Transcript of interview with Mary (conducted by Amanda Lee), 10 August 2016, 5 pm, Skype.
Mary is a 37-year old female Chinese Singapore and is a stay-at-home mother. She enjoys a huge variety of music, ranging from pop to movie soundtracks. She likes English pop artistes like Jason Mraz, Bruno Mars and Coldplay as she thinks their songs are well-written. She listens to music mainly on her phone or computer, and does not tune in to the radio because of the DJs’ talking. She does not listen to classical music but thinks it is good for stress relief and education. As for Chinese pop music, she enjoys music by artists such as Leslie Cheung, Aaron Kwok, Faye Wong and Sandy Lam. She likes their music because of the tune and the lyrics. She regards the traditional Chinese music sample played as very festive and noisy. She sees it as a part of Chinese identity because of the instruments and arrangement of the piece. She thinks that every genre should be preserved for the ones who enjoy it. She thinks the sample of contemporary intercultural experimental music is not too bad, but she would not personally download and listen to it. She sees it more as an art, rather than commercial music. She thinks that Dick Lee and Liang Wen Fook’s music and the way they convey their thoughts and culture represent her as a Singaporean, and Singapore.
“I think [English pop music] have – generally a better – mm, more well written songs. Er, upbeat, also. They – they have a tune, because some music is like not much tune.”
“Basically everybody will enjoy different kind of music, and classical music is one important genre, especially for those learning music.”
“[Western classical music], er, kind of education. Um, when I think is a good way to enjoy music. Just that for myself, I – I didn’t get to it. That’s all.”
“I think it does reflect the – the young people. For the [Chinese] pop songs genre, it does reflect the younger generation. Because from the way they speak, even the kids in schools, they also speak and greet each other more like the – the – the, er, the young way.”
“I can go to way, way back, or [traditional Chinese music] can go to the 80s, 90s. Eh, depends how – how – what’s the tradition, mm, degree. How – how far away is it.”
“The front part [of contemporary intercultural experimental music] initially I felt was suitable for some of the more experimental, or modern kind of Taiwan, China movies. But the later part, when it changed then I think it’s more suitable for stage. Mm, like maybe theater, dance, or even soundtrack for museum, some exhibitions. There’s some art – art value to it, lah.”
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