ÿþ<HTML><HEAD><TITLE>DHUN&#298</TITLE> <style type="text/css"> .BODY { background-color: #EAF1F7; background-image: url('images/gtbh.jpg'); background-repeat: no-repeat; background-attachment: fixed; background-position: center; color: #0066CC;} .C1{text-align: justify;color: #0066CC;FONT-size: SMALL;FONT-family: Tahoma;} .BIB{text-align: center;color: #000099;FONT-size: SMALL;FONT-family: Tahoma;} .CONT{text-align: right;color: #FF0000;FONT-size: SMALL;FONT-family: Tahoma;} </style><META NAME="keywords" CONTENT="DHUN*"> <META http-equiv="content-type" content="text/html; charset=UTF-8"></HEAD> <BODY class="BODY" oncontextmenu="return false" ondragstart="return false" onselectstart="return false"> <FONT ALIGN="JUSTIFY" FACE="Tahoma"> <p class="C1">&#65279DHUN&#298, from Skt. <i>dhvani</i> meaning sound, echo, noise, voice, tone, tune, thunder, stands in Punjabi generally for sound and tune. In the Gur&#363 Granth S&#257hib, the term appears in the sense of tune at the head of 9 of the 22 <i>v&#257rs</i> (odes) under different <i>r&#257gas</i> or musical measures. Directions with regard to the tunes in which those <i>v&#257rs</i> were meant to be sung were recorded by Gur&#363 Arjan when compiling the Holy Book. The classical system of Indian music had well-established tunes and corresponding prosodic forms; but the <i>v&#257r</i>, being basically a folk form, did not have any prescribed order. The Gur&#363 laid down tunes at least for odes for which models existed. The <i>v&#257rs</i>, with corresponding <i>dhun&#299s</i>, are :</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;1. V&#257r M&#257jh by N&#257nak I - Malak Mur&#299d tath&#257 Chandraha&#7771&#257 Soh&#299&#257 k&#299 dhun&#299 (GG, 137).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2. Gau&#7771&#299 k&#299 V&#257r by N&#257nak V - R&#257i Kam&#257ld&#299 Mojd&#299 k&#299 V&#257r k&#299 dhuni (GG, 318).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;3. As&#257 k&#299 V&#257r by N&#257nak I -&#7788u&#7751&#7693e Asr&#257jai k&#299 dhun&#299 (GG, 462).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;4. G&#363jar&#299 k&#299 V&#257r by N&#257nak III - Sikandar Bir&#257him k&#299 V&#257r k&#299 dhun&#299 (GG, 508).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;5. Va&#7693aha&#7749s k&#299 V&#257r by N&#257nak IV - Lal&#257&#7749 Bahal&#299m&#257 k&#299 dhun&#299 (GG, 585).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;6. R&#257mkal&#299 k&#299 V&#257r by N&#257nak III - Jodhai V&#299rai P&#363rab&#257&#7751&#299 k&#299 dhun&#299 (GG, 947).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;7. Sara&#7749g k&#299 V&#257r by N&#257nak IV - R&#257i Mahme Hasane k&#299 dhun&#299 (GG, 1237).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;8. Var Mal&#257r K&#299 by N&#257nak I - R&#257&#7751e Kail&#257s tath&#257 M&#257l de k&#299 dhun&#299 (GG, 1278).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;9. K&#257na&#7771e k&#299 V&#257r by N&#257nak IV - M&#363se k&#299 V&#257r k&#299 dhun&#299 (GG, 1312).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Some scholars following <i>Gurbil&#257s P&#257tsh&#257h&#299 Chhev&#299&#7749</i>, an eighteenth-century work, assert that these <i>dhun&#299s</i> were added in the Holy Book under the direction of Gur&#363 Hargobind, N&#257nak VI. They support their assertion by stating that in the original recension of Gur&#363 Granth S&#257hib preserved at Kart&#257rpur, near Jalandhar, directions as to <i>dhun&#299s</i> were written in a different pen above or in between the lines. But Bh&#257&#299 Jodh Si&#7749gh who, along with Professor Tej&#257 Si&#7749gh and Ga&#7749g&#257 Si&#7749gh, minutely researched this rare manuscript in 1945, affirms that the <i>dhun&#299s</i> were recorded by Bh&#257&#299 Gurd&#257s who originally transcribed the sacred volume, there being no change of hand. Bh&#257&#299 Jodh Si&#7749gh's finding is that a finer pen has been used by him in recording <i>dhun&#299s</i> above or in between the liines as he has done at places elsewhere to mark <i>mahal&#257</i> indicating authorship of the verses.</p> </font> <p class="BIB"> BIBLIOGRAPHY<p class="C1"><ol class="C1"><li class="C1"><i>Gurbil&#257s P&#257tsh&#257h&#299 Chhev&#299&#7749</i>. Patiala, 1970<BR> <li class="C1"> Jodh Si&#7749gh, Bh&#257&#299, <i>Sr&#299 Kart&#257rpur&#299 B&#299&#7771 de Darshan</i>. Pa&#7789i&#257l&#257, 1968<BR> <li class="C1"> Harba&#7749s Si&#7749gh, Gi&#257n&#299, <i>&#256s&#257 d&#299 V&#257r Nir&#7751aya</i>. Amritsar, 1974<BR> <li class="C1"> Tej&#257 Si&#7749gh, <i>&#256s&#257 d&#299 V&#257r</i>. Amritsar, 1968<BR> </ol><p class="CONT">Major Gurmukh Si&#7749gh (Retd.)<br></p><BR> </font> <img src="counter.aspx" width="1px" height="1px" alt=""> </HTML></BODY>