Barbad or Bārbad (; various other names; ) was a Persian poet-musician, lutenist, music theorist and composer of Sasanian music who served as chief minstrel-poet under Shahanshah Khosrow II (). A barbat player, he is among the major figures in the history of Iranian/Persian music and was the most distinguished Persian musician of his time. He appears frequently in later Persian literature, most famously in Ferdowsi's Shahnameh. The content and abundance of such references demonstrate his unique influence on the music and culture of his time, with some sources declaring him the "founder of Persian music". Despite scarce biographical information, Barbad's historicity is generally secure. Purportedly born in Merv or Jahrom, Barbad served most of his career under Khosrow, who held him in high regard. He interacted closely and rivaled with other musicians of his time, such as Sarkash. After Khosrow's assassination, sources vary as to whether Barbad was murdered, or if he murdered another musician himself. Barbad is traditionally credited with various inventions in Persian music theory and practice; however, the attributions remain tentative due to being ascribed centuries after his death. Though a single poem is extant and the titles of some of his works are known, none of Barbad's musical compositions are extant. No Sasanian sources discuss Barbad, suggesting his reputation was preserved through oral tradition, until at least the earliest written account by the poet Khaled ibn Fayyaz ( ). His work survived until at least the 10th century, inspiring musicians such as Ishaq al-Mawsili and being described as a "model of artistic achievement". Barbad remains a celebrated figure in modern-day Iran, Afghanistan and Tajikistan. Name Posthumous sources refer to the Sasanian musician with little consistency. Persian sources record "Barbād" while Arabic scholars use Fahl(a)bad, Bahl(a)bad, Fahl(a)wad, Fahr(a)bad, Bahr(a)bad and Bārbad/ḏ. Modern sources most often use "Barbad", a spelling that Danish orientalist Arthur Christensen first asserted to be correct. However, the German orientalist Theodor Nöldeke suggested that spellings from Arabic commentators such as "Fahl(a)bad" were really an arabicization of his actual name, probably Pahrbad/Pahlbad. Nöldeke furthered that "Bārbad" was a mistake in the interpretation of ambiguous Pahlavi characters. The Iranologist Ahmad Tafazzoli agreed with Nöldeke, citing a Sasanian seal which includes the name "Pahrbad/Pahlbad" and the earliest mention of the Sasanian musician, which uses a spelling—"Bahrbad/Bahlbad"—that suggests the name had been arabicized. Context and sources The music of Iran/Persia stretches to at least the depictions of