Music of Singapore


Life in Singapore

Singapore has a diverse music culture that ranges from rock and pop to folk and classical. Its various communities have their own distinct musical traditions: the Chinese people form the largest ethnic group in Singapore, with Malays, Indians, and smaller number of other peoples of different ethnicity as well as Eurasians.[1] The different people with their traditional forms of music, the various modern musical styles, and the fusion of different forms account for the musical diversity in the country.

It has an urban musical scene, and is a centre for pop, rock, punk and other genres in the region. The country has produced in the 1960s bands like The Crecendos and The Quests, right up to the new millennium with pop singers such as Stefanie Sun and JJ Lin. Folk music includes the ethnic music traditions from the Chinese, Malay and Tamil communities. Singapore also has a lively Western classical music scene.

Popular music

Singapore has been a regional centre of music industry since the colonial period. Recordings of Chinese and Malay popular music were done at the EMI studio in Singapore in the colonial period, but until the 1960s, recordings were sent to be pressed in India and the records then sent back for sale.[2] It was a centre of Malay popular culture where Malay stars such as P. Ramlee were based, but after Singapore independence in 1965, the Malay music industry began to shift to Kuala Lumpur.[3]

In the 1960s, local bands in Singapore were inspired by Western groups such as Blue Diamonds, Cliff Richard & the Shadows, and The Beatles. Popular groups of the period included The Crescendos who performed in English with hit songs like "Mr Twister", The Quests who had hits like "Shanty", "Don't Play That Song", "Jesamine" and "Mr Rainbow", as well as other pop-rock bands including The Thunderbirds, The Trailers, The Crescendos, The Western Union Band, October Cherries and The Silver Strings. A Malay genre influenced by British rock and pop called Pop Yeh-Yeh emerged in the 1960s.[4][5] The bands performed in the Malay language, although some may also performed in English or were instrumental. Malay pop bands of the 1960s included Naomi & the Boys who produced a household hit song "Happy Happy Birthday Baby", D'4 Ever, Antarctics, Mike Ibrahim & the Nite Walkers, Swallows, Ismail Haron & the Guys, and Les Kafila's. In the late 1970s and early 1980s saw the rise of rock bands such as Sweet Charity fronted by the vocalist Ramli Sarip.[6] The band had such an influence in the Singapore and Malaysia music scene that it later led to a rock explosion in the mid 1980s.

Stefanie Sun, a pop singer from Singapore

Singapore also emerged as a centre of local Chinese recording industry in the 1960s, producing Chinese pop music in Mandarin with local singers.[7] From the 60s to the 80s, local stars such as Chang Siao Ying (張小英), Sakura Teng (樱花), Rita Chao (凌雲), and Lena Lim (林竹君) were popular in Singapore and Malaysia.[7] A few, such as Lena Lim, also had some success outside the region.

The pop music industry thrived by the 1980s, with several recording companies producing Chinese records by local as well as Taiwanese singers. Starting in the mid 1980s, a genre of Mandarin ballads called xinyao began to emerge with singers and/or songwriters such as Liang Wern Fook, Lee Shih Shiong, and Billy Koh.[8][9] Local music labels such as Ocean Butterflies International and Hype Records were established. From the 1990s onwards, many Singaporean singers such as Kit Chan, Stefanie Sun, JJ Lin, Tanya Chua, Corrinne May, Fann Wong, Mavis Hee, and Ho Yeow Sun had achieved wider success outside of Singapore.

Ethnic traditions

Chinese

There are speakers of various dialects amongst the Chinese population, such as Hokkien, Hakka, Cantonese, Teochew and Hainanese. Different dialect speakers may have their own clan associations which support their respective forms of opera. The earliest amateur music club in Singapore is the Er Woo Amateur Music & Dramatic Association (馀娱儒乐社) set up in 1912 by Teochew businessmen, initially to promote music of the Hakkas (Hanju opera and Handiao music), later also Teochew opera.[10] A number of recordings of Hanju opera performed by Er Woo were made in the 20s and 30s. Many amateur opera troupes that performed in various dialects were later established.[11] The opera troupes typically performed during festivals and national events, and may also hold regular small-scale performances, or large-scale ones annually or biannually.[12] During Chinese festivities there is also a minstrel tradition called zouchang (walk-sing), which involves walking performance by members of the operatic troupes. In the past there may be makeshift stages which appeared during festivities along the street where operas may be performed, however operas have declined as popular entertainment and these have been replaced by getai where modern songs and comedy routines are performed.[1]

There are many traditional full-sized Chinese orchestras in Singapore. The first Chinese orchestra was formed in 1959 by the Thau Yong Amateur Musical Association (陶融儒乐社), which was established in 1931 by former members of Er Woo.[10] The Singapore Chinese Orchestra is the only professional Chinese orchestra in Singapore,[13] however amateur Chinese orchestras formed by clan associations, community centres and schools are common.[14] There are also chamber ensembles such as those of the Nanguan tradition.[15] Drumming performances which accompany the traditional Lion Dance are also popular.

