thumb|Royal dance orchestra, Phnom Penh, c. 1907. Instruments from the left: front row: [[samphor drum, roneat dek (metallophone), roneat ek (bamboo xylophone), roneat thung (bamboo xylophone), sralai reed pipe, skor thom drums, other drums. Back row from the left: sralai, kong von thom, kong von toch.]]

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 (including several varieties of xylophone and drums). It accompanies court dances, masked plays, shadow plays, and religious ceremonies. This ensemble is originated in Cambodia since before Angkorian era. 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 (harp), 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 (harp) and vadya/ peat, referring to a genre of kong called kongpeat.

The Laotian adoption of Khmer pinpeat is called pinphat. An example from that era can be seen in a relief at the Pawaya site in modern Madhya Pradesh, India. 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 (harp), (Khloy) flute, (samphor) drum, and chhing (small cymbals), based on an Indian epic. The narration said that "One day, Shiva [who] 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 (vina), Indra to play the flute, Brahma to play chhing (cymbals), 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 . 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 (1st-6th century AD). 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 (or Fan Siyon), 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" (sometimes labeled "Chinese Emperor") 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. 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 (Khmer, Nokor Phnom).

  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 (good bye) episode
  10. Bot Ot Toch: played during the hardship, crying (for human, giant, and monkey) episode
  11. Bot Ot Thum: played during the hardship, break up, crying down (for human and monkey characters)
  12. Bot Tayoy: played during sentiment anxiety ( for human characters)
  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

  1. Khmer Preah Bantum
  2. Khmer Tumnerb (Modern Khmer)
  3. Khmer Chrot Srov (Khmer harvests rice)
  4. Khmer Dambaanh (Khmer weaves (textile)
  5. Khmer Bompe Kon (Khmer lulls the child)
  6. Khmer Yol Tong (Khmer swings the swing)
  7. Kamrong Phuong Khmer (Khmer flower braid)
  8. Khmer Plum Sloek (Khmer blows the leaf)
  9. Domner Khmer (Khmer walking)
  10. Khmer Pursat
  11. Khmer Kruosar (Family Khmer)
  1. Chen Louk Thnam (Chen Sae)
  2. Chen Bong (Chen Chombong)
  3. Chen Chas
  4. Chen Chong Srok
  5. Chen Tver Chhnang
  6. Chen Berk Viangnon
  7. Chen Jos Touk
  8. Chen Tror Kaew
  9. Chen Chhor Muk Tuok
  10. Chen Bang Tang Yu
  11. Chen Bes Sloek Chher
  12. Domner Chen
  13. Chvea Srok Mon Pi Nakk
  14. Chvea Srok Mon Bei Nakk
  15. Chvea Srok Mon Bei Joan
  16. Chvea Tromiak Domrei
  17. Chvea Pho Kda
  18. Chvea Roam Phlet
  19. Chvea P'nek Khla
  20. Chvea Lerng Rong
  21. Chvea Srav Yuth'ka
  22. Chvea Der Tes
  23. Chvea Der Phum
  24. Chvea Reach Borei
  25. Chvea Nop Borei
  26. Chvea Srok Chav Sen
  27. Chvea K'soek K'soul
  28. Rabam Chvea
  29. Phleng Chvea
  30. Mon Jos Tuok
  31. Mon Yol Dav
  32. Roam Mon
  33. Phleng Mon
  34. Mon Samai
  35. Leav Piek Kra'op
  36. Leav P'song Tien
  37. Tomnounh Leav
  38. Samdech Leav
  39. Leav Ruom Chet
  40. Srei Leav Laor
  41. Chiet Leav
  42. Somrerb Chet Leav
  43. Kon Chiet Leav
  44. Teahean Chiet Leav
  45. Nisai Leav
  46. Robam Leav
  47. Leav Antrong Moan
  48. Leav Lerng Chrang
  49. Leav Tiak Rolok
  50. Leav Der Prei
  51. Leav Sorser Preah Chan
  52. Phumea Hor
  53. Kuy Kong Leng

Pinpeat Songs that describe others

  1. Roam Phlet
  2. Domner Yeut
  3. Domner Rohas
  4. Bes Bopha
  5. Smarodei Ton
  6. Pekhachon
  7. Tep Pra Rorp
  8. Tep Rum Choul
  9. Tevada P'tum
  10. Tevada Nimitr
  11. Srei Snom Bomrer
  12. Soeng Thum Jorjoan
  13. Sorser Pkay
  14. Pkay Meas
  15. Raksmei Pkay
  16. Pkay Andet
  17. Raksmei Chouk Chei
  18. Ngiev Ph'laeng
  19. Ponleu Pech
  20. 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.