Name: Ghenwa Nemnom
Nationality: Lebanese
Occupation: Qanun player, composer
Recent release: Ghenwa Nemnom's new single "Gaia" is out now.

Tool of Creation: Qanun
Type of Tool: String instrument
Country of origin: Middle East
Became available: As far back as 2,500 BCE. Its current form was established around the 18th century.

If you enjoyed this interview with Ghenwa Nemnom about the Qanun and would like to explore her music in more depth, visit her official website. She is also on Instagram, Facebook, and Soundcloud.



What was your first encounter with the Qanun? What was it about it that drew you in?

It was my father, a Lebanese artist, who introduced me to the instrument.

The richness of its sound captivated me from the start.

Just like any other instrument, the Qanun has a rich history. What are some of the key points from this history for you personally?

The Qanun has a rich history. What stands out to me the most is its origin, dating back to Mesopotamian and Egyptian civilizations around 2500 BCE.

Additionally, I appreciate its etymology; the word "Qanun" is derived from the Arabic word for "law," reflecting the instrument’s role in setting the musical scale and providing a harmonic framework.

What, to you, are some of the most interesting Qanun recordings and performances by other artists in terms of your personal development?

Some of the most inspiring Qanun recordings for me were by the Turkish Qanun master Göksel Baktagir. I had the privilege of being tutored by him.



His techniques helped unlock new ways of using the instrument, contributing to the modern sound I play today.

When talking about electronic devices, we often think about their “features.” But the Qanun is a complex device too. What are some of its standout features from your point of view? How would you describe its sonic potential?

The Qanun is indeed a complex and fascinating instrument, with several standout features:

Structure and Design:
Trapezoidal Shape: Allows for a wide range of string lengths, contributing to its extensive pitch range.
Mandals: Small metal levers that can be adjusted to alter the pitch of the strings by microtones.

Range and Tuning:
Pitch Range: Covers a wide pitch range, typically spanning over three octaves, making it suitable for both melody and accompaniment.

Sonic Potential:
The Qanun's sonic potential is vast and varied. The multiple strings per note and the quality of materials used give the Qanun a rich, harmonic sound with a lot of overtones. This results in a warm and resonant tone.

In summary, the Qanun stands out not only for its intricate design and historical significance but also for its profound sonic capabilities, making it a truly remarkable musical instrument.

Instrument design is an ongoing process. Are you interested in recent developments for the Qanun in this respect?

The Qanun has kept its original format throughout the years. Nevertheless, an electric version has been developed.

I personally prefer the traditional acoustic one.

Some see instruments merely as tools towards creativity, others feel they go hand in hand. What's your take on that?

In my opinion, they go hand in hand. The instrument is the bridge to creativity.

Tell me about the process of learning to play the instrument and your own explorations with it.

I started at the age of 8, studying at the Lebanese National Conservatory. It took me about 9 years to master it. It was an on-and-off process as I was still in school. I learned music theory along with the instrument.

Later, when I decided to make a career out of it and mix it with new age music, I went to Istanbul and took master classes with a Turkish teacher. This is when I transitioned from traditional oriental music to various other genres.


Ghenwa Nemnom Interview Image (c) the artist

What are specific challenges in terms of playing the Qanun?

Some challenges while playing the Qanun include manually changing keys and tonalities while playing melodies, which requires a lot of concentration.

Additionally, tuning the instrument before every show is necessary as it is affected by weather conditions.

What interests you about the Qanun in terms of it contributing to your creative ideals? How do you see the relationship between your instrument and the music you make?

With its wide spectrum of tonalities and keys, the Qanun allows me to freely compose music pieces and mix different music genres.

My music is very intimate to my instrument.

How would you describe your personal style of playing the Qanun?

Besides the traditional way of playing the Qanun, I like to freestyle by improvising my melodies. I also play guitar-style licks and bass.

What does playing your instrument feel like, what do you enjoy about it, and what are your own physical limits and strengths?

Playing the Qanun feels like the best emotional expression and release. It also connects me to the energy of the crowd, which is what I enjoy the most. The instrument requires a lot of attention and focus, which can be limiting for long performances.

My strength is being able to play long sets and improvise on the spot.


Ghenwa Nemnom Interview Image (c) the artist

In light of picking your instrument, how would you describe your views on topics like originality and innovation vs. perfection and timelessness in music? Are you interested in a “music of the future” or “continuing a tradition”?

Through my music, I managed to marry the tradition that my instrument incarnates with new age music.

I strongly believe that the past educates the future.

Could you describe working with the Qanun on the basis of one of your pieces, live performances, or albums that's particularly dear to you, please?

One of my favorite pieces to work on was my hit track “Echoes of the Temple.”



It was right after the pandemic, and I was not touring yet, so I had plenty of time to immerse myself in creating every detail of the track with renowned Lebanese producer Sleiman Demian. We started by creating the groove, and then I built the melody on the Qanun around it.

Finally, I added a poem that talks about my childhood in Lebanon.

How, would you say, does the Qanun interact with other instruments from ensembles/groups you're part of?

The Qanun links well with most instruments and can play a leading solo role when needed.

Are there other Qanunists whose work with their instrument you find inspiring? What do you appreciate about their take on it?

Yes, there are many. One Turkish Qanunist I find inspiring is Aytac Dogan, who uses a completely different playing technique that makes the Qanun sound like a guitar at times. He plays outstanding chords on the instrument, and his compositions are beautiful and dreamy.

Alone, without any other instrument, it feels like you are listening to a whole ensemble.