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Music of Cambodia
The music of Cambodia is derived from a mesh of cultural traditions dating back to the ancient
Khmer Empire, India, China and the original indigenous tribes living in the area before the arrival of
Indian and Chinese travelers. With the rapid Westernization of popular music, Cambodian music has
incorporated elements from music around the world through globalization.

Contents
Folk and classical music
Pinpeat
Mohori
Arak
Cambodian rock and pop
Modern music
Production House Music
Original Music Movement
Khmer Alternative Music
See also
References
External links

Folk and classical music

Cambodian Art music is highly influenced by ancient forms as
well as Hindu forms. Religious dancing, many of which depict
stories and ancient myths, are common in Cambodian culture.
Some dances are accompanied by a pinpeat orchestra, which
includes a ching (cymbal), roneat (bamboo xylophone), pai au
(flute), sralai (oboe), chapey (bass moon lute or banjo), gong
(bronze gong), tro (fiddle), and various kinds of drums. Each
movement the dancer makes refers to a specific idea, including
abstract concepts like today (pointing a finger upwards). The
Dancers in Siem Reap performing in 1950s saw a revival in classical dance, led by Queen Sisowath
a style of the apsaras engraved on Kossamak Nearyrath.
the walls of the country's ancient
ruins. During the early 1970s, the
Khmer Rouge of Cambodia 0:00 MENU
committed genocide among Sample of Traditional Khmer music
the country's citizens. During their reign, an estimated "90% of played before Khmer boxing match.
Cambodia's musicians, dancers, teachers, and instrument
makers" were killed, interrupting the transmission of cultural
knowledge to following generations.[1] The country has been undergoing revival ever since, with those
remaining trying to perform, teach, research, and document what they can.[2]

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The traditional music has had to compete with foreign music that has different tonal systems of scales
and pitch frequency.[3] Lack of a formal written-system of music theory for Cambodian music lent to a
perception among modern Cambodians that the music was "incorrect", "out of tune" or "uncouth"
when compared to western music or to Chinese music.[3] Traditional music still exists today, but its
survival is the result of formal efforts governments (both the UNESCO and Cambodian) as well as
academics.[3] These have worked to organize knowledge of the Cambodian music system and its
distinct traditions.

Sam-Ang Sam, a Cambodian ethnomusicologist, wrote a brief introduction to Cambodian music on

his website, part of his work to preserve knowledge Cambodian music and educating. He spoke of
music in three different areas of Cambodia: villages, the court and temples. In each setting, music had
a formal function or was entertainment. Village music included kar boran music for weddings, araak
music for communication with spirits, and "ayai repartee singing, chrieng chapey narrative, and yike
and basakk theaters."[4] Court music had orchestras composed of a specific set of instruments. The
pinpeat orchestra (consisting of gong chimes, xylophones, a metallophone, oboe and drums)
accompanied the formal dance, masked play, shadow play and religious ceremonies. Less formal
entertainment was played by a mohori orchestra. Temples had a "korng skor" ensemble (gongs and
drums), as well as a pinpeat orchestra.[1]

Additionally, Sam-Ang Sam differentiates between music made by the mainstream Cambodians
(Cambodian music) and the distinct music of ethnic minorities (part of the music of Cambodia). The
latter includes music made by people living in Rattanakiri and Mundulkiri provinces, the Koulen and
Cardamom ranges, and the vicinity "around the great lake (Tonle Sap)." Differences of language and
religion help to create the separation between the different cultures. Ethnic groups include upland
Mon-Khmer language groups (Pnorng, Kuoy (Kui), Por, Samre) whose music consists of "gong
ensembles, drum ensembles, and free-reed mouth organs with gourd windchests." Other ethnic
groups include Cham, Chinese, Vietnamese who all potentially could have music from their home
cultures, but which is "unknown."[1]

Pinpeat

One of the traditional music forms is Pinpeat (Khmer: ពណ ទ ),

in which an orchestra or musical ensemble performs the
ceremonial music of the royal courts and temples of Cambodia.
The royal orchestra would accompany the classical ballets, both
male (Lokhon Khol) and female (Apsara), as well as the Grand
Theater of Shadows, the Sbek Thom.[5] The orchestra consists of
approximately nine or ten instruments, mainly wind and
percussion (including several varieties of xylophone and drums).
It accompanies court dances, masked plays, shadow plays, and
The roneat has been described as a
religious ceremonies. The pinpeat is analogous to the piphat
bamboo xylophone.
ensemble of Thailand.[6]

In recent years the instrument that gave the pinpeat its name, the
pin, has been revived. The instrument was lost or abandoned around the 13 century A.D.

