Which one is not related with 'Dhruvpad' ?

Question

Accepted Answer

The correct option is 3:

The statement "Gharana - Kirana, Patiala, Mewati, Agra" is the correct answer because Kirana, Patiala, and Mewati Gharanas are primarily renowned as schools of **Khayal** vocal music, not Dhrupad. Khayal is a later and more improvisational genre in Hindustani classical music, which eventually eclipsed the older Dhrupad style. While the Agra Gharana *does* have strong, acknowledged roots in the Dhrupad and Dhamar traditions, grouping it with the three major Khayal Gharanas (Kirana, Patiala, Mewati) makes this group the one that is *not* entirely and characteristically related to the practice and lineage of Dhrupad. The dedicated Dhrupad traditions are represented by Gharanas like Dagar, Darbhanga, and Talwandi.

The incorrect option is 1:
This option lists "Bani - Gouhar, Khandar, Dagur, Nouhar." These four names are the four universally accepted and fundamental **Banis** (styles or lineages) of Dhrupad singing. The *Banis* represent the four distinct aesthetic and performance methods of the art form, originating in the time of Tansen and being essential to the definition and historical study of Dhrupad music. Since these are the defining stylistic pillars of Dhrupad, this option is entirely related to the genre.

The incorrect option is 2:
This option lists the compositional structure as "Parts - Sthai, Antra, Sanchari, Abhog." These four words refer to the classic and non-negotiable four sections of a complete **Dhrupad composition** (*bandish*). The Sthai, Antra, Sanchari, and Abhog form the rigid, four-part poetic and musical structure that is a hallmark of the Dhrupad form. Therefore, these terms are directly related to the theoretical and practical framework of Dhrupad.

The incorrect option is 4:
This option lists "Taal - Sool, Teevra, Rudra, Brahma." These are classic examples of the complex and often obscure **Taals** (rhythmic cycles) that are traditionally and specifically employed in Dhrupad and Dhamar singing. These *tals* are played on the Pakhawaj (the percussion instrument of Dhrupad) and are distinct from the *taals* generally used for Khayal (like Teentaal or Ektal), making them an essential and identifying feature of the Dhrupad performance tradition.