Which statement is false ?

Question

Accepted Answer

The correct option is 4:

The statement "Paran' is smallest and one-handed composition of Taal" is false, which is why it is the correct answer to the question. A *Paran* is a sophisticated and generally substantial rhythmic composition, often taking several *avartans* (cycles) to complete, contradicting the description of it being the "smallest." More importantly, the character of a Paran is defined by its powerful and symmetrical *bols* (syllables) played using **both hands** on the two-sided drum, the Pakhawaj. The very idea of it being a "one-handed" composition fundamentally misrepresents the vigorous, two-part drumming technique that is central to the Paran's existence and aesthetic.

The incorrect option is 1:
The statement "Paran' is a composition having open Bols" is true. This feature is a defining characteristic of the *Paran*. *Open bols* refer to resonant and forceful rhythmic syllables like *Dha*, *Ghe*, *Trak*, and *Dhum* that allow the full, deep sound of the drum to project. These open, powerful sounds differentiate it from compositions like *Tukras* or *Tihais* that might rely on a wider range of open and closed, or subtle, syllables. The use of predominantly open bols gives the Paran its grand, energetic, and sometimes martial quality.

The incorrect option is 2:
The statement "Paran' is mostly played on Pakhawaj" is true. The *Paran* originated as a staple composition for the *Pakhawaj* (or *Mridangam*), the ancient barrel-shaped drum of North and South Indian classical music. The *bols* (syllables) of the Paran, such as *Dhumkittak* and *Trakdhikitta*, are primarily those of the Pakhawaj. While these compositions have been adapted for the Tabla, their historical and stylistic home remains the Pakhawaj, where they are central to solo performance and the accompaniment of *Dhrupad* and *Kathak* dance.

The incorrect option is 3:
The statement "Paran' is mostly used in Punjab and Banaras Gharana" is true in the context of rhythmic and dance traditions. The *Paran* forms an integral part of the rhythmic repertoire (*Toda*, *Paran*, *Kavitt*) taught in the *Kathak* dance *Gharanas*, particularly the *Banaras Gharana* and the *Punjab Gharana*. These compositions provide the dramatic and powerful rhythmic climaxes during a Kathak performance. Therefore, the form is a widely acknowledged and essential component of the material preserved and performed by exponents of these specific *Gharanas*.