Mohori

Another form of traditional music was mohori music, which was the entertainment music of the
courts of Cambodia, Siam and Laos.[7] While the pinpeat music was religious and "for deities", the
mohori music was made for noblemen, focusing on themes and moods to "delight their souls."[7] This

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music "favors soft instruments", including khloy flute, krapeu, tro chhé, tro sor and Tro Ou stringed
instruments, and roneat ek xylophone, roneat thong metallophone, skor romonea drums and chhing
finger cymbals.[7]

Arak

Arak (araak, areak, aareak) music was music for religious and healing purposes, dating to "animist
spiritual beliefs" of ancient Cambodia.[8] Traditionally it was used to "drive out illness," and used
flute, drum, tro, chapei and kse diev.[4][8]

Cambodian rock and pop

Starting in the late 1950s, Head of State Norodom Sihanouk, a musician himself,
encouraged the development of popular music in Cambodia. Initially, pop
records from France and Latin America were imported into the country and
became popular, inspiring a flourishing music scene based in Phnom Penh and
led by singers like Ros Serey Sothea, Pen Ran or Sinn Sisamouth, with hits such
as "Violon Sneha".[9][10] By the late 1960s and early 1970s, the scene was further
influenced by Western rock and roll and soul music via U.S. armed forces radio
that had been broadcast into nearby South Vietnam.[11] This resulted in a unique
sound in which Western pop and rock were combined with Khmer vocal
techniques.[12] Singer/songwriter
Sinn Sisamouth
Many of the most important singers of this era perished during the Khmer Rouge
genocide. Western interest in the popular Cambodian music of the 1960s-70s was
sparked by the bootleg album Cambodian Rocks in 1996,[13][14] which in turn inspired the 2015
documentary film Don't Think I've Forgotten."[9]

Modern music
Classic Cambodian pop music, or modern music, includes slow, crooner-type music exemplified by
songs such as Sinn Sisamouth's ឯ នសគ? (Ae Na Tiw Than Suor?), as well as dance music.
Dance music is classified according to the type of dance signified by the rhythm. The two most
common types of Cambodian dance music are ramvong and ramkbach. Ramvong is slow dance music,
while ramkbach is closely related to Thai folk music. Recently, a form of music called kantrum has
become popular. Originating among the Khmer Surin in Thailand, kantrum is performed by both Thai
and Cambodian stars.

Modern Cambodian music is usually presented in Cambodian karaoke VCDs, which typically feature
actors and actresses mimicking song lyrics. Noy Vanneth and Lour Sarith are two examples of modern
singers who sing songs on the karaoke VCDs, and the VCDs feature songs composed by other
musicians, in addition to songs sung and composed by notable musician Sinn Sisamouth.

Production House Music

The majority of post-Khmer Rouge Cambodian music is produced by a handful of production

companies which include; Rasmey Hang Meas, Sunday Productions and Town Production. These
companies function as the record labels within the Cambodian music business. Notable artists signed
under these companies include Preap Sovath, Aok Sokunkanha, Sokun Nisa, Khemarak Sereymun
and Meas Soksophea.

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Original Music Movement

The Cambodian Original Music Movement refers to a group of young Khmer musicians in Cambodia
who write, record and perform original compositions. It began largely as a result of the creation of a
venue in Phnom Penh called Show Box, a cross-cultural community hub created exclusively to
promote original Khmer alternative art and music,[15] and an amalgamation of various unique
contemporary artists and musicians who were encouraged by music and art platforms like Cambodia's
first alternative label Yab Moung Records. Yab Moung Records and Show Box actively encouraged the
production of original music and was the artistic home of many original alternative musicians. Show
Box only hosted original performances from both Khmer and international musicians and acted as a
community hub for innovative ideas.[16][17] This movement is described by some as their response to a
copycat music culture, where many modern Khmer language songs copy the melodies and lyrical
themes from nearly identical Chinese, Thai, Korean, American and Vietnam works.[18] Artists who are
known in this movement include Adda Angel, Sai, Bonny B., Khmeng Khmer, Laura Mam, P-Sand,
Nikki Nikki, Van Chesda, Sliten6ix, Sam Rocker, Kanhchna Chet, Sophia Kao and Small World Small
Band (SWSB).[19][20] The genres of these musicians includes blues music, pop music, rap music, rock
music and electronic music.

