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((Short description|Middle-Eastern stringed instrument))
((Multiple issues|
((Expand Hebrew|topic=culture|fa=yes|date=August 2017))
((More citations needed|date=June 2008))
))

((Infobox Instrument
| name           = Qanun/Kanun
| names          = 
| image          = Qānūn - MET 89.4.330.jpg
| image_capt     = Armenian Qanun, 19th century
| background     = string
| classification = *[[String instruments]]
*[[Box zither]]
| hornbostel_sachs = 
| hornbostel_sachs_desc = 
| developed      = Antiquity
| range          = (F2)A2-E6(G6)
| related        = *[[Dan tranh]]
*[[Gayageum]]
*[[Guzheng]]
*[[Jadagan]]
*[[Jetigen]]
*[[Kacapi]]
*[[Kanklės]]
*[[Kantele]]
*[[Kokle]]
*[[Koto (musical instrument)|Koto]]
*[[Psaltery]]
*[[Se (instrument)|Se]]
*[[Yatga]]
*[[Zither]]
))

[[File:Kanun music during the 5th anniversary of Wikimedia Armenia.webm|thumb|Kanun music during the 5th anniversary of Wikimedia Armenia]]

The '''qanun''', '''kanun''', '''ganoun''' or '''kanoon''' (((lang-ar|قانون|qānūn)); ((lang-hy|քանոն|k’anon)); ((lang-ckb|قانون|qānūn)); ((lang-el|κανονάκι|kanonáki)); ((lang-he|קָאנוּן)), ''qanun''; ((lang-fa|قانون)), ''qānūn''; ((lang-tr|kanun)); ((lang-az|qanun));  ((Lang-ug|قالون|translit=qalon))) is an Arabic [[string instrument]] played either solo, or more often as part of an ensemble, in much of the Arab East, and Arab Maghreb region aka North Africa, later it reached West Africa, Central Asia due to Arab migration. It was also common in ancient (and modern-day) Armenia, and Greece. The name derives ultimately from Ancient Greek: κανών kanōn, meaning "rule, law, norm, principle". The qanun traces one of its origins to a stringed Assyrian instrument from the Old Assyrian Empire, specifically from the nineteenth century BC in [[Mesopotamia]].<ref name="furat"/> This instrument came inscribed on a box of elephant ivory found in the old Assyrian capital [[Nimrud]] (ancient name: ''Caleh'').<ref name="furat">((Cite web|url=https://www.furatmusic.com/qanoon-english|title = Qanoon|website=furatmusic.com))</ref> The instrument is a type of large [[zither]] with a thin trapezoidal soundboard that is famous for its unique melodramatic sound.

==Regional variants and technical specifications==
Arabic qanuns are usually constructed with five skin insets that support a single long bridge resting on five arching pillars, whereas the somewhat smaller Turkish qanuns are based on just four. This allows Arabic variants of the instrument to have more room for the installation of extreme bass and treble strings. Kanuns manufactured in Turkey generally feature 26 [[course (music)|courses]] of strings, with three strings per course in the case of all regional variants. Contemporary Arabic designs use [[Nylon]] or [[Polyvinyl Fluoride|PVF]] strings that are stretched over the bridge poised on fish-skins as described on one end, and attached to wooden tuning pegs at the other end.

Ornamental [[sound hole]]s called ''kafes'' are a critical component of what constitutes the accustomed timbre of qanun. However, they normally occupy different locations on the soundboard of Turkish kanuns compared to Arabic qanuns, and may also vary in shape, size and number depending on geography or personal taste.

The dimensions of a Turkish kanun are typically 95 to 100&nbsp;cm (37–39") in length, 38 to 40&nbsp;cm (15–16") in width, and 4 to 6&nbsp;cm (1.5–2.3") in height.<ref>((cite web |last1=Aydoğdu |first1=Gültekin |last2=Aydoğdu |first2=Tahir |date= 2018-02-11|title='Kanun' hakkında |publisher=turksanatmuzigi.org: Salih Bora |url=http://www.turksanatmuzigi.org/bilgiler/calgilarimiz/kanun ))
</ref> In contrast, an Arabic qanun measures a bit larger as mentioned.<ref>((cite web |title=About The Qanun |website=www.middleeasterndance.net |url=http://www.middleeasterndance.net/Music/Kanun/AboutKanun.html |access-date=2016-06-26))</ref>

Qanun is played on the lap while sitting or squatting, or sometimes on trestle support, by plucking the strings with two [[tortoise]]-shell picks (one for each hand) or with fingernails, and has a standard range of three and a half [[octave]]s from A2 to E6 that can be extended down to F2 and up to G6 in the case of Arabic designs.

The instrument also features special metallic levers or latches under each course called ''mandals''. These small levers, which can be raised or lowered quickly by the performer while the instrument is being played, serve to slightly change the pitch of a particular course by altering effective string lengths.<ref name="Kassabian2013">((cite book |last=Kassabian |first=Anahid |year=2013 |title=Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity |publisher=University of California Press |isbn=978-0-520-27515-7 |pages=79– |url=https://books.google.com/books?id=rOfvO7fLuNAC&pg=PA79))</ref>

[[File:Kanun, and mode of playing it, p. 577 in Thomson, 1859.jpg|thumb|left|200px|Qanun performer in [[Jerusalem]], 1859. Thomson, p. 577.]]

