Abstract
The gazal, as both a poetic and musical genre, must be counted as a uniquely widespread international art form. Throughout much of the Islamic world, gazal plays a significant role, whether as a traditional or a contemporary cultural phenomenon. The presence of gazal in such disparate and remote countries as Turkey and India may be attributed to the extraordinary versatility and adaptability of the genre. Thus, while in Iran, gazal is the standard form used in classical Avyz singing, in Turkey it is an archaic devotional genre; in North India, gazal functions as a light-classical genre, as a form used in group devotional qawwfll , and, finally, as a contemporary popular music genre.
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