Pinpeat


The Pinpeat is the largest Khmer traditional musical ensemble. It has performed the ceremonial music of the royal courts and temples of Cambodia since ancient times. The orchestra consists of approximately nine or ten instruments, mainly wind and percussion. It accompanies court dances, masked plays, shadow plays, and religious ceremonies. This ensemble is originated in Cambodia since before Angkorian era.
The pinpeat is analogous to the pinphat adopted from the Khmer court by the Lao people and the piphat ensemble of Thailand.

Etymology

According to Chuon Nath's Khmer dictionary, the 'Pinpeat' is composed of the Sanskrit terms vina/ pin referring to the pin, which was formerly used as the premiere instrument in this ensemble, and vadya/ padya/ peat referring to an ensemble of instruments.
According to Sonankavei, the professor from the Department of Music of the Cambodian Royal University of Fine Art, the word pinpeat is derived from the combination of two musical instruments including pin and vadya/ peat, referring to a genre of kong called kongpeat.
The Laotian adoption of Khmer pinpeat is called pinphat. The term piphat was also used among Cambodians familiar with the Thai language; this can be attributed to the former annexation of the northern provinces of Cambodia, however, Pinpeat in fact originated from Cambodia.

History

The history of the pinpeat can be traced back to the origins Khmer music. The orchestra and its lead instrument of that era, the pin, were introduced to early Khmer kingdoms from India, where the pin was depicted far back as the Gupta period. An example from that era can be seen in a relief at the Pawaya site in modern Madya Pradesh, India. The pin may have been introduced to Cambodia in its first kingdom, Funan; however, few structures and evidence remain from this period.
The earliest surviving depiction of the pin in Cambodia is dated to the 7th century on the temple at Sambor Prey Kuk, part of another Khmer kingdom known in Chinese record as Chenla, the successor of Funan. This instrument appeared in Hindu religious art in temples from the 7th to 13th centuries A.D. The instrument was frequently seen being depicted on the walls of Sambor Prey Kuk, Banteay Chhmar, Bayon, and other Khmer temples. During the Angkor era, it was played in the royal Khmer ensemble and disappeared at the end of 12th century
Although the pin disappeared from pinpeat ensemble for some 800 years, the Khmer still called this kind of ensemble what it had been called since the ancient time. In 2013, the pin was revived by Patrick Kersalé, a French ethnomusicologist and Sonankavei, a Cambodian musical craftsman and professor. Modern musicians have begun experimenting, reincorporating the pin into the pinpeat, its place in the Angkorian court 800 years ago.
In 2014, more than 200 paintings were revealed at Angkor. The pinpeat ensemble was depicted in two hidden images discovered on the magnificent temple's wall. One of two images that depicted the pinpeat ensemble can be seen clearly through computer-enhancement and it is identical to today's pinpeat orchestra, including the absent pin. Pipeat was also regarded as the royal ensemble and accompanied in Khmer traditional and royal festivities in the post-Angkorian periods until today.
The pinpeat, in its form originating in India, consisted of four musical instruments, the pin, flute, drum, and chhing, based on an Indian epic. The narration said that "One day, Shiva resides in the gods assembly on the summit of Kailasa, intended to perform a dance. So he ordered Uma to reside on the golden throne, Sarasvati to play pin, Indra to play the flute, Brahma to play chhing, Laksmi to sing, and so that other devas and asuras would watch the performance..." Later on, more musical instruments were added or replaced by others and developed to form a unique Khmer musical ensemble.
Today, the pinpeat incorporates kong gong chimes, such as the kong von thom, as lead instruments. This dates back as far as the Angkorian period, when there was a group of musicians called the kongpit/ kongpeat. Organized music in this period was centered around religious and royal organizations. On one side, two groups of musician served the Khmer brahmins and the buddhists, while on the other side, the pinpheat reflected the power of the Angkorian monarch.
The pinpheat may have debuted in Southeast Asia during the first Khmer kingdom of Funan. During that kingdom's existence, Indian religions, culture and traditions were introduced to Southeast Asia, beginning as early as the 1st century a.d. During the Funan period, there was a group of musicians called pinpang, and the pin was used as an instrument in the group. During the reign of Funan king Fan Chan, 225-250 a.d., the country "entered relations" with the Murunda Dynasty, who ruled Kalinga in India.
King Fan Chan is also known today for establishing relations with a ruler in Southern China during the Three Kingdoms period, sending as a present some musicians and products of the country to the "Kingdom of Kra Vo under the reign of the King Sun Chorn" in Southern China in 243 a.d. Another record mentioned the Khmer musicians from Funan which visited China in 236 CE. The Chinese emperor was so impressed that he even ordered the institute of Funanese music near Naking. Another Chinese source also mentioned the famous music of Funan that became popular and was played at the courts of Sui and Tang dynasties. This “Funan music” was a ritual music and dance form with Buddhist coloring from the pre-Angkorian kingdom of Funan.

