*The Ashiq and the Troubadour: Cross-Cultural Perspectives on the Art of Musical Poetry*

Is the figure of the “bard” a useful tool for thinking about musical poetry in its multicultural dimension, or does musical poetry instead require the construction of such a figure, implicitly mobilizing notions such as authorship, signature, character, and so on? This is the central question of this collective volume, which examines musical poetry as it is reflected both by the ashiq and by the troubadours.

This volume does not aim to deconstruct the discourses surrounding the ashiq, the troubadour, or the bard. Rather, we sought to bring together specialists so that their respective research could enrich one another and form a way of thinking that is neither local nor global, neither particularizing nor universalizing, but transversal.

The purpose of this book is not only to analyze the construction of the figure or myth of the poet-musician, but also—and perhaps above all—to understand what we, researchers coming from different cultural and disciplinary backgrounds (medievalists, specialists of the sixteenth, nineteenth, and twentieth centuries, Iranists, experts in Azerbaijani folklore, musicologists, musicians, and others), mean by musical poetry. It is therefore a question of what is expected of this poetry, and of the functions attributed both to those who practice it and to those who listen to it.

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