[[File:Ganoun.JPG|150px|thumbnail|Typical Armenian qanun. Museum of Cognac (France)]]

==Tuning and temperament==
On the regular [[Diatonic scale|diatonically]] tuned qanun, ''mandal'' technology was first implemented, according to Turkish musicologist [[Rauf Yekta]], some 30 years prior to his submission of his invited monograph on Turkish Music to the 1922 edition of Albert Lavignac's ''Encyclopédie de la Musique et Dictionnaire du Conservatoire''.<ref name="Nasuhioğlu1985">((cite book |last=Nasuhioğlu |first=Orhan |date=December 1986 |title=Türk Musikisi – Rauf Yekta Bey |publisher=Pan Yayıncılık |pages=92–93))</ref> Levantine qanuns, prior to that time, remained rather inflexible and cumbersome to perform on (especially as demanding modulations/transpositions came into vogue that were increasingly emulating Western [[tonality]] and [[key change]]s), requiring the player to use the fingernail of the thumb to depress on the leftmost ends of the courses to achieve on-the-fly intervallic alterations.

With the advent of [[electronic tuner]]s some decades later, standardization of the placement of ''reference mandals'' on the qanun began. While Armenian kanuns<ref>((Cite journal|last=McCollum|first=Jonathan|date=2015|title=Kanoun|url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-4002285837|journal=Grove Music Online|doi=10.1093/gmo/9781561592630.article.L2285837|isbn=978-1-56159-263-0|via=Oxford Music Online))</ref> now employ only equidistant [[semitone|half-tones]] and Arabic qanuns exact [[quarter-tones]] as a result, Turkish kanun-makers went so far as dividing the electroacoustically referenced [[equal-tempered]] [[Semitone#Equal temperament|semitone of 100]] [[Cent (music)|cents]] into 6 equal parts, yielding – for all intents and purposes – 72 equal divisions (or [[comma (music)|commas]]) of the [[octave]] pitch resolution.<ref>((cite book |last=Yarman |first=Ozan |year=2008 |title=79-tone Tuning & Theory For Turkish Maqam Music As A Solution To The Non-Conformance Between Current Model And Practice |publisher=unpublished Doctoral Dissertation |location=Istanbul Technical University: Institute of Social Sciences |pages=2–3,92,126 |url=http://www.ozanyarman.com/files/doctorate_thesis.pdf ))</ref> Not all pitches of [[72 equal temperament|72-tone equal temperament]] are available on the Turkish kanun, however, since kanun-makers affix mandals that only accommodate modulations/transpositions popularly demanded by performers. This has subsequently led to the familiar interrupted and irregular pattern of mandals on the Turkish kanun becoming a visual guide for players, in facilitating modal and intonational navigation on an instrument which is ordinarily bereft of pitch markers. Some kanun-makers may also choose to divide the semitone distance from the nut of the lower registers into 7 parts instead for microtonal subtlety (and the highest registers, conversely, into 5 parts due to spacing constraints); but do so at the expense of [[octave equivalence]]s. Despite the mentioned discrepancies, hundreds of mandal configurations are at the player's disposal when performing on an ordinary Turkish kanun.

On the other hand, the nowadays widespread application of equidistant 24-tones on Arabic and 72-tones on Turkish qanun models presents an ongoing source of controversy.<ref>((cite news |last1=Aydoğdu |first1=Tahir |display-authors=etal |date=2012 |title=1. ULUSLARARASI KANUN SEMPOZYUMU VE FESTİVALİ Program ve Özetler |work=(I. International Qanun Symposium & Festival) |url=http://www.ybu.edu.tr/contents/files/haberler_metinleri/festival_prorami_ve_ozetler.pdf |access-date=2016-06-27 |archive-url=https://web.archive.org/web/20161023162529/http://www.ybu.edu.tr/contents/files/haberler_metinleri/festival_prorami_ve_ozetler.pdf |archive-date=2016-10-23 |url-status=dead ))</ref><ref>((cite news |last1=Aydoğdu |first1=Tahir |display-authors=etal |date=2015 |title=2. ULUSLARARASI KANUN SEMPOZYUMU VE FESTİVALİ synopsis |work=(II. International Qanun Symposium & Festival) |url=http://www.ybu.edu.tr/content_detail-256-2780-2-uluslararasi-kanun-festivali-ve-sempozyumu-gerceklestirildi.html))</ref> This is particularly in regards to how adequate such [[Eurocentrism|Eurocentric]] octave divisions are in faithfully reproducing the traditionally or classically understood fluid pitches and inflexions of [[Arabic music]] or [[Ottoman classical music]] scales. Pitch measurement analyses of relevant audio recordings reveal that, equal temperaments based on bike-chained "multiples of twelve" are essentially not compatible with authentic Middle Eastern performances; substantiating the notion instruments strictly based on them would clash audibly with a justly tuned/intoned [[Turkish tambur|tanbur]], [[oud]], [[ney]], or [[Classical kemençe|kemenche]].<ref>((Cite journal|last1=Bozkurt|first1=Barış|last2=Yarman|first2=Ozan|date=2009|display-authors=etal|title=Weighing Diverse Theoretical Models on Turkish Maqam Music Against Pitch Measurements: A Comparison of Peaks Automatically Derived from Frequency Histograms with Proposed Scale Tones|url=http://www.ozanyarman.com/files/theoryVSpractice.pdf|journal=Journal of New Music Research |volume= 38 |issue=1|pages=45–70|doi=10.1080/09298210903147673|hdl=11147/2853|s2cid=57766225|hdl-access=free))</ref><ref>((Cite book|title=Makam – Modal Practice in Turkish Art Music|last=Signell|first=Karl|publisher=Asian Music Publications|year=1977|location=Washington|pages=37–47, 151–61))</ref>

