Music of Cambodia

Part of a series on the
Culture of Cambodia
Society
Khmers Ethnic groups Folklore History Languages Holidays Religion Script Women Youth
Topics
Art Architecture Ceramics Cinema Clothing Royal cuisine ) Dance Literature Media Newspapers Radio Television Music Sculpture Sports Theatre
Symbols
Flag Coat of arms Anthem World Heritage Sites
Cambodia portal
v t e

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.

Folk and classical music

Cambodian

During the early 1970s, the Khmer 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 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

One of the traditional music forms is

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.

Mahori

Another form of traditional music was mahori music, which was the entertainment music of the courts of Cambodia, Siam and Laos.

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]

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]

In early 2020, playwright Lauren 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.

Modern music

Classic Cambodian

Modern Cambodian music is usually presented in Cambodian karaoke VCDs, which typically feature actors and actresses mimicking song lyrics.^{[citation needed]} 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

During and after the Khmer Rouges and the People's Republic of Kampuchea, most of the music emerged from the refugee camps such as Khao-I-Dang on the Thai border, with artists such as Keo 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 include Preap Sovath, Aok Sokunkanha, Sokun Nisa, Khemarak Sereymun and Meas Soksophea.^{[citation needed]}

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,^[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 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

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,

Yab Moung Records provides an ongoing platform for Khmer alternative music and art and actively encourages creative expression within a uniquely Cambodian context.[28]^[29]

Khmer Boxing Music

The music of Khmer boxing is called vung phleng pradall or vung phleng klang khek. The music uses an oboe, drums(

^[30]

See also

• Traditional Cambodian musical instruments
• Chrieng Brunh
• Nuon Kan

References