Uyghur stringed instruments are popular in Kashgar, Hotan, Hami and other places in Xinjiang. Mainly used for accompaniment and ensemble singing of Muqam. The Karon speaker is in the shape of a flat trapezoid, with a piano frame made of mulberry or walnut wood, the surface and bottom made of pine wood, a flower hole in the middle of the panel, a tuning knob on the right side, and a string peg on the left side. There are two rows of codes on the surface of the piano. Two strings are placed in a group on each code, and sixteen or eighteen groups are placed at the end. When playing, the right hand holds a bamboo or wooden pick to play, and the left hand holds an iron vibrato to press the strings up and down, or move left and right on the strings to produce slide decoration.

Historical records indicate that karon is a stringed instrument introduced to my country from Central Asia in the Yuan Dynasty. In the middle of the 13th century, Hulagu of Mongolia conquered Baghdad (called Baoda Kingdom in Chinese history), destroyed the Abbasid dynasty, and brought back the seventy-two-string pipa. In the Yuan Dynasty, Guo Kan (grandson of Guo Baoyu) accompanied Xu Liewu on his western expedition. This historical fact is recorded in the "Records of the Western Envoy" written by Liu Yu in the Yuan Dynasty: "At the age of Dingsi (1257 AD), I reported to the country. ... Pipa has thirty-six strings. ... One player made a new pipa with seventy-two strings. "Xian." It is also recorded in the "Yuan History·Guo Baoyu Biography" (Volume 36): "Suddenly Suantan descended...to get a seventy-two string pipa." This kind of seventy-two string pipa may be Kalong. The name after it was introduced to China. In the Qing Dynasty, Karon was called Karnai and was included in the palace Huibu music (that is, Uyghur music). The Qing Dynasty's "Qin Ding Da Qing Hui Dian Tu" (Volume 41) records: "Karnai, with eighteen steel strings, looks like a secular dulcimer, with hollow wood in the middle, straight left and curved right, wide in front and sharpened in the back,... Use your fingers to play or play it with a wooden pick. "The straight left and right bend here are based on the position of the picture in the book. There were eighteen steel strings at that time, seventeen of which were double strings, and the longest first bass string was a single string. The Qing Dynasty Ritual Utensils Pictures and the Qing Dynasty Supplementary Documents also describe the shapes and draw images. According to folk artists, karon was first spread and used in Maigaiti, Xinjiang. The first maker was Mauraman from Maigaiti. He used an empty poplar tree trunk as a piano frame, which was covered with thin wooden boards and stretched with gut strings. Cheng, whose name was unknown at the time, was only called a "wooden box with sound". Around the beginning of the 20th century, folk karons used some metal strings. The vibrato used in the performance is said to have been inspired by the singing of birds by Ulayim Powan, the nephew of Magueti Mullaman, who invented the vibrato "Korsitap" (which means "birdsong"). It was originally made from a sheep leg bone, but was later made of metal. In the 1930s, the Datong Ensemble of the Shanghai National Music Society produced a set of ancient and modern Chinese national musical instruments, with a total of 143 pieces, including one from Karnai. However, they were only copied as they were without any modifications. improve. In 1985, Mr. Yin Faru, a well-known music historian in my country, published a paper "Discussion on the Exchange of Musical Culture between China and Foreign Countries in Ancient Times" in the first issue of the magazine "Chinese Musicology". He believed that the karon is closely related to the sleeping harp instrument that was once popular in ancient my country. He wrote: "The 'Kalong' that is still commonly used in Xinjiang is a musical instrument such as the harp and harp."

Among the Uyghur people in southern and eastern Xinjiang, during festivals, weddings, and midsummer, At night or after a good harvest, people often gather together to hold a singing and dancing "Mexiluop" to express their inner joy, and young men and women convey their love. The karon is an inseparable instrument when playing "Twelve Muqam" in "Maxi Ruop", and it is also the main accompaniment instrument for singing "Dolang Muqam" and "Hami Muqam", especially when playing "Twelve Muqam" The loose board part of "Dolang Muqam" can best display its rich style characteristics. Karon has been used in the Uyghur national band. It is often played together with instruments such as satar, bibi, yixian (lead string), dorang aijie and dorang wap. It is also occasionally played alone. Sometimes the player also Play and sing by yourself. The music played by Karon is mostly selected from "Dolang Muqam" and "Twelve Muqam". The more famous ones include "Dolang Dance", "Portamento", "Happiness", "Qalga Muqam Intermezzo" and "Muxia Urek Muqam Intermezzo", etc. Famous performers include Sulaiman Ahong, Simayi Ahemati, etc.