A distinction must be made between "music in Cambodia" and "Cambodian music," for the former embraces all ethnic groups within the national boundaries while the latter is limited to the majority, Cambodians. The northern provinces of Rattanakiri and Mundulkiri include hilly plateaus which are home to the Pnorng (Pnorng), an upland Mon-Khmer speaking group, while in the southwest along the Koulen and Cardamom ranges are found the Kuoy (Kui), Por, Samre, and other upland Mon-Khmer speakers. Their musical expression emphasizes gong ensembles, drum ensembles, and free-reed mouth organs with gourd windchests. In the west, around the great lake (Tonle Sap) live Cham, Chinese, Vietnamese, and other lowland minorities, but the extent to which these groups maintain their traditional musics is not largely known.

Cambodian music flourished in both court and village settings, some associated with specific functions, others with entertainment. In villages weddings are celebrated with kar music, communication with spirits is accompanied by arakk music, and entertainments include ayai repartee singing, chrieng chapey narrative, and yike and basakk theaters. At the court, dance, masked play, shadow play, and religious ceremonies are accompanied by the pinn peat ensemble and entertainment is provided by the mohori ensemble. Temples--urban or rural--often possess a pinn peat ensemble as well, but also a korng skor ensemble for funerals.

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