Malay

Music genres popular in neighbouring Malaysia and Indonesia, such as Dondang Sayang and Keroncong, were also popular among Malays in Singapore. Vocal performances accompanied by kompang and hadrah drums are among the most popular types of Malay music in Singapore, and may be performed during weddings and official functions. Other vocal genres such as dikir barat and ghazal are also popular.[1] An old tradition of Malay opera called Bangsawan existed since the 19th century but had declined, although there are modern attempts at reviving the genre.[16]

Indian

Hindustani and Karnatic music are two forms of Indian classical music that may be found in Singapore. Other forms of music that are popular are Bhajan and Bhangra music,[1] and professional Bhangra troupes may perform at festivities and special events.

Peranakan

The Peranakans are descendants of early Chinese immigrants who had intermarried with the local Malay population, or had adopted, partly or fully, Malay customs. Their folk music is noted for its fusion of English in Malay-inspired tunes, largely because the Peranakans themselves are often conversant in both languages. Contemporary tunes continue to be composed based on the Peranakan culture, such as "Bunga Sayang", a theme song from Dick Lee's musical "Kampung Amber". The song became an often-sung staple of the National Day Parade, and gained international exposure when it was performed for the opening ceremony of the 117th IOC Session at the Esplanade.

Western classical music

A concert in Singapore by the Orchestra of the Music Makers.

Western classical music plays an significant role in the cultural life in Singapore, and at its center is the Singapore Symphony Orchestra (SSO) which was instituted in 1979. The main performing venue for the orchestra is the Esplanade Concert Hall, with the occasional free performances in parks.[17] Other notable orchestras in Singapore include Singapore National Youth Orchestra which is funded by the Ministry of Education,[18] the community-based Braddell Heights Symphony Orchestra,[19] The Philharmonic Orchestra,[20] Orchestra of the Music Makers, and National University of Singapore Symphony Orchestra.[21]

Yong Siew Toh Conservatory of Music

The Yong Siew Toh Conservatory of Music, which is part of National University of Singapore and operates as an international franchise of the Peabody Conservatory, serves as a centre of training for young musicians of the region.[22]

Well-known classical musicians from Singapore include Lynnette Seah, Lim Soon Lee, Vanessa-Mae, Siow Lee Chin, and Abigail Sin.

Rock music

Alternative and indie rock music influenced bands in the 1990s such as Concave Scream, Humpback Oak, The Padres, Oddfellows, and Livionia. In the Pop/Rock genres were "KICK!", Lizard's Convention & Radio Active.

Recently, alternative, metal, grindcore, punk rock and rock acts from Singapore who gained some profile outside Singapore include Analog Girl, John Klass, Firebrands, Stompin' Ground, Ling Kai, Inch Chua, Ronin, Anna Judge April, Electrico, Force Vomit, The Observatory, 4-Sides, Vermillion, West Grand Boulevard, Plainsunset, Etc, Caracal, Popland, The Great Spy Experiment, The Sam Willows, Sky In Euphoria, Rancor, Saw Loser (formerly known as Pug Jelly), Malex, A Vacant Affair, For Better Endings, Death Metal and Rudra, who are significant for creating the genre "Vedic Metal".

Lion City Hardcore

Lion City Hardcore(LCHC) is the hardcore punk scene of Singapore. The establishment of LCHC dates back to the late 80s/early 90s. Pioneered and established by local hardcore group Stompin' Ground which soon after the release of their album "We Set The Pace" exposed much of hardcore punk music both in Singapore & South East Asia and soon spawned more local and regional hardcore bands. Much of the local hardcore scene in Singapore were derived and influenced by the New York Hardcore(NYHC) scene. The LCHC scene is still thriving with bands such as Overthrown, Sidekicks, Mouthful of Air, Suhaimi And The Union Of Equals and Abolition A.D, etc. Bands from around the world have performed in Singapore, including the Canadian Comeback Kid, American hardcore punk bands Sick of It All, youth crew group Bold, Boston hardcore band Bane, Shai Hulud, NOFX, Fugazi, The Oppressed, Death Before Dishonour & straight-edge group Have Heart, Cruel Hand, Terror and First Blood originating from Los Angeles.

Metal

Metal has a small but not insignificant presence in Singapore's music scene. Many metal bands such as Iron Maiden, Exodus, Morbid Angel, Slayer, Dream Theater and Helloween made Singapore a stop in their tour, at venues such as Fort Canning Park and Singapore Indoor Stadium. Small to medium scale gigs are held almost weekly at locations such as BlackHole212 or The Substation. Most recently, on 15 February 2011, Iron Maiden played to a crowd of 12,000 at the Singapore Indoor Stadium.