Alternate tuning approaches for the qanun thus also exist. Turkish music theorist Ozan Yarman has proposed, for example, an academical 79-tone temperament for the expression within tolerable error-margins of [[Arabic maqam|Maqamat]] / [[Turkish makam|Makam]]lar / [[Dastgah]]a at all pitch levels, that was implemented by the renowned late [[luthier]] Ejder Güleç (1939–2014)<ref>((Cite web|url=http://www.ejdermuzik.com/|title=Ejder Müzik Aletleri|last=Güleç|first=Levent & Bülent|website=www.ejdermuzik.com|access-date=2016-06-27))</ref> on a Turkish kanun.<ref>((Cite web|url=http://www.ozanyarman.com/79toneqanun.html|title=79-tone qanun recipe|website=www.ozanyarman.com|access-date=2016-06-26))</ref> Likewise, the late Swiss-French qānūn performer Julien Jalâl Ed-Dine Weiss (1953–2015), who was critical of the tuning deficiency of Eurocentric octave divisions in approximating [[just interval]]s, is known to have conceived, since 1990, a number of prototypes that were entirely based on low [[Limit (music)|prime-limit]] or simple integer ratio [[Pythagorean tuning|Pythagorean]] and [[Harmonic series (mathematics)|harmonic]] intervals; which were once again built, on instructions from Weiss, by Ejder Güleç.<ref>((Cite book|title=Julien Jalâl Ed-Dine Weiss: A Novel Tuning System for the Middle-Eastern Qānūn|last=Pohlit|first=Stefan|publisher=unpublished Doctorate Dissertation|year=2011|location=Istanbul Technical University: Institute of Social Sciences))</ref>

==Notable players==
[[File:Ralamb-89.jpg|thumb|Kanûnî, from Rålamb Costume Book, 1657.]]
* [[Aytaç Doğan]]
* ((interlanguage link|Mohammad-abdo Saleh|ar|محمد عبده صالح))
* [[Petros Tabouris]]
* [[Ara Topouzian]]

==See also==
*[[Çeng]]
*[[Psaltery]]
*[[Santur]]
*[[Zither]]

==References==
((Reflist))

==Further reading==
* ((cite book |last1=Farraj |first1=Johnny |last2=Shumays |first2=Sami Abu |title=Inside Arabic Music: Arabic Maqam Performance and Theory in the 20th Century |date=2019 |publisher=Oxford University Press |location=Oxford |isbn=978-01906-5-835-9 |url=https://books.google.com/books?id=siaeDwAAQBAJ |ref=none))

==External links==

((Commons category|Kanun (instrument)))
*  William McClure Thomson, (1860): ''[https://books.google.com/books?id=S44XAAAAYAAJ The Land and the Book: Or, Biblical Illustrations Drawn from the Manners and Customs, the Scenes and Scenery, of the Holy Land]'' Vol II, p.&nbsp;577.

((Armenian musical instruments))
((Iranian musical instruments))
((Turkish musical instruments))
((Arabic musical instruments))
((Macedonian musical instruments))
((Azerbaijani musical instruments))
((Zithers))
((Authority control))

[[Category:Box zithers]]
[[Category:Albanian musical instruments]]
[[Category:Ancient Greek musical instruments]]
[[Category:Arabic musical instruments]]
[[Category:Greek musical instruments]]
[[Category:Armenian musical instruments]]
[[Category:Azerbaijani musical instruments]]
[[Category:Bulgarian musical instruments]]
[[Category:Early musical instruments]]
[[Category:Ancient Egyptian musical instruments]]
[[Category:Persian musical instruments]]
[[Category:Lebanese musical instruments]]
[[Category:Middle Eastern culture]]
[[Category:Syrian musical instruments]]
[[Category:Turkmen musical instruments]]
[[Category:Turkish musical instruments]]
[[Category:Uzbekistani musical instruments]]
[[Category:Instruments of Ottoman classical music]]
[[Category:Instruments of Turkish makam music]]

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