Transcript of interview with Robert Yap (conducted by Amanda Lee), 24 July 2016, 8.30 pm, Robert’s residence.
Robert Yap is a 60-year old Chinese Singaporean who is an engineer. He listens mainly to Chinese pop music. His favorite English artists are Cliff Richard and Engelbert Humperdinck. He likes that English oldies are more sentimental and meaningful. Robert also uses YouTube everyday to look up singers and songs from various talent and singing competitions. Robert seldom listens to Western classical music but he finds that it helps to calm him down and it is the opposite of pop music. Robert enjoys Chinese music like xinyao, and singers like Teresa Teng and Fei Yu-Ching. He thinks that traditional Chinese music is more of a seasonal thing, rather than a musical genre to listen to. He says that he can live without it but it is still important to preserve it for the few who listen to it regularly. Robert says that he identifies himself as more as a Singaporean than as an ethnic Chinese. Although Robert knows about several Singaporean artists like Dick Lee and Kit Chan, he does not like their music as he thinks it is not very interesting or special. He does not think that there would be Singaporean music but he thinks the national anthem is one song that will create a sense of belonging for all Singaporeans. He finds the contemporary intercultural experimental Chinese music to be quite boring and sleep-inducing.
“[Cliff Richard and Engelbert Humperdinck] are the two, er, my – my favorite singers. And I seldom listen to English songs, mostly Chinese.”
“Morning, afternoon, night time, even before I sleep also, I will turn to Youtube and try and find out some good songs.”
“I find [Western Classical music] – you listen to this kind of music – I find you – you – it helps to calm your mind. Let’s say you go to [a] concert and listen to this kind of music, you feel more peaceful, lah. That’s totally the opposite of when you’re listening to the pop music.”
“Minyao [a genre of Chinese popular song composed and sung by young Singaporeans from the late 1970s onwards]. I think those of – during the good old days ah, the students sing in the school one.”
“Yes, because even to the minority also, it is important to preserve [Traditional Chinese music], if not we – [it will] totally disappear in Singapore.”
“I think the musical instrument that were [used in intercultural experimental music], produce the kind of sounds, er, the – it’s quite flat, I don’t know what you call this. The tone lah, the monotone will put you to sleep.”
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