Transcript of interview with Sarah Almodiel (conducted by Amanda Lee), 26 September 2016, 11.30 am, Skype.
Sarah is a 23-year old female Chinese-Filipino Singaporean and is an English literature student at Nanyang Technological University (NTU). Sarah enjoys listening to English pop music but prefers artists who not mainstream, such as Kodaline, Snarky Puppy, Smashing Pumpkins and Sara Bareilles. Sarah listens to a bit of Western classical music. Some of her favorite pieces include La Traviata (1853) by Verdi and The Planets (1916) suite by Gustav Holst. Sarah likes the way the music flows and how the pieces are emotional. She does not think Western classical music is part of Singaporean or Asian culture as the music derives from Western traditions. Sarah enjoys musicals like My Fair Lady, West Side Story, and The Lion King as musicals give insight to characters and the changes in the music and chords are very different from pop music. Sarah listens to only a few Filipino pop songs as she does not understand the Tagalog language. She thinks Filipino pop music sounds similar to contemporary Western pop music. She does not listen to any traditional Filipino music. Sarah does not listen to Chinese pop music as she does not understand Mandarin either. While she has a few songs in her library, they were downloaded by friends for her. Sarah would like to learn more about her Filipino heritage. However, she does not have any Filipino relatives in Singapore and thus cannot participate in Filipino traditions with them, while she can do so with her Chinese relatives. Sarah has heard Chinese opera in passing and thinks it is something that is unique to Chinese culture. She thinks it should be preserved as Western influences are taking over and Chinese opera is now rarely seen in Singapore. Sarah feels ambivalent towards Chinese crossover music and she thinks it sounds more Western than Eastern. Sarah found the experimental Chinese music extract to be very different and jarring which made it hard for her to enjoy it. Sarah listens to Singaporean artists like Lion City Boy, Lin Ying, and Disco Hue. She does not think that Singaporean music has a distinct style as many of the songs can be passed off as Western pop songs. Sarah does not know what genre of music would best represent Singapore as she thinks Singapore has a very unique place in the world. Singaporeans hold on to their Asian traditions in a Westernized world.
“I think in general, [English] pop music today is very easy to listen. But I also think it’s very manufactured. It’s very hard nowadays to find something that is not made purely for, um, for, economic gain.”
“I like to listen to [English] pop. Actually pop is one of my more favorite genres but I prefer to go what I would call off the beaten track, something that’s not, um, very mainstream and made for the masses.”
“Third Eye Blind. I’m trying to – I’m scrolling through my iTunes. Gabrielle Aplin. This artist called Alexz Johnson, it’s A-L-E-X-Z. The 19 – The 1975, it’s one of my favorites, and Kodaline.”
“But a lot of the times, there are a lot of – maybe – political messages in [English pop] songs that may be lost on Singaporeans. But at the same time, it gives us a deeper insight into, um, Western culture and civilization, I suppose.”
“Okay it’s not really a symphony but I like the songs from an opera called La Traviata (1853) by Verdi. Er, another – the ... The Planets (1916) suite by Gustav Holst I think.”
“I would not say Singaporean or part of Asian culture because the music ... the music that is – that – okay, how do I say this. Um, Asian music derives from Asian traditions, and Western classical music derives from their own Western, er, traditions. Um, I would say it’s global in a sense because, um, Western classical music has influenced, er, pop music today.”
“Um, and I really love the way that the music is necessary for the [musical]. So it’s not just like someone wrote a play and like, “Oh ya, let’s just add some music.” But the music actually furthers the action, or gives insight to a character or their motives, you know. Ya.”
“But when it comes to regular [English] pop music and everything, I – I like lyrics. So the fact that I don’t understand, um, Tagalog is a big deterrent [to Filipino pop music], lah. And it’s also the same reason why I don’t listen to Chinese music.”
“I wouldn’t say immersed but I am sort of a part of Chinese culture, you know, and Chinese traditions. But I have no part in the Filipino side. So it’s always been, um, something that I want to do eventually, which is to learn more about – not only the music lah – but the cultures and traditions that come with Filipino.”
“I don’t personally like [Chinese opera] in terms of the music. But I do know that it has, um, it’s very deeply rooted in, er, Chinese culture and traditions so I appreciate that. You know, as in – I think it’s very interesting that – that, er, Chinese people have this, you know.”
“We are all losing touch of Chinese culture and tradition. Not just in music and I think it’s very – I still do think it’s very important to remember one’s roots and remember where we came from.”
“I think when you said Chinese crossover, I was expecting more of like – this Chinese music has its own rules and traditions. I was expecting – I was expecting someone to adapt that to, um, Western music, or perhaps to any other form of music. But this one – it just seems like they’re taking the instruments over.”
“Perhaps knowing the reasons behind the piece [of experimental Chinese music] that you sent me might have made it, um, easier for me to appreciate. But at the same time, it is very different, it is very jarring. It’s almost dissonant to me, so it was very hard for me to enjoy it. Ya.”
“Okay, I got a lot. Okay, I listen to ah, Nathan Hartono, Linying – who’s amazing. Um, I’ve been listening to some Lion City Boy, um, Sam Willows, Gentle Bones. Who else, let me see – Caracal, Disco Hue, Charlie Lim, a lot lah.”
“I think it’s really great. And a lot of people don’t give Singapore music a chance, ya. But I mean, I was guilty of that last time too when I was younger. Like I didn’t think that Singapore music could be as good as – what – like music – what the music that comes from, um, you know, the West like America, and all that.”
“But I don’t think [Singlish comedy songs] are the kind – that’s the kind of music that I would like to represent Singapore. But I think like a – how do I say this, er, like a blend between the subject matter and, er, more thoughtfully-produced music, I think that would be better. Ya.”
“Like Home (1998), you know. It’s like the kind of song that even like – I have people that I know who are very, um, okay, I would not say anti-Singapore, but they – they don’t want to live here, they want to migrate. But when they listen to that song, even they themselves admit – you know – ya, there’s just – there’s just something about that song, it pulls you back to Singapore every time you hear it.”
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