There have also been many notable local metal bands from many varying subgenres in the growing underground scene. Special mention includes:

There is however little support for metal in Singapore's mainstream media. The heavy metal scene in Singapore therefore has established its own ways of disseminating information by utilizing popular internet based social mediums such as Facebook, Twitter and blogs. One notable organisation is Heavy Metal Tribune, which features many local metal acts as well as others from other parts of the world, mainly to allow each region to reach out to one another, while providing local metalheads to know what they are up against. Heavy Metal Tribune also provides gig organisers with a platform to publicise their events, via their Facebook wall or its monthly publication.[27] Some Metal music of this generation may be featured occasionally on Brader Bo's show, Vicious Volume of RIA 89.7fm. Oshiego was also featured in Lime Magazine's 30 Hottest Local Acts, a compilation CD, with the song "Now Suffer" originally from the titular EP.[28]

List of Singapore Metal Bands (Previous and Current)

  • Abhorer (Black/Death/Thrash)
  • Absence of the Sacred (Death Metal)
  • Across The Abyss (Oriental Metal)
  • Aeondrift (Avant-Garde Progressive Electro-Metal, Nintendo Core, Djent)
  • Age of Sinfonia (Symphonic Metal)
  • Analdicktion (Brutal Death Metal/Grind)
  • Assault (Melodic Death Metal)
  • Azra-el (Melodic Death Metal)
  • Bastardized (Doom Melodic death Metal)
  • Battlestorm (Black/Death Metal)
  • Beastial Devotion (Deathcore)
  • Bhelliom (Death-Thrash Metal)
  • Blood Of The Arsonist (Metal)
  • Cardiac Necropsy (Death Metal)
  • Chaos Aftermath (Futuristic Metal, Melodic Death-Thrash Metal)
  • The Corruptor (Death N Roll)
  • Crucifixion
  • Dante's Theory (Djent, Technical Death Metal)
  • Deus Ex Machina (Death-Thrash Metal)
  • Doxomedon (Brutal-Technical Metal)
  • Draconis Infernum (Black Metal)
  • Dyeth (Death Metal/Grindcore)
  • Dystopian (Black/Thrash Metal)
  • E-thereal (Melodic Death Metal)
  • Eibon (Melodic Black Metal)
  • Exuberance (Melodic Black Metal)
  • Harvester (Melodic Black Metal)
  • Hella Morrigan (Black/Doom Metal)
  • Helvette (Black Metal)
  • Impiety (Black/Thrash Metal)
  • Incarnation Ov Seth (Melodic Death/Black Metal)
  • Infernal Execrator (Black/Death Metal)
  • IronFist (Sex Metal)
  • ITNOS (Brutal-Technical Metal)
  • Kaliyuga (Melodic Death Metal)
  • Kalodin (Melodic Black/Death Metal)
  • La'Dies 靈骸 (Gothic Punk Metal)
  • Libation (Black Metal)
  • Luna Azure (Black Metal)
  • Magnicide (Emo-Grindkodoks)
  • MetalGunz (Heavy Metal/Rock & Roll)
  • MeltgSnow (Heavy Metal)
  • Meza Virs (Gothic/Black/Death Metal)
  • Nechbeyth (Black/Death Metal)
  • NoRestForTheWeary (Deathcore/Djent)
  • Oshiego (Death-Thrash Metal)
  • Pycho (Old-School Death Metal)
  • Rudra (Black/Death Metal, Vedic Metal)
  • Sanity Obscure (Progressive Death Metal)
  • Scaphoids (Progressive Thrash Metal)
  • Soul Devour (Death Metal)
  • Stillborn
  • Suicide Solution (Heavy Metal)
  • Thy Fallen Kingdom (Thrash Metal)
  • Tormentress (Thrash Metal)
  • Truth Be Known (Death-Thrash Metal)
  • Vrykolakas (Death Metal)
  • Vulgate Dogmas (Deathcore/Death Metal)
  • Wormrot (Grindcore)
  • Xanadoo (Thrash Metal)
  • Zushakon

Experimental/Improvised

Two Singapore rock bands of the 1970s and 1980s, Heritage and Zircon Lounge, showed tendencies to create music beyond conventional rock idioms. In the late 1980s, Corporate Toil baited audiences with noisy electronic performances influenced by industrial/new wave bands like Suicide or Einstürzende Neubauten. In the 1990s, Kelvin Tan produced literally dozens of albums of avant folk and improvised guitar, as well as assembling the short-lived Stigmata featuring bassist Ian Woo and saxophonist Kelvin Guoh. Zai Kuning, largely known as a visual artist and dancer, lived for a period in Japan and collaborated musically with Tetsu Saitoh, a famed Japanese cellist. Zai also created his own form of Malay folk and gypsy blues music, singing incantations in his deep tenor while playing a loose form of open tuning guitar.

