The Roneat Ek or Roneat Aek (Khmer: រនាតឯក; also called Roneat Rut) is a xylophone used in Khmer classical music from Cambodia. It is shaped like a curved rectangle. The instrument has twenty-one thick bamboo or hard wood bars that hang from strings connected to the two sides. Each bar has the same width but varies in length and thickness. In the past, these instruments had detailed carvings and inlays on the sound box. Today, they are simpler in design. The Roneat is played in the Pinpeat ensemble. In this group, it is placed to the right of the Roneat Thung, a lower-pitched xylophone. The Roneat Ek is similar to the Thai xylophone called ranat ek and the Burmese bamboo xylophone called "pattala."

Etymology

The word "roneat" is a Khmer word for the bamboo xylophone, an ancient musical instrument from Cambodia. The Khmer national dictionary says "roneat" means xylophone and describes it as "a percussive musical instrument with a long body. Its bars are made from bamboo, wood, or metal. It is played with two sticks called roneat sticks in the Pinpeat and Mohaori Orchestras."

The Garland Handbook of Southeast Asian Music, edited by Terry E. Miller and Sean Williams, explains that "roneat" is a Khmer term for xylophones or metallophones-idiophones with bars made of bamboo, wood, or metal. The word "roneat" comes from "roneap," which means bamboo strips or bars. It is likely that the name "roneat" relates to the bamboo used to make the instrument's bars.

A study by Cambodian professor Hun Sarnin shows that the Khmer word "roneat" may have come from the Sanskrit word "raghunâ tha-vinâ." This term appeared in Cambodia during the Funan kingdom's early history.

The Khmer word "ek" or "aek" comes from the Sanskrit word "ekam" or the Pali word "eka," which can mean first, supreme, significant, or leading. When combined, "roneat ek" means "the significant or leading xylophone." This name shows its role as the main instrument in Khmer traditional Pinpeat and Mahori orchestras. It often starts a piece of music and signals other instruments to play.

Sometimes, "roneat ek" is also called "roneat rut." This name means "the running xylophone," possibly because the instrument creates sounds that move from one note to another while playing.

History

Music has been part of Khmer daily life since at least the first Khmer kingdom, Funan. Music and dancing were performed in religious temples. Because of this, the Roneat is believed to have existed before the Angkor Empire. Roneat Thung, the sister instrument of Roneat Ek, was already part of the Pinpeat orchestra before the Angkor period. This suggests that Roneat Ek may have also existed before the Angkor period.

One of the oldest xylophones near Cambodia was found in Lam Dong Province, Central Highland, Vietnam. Early forms of xylophones were made of stone and are called Goonglu in the local language. Researchers found many stone xylophones in Vietnam's Central Highland, where the K'ho people live. The K'ho people used stone xylophones long ago. Some of these stone xylophones are about 2,500 years old. In Cambodia, a similar prehistoric stone xylophone, called Roneat Thmor in Khmer, was found in Along Tra Reach, Kampong Chhnang Province, Central Cambodia. Each stone xylophone is more than 1.5 meters long. Its age is unknown, but it may be as old as those in Vietnam or even older.

Although no carvings have been found yet, this does not mean the Roneat was not used by ancient Khmers. It was considered a common or folk instrument. The musical instruments shown at Angkor are mostly stringed, woodwind, and rhythmic percussion instruments, often used to accompany dancing. Recently, over 200 images on the walls of Angkor Wat were revealed using new technology. One image shows a traditional Khmer orchestra with visible instruments, including two hanging gongs, a drum, Kong Vong Thom, roneat, oboe, and a very long trumpet. This discovery is likely the oldest depiction of Roneat instruments in Cambodia.

According to other sources, Cambodian Roneat instruments may have come from Javanese gamelan instruments, which influenced Khmer music during the early Angkor period. This influence spread from Cambodia northwest to Myanmar. This proves a historical connection between the Roneat genre and the early Angkor period. The last king of the Khmer Kingdom of Chenla, Jayavarman II, returned from the Javanese Court in 802 AD. He began a grand ritual called the Devaraja concept on Mount Mahendraparvata (now Phnom Kulen) to celebrate Cambodia's independence from Javanese rule. He became the first king of the Khmer Empire, as recorded in the Sdok Kak Thom inscription.

