Transcript of interview with Maureen Teo (conducted by Amanda Lee), 12 October 2016, 3 pm, National Library.
Maureen is a 70-year old female Chinese Singaporean who is a retiree. Maureen does not like contemporary English pop rock music as she finds it does not have much of a story. She prefers classic pop music by artists like Elvis Presley, Cliff Richard and Whitney Houston. Maureen listens to music on her phone or tunes on the radio. She does not think that English pop music expresses her identity as she has no interest in it. She thinks that it expresses a cultural connection with young Singaporeans as they like English pop and rock music. Maureen does not listen to Western classical music but thinks that it is most suited for one before they go to sleep. She thinks that although Western classical music is not part of Singaporean culture, perhaps the younger Singaporeans who are more musically-inclined would think so. Maureen thinks that it should be preserved and young Singaporeans should learn how to enjoy different kinds of music from all over the world. Maureen has seen The Phantom of the Opera (1986) and Beauty World (1988) and likes musicals as they are lively. Maureen likes watching Chinese operas and used to watch Teochew operas. She likes it as she knows the story and can sing along with the songs. Maureen likes getai as well, but has little chance to see them performing live. Maureen thinks that younger Singaporeans will not be able to connect with traditional Chinese music but older Singaporeans will be able to do so. Maureen likes classic Chinese pop music by Teresa Teng and dislikes the contemporary Chinese music for the same reason she dislikes English pop music. She likes classic Chinese pop music as they have a story in the song and meaning to it. She does not know if Chinese or Cantonese pop music expresses a cultural connection for young Singaporeans, but thinks that this might be so for seniors in Singapore instead. Maureen liked the extract of Chinese crossover music as she found it beautiful and thinks that younger Singaporeans will enjoy it. While Maureen found the extract of experimental Chinese music calming, she found that it was too slow. Maureen thinks that Singaporean music consists of music from the various ethnic groups. She does not think that there is a musical style as Singapore music is influenced by music from outside Singapore like China, Hong Kong and Taiwan. Maureen does not think that Singlish comedy songs should represent Singapore on the global stage as it is not appropriate. She thinks that National Day songs like Count on Me, Singapore (1986) are good, but does not like the songs from the recent years. Maureen thinks that other Asian countries like Taiwan and Indonesia should be able to relate to xinyao songs. Maureen thinks that traditional Chinese music and getai expresses her identity most authentically while English and Chinese pop music expresses it least authentically.
“I still like the clear-cut [pop] songs of the 70s – whether it’s English or Chinese. At that time you really understand what is being sung. Every song has more or less a story, unlike nowadays it’s just horrible sounds.”
“My identity? I don’t quite understand the question. I’m – I have no interest in those so I don’t think I can say I have an identity relating to [English pop rock music].”
“Some [Western classical music pieces] got high notes, low notes, so maybe the low notes will bring – put you to sleep. But the high ones will wake you up. It’s interesting to me, lah. Although I don’t know how to appreciate. Too bad. We’re not brought up – you know – to appreciate that kind of music.”
“I don’t think [Western classical music is] in our culture. Those kind of music – I don’t think it’s in our culture yet. Maybe with the new – the younger ones would sort of have like – who are musically inclined and they have attended music courses, I think they would. It’s good for them.”
“Well, you get to watch the [musical] performance, the performers, er, talent, creativity ... er, in portraying their roles accompanied by the music which makes it more lively – that’s about all.”
“I used to watch operas you know, Teochew operas, ah. By the road side because of my age I have that experience. You all don’t have, right? Ah, where they have cymbals – what – what is that? Cymbals is those right? And you have those gongs?”
“We have many good getai singers, lah. It’s a pity I have no chance to go to the street to watch these shows.”
“I don’t really like the Chinese pop. I like the Chinese oldies. But lately I know there are songs like Yueliang daibiao wo de xin (1979; The Moon is My Heart). Then Tian Mi Mi (1979; Sweetness) is not that new. Right? You know or not? Deng Lijun’s songs, I like. Quite a number of her songs I like and I can even belt out.”
“And then – then in the [Chinese pop] song they reveal a story, it’s so – the feeling is there. You understand the various stages of the couple’s love, right? That’s what I like, not like the new ones. The modern ones – to me – no meaning in the lyrics.”
“[Chinese pop music or Cantonese pop music expresses a] cultural connection [of Chinese Singaporeans with Taiwan, Hong Kong and China]. Hard to say lah, because I don’t mix a lot with the young guys, the young people in our country. So I won’t – I don’t have many comments on that.”
“Very few people. Especially youngsters they don’t know, they don’t appreciate [traditional Chinese music]. So how to preserve them? Play more on social media. It’s difficult for the youngsters to really appreciate this.”
“As a younger ones, I don’t think they ... they can get connected with [traditional Chinese music]. But the Sing China, that kind of music, maybe they can get connected. Like our Nathan Hartono? See, a lot of Chinese youngsters, they love to watch that, correct? They can feel that connection.”
“Oh yes. Now I know what is crossover music. Mm. They should be ... um, I think our youngsters will appreciate that, right? Although it’s a – using Chinese musical instruments but the songs are of the West ... so our youngsters should go for them.”
“Why not, ah? In our fast-moving world may – maybe it should be practiced, lah. In our fast-moving world – to calm the people. This [experimental Chinese] music is very calming, right? It has a calming effect. So maybe – it should ... should apply to our period lah, right?”
“I think most [Singaporean artists] will adopt from states, from China, from Hong Kong all those. Taiwan especially. I think they have adopted from quite a various – quite various few countries. So it’s not just distinctly Singapore. I don’t call it distinctly Singapore. We have yet to become distinctly Singapore.”
“[Singlish comedy songs] just makes fun of our own people – it’s okay. You don’t bring that to the outside world. That is not appropriate. We locally can appreciate those kind of music. But would the Westerner know what they are talking about? No, I don’t. That should not be done.”
“Oh, National Day songs were very good. The previous – the last few years. But not the latest. That one doesn’t have that national feel you know, when you sing those songs. Songs like Count on Me, Singapore (1986) those are very, very appropriate to nurture loyalty to your own country.”
“Well, countries in Asia should be able to [relate to xinyao]. You have Taiwan, you have Hong Kong, you have, er, Indonesia. You have a lot of Indonesian Chinese who like our songs. Er, but the states – not likely, lah. United Kingdom also not likely. It will take them some time to really understand the songs.”
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