By the late 1990s and into the 2000s, a group of experimental laptop artists appeared: George Chua, Yuen Chee Wai, Evan Tan, Ang Song Ming, and Chong Li-Chuan, the last having received the bachelor's and master's degrees in music at Goldsmiths College, University of London. Straddling the world of digital effects and acoustic instruments was the duo aspidistrafly, who eventually gained an enormous following in Japan, producing their own music and running their kitchen.label. The Observatory, a supergroup formed from the ashes of Leslie Low's folk rock Humpback Oak trio, have been widely regarded as one of the best bands in Singapore, with Yeow Kai Chai of The Straits Times writing, "No other Singapore band, past or present, has captured the imagination quite like The Observatory."[29] With every album, The Observatory have pushed at the limits of the song form, incorporating prog rock, jazz, avant garde guitar, drones, black metal, and more. Musical outsiders Engineered Beautiful Blood blazed a hot trail of no wave improvised rock, then stopped playing in 2009. However, their members eventually formed a larger improvised rock ensemble, I\D, which itself would splinter off into smaller groups and configurations. Around the middle of the 2000s, another grouping calling themselves Under the Velvet Sky wowed audiences with their performances that evoked prog rock, free jazz, traditional Malay and Chinese music, and more. Again, the loose nature of the collective enabled them to create other projects such as Gulayu Arkestra, Five Leaves Left.

The Flux_Us store at Peninsular Plaza, opened and run by the Singapore Sonic Arts Community, was an important space for a good two to three years circa 2006–2007. Besides stocking local experimental music releases, they also imported CDs and records from international labels like Fonal, Rune Grammofon, Paw Tracks, Sublime Frequencies, Kranky, and more, being practically the only retailer where one could find such music. They also organised in-store gigs featuring local and international artists such as Lucas Abela. Above all the store provided a physical space for like-minded musicians and fans to meet and share ideas.

The influence of an expatriate community cannot be ignored. Lindsay Vickery (Aus), Tim O'Dwyer (Aus), Darren Moore (Aus), Brian O'Reilly (US), all at some point associated with the music programmes at LASALLE College of the Arts, were involved in organising showcases and festivals of experimental and improvised music. Their interaction and collaboration with local players energised the local experimental music community.

Since 2010, Ujikaji was established as a do-it-yourself experimental music label, distro and event organiser. It has released albums by Magus, Dream State Vision, and Awk Wah. It has been a partner of The Observatory in the innovative Playfreely series of improvised music events.

Singaporean Ex-Pat Musicians

As Singapore is a small country without a large music scene, many Singaporeans have left the country in order to pursue their artistic interests or were moved by their parents at an early age. Notable examples include violinist Vanessa-Mae, conductor Darrell Ang, singer-songwriter Dawn Xiana Moon and Sophie Koh (Australia)

National Day songs

Of particular note to the Singaporean music scene is what are often collectively known as National Day Songs (国庆主题歌). Written as part of Singapore's nation-building efforts, they either incorporate local folk songs (such as "Chan Mali Chan"), contemporary songs ("The Magic Is You"), or are specifically composed around a particular theme for the National Day Parade which is held every year on August 9.

In 1984, Stand Up for Singapore, was initially created for the sole purpose of celebrating Singapore's achievements in 25 years of self-government. Commissioned by the Ministry of Culture and composed by Hugh Harrison, the song struck a chord with Singaporeans, especially when they heard it performed by the New York Philharmonic Orchestra, and so the first 'official' National Day Song was born. The government, realizing just how much the public enjoyed singing as a way of celebrating, commissioned a new song for 1986. As a result, Count On Me, Singapore, also composed by Hugh Harrison, arranged by Jeremy Monteiro and performed by Clement Chow, became the 2nd 'official' National Day Song. The trend continued the next year, 1987, with We are Singapore, again composed by Hugh Harrison and arranged by Jeremy Monteiro. Then, in 1990 with the addition of One People, One Nation, One Singapore composed by Jeremy Monteiro with lyrics by Jim Aitchison for the nation's Silver Jubilee - 25 years of independence, the list of 'official' National Day Songs topped out at four.

Since 1998, National Day Songs have become less 'grandiose' and more popular in nature being composed for and sung by selected local artists and sometimes even included in their albums to be marketed overseas.

Other community-building songs:

An ad-hoc offshoot of these National Day Songs are the songs specially composed for groundbreaking events. A prominent example was the song Moments of Magic, written by Hype Records CEO Ken Lim specially for Singapore's millennium celebrations towards the end of 1999. It was performed by three notable singers - Fann Wong, Tanya Chua and Elsa Lin. The music video was directed by Singapore filmmaker Eric