Transcript of interview with Jayni Wong (conducted by Amanda Lee), 16 January 2017, 10 am, Orchard library.
Jayni is a 24-year old female Chinese Singaporean who is works as an event organizer. Jayni listens to rock music by bands like Caspian and Tides of Men. She thinks that English pop rock music expresses a cultural and language connection as Singaporeans consume lot of that through the Western media. Jayni does not listen to Western classical music but used to when she played in her secondary school band. She thinks that it is part of a global culture. Jayni does not listen to Chinese pop rock music and thinks that it is stagnant in comparison to English pop rock music. She thinks it expresses a cultural connection as Singaporean Chinese singers have found an international market with their music. Jayni does not find traditional Chinese music pleasant but she can appreciate it. She does not think that it expresses a cultural connection as she does not know many young people who listen to traditional Chinese music. Jayni liked Chinese crossover music and thought it sounded more Western as it was a cover of a Western pop song. Jayni thought that experimental Chinese music sounded like traditional Chinese music. She does not think that she would listen to it but thinks that she can appreciate it. Jayni thinks that while experimental music expresses her identity authentically, it is not the only thing that defines her. Jayni thinks that Singaporean music is good and diverse in terms of genres. She thinks that while Singlish comedy songs definitely represent Singapore, it might not be a very effective way of representing Singapore on the global stage because of the language barrier. Jayni thinks that one way of recognizing a Singaporean song is through production quality. Jayni has played in five bands, and is currently playing in a post-punk and post-rock Brisbane-based band. The band plays instrumental music, which is more open to interpretation as compared to music with lyrics. Jayni formed her Singaporean band with some of her polytechnic friends as they loved playing music and had similar tastes in musical genres. She has not had much difficulty finding opportunities for her bands to perform as her band members have many connections. Jayni thinks that the National Arts Council is helping Singaporean bands by bringing them abroad for example, which is something that might not have been possible many years ago. Jayni thinks that Singaporeans need to be more exposed to local music in order to begin appreciating and supporting local bands. She thinks that there is a unique Singaporean band culture for the English Singaporean bands as it is a small community and everyone is supportive of each other.
“It’s more like post-rock kind of ... ambient kind of stuff. So it’s more of like ... taking people on a journey and it’s – and it’s emotionally in – involves people. And that’s why I like them.”
“I think there definitely is a connection [through English pop rock music] because ... yeah, in Singapore we’re very influenced by the Western society. And – so, ya, we speak English anyway, so in terms of music, yeah – like on radio, TV, everything is definitely a cultural connection.”
“Not as much as I used to. Because I was in band in [secondary] school, that kind of stuff. So, yeah, interest [in Western classical music] was at – was at its peak then, but not at the moment.”
“I think [Western classical music is] – ya, global culture. Like I wouldn’t call it like, “Oh, that’s Singaporean – classical music.” I think classical music is classical music. And – yeah, I don’t think there should be like a ... “Oh, that’s Singaporean. Oh, that’s Western,” or whatever.”
“[Chinese pop rock music] doesn’t seem to have progressed as much in terms of like genre-wise. Um, yeah, like genre-wise it seems to be very stagnant. But in terms of like the English pop scene, it seems to be implementing a lot of – more synth, more – you know – [beats] and stuff. But that’s from what I remember.”
“Honestly, I’m not very ... intrigued [by traditional Chinese music]. As in – no, I am intrigued by ... those things. But I think in terms of pleasant, not really. Like it doesn’t pique my interest, but I would appreciate it.”
“[Chinese] crossover is when the lead instruments are being played with Chinese instruments. And it’s cool [be]cause ... yeah, it’s ... yeah. In terms of the music scales, it’s obviously still the same as what it is. Because it’s a cover, it’s not like they’re changing it to like a Chinese kind of scale musically. As in – so it’s pretty cool.”
“[Experimental Chinese music] reminds me of [traditional] Chinese but yeah, it’s interesting like experimental music to me is – yeah, super cool and abstract, and I like it. Yeah, it’s not something that I would listen to – I’m just intrigued by it. I appreciate it.”
“I don’t think we want a song talking about SARS as our Singapore song, you know what I mean? Mm. But – yeah, it is definitely very Singaporean. But I think on a global level, nah, I don’t think it will be very effective because nobody would really understand it. Unless they know what Singlish is.”
“No, I don’t think you can tell [if there is a Singaporean musical style]. But if you’re asking me sometimes in terms of production-wise, sometimes you can. In terms of quality, in terms of that. But I think when it comes to, um, like musicality, I think it’s difficult to say whether it’s Singaporean or not.”
“I think [Singaporean music] are more diverse. Like we’re a bit more open to certain genres. But maybe that’s just me. Not sure of about like the population in general, like majority of it. But local music is good.”
“Home (1998), you know the one that everyone sings along to because everyone loves it. Yeah. I think it’s because we were exposed to it when we were in school. So when we are exposed to that in school, and we are kinda taught to sing it with our friends and stuff, it builds like a community thing.”
“[Post-rock] is an expression [of my identity] but I wouldn’t say, “Oh, hi, my name is Jayni, and I’m all about post-rock.” So it doesn’t – it doesn’t really say like who I am. Yeah, but – but ... but yes, um, yeah, it’s – it’s more of – yeah, I would express myself with that, but I wouldn’t say it defines my identity.”
“I think I feel happiest when I’m able to express my creativity in that area. And ... I guess just like having fun, just jamming, just chilling and ... playing gigs as well just gives you a sense of joy. As simple as that I guess.”
“Um, who [I formed the band with] – basically my poly[technic] friends and why – I think because we had similar interests and in terms of genres we also had similar tastes in genres. Yeah, so – and – why, yeah I guess we just loved doing it.”
“Because we had a lot of opportunities when it came to, um, different projects that our friends were doing, so [opportunities to perform] just kind of hopped in our lap.”
“We can write from scratch and everything, and that’s what makes it fun, and that’s what makes it – ya, interesting. But I think covers is more for like fun because everyone kind of knows it, and we just like – randomly just start playing it. And ya, but I think we did focus a lot on the originals and spent more time on that.”
“Because we didn’t have lyrics. That’s the thing about post-rock. It’s mostly instrumental, that’s why it expresses so much more than what’s – so the message for people is just to chill. And – and it’s very open to interpretation because it’s – there’s no lyrics to set your mind on things. Takes you on a journey.”
“I think bringing local bands overseas is a big jump. I don’t think this would have happened like many years ago. So I think what NAC is doing is good. I think, um, NAC can help event organizers as well. And ... is there anything else we can do, um, I’m pretty sure there is a lot more they could do. But I think where it’s at now is also pretty good.”
“Singaporeans always need a push. But I think getting or forcing Singaporeans to appreciate the music is not really – wouldn’t really be effective. I think it’s more to do with exposure. I think if Singaporeans were exposed to more of – more local music, I think that’s where the appreciation comes in.”
“In terms of the English [Singaporean bands], I think, um, we have a lot of things that – like Baybeats and small little festivals, like a hundred bands and stuff like that coming up. And ... it’s nice like seeing all – the same faces when we go for gigs, and stuff like that. And ... in terms of Singapore [band] culture, yeah ... like we support each other whenever.”
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