The #IAmOriginal project was formed in order to promote up and coming original artists.
IAmOriginal identifies itself as a "non-profit music foundation aimed at promoting creative and
innovative music in Cambodia by providing training, legal consultation, financial and marketing
support to artists who are passionate about music."[21] They have released two albums and held
concerts for each of the album launches. Many of Cambodia's young celebrities participate in this
movement though showing support at events and through social media.[22]

A new project by Laura Baker, The Sound Initiative, also seeks to train and mentor new artists.[19][23]

Khmer Alternative Music

In recent years there has been a resurgence of creativity in contemporary Khmer art forms and music
is no exception.[24] Cambodia's first alternative music label Yab Moung Records was founded in 2012
and has since recorded and released the first Khmer Hardcore and Death Metal tracks as well as
producing a wide range of alternative artists creating unique Khmer blues, rock, hip hop and
alternative music.[25]

Yab Moung Records provides an ongoing platform for Khmer alternative music and art and actively
encourages creative expression within a uniquely Cambodian context.[26][27]

See also
Traditional Cambodian musical instruments
Chrieng Brunh

References
1. Cambodian music history by Sam-Ang Sam. (https://www.umbc.edu/eol/cambodia/histcmus.htm)
2. Shapiro, Toni; Sam, Sam-Ang; Bishop, Naomi Hawes; Bishop, John; Sam, Chan Moly; Hay,
Somaly; Sam, Malene; Shapiro, Sophiline; Sokhon, Nareine; Tes, Sam-Ouen (1993–1994).
"Khmer Court Dance (videotape)". Asian Music. 25 (1/2): 322–326. doi:10.2307/834227 (https://do
i.org/10.2307%2F834227). JSTOR 834227 (https://www.jstor.org/stable/834227).