Instruments used in Pinpeat ensembles

This list presents instruments which are or have been used in various Pinpeat ensembles.
Pipeat ensemble divided into different type depend on the instruments accompanied in its ensemble.

Pinpeat Vong Touch (Small Pinpeat Ensemble)

This small Pinpeat ensemble was thought to be the initial Pinpeat orchestra played since its origin until today, consisted of a few musical instruments such as:
- Pin
  1. Roneat ek
  2. Kong vong thum
  3. Skor thum
  4. Samphor
  5. Sralai

    Pinpeat Vong Thum (Big Pinpeat Ensemble)

Since its introduction from India, the initial Pinpeat ensemble had been developed as more musical instruments were added or replaced by other local instruments. In the 3rd century, more instruments were added to the ensemble by Khmer craftsman and musicians. There we can see the emergence of various percussive instruments into the initial Pinpeat ensemble such as roneat thung, roneat dek, kong vong touch, sralai touch,..
The insert of these local instruments into the initial Pinpeat ensemble make the music made by the ensemble more flawless, gentle, and melodious than it previously do. This ensemble is called Pinpeat Vong Thum with more instruments:
- Pin
  1. Roneat ek
  2. Roneat thung
  3. Roneat dek
  4. Kong vong thum
  5. Kong vong touch
  6. Sralai
  7. Skor thum
  8. Samphor
  9. Chhing

    List of Pinpeat songs

Today, there are more than 250 Pinpeat songs being researched based on a document found in the street of Phnom Penh in 1979 after Khmer Rouge collapsed. These songs narrated various stories such as describing love, nature, Khmer daily life and its neighbors, and else. While some specific musics are used to accompany in Khmer traditional dances and theaters.

Pinpeat musics used for Khol">Lakhon Khol">Khol Masked Drama and Sbek Thom">Khmer shadow theatre">Sbek Thom (Khmer Shadow theatre)

r is the principle Cambodian Pinpeat music plays for the opening of Khmer traditional festivities and rituals. Sathukar accompanies in Cambodian Royal Ballets, Masked Drama, Shadow Theatre, and many other traditional dances and rituals. The music list below is played in accordance to various episodes in Masked Drama and Shadow theatre.
  1. Sathukar: accompanied in for the opening rituals of the drama and paying homage to ancestral guru.
  2. Bot Ror: played for the magical and power expression episodes
  3. Bot Chert: played for traveling and warring episode
  4. Bot S'mer: played during the paying respect and taking a rest episode
  5. Bot Trak: making magics, transforming physical appearance or while shooting an arrow episode
  6. Bot Domner Knung: played during the marching of giant troops episode
  7. Bot Domner Krav: played for the human and monkey marching episode
  8. Bakthorm: for monkey troops marching episode
  9. Bonh Lea: used for the ending or departure episode
  10. Bot Ot Toch: played during the hardship, crying episode
  11. Bot Ot Thum: played during the hardship, break up, crying down
  12. Bot Tayoy: played during sentiment anxiety
  13. Bot Chert Chhoerng: played during arrow shooting or undermine the ritual episode
  14. Bot Neang Lot: played for comedian character or the traveling of the locals
  15. Bot Chert Chhab: played for monkeys wrestling episode
  16. Bot Khlom: played during the march of devatas, Indra episode
  17. Bot Pon Nhea: accompanied during the return of Preah Ream/ Rama's troops episode

