Transcript of interview with C. B. Chan (conducted by Amanda Lee), 15 September 2016, 5 pm, Bukit Batok Polyclinic.
C. B. is a 63-year old male Chinese Singaporean who is an adjunct lecturer. C. B. enjoys English pop music from the 60s and 70s and by artists such as the Beatles. He listens more to classic English pop music, and tunes into radio stations like 90.5 FM and 92 FM. He thinks that contemporary English pop music is catchy but the lyrics might not express what he feels about certain matters. C. B. also enjoys Western classical music by composers like Beethoven and Tchaikovsky as he finds it relaxing and has more “substance” compared to pop music. He thinks it is important music as it helps one to learn to appreciate it. C. B. also listens to jazz music and thinks it livens up his mood. He also enjoys choral music as it is beautiful. He has also seen musicals like The Phantom of the Opera (2013), Cats (2015), Dim Sum Dollies (2002) live on stage. C. B. also listens to Chinese pop music and likes artists such as Teresa Teng and Fei Yu Ching. He enjoys older Chinese pop songs more than the contemporary ones as they are easier to sing and understand. He thinks that Chinese pop music has a cultural connection with all the Chinese countries as Chinese culture is unique and different from other cultures. C. B. also listens to traditional Chinese music but does not do so frequently. He likes it as the instruments play beautiful music. He does not think that many people listen to it and attributes it to being played less on mainstream media. C. B. enjoyed the Chinese crossover extract and found it clean, soothing, and expressive. Although he thought the experimental Chinese music was like meditative and reflective music, he also found it to be a bit complicated. He does not think he will enjoy music like that. C. B. thinks the two most important genres of Chinese music are traditional Chinese – as it connects Chinese people directly to China – and crossover as the mix of Eastern and Western elements brings the world together. C. B. also thinks Singaporean music comprises National Day songs, and songs that have a mix of Indian, Chinese, and Malay influences, as well as folk or community songs like Di Tanjung Katong. Of all the genres, C. B. thinks that Western classical music is the most important to him as he listens to it most and is impacted by it the most.
“I will listen to, er, those, um, classical – western classical music, like Beethoven and, er, er, such ah. And then, um, I also like to listen to jazz music. And, um, Chinese music, er, the, um, 60s, 70s, sort of, er, er, music and songs.”
“And then, um, probably the words next, er, kind of repetitive that I can learn and sing easily. And also because this [Malay] music has been – and song has been, er, have been, er, heard since I was young, so there’s kind of a sentimental, er, attachment to that.”
“At that time when [English] pop music was really pop, you know – something that was so different from the older ones, um, very, um, catchy, very, um, it’s got a lot of drum beats, ah. Um, it gets people to dance and the feel-good. Ah, these are the things that catch me when I was listening to those music.”
“I mean, the lyrics is very much about maybe – maybe about the, um, ah, concerned about matters such as, um, views that is contrary to what I hold. So therefore, I like the [English pop] music, I like the song, but the lyrics may not be really, um, what I am.”
“Now, when I listen to those music, I will, er, feel very relaxed. And, er, unlike the present pop music ah, when there’s too much noise, these Western classical music is very, um, how helps you to feel, er, very cultured.”
“Okay, jazz music – again, is not too much noise. It is, um, er, played with this, um, instrument which is, um, it’s very clear and beautiful, right. So, er, and then jazz music also kind of liven – liven up the – the mood, um, of, um, one. So that’s the reason why I like it.”
“I mean, people with different voices [in a choir] sing harmoniously together and it is, er, quite, um, and – and also because sometimes they sing without music. And – and yet without music – their – the song is so [melodious] – [melodious], so ya – it’s so beautiful. I mean to – to know that human, um, voice can, um, create such beau[tiful] – beautiful music, so that’s what I enjoy very much.”
“Er, I have watched [The] Phantom of the Opera (2013), um, the Cats (2015), um, the Dim Sum [Dollies] (2002), Dim Sum Dollies [musical produced in Singapore].”
“And again, like I say that the [Chinese pop music] wordings are so simple that I can actually pick up to – to – to learn very easily. Um, like Fei Yu-ching – her – his songs – all very soothing, you know, it’s slow, [melodious] and very soothing, and that’s the reason why I like those songs.”
“Er, yes I do. I do. Ya. Um, erhu right? And those, um, classical Chinese traditional music. I do but, um, not – not frequently. Not frequently, ya.”
“[Traditional Chinese music] really expresses the – the – the Chinese-ness. Um, because, er, in the first place the traditional Chinese music comes from the East, from China. And so, um, the fact that this music is carried to other – Singapore, or other parts of the world, we know right away that this is, um, a Chinese music.”
“I think in the first place the traditional Chinese music is not played, um, most of the time. But if they do play it – say over radio, people will listen to it. And, um, Chinese music is, er, something that is, er, cultural so when you listen to the music, we feel very, er, connected and, um, we recognize and, er, er, identify with it.”
“Beautiful. Okay, beautiful. Okay, basically I see that they’re using all the different combination of, er, instruments to play the [Chinese crossover] music. And they are playing, um, the modern music. Beautiful. Ya. Very nice. It’s very expressive I would say. Ya.”
“Okay. I think this one is more meditative, reflective type of music. Which normally I think could be played at the spa, ah. I think not many people ... may be used to [experimental Chinese music]. Probably this would be, um, more of a preference choice for different people.”
“If we’re talking about traditional music, it is the instruments that play – that brings out these – this character of Chinese-ness. But in crossover, we are using different types – we are using guitar, using flutes, using erhu or bass guitar, you know. It kind of bring together all the different flavours to give that, um, harmonious – that harmony of different cultures mixed together.”
“To me personally, ah? Western classical. Because I listen to it most – Western classical. And because, er, I have, er, kind of, er, have that impact – impacted by it you know, in terms of giving me the sense of relaxation and, um, ah – ah, calmness.”
“Singaporean song – most of it – most of these songs, I think we can, er, we – we hear them, um, during National Day. I suppose most are considered Singapore songs. Stand Up For Singapore (1984), Home (1998), right. Er, that Indian – Indian, er, er, song ... um, now I can’t remember how the words go.”
“Like, um, for example, if I were to go overseas and I’m asked to sing a music – a song – to represent Singapore, I would pick Di Tanjung Katong. Or I pick Singapura, Oh, Singapura. So ... ya.”
“[M]usic is, um, something which, er, is global and, um, it can bring people from different culture to come together, er, when there’s music. So it’s important part of, er, our human race, and therefore it’s important. Music is important, I would say.”
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