According to historical records, Kalong was a stringed instrument introduced to China from Central Asia in Yuan Dynasty. /kloc-In the middle of the 3rd century, Mongolian Xu Liewu made a Western Expedition, occupied Baghdad (China was called serving the country), perished the Abbasi dynasty, and brought back the 72-stringed pipa. In the Yuan Dynasty, Guo Baoyu's grandson Guo Kan accompanied Xu Liewu to the Western Expedition. This historical fact is recorded in Liu Yu's The Journey to the West in Yuan Dynasty: "Ding Silao (AD 1257) served his country. ..... 36-string pipa. ..... one person makes a new pipa with 72 strings. " There is also a record in the Biography of Guo Baoyu in the Yuan Dynasty (Volume 36): "Suddenly the beach falls. ..... seventy-two strings of pipa. " This 72-string pipa may be the name of Caron after he was introduced to China. In the Qing Dynasty, Kalong was called Karnai and was included in the court music (that is, Uygur music). The Imperial Book of the Qing Dynasty (Volume 41) contains: "Kaernai, eighteen steel strings, shaped like secular dulcimer, hollow wood, straight curved left and right, wide at the front and cut at the back, ... fiddled with hands or with wood." The left straight and right bend here is based on the position of the attached drawings in the book. At that time, there were eighteen steel strings, of which seventeen were double strings, and the longest first bass string was Dan Xian. The patterns of royal ritual vessels in the Qing Dynasty and the general examination of the continuation documents in the Qing Dynasty also have descriptions of shapes and drawings of images. According to the legend of folk artists, Kalong was first used in Mohammad, Xinjiang. The first producer was Mauraman from Maccati. He made a piano frame from the trunk of empty Populus euphratica, covered with thin boards and strung with sheep intestines. At that time, his name was unknown, and he was only called "wooden box with sound". Around the beginning of the 20th century, some metal strings were used by folk Caron. The string kneader used in the performance is said to have been invented by Umayim Powan, nephew of Maccati Mauraman, inspired by the singing of birds. It was originally made of sheep leg bones, and later it was made of metal. In 1930s, Datong Music Club of Shanghai Minle Club once produced a set of China ancient and modern folk music instruments, 143 pieces, one of which was from Kalnai, but it was just copied as it was, without any improvement. 1985, Mr. Yin Faru, a famous music historian in China, published a paper on the cultural exchange between Chinese and foreign ancient music in the first issue of China Musicology, arguing that Kalong was closely related to the recumbent posture once circulated in ancient China. He wrote: "Kalong, which is still widely used in Xinjiang, is a musical instrument."
Among the Uighurs in southern Xinjiang and eastern Xinjiang, every festival, wedding, midsummer night or after harvest, people often get together and hold a singing and dancing "Mai Xi Ruopu" to express their inner joy, while young men and women convey their love. Caron is an indispensable musical instrument to play Maxillop's Twelve Muqams, and also the main accompaniment instrument to sing Dolan Muqam and Hami Muqam, especially playing the scattered board part of Dolan Muqam, which can give full play to its rich style. Kalong has always been used in Uygur national bands. It often plays with Sattar, Bibi, Yixian (main string) Dolan Ai Jieke and Dolan Rewap, and occasionally plays alone, and sometimes the performer plays and sings by himself. The music played by Caron is mostly selected from Duolang Muqam and Twelve Muqam. The famous ones are Dolan Dance, Slippery, Happy Music, Chaga Muqam Intermittence and Muxia Ujak Muqam Intermittence. Famous performers include Suleiman Ahong and Ismail Ahmadi.