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3. Khean, Yun; Dorivan, Keo; Lina, Y; Lenna, Mao. Traditional Musical Instruments of Cambodia (htt
p://unesdoc.unesco.org/images/0013/001352/135257mb.pdf) (PDF). Kingdom of Cambodia:
United Nations Educational, Scientific and Cultural Organization. p. 20.
4. Kersalé, Patrick. "Monochord stick zither - ksae diev" (https://www.soundsofangkor.org/english/kh
mer-instruments/zither-ksae-diev-va/). soundsofangkor.org. Retrieved 19 June 2019. "the ksae
diev was played in the wedding orchestra (plenh kar boran), the magic healing orchestra (plenh
areak)"
5. Yniesta, Luc; Rouer, Jérôme (8 February 1996). "L'orchestre "Pin Peat" [The orchestra "Pin
Peat" " (http://vorasith.online.fr/cambodge/mus/lucmu1.htm). PHOTOS DU CAMBODGE.
Retrieved 4 October 2018.
6. Sam-Ang Sam "Cambodia" in New Grove Dictionary of Music and Musicians, 2nd ed., 2001. pp.
861-863
7. Yniesta, Luc (8 January 1996). "La Musique Mohori" (http://vorasith.online.fr/cambodge/mus/lucm
u2.htm). PHOTOS DU CAMBODGE. Retrieved 4 October 2018.
8. Sotheary, Pech (15 January 2016). "[UNESCO bid to save dying music style]" (https://www.phnom
penhpost.com/national/unesco-bid-save-dying-music-style). Phnom Penh Post. Retrieved
10 October 2018.
9. Sisario, Ben (9 April 2015). " 'Don't Think I've Forgotten,' a Documentary, Revives Cambodia's
Silenced Sounds" (https://www.nytimes.com/2015/04/12/movies/dont-think-ive-forgotten-a-docum
entary-revives-cambodias-silenced-sounds.html). New York Times.
10. Downing, Andy (28 May 2015). "Film preview: Director John Pirozzi traces the history of early
Cambodian rock 'n' roll in "Don't Think I've Forgotten" " (http://www.columbusalive.com/content/sto
ries/2015/05/28/film-preview-director-john-pirozzi-traces-the-history-of-early-cambodian-rock-n-roll
-in-dont-think-ive-forgotten.html). Columbus Alive.
11. Novak, David (Fall 2011). "The Sublime Frequencies of New Old Media" (https://web.archive.org/
web/20150923180859/http://www.music.ucsb.edu/sites/secure.lsit.ucsb.edu.musi.d7/files/sitefiles/
people/novak/Novak2011SFPublicCulture.pdf) (PDF). Public Culture. 23 (3): 603–634.
doi:10.1215/08992363-1336435 (https://doi.org/10.1215%2F08992363-1336435). Archived from
the original (http://www.music.ucsb.edu/sites/secure.lsit.ucsb.edu.musi.d7/files/sitefiles/people/no
vak/Novak2011SFPublicCulture.pdf) (PDF) on 2015-09-23.
12. Dow, Steve (13 September 2013). "Golden era of Cambodian music given its second airing" (htt
p://www.smh.com.au/entertainment/art-and-design/golden-era-of-cambodian-music-given-its-seco
nd-airing-20130912-2tnbf.html). Sydney Morning Herald.
13. "Dengue Fever and Cambodian Rocks" (http://www.jackboulware.com/writing/journalism/dengue-f
ever-and-cambodian-rocks). American Way. 8 April 2009 – via Jack Boulware.
14. Hanover, Matt (19 June 2015). "Today We Drink Wine: Looking Back at the Tragic History of
Cambodian Pop" (http://loser-city.com/features/cambodian-rocks). Loser City. Retrieved
9 January 2016.
15. Thompson, Nathan A. (10 January 2014). "Rocking Tradition" (http://www.slate.com/articles/news
_and_politics/roads/2014/01/cambodia_punk_rockers_the_southeast_asian_country_is_home_to
_a_new_hardcore.html) – via Slate.
16. Thompson, Nathan A. (10 January 2014). "Rocking Tradition" (http://www.slate.com/articles/news
_and_politics/roads/2014/01/cambodia_punk_rockers_the_southeast_asian_country_is_home_to
_a_new_hardcore.html) – via Slate.
17. "L'émergence de la scène rock, punk et metal au Cambodge - Quatre Sans Quatre" (http://quatre
sansquatre.com/article/l-emergence-de-la-scene-rock-punk-et-metal-au-cambodge).
18. Carruthers, Marissa (2 June 2018). "INDEPENDENT MUSIC SCENE IN CAMBODIA" (https://ww
w.asialifemagazine.com/cambodia/independent-music-scene-in-cambodia/). Asia Life Magazine.
Retrieved 11 July 2018.
19. Alpuerto, Agnes (22 June 2018). "Night of original music" (https://www.khmertimeskh.com/505035
40/night-of-original-music/). Khmer Time. Retrieved 11 July 2018.
20. Carruthers, Marissa (1 June 2018). "#IAMORIGINAL" (https://www.asialifemagazine.com/cambodi
a/iamoriginal/). AsiaLife Magazine. Retrieved 11 July 2018.
21. "Home Page" (http://www.iamoriginal.org/). IAmOriginal. Retrieved 11 July 2018.
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22. "Album launch of #IAmOriginal, Stronger, Together @ Hard Rock Café Phnom Penh" (https://ww
w.khmertimeskh.com/98977/album-launch-of-iamoriginal-stronger-together-hard-rock-cafe-phnom
-penh/). Khmer Times. 1 January 2018. Retrieved 11 July 2018.
23. "Our Story" (https://www.thesoundinitiative.com/our-story/). The Sound Initiative. Retrieved 11 July
2018.
24. "Phnom Penh's urban artistic renaissance - Khmer440.com" (http://www.khmer440.com/k/2015/0
9/phnom-penhs-urban-artistic-renaissance/). www.khmer440.com.
25. "First death metal song in Khmer - new video by Cambodian metal band Doch Ckae - Unite Asia"
(https://uniteasia.org/first-death-metal-song-khmer-new-video-cambodian-metal-band-doch-
ckae/). uniteasia.org. 9 September 2016.
26. "Punk Rock in Phnom Penh" (http://roadsandkingdoms.com/2014/punk-rock-in-phnom-penh/).
roadsandkingdoms.com. 10 January 2014.
27. "The alternative music movement" (https://www.asialifemagazine.com/cambodia/the-alternative-m
usic-movement/). asialifemagazine.com.

Clewley, John. "Heavenly Dancers". 2000. In Broughton, Simon and Ellingham, Mark with
McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America,
Caribbean, India, Asia and Pacific, pp 20–23. Rough Guides Ltd, Penguin Books. ISBN 1-85828-
636-0

External links
Angkorian & traditional instruments (by Patrick Kersalé) (https://www.soundsofangkor.org/)
(in French) Audio clips: Traditional music of Cambodia. (http://www.ville-ge.ch/meg/musinfo_ph.ph
p?what=pays=Cambodge&debut=0&bool=AND) Musée d'ethnographie de Genève. Accessed
November 25, 2010.
Cambodian court music & court dance (Sam-Ang Sam) (http://www.umbc.edu/eol/cambodia/inde
x.htm)
The traditional music and instruments of Cambodia (http://www.istov.de/htmls/cambodia/cambodia
_start.html)
Cambodia Cultural Profile (Ministry of Culture and Fine Arts/Visiting Arts) (http://www.cambodia.cu
lturalprofiles.net)
Conduct a Cambodian Ensemble (https://www.pbs.org/pov/pov2003/thefluteplayer/special_condu
ct.html)
Khmer Traditional Music (http://www.khmermuzix.wix.com/khmermusic)
Khmer Music and Biographies (https://web.archive.org/web/20150801010209/http://angkorfineart.
com/)

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