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Themusic of Cambodia is derived from a mesh of cultural traditions dating back to the ancientKhmer Empire,India,China and the original indigenous tribes living in the area before the arrival of Indian and Chinese travelers. With the rapidWesternization of popular music, Cambodian music has incorporated elements from music around the world through globalization.
Cambodianart music is highly influenced by ancient forms as well asHindu forms. Religiousdancing, many of which depict stories and ancient myths, are common inCambodian culture. Classical Khmer music usually is divided into three parts:pin peat, phleng kar, andmahori, all of which are associated with their religious dances. Some dances are accompanied by apinpeat orchestra, which includes aching (cymbal),roneat (bambooxylophone),pai au (flute),sralai (oboe),chapey (bassmoon lute orbanjo),gong (bronzegong),tro (fiddle), and various kinds of drums. Each movement the dancer makes refers to a specific idea, including abstract concepts liketoday (pointing a finger upwards). The 1950s saw a revival in classical dance, led by QueenSisowath Kossamak Nearyrath.
During the early 1970s, theKhmer Rouge of Cambodia committed genocide among the country's citizens. During their reign, an estimated "90% of 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]
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 government efforts (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 includedkar boran music for weddings,araak music for communication with spirits, and "ayai repartee singing,chrieng chapey narrative, andyike andbasakk 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 themusic of Cambodia). The latter includes music made by people living inRattanakiri andMundulkiri and provinces, theKoulen andCardamom 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 upload 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]
One of the traditional music forms isPinpeat (Khmer:ពិណពាទ្យ), in which anorchestra ormusical ensemble performs the ceremonial music of the royal courts and temples ofCambodia. The royal orchestra would accompany the classical ballets, both male (Lokhon Khol) and female (Apsara), as well as theGrand Theater of Shadows, the Sbek Thom.[5] Theorchestra consists of approximately nine or ten instruments, mainlywind andpercussion (including several varieties ofxylophone anddrums). It accompaniescourt dances,masked plays,shadow plays, andreligious ceremonies. The pinpeat is analogous to thepiphat ensemble of Thailand.[6]
In recent years the instrument that gave the pinpeat its name, thepin, has been revived. The instrument was lost or abandoned around the 13 century A.D.
Another form of traditional music wasmahori 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 music "favors soft instruments", includingkhloy flute,krapeu, tro chhé, tro sor andTro Ou stringed instruments, androneat ek xylophone,roneat thongmetallophone, skor romonea drums andchhing finger cymbals.[7] It's important to note that the termmahori has connection with Thai music, and instrumentation is closely related, but the songs are not.
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 andkse diev.[4][8]
Starting in the late 1950s, Head of StateNorodom 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 likeRos Serey Sothea,Pen Ran orSinn Sisamouth, with hits such as "Violon Sneha".[9][10]
By the late 1960s and early 1970s, the scene was further influenced by Westernrock and roll andsoul music via U.S. armed forces radio that had been broadcast into nearbySouth Vietnam.[11] This resulted in a unique sound in which Western pop and rock were combined with Khmer vocal techniques.[12]
Many of the most important singers of this era perished during theKhmer Rouge genocide. Western interest in the popular Cambodian music of the 1960s-70s was sparked by the bootleg albumCambodian Rocks in 1996,[13][14] which in turn inspired the 2015 documentary filmDon't Think I've Forgotten.[9]
In early 2020, playwrightLauren Yee's "Cambodian Rock Band premiered at the Signature Theatre in NYC.[15] It told the story of a Cambodian band coming under the regime of Pol Pot and incorporated actual music from Cambodian rock bands of the 1970s.
Classic Cambodianpop music, ormodern music, includes slow,crooner-type music exemplified by songs such asSinn Sisamouth's "Ae Na Tov Thansuo?" (ឯណាទៅឋានសួគ៌?), as well asdance music. Dance music is classified according to the type of dance signified by the rhythm. The two most common types of Cambodian dance music areromvong androm kbach.Romvong is slow dance music, while ramkbach is closely related toThai folk music. Recently, a form of music calledkantrum has become popular. Originating among theKhmer Surin in Thailand,kantrum is performed by both Thai and Cambodian stars.
Modern Cambodian music is usually presented in Cambodian karaokeVCDs, which typically feature actors and actresses mimicking song lyrics.[citation needed] Noy Vanneth andLour 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 musicianSinn Sisamouth.
During and after the Khmer Rouges and thePeople's Republic of Kampuchea, most of the music emerged from the refugee camps such asKhao-I-Dang on the Thai border, with artists such asKeo Sarath or Barnabas Mam. 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 includePreap Sovath,Aok Sokunkanha,Sokun Nisa,Khemarak Sereymun and Meas Soksophea.[citation needed]
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 calledShow Box, a cross-cultural community hub created exclusively to promote original Khmer alternative art and music,[16] 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 andShow 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 acopycat 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 includeAdda Angel, Sai,Bonny B., Khmeng Khmer,Laura Mam, P-Sand, Nikki Nikki, Van Chesda, Sliten6ix, Sam Rocker,Kanhchna Chet, Sophia Kao andSmallworld Smallband.[19][20] The genres of these musicians includesblues music,pop music,rap music,rock music andelectronic 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]
In 2016,Laura Mam foundedBaramey Production, a pioneering music label, nurturing the talents of original music stars in Cambodia. Today, Baramey is on the mainstream with the success ofVannda's several hits songs most notablyTime To Rise.[24] In 2021, Baramey signed a deal with the Asian branch ofWarner Music's ADA; the first major international agreement for a Cambodian music label.[25]
Norodom Jenna, a member of theHouse of Norodom, Cambodia's ruling family, has denied rumors of entering into theKorean pop industry.[26]
In recent years there has been a resurgence of creativity in contemporary Khmer art forms and music is no exception.[27] 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 Khmerblues,rock,hip hop and alternative music.[28]
Yab Moung Records provides an ongoing platform for Khmer alternative music and art and actively encourages creative expression within a uniquely Cambodian context.[29][30]
The music of Khmer boxing is called vung phleng pradall or vung phleng klang khek. The music uses an oboe, drums(sampho) and cymbals(chhing). The music comes in two parts. The first part uses a spirit(teacher) to help the boxers concentrate their minds and have confidence. The first part of the music is played slowly in arubato style. The melody is played by the oboe and thesampho plays strokes at important points of the melody. The second part which is the fight music is played much faster and in meter. The music accelerates with the progression of the round. It stops at the end of the round or when someone is knocked out. When the fight is exciting, the audience claps in rhythm with the beat of thesampho.
the ksae diev was played in the wedding orchestra (plenh kar boran), the magic healing orchestra (plenh areak)
However, as the rumour of her becoming a K-pop trainee spread, the princess responded on her official Weibo account on October 15 that she had rejected the South Korean agency that invited her to become a trainee.
"Jenna has not, does not, and will not become a K-pop trainee in South Korea," she said.
She added that she was very fond of music, but would prioritise her study and careers that benefit the Cambodian people.