Throughout Cambodian music history, especially after the Angkor period, Roneat Ek often appears in mural paintings. It is always shown in the Pinpeat or Mahori orchestra because of its important role and musical contributions.

Structure

The Roneat Ek instrument can be divided into three main parts: the body or sound box, the notes or bars, and the mallets or sticks.

• The body or sound box is the lower part of the instrument. It is made from strong woods like neang nuonnor beng, which can support the weight and tension of the 21 bamboo bars. The body has curved walls that rise 20 cm high and is 100 cm long, though the size may vary. The body is held together by planks forming the floor and two end walls called khaol. The body is often decorated with ivory pieces shaped into floral and other designs. However, the decorations may differ depending on where the instrument is made. For example, Roneat Eks used in royal palaces may have more detailed designs.

• The notes or bars are the upper part of the instrument. The Roneat Ek has 21 notes made from woods such as krannoong, beng, or neang nuon. Each note is bored twice at both ends and attached to a nylon cord. The notes are stretched between the end walls and do not touch the edges of the sound box. A material called promor, made of wax and lead, is placed on the underside of each note at its thickest point to adjust the pitch so the notes match the Khmer musical scale. The rightmost note, which is the shortest at 25 cm, has the highest pitch. The notes gradually increase in length, with the leftmost note, the longest at 40 cm, having the lowest pitch. The Roneat Ek is played in Pinpeat or Mahori orchestras by using different keys. These orchestras do not require accidentals or key signatures.

• The mallets or sticks used to play the Roneat Ek are made from the same wood as the body. They are smooth, rounded sticks slightly larger in diameter than chopsticks and 38 cm long. The ends of the sticks are covered with a flattened sphere of promor, wrapped in two or three layers of cloth and tightly bound with thread. These sticks are used in the Mahori orchestra.

Concept Design

There are different ideas about the shape of the Roneat Ek, a musical instrument. Some researchers believe it was inspired by the shape of a Khmer river boat. Others think it looks like a peacock because the ends of the instrument, called khaols, resemble a peacock's tail when spread open. However, Khmer musical experts say the Roneat Ek's shape represents a naga, or dragon. The stand holding the instrument shows two twisting naga tails. The body of the instrument shows two naga bodies moving apart, and the ends of the khaols show two naga heads. The metal bars on the instrument represent the scales of a naga.

Ouknha Moha Thipadei Meas Ni, the leader of the Cambodian Royal Orchestra, shared that his grandfather said the Roneat Ek was created by the Khmer people long ago. Early Khmer people used bamboo pieces from house building to make sounds for fun. Later, they tied and arranged the bamboo pieces in order, then stretched and hung them. These bamboo bars were placed on a wooden body shaped like a naga. The Roneat Ek's body still looks like a naga because the Khmer people respected and worshipped nagas for many years. The Roneat Ek was played with the Khmer pin, an instrument introduced to Cambodia long ago.

Another explanation from Cambodian musicians says the Roneat Ek represents a female naga, while the Roneat Thung represents a male naga. In traditional Khmer orchestras, these two instruments are played together, showing the pairing of male and female nagas.

Role in Khmer traditional orchestras

The Roneat Ek plays an important role in both Pinpheat and Mahori orchestras. According to Cambodian traditions, the Roneat Ek used in Pinpheat has a lower sound than the Roneat Ek used in Mahori Orchestra, where the first note is high.

The Roneat Ek is often played with the Roneat Thung in both types of Khmer orchestras. The Roneat Ek is considered the female voice, and the Roneat Thung is considered the male voice. The Roneat Ek creates the melody by striking the bars in octaves with mallets. The Roneat Thung provides the accompaniment, with each hand playing separately.

Many Khmer musicians believe the Roneat Ek plays the main melody. However, it actually plays variations of the melody, which is usually led by a vocalist or a Sralai player. The Roneat Ek is played in octaves most often, and less frequently in fourths or fifths. The instrument has 21 bars that span three octaves. However, because it is played in octaves between the left and right hands, it only covers a range of two octaves.