh by Nanak I Malak Murid tatha Chandrahara Sohia ki dhuni (GG, 137). 2. Gauri ki Var by Nanak V Rai Kamaldi Mojdi ki Var ki dhuni (GG, 318). 3. Asa ki Var by Nanak I Tunde Asrajai ki dhuni (GG, 462). 4. Gujari ki Var by Nanak III Sikandar Birahim ki Var ki dhuni (GG, 508).
5. Vadahans ki Var by Nanak IV Lalan Bahalima ki dhuni (GG, 585). 6. Ramkali ki Var by Nanak III Jodhai Virai Purabani ki dhuni (GG, 947). 7. Sarang ki Var by Nanak IV Rai Mahme Hasane ki dhuni (GG, 1237). 8. Var Malar Ki by Nanak I Rane Kailas tatha Mal de ki dhuni (GG, 1278). 9. Kanare ki Var by Nanak IV Muse ki Var ki dhuni (GG, 1312). Some scholars following Gurbilas Patshahi Chhevin, an eighteenth century work, assert that these dhuniswere added in the Holy Book under the direction of Guru Hargobind, Nanak VI.
They support their assertion by stating that in the original recension of Guru Granth Sahib preserved at Kartarpur, near Jalandhar, directions as to dhuniswere written in a different pen above or in between the lines. But BhaiJodh Singh who, along with Professor Teja Singh and Gariga Singh, minutely researched this rare manuscript in 1945, affirms that the dhunis were recorded by Bhai Gurdas who originally transcribed the sacred volume, there being no change of hand. BhaiJodh Singh`s finding is that a finer pen has been used by him in recording dhunis above or in between the lines as he has done at places elsewhere to mark mahala indicating authorship of the verses.
References :
1. Gurbilas Patshahf Chheviri. Patiala, 1970
2. Jodh Singh, Bhai, Sri Kartarpuri Bir de Darshan. Patiala, 1968
3. Harbaris Singh, Giani, Asa di Var Nirnaya. Amritsar, 1974
4. Teja Singh, Asa dl Var. Amritsar, 1968
In Sikh musicology, Dhuni refers to the melodic tune or sound associated with the singing of vars (odes) in the Guru Granth Sahib. The term originates from Sanskrit dhvani, meaning sound, echo, or tone. In the Sikh tradition, Dhuni serves as a guide for the musical rendition of hymns, ensuring they are performed in specific prescribed tunes.
Significance in the Guru Granth Sahib
Dhuni appears at the head of nine out of the 22 vars in the Guru Granth Sahib, under different raags (musical measures). These tunes were recorded by Guru Arjan during the compilation of the Holy Book.
The classical Indian music system had established tunes and prosodic forms, but vars, being folk-based, lacked a strict order. Guru Arjan laid down specific dhunis for these vars, ensuring their alignment with spiritual and musical traditions.
Examples of Dhunis
Some notable vars with corresponding dhunis include:
- Var Majh: Malak Murid and Chandrahara Sohia ki dhuni.
- Asa ki Var: Tunde Asrajai ki dhuni.
- Ramkali ki Var: Jodhai Virai Purabani ki dhuni.
