Cambodian Musical History

Cambodia is a country with a very rich cultural heritage. This is thanks in no small part to its cultural diversity and its long time relation with foreigners, who have left indelible marks on the sands of Cambodian socio—cultural life.

The ’Pnorng’, an up—land Khmer speaking group in the Northern provinces of Rahttanakiri, Mundulkiri and the Kui in the South—west, have maintained their traditional music forms and made them famous not only in Cambodia but other neighbouring states too.

They surpassed the low land minorities in terms of traditional musical instrumentation and composition, as well as vocalization.

Their music, which boomed in the royal courts as well as villages, was not meant only for entertainment but also for specific roles. For instance, they share ideas with the spirits through the music they call ARAKK.

’Kar’ music is provided during village wedding occasions. Chrieng Cahpey, Yike, Ayai and Basakk are the music of entertainment. There is also the soul—cracking Korng Skor for funeral ceremonies — a sound so haunting you will never forget it.

The musical status of Cambodia grew larger as foreign influence assumed a greater impact on their lives.

Outside Influence

Some of the alien cultures that had a great influence are those of the Indian, Chinese and European. The Sea—port of OC—EO is believed to be the point through which foreign cultures gained inroads into Cambodia. Cambodians responded to these new cultures in a way that suited their local taste. They adopted the chimes as a new musical instrument, as well as classical European music. All these are fused into modern Cambodian ’Phleng Samai’.

The Pnorng in the Northern provinces are prominent for different forms of dances which include the ’Buffalo sacrifice ritual’ (Kapp krabey Phoeuk Sra), the ’Peacock of Pursat’ (Kngaok posalt) and the ’Wild Ox’ (Tunsong). They often used the ’Sneng’ (Buffalo horn) and ’Ploy’ (a mouth organ) for hunting.

During the Indianization of Cambodia between first and ninth centuries, Cambodians mixed their traditional native rituals with a new religion — Hinduism. Some new forms of court ceremonies were created.

A Royal Welcome

The blowing of a ’Saig’ (Conch Shell) announces the arrival of the King. Between ninth and fifteenth centuries, many claim that Cambodia reached the climax of its musical greatness.

The great temples of Angkor Wat contain magnificent depictions of figures with musical instruments such as ’Skor Gol’ (a hanging barrel drum), ’Korng Ving’ (gongs), ’Chhing’ (Cymbals), ’Pinn’ (a harp) and ’Sraki’.

The use of these has now evolved into the music of ’Pinn Peat’, used today for different ceremonies.

Rise, Fall and Rise

However not all was progress. In 1431 and 1594 the Cambodians were overrun by the Siamese military. Cambodia was battered and lost much of its cultural heritage. A new style of music characterised by lamentation and melancholy arose. The period between 1796 and 1859 was a period of cultural revivalism in Cambodia. King Ang Duong was able to rekindle the past glory of his country and reinstate its musical leanings.

In the twentieth century, the music had been regenerated under the guidance of traditional teachers. Prof. Thach Prang, of the Royal University of Fine Arts in Phnon Penin, played very important role in this respect.