As Hogue (1987) cites only eight insect songs from traditional or classical music, the results of this study suggest that rock music has utilized insects to a much greater extent, although the percentage of the total is small. Little biological information is provided by insect music, the most common exceptions being metamorphosis and curious methods of insect control. Overall, insects in music have been used to great effect in eliciting humor, especially the dark and twisted kind, and occasionally to address deeper issues. Popular music, however, has more participants (artists) and titles (albums and tracks) than the other media, perhaps allowing a broader range of expression of attitudes toward insects. Not surprisingly, these applications are similar to those found among films and cartoons. Hymenopterans are the insects most commonly cited, probably because they have both charming qualities and painful associations, such as stinging. Lepidoptera probably are well represented because of the beauty of butterflies and moths and Diptera for the negative hygienic associations of flies, maggots and mosquitoes. Insects have been used for a diversity of effects in rock music but primarily for their appealing qualities and for shock value. " The modern rhythms were quite popular in dancehalls and restaurants, where people danced the roam vong (circle dance), roam kbach (circle dance), roam saravann (couples dance), and later the Madison, a line dance that began in the United States. This style and the ensembles were called plaeng samay or samay domneup, which means simply " modern music. Traditional Khmer music and songs began to be played on Western instruments like the guitar, banjo, and drums and the new form of popular music was played at wedding banquets and concerts. As mohori ensembles expanded their repertoire, mixing new melodies and rhythms with traditional music, they reached a wider and younger audience in both urban and rural areas. Traditional mohori ensembles had nine instruments but with Western imports new instruments were added, creating a new sound. Since the introduction of Western culture to Cambodia, another hybrid ensemble and musical style has emerged, known as the mohori samai (modern mohori). The usual manner of performing mohori music is that the vocalist sings one or two verses and then the ensemble plays one or two cycles of music. It emerged from traditional mohori music since that was the only type of music that was intended purely as entertainment, unrelated to religion or to other art forms. The Transition from Traditional to Popular Music Popular music was already well established in Cambodia before the arrival of rock and roll. Many of them did not speak French, English, or any regional Asian languages outside Cambodia, but the new sounds resonated with them and they imagined unique ways of remixing and rewriting the foreign sounds in their own style. Cambodia's post independence musicians were not interested in favoring one national musical influence over another, but simply in creating great tunes and lyrics. Rather, composers, songwriters, and singers crafted a hybrid music culture by mixing the best of all the genres drawn from a variety of local, national, and international influences, referred to as transculturation. Musicians and songwriters did not reject everything they had learned from traditional Khmer music, nor did they fully embrace Western musical imports. Music particularly flourished during the new era of modernity that spread quickly over the country, especially in Phnom Penh. With Cambodia's independence from France in 1953, musicians and artists sought new forms of creative expression.
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