    Pinpeat Song narrating Khmer daily activities

  18. Khmer Preah Bantum
  19. Khmer Tumnerb
  20. Khmer Chrot Srov
  21. Khmer Dambaanh
  22. Khmer Bompe Kon
  23. Khmer Yol Tong
  24. Kamrong Phuong Khmer
  25. Khmer Plum Sloek
  26. Domner Khmer
  27. Khmer Pursat
  28. Khmer Kruosar

    Pinpeat Songs related with Khmer neighbors; Chen (Chinese">Chinese people">Chinese), Chvea (Javanese">Javanese people">Javanese), Leav (Laotian">Lao people">Laotian), Mon">Mon people">Mon, Pumea (Bamar">Bamar people">Bamar), and Kuy">Kuy language">Kuy.

  29. Chen Louk Thnam
  30. Chen Bong
  31. Chen Chas
  32. Chen Chong Srok
  33. Chen Tver Chhnang
  34. Chen Berk Viangnon
  35. Chen Jos Touk
  36. Chen Tror Kaew
  37. Chen Chhor Muk Tuok
  38. Chen Bang Tang Yu
  39. Chen Bes Sloek Chher
  40. Domner Chen
  41. Chvea Srok Mon Pi Nakk
  42. Chvea Srok Mon Bei Nakk
  43. Chvea Srok Mon Bei Joan
  44. Chvea Tromiak Domrei
  45. Chvea Pho Kda
  46. Chvea Roam Phlet
  47. Chvea P'nek Khla
  48. Chvea Lerng Rong
  49. Chvea Srav Yuth'ka
  50. Chvea Der Tes
  51. Chvea Der Phum
  52. Chvea Reach Borei
  53. Chvea Nop Borei
  54. Chvea Srok Chav Sen
  55. Chvea K'soek K'soul
  56. Rabam Chvea
  57. Phleng Chvea
  58. Mon Jos Tuok
  59. Mon Yol Dav
  60. Roam Mon
  61. Phleng Mon
  62. Mon Samai
  63. Leav Piek Kra'op
  64. Leav P'song Tien
  65. Tomnounh Leav
  66. Samdech Leav
  67. Leav Ruom Chet
  68. Srei Leav Laor
  69. Chiet Leav
  70. Somrerb Chet Leav
  71. Kon Chiet Leav
  72. Teahean Chiet Leav
  73. Nisai Leav
  74. Robam Leav
  75. Leav Antrong Moan
  76. Leav Lerng Chrang
  77. Leav Tiak Rolok
  78. Leav Der Prei
  79. Leav Sorser Preah Chan
  80. Phumea Hor
  81. Kuy Kong Leng

    Pinpeat Songs describe others

  82. Roam Phlet
  83. Domner Yeut
  84. Domner Rohas
  85. Bes Bopha
  86. Smarodei Ton
  87. Pekhachon
  88. Tep Pra Rorp
  89. Tep Rum Choul
  90. Tevada P'tum
  91. Tevada Nimitr
  92. Srei Snom Bomrer
  93. Soeng Thum Jorjoan
  94. Sorser Pkay
  95. Pkay Meas
  96. Raksmei Pkay
  97. Pkay Andet
  98. Raksmei Chouk Chei
  99. Ngiev Ph'laeng
  100. Ponleu Pech
  101. Many others.

    Significance

All kind of Pinpeat ensembles play significant role in Cambodian society and daily life since its origin.
The small Pinpeat ensemble is accompanied in various Cambodian national festivals, Buddhist celebrations, traditional dances, traditional drama, funeral, and other rituals.
While the big Pinpeat ensemble play more role and significance than the previous. These roles include: