Transcript of interview with Samuel Cheah (conducted by Amanda Lee), 21 November 2016, 2.30 pm, Samuel’s residence.
Samuel likes Christian music and dislikes noisy and fast music, especially when he can hardly hear what is being sung. Samuel likes slower English pop rock music and country music. He likes that these songs sound very rustic and tranquil. He does not think English pop rock music expresses his identity as he prefers Chinese music. He thinks that this music expresses a cultural connection for young people as they are quick to pick up songs that are trending on the music charts. Samuel likes Western classical music for its exciting crescendos and the different instruments being introduced at different points during the piece. He does not think that this music is part of Singaporean culture yet. Samuel does not have a favorite composer, but he likes certain pieces from Mozart and Beethoven. Samuel listens to Chinese pop music, but he thinks that pop music from his era is more meaningful than contemporary Chinese pop music. Samuel prefers Mandarin songs over Cantonese and Hokkien songs as he has had more exposure to Mandarin through the Mandarin-speaking campaign and the radio. He thinks that there is a cultural connection of Singaporeans with Hong Kongers, but less so for Taiwan and China. Samuel likes traditional Chinese music, but he does not like it as much as the Western orchestra. However, he finds traditional Chinese music to be meaningful and thinks that it is a way to connect with Chinese culture. Samuel likes Chinese opera mainly for its costumes and props, and does not understand the content of the show. Samuel liked the extract of Chinese crossover music. He found the use of different instruments interesting and found the Chinese crossover piece nice and soothing. He thinks that Chinese crossover music best represents him as he sees himself identifying with both Eastern and Western genres of music. Samuel found the experimental Chinese extract interesting and nicely blended together. He thinks that it might be a different way of looking at Chinese music. Samuel does not know much about Singaporean music and does not pay attention to the local music scene. He has heard of xinyao but does not know much about it. Samuel thinks that National Day songs reflect the country and the culture, but does not know much about the newer songs. Regardless of when the different songs premiere, he thinks that these songs can create an authentic feeling of group belonging. He thinks that experimental Chinese music best represents Singapore as the country is increasingly globalized and boundaries between different genres are no longer as clear-cut as before.
“Like, um, Knock Three Times (1970) and some of these very old, er, very few Bee Gees [songs] when they are a bit slow. Not so much of Elvis Presley. Er, sometimes, er, as long as they are not that noisy I may sometimes, er, you know attempt to listen to some of them, lah.”
“I can hear them – you know – humming and, er, singing [English pop songs] especially the younger generations. So I don’t know, those are the, er, immersed culture that they normally pick up, because we are very much influenced by the Western side, you know. Any of the er, er, release of some of these songs and so forth, they – they seems to be quickly being picked up and sung over.”
“And – especially, um, you know when it comes to especially orchestra, you can see there are certain highlights, you know. When – when they come with the cymbals and sounds you know, er, their – their – have reached a certain height and the excitement, and – ya.”
“I don’t think many of us can appreciate things like soul music and things like that, you know. But I think most of the [Western classical music is] are quite confined – to me, I think more to the global, er, not the global but to the Western.”
“Deng Lijun, Zhou Jielun, you know, and some of the, er, er, quite famous and – sometimes the Aaron Kwok, the tian wang [Heavenly Prince] and things like that, you know what I mean. But not every piece of music because, er, those which are fast – the beats are still not my preference.”
“I think the early part of the [Chinese] pops are sometimes quite meaningful with the – with the words that they express. But I am not quite sure of the content in the present stage. I find they may not be so meaningful in – in the words and – and so forth, you know.”
“I think [Chinese pop music is] more reflection of our local Hong Kong – Hong Kong is quite close, er, to things. But I do not know – I don’t think in things like Taiwan, and things like in China – although may be lately, but I think our more – our exposure of more, um, songs and thinking is from Hong Kong.”
“[Traditional Chinese music] sounds that more meaningful and maybe of the background, the culture, could pick up like – you know – sometimes the – the music play that you can feel what sort of – you know. Er, er, er, the feeling sometimes, you know, in those music you play it, you can like – you can be like very compassionate.”
“[I’m] just – fascinated by [Chinese opera] acts lah, even though they may be in that particular costumes and so forth, you know. I think that’s about all that, er, I could appreciate, you know. Er, not so much of the, um, not so much of the content, you know.”
“The instruments [in Chinese crossover music is] are not confined, whether is a English – Western musical [instruments] or – you know, or ... Chinese and things like that. I – I think they are quite – quite nice. The insertions of some of these instruments are actually quite interesting. Er, if a like very revolutional sort of, er, music.”
“[Chinese crossover music is] not so pop-py, er, and I think because of the instruments they played, I think, um, they are quite – quite soothing and in – to – to listen to them. And I think I’ve seen – not so much of Western in it.”
“[Experimental Chinese] quite – quite nicely blend, and maybe it’s a different approach of how you look at the – the classical Chinese music. And then people might come – the younger generation may come to appreciate, you know – ya.”
“Er, don’t quite, er, really follow [Singaporean artistes] actually. Er, on the actual scene itself. Maybe sometimes – previously they had things like talent time where you listen but, er, lately I have not much of a – time-factor, or listened to some of the – the local – I don’t quite even know the – some of the local artistes.”
“When these [National Day] songs are being played – whether they are new or old, er, you know – all these while, I think it stirs up the sentiments of our, er, feeling for our nation and, er, you know, er, our own country.”
“We are going into globalization, you know. I think the boundaries are no longer specifically been drawn, and I think there is a lot of [crossover music]. So sometimes you may not purely say it’s from here. But I think there is [amalgamation] of some of these results of globalization – I think so.”
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