The Santur has a trapezoidal shape and is constructed from a combination of wood and metal. To play it, the musician positions the longer side of the trapezoid toward themselves and strikes the strings with wooden mallets known as Mezrabs. Generally, the Santur belongs to the family of struck string instruments (plucked/percussive) and is known for its highly geometric and orderly appearance.
Santurs are typically made from walnut or cypress wood. As one of the most prominent Iranian instruments, theSsantur has a sound range of more than four octaves, which gives it a clear and pleasant tone. It is highly suitable for both solo and ensemble performance, one of its most distinguished features.
Some researchers believe that the Santur spread from Iran to other Asian countries in ancient times. Today, similar instruments are played in Iraq, Turkey, Syria, Egypt, Pakistan, India, Tajikistan, China, Vietnam, Korea, Ukraine, other Central Asian countries, and even Greece.
A historical review of the Santur’s evolution shows that it has developed a wide array of styles and schools of performance in the modern era. A general examination reveals at least fifteen distinct and active styles associated with this instrument. It is believed that as the Santur traveled from Iran to other countries, it acquired different names. In China it is called Yangqin, in Eastern Europe Dulcimer, in England Butterfly Harp, in Germany and Austria Hackbrett, in India Santoor, in Cambodia Phi, and in the United States Zither. Each of these instruments shares certain similarities with the Iranian Santur. There are also Iraqi, Indian, Egyptian, and Turkish Santurs, some of which contain around 360 strings.
Mastering the Santur requires not only dexterous hands but also strong mental focus, achieved through extensive practice. The instrument is well suited for both solo performances and accompaniment.
Santur players spend nearly half of their time tuning the instrument. Continuous hammering on the strings and changes in humidity and temperature affect both the wood and the strings, causing the tuning to shift. Since all 72 strings must be frequently tuned, the Santur is known as an instrument whose beauty is accompanied by sensitivity to physical changes that influence its tone and tuning.
The Santur is built in various sizes, affecting the pitch and tonal quality. The most common types include La-tuned, Sol-tuned, chromatic, and bass chromatic Santurs.
As the Santur spread, it gradually adapted to the local culture of each region. For example, in Pakistan, similar instruments such as the Indian santoor are found. In Turkey, an instrument called Kanun, which bears strong resemblance to the Santur, is commonly played. From the early Ottoman Empire, struck-string instruments similar to the Santur entered Ottoman territories through Iran, Arab regions, and trade routes. Ottoman texts from the 15th and 16th centuries mention the “Santur,” and some miniatures depict musicians playing it. However, overall, the Santur is less widespread in Turkey compared to the Qanun or other classical Turkish instruments.
In Tajikistan and Uzbekistan, the Santur is known as the santoor or dang-santoor, used mainly in classical and folk music. It closely resembles the Iranian Santur, though the size and number of strings may differ.
In Kazakhstan and Kyrgyzstan, similar instruments such as the kanon and zhankyl appear in folk music. Although their tuning systems and playing techniques differ from the Iranian santur, their tone and melodic function are quite similar. In Turkmenistan, the santur is not directly used, but other string or percussive instruments with santur-like melodic and harmonic qualities are present in the local musical tradition.
In Afghanistan, the Santur has a history of several centuries, though its exact time of introduction into local musical culture is unclear. It likely reached Afghanistan through cultural and trade exchanges with Iran and India. The Afghan Santur resembles the Iranian version but may differ in the number of strings, tuning, and playing technique.
In Azerbaijan, the Santur is also used in folk and classical music, though it differs culturally and technically from the Iranian Santur. It likely entered the region through Iran and the cultural routes of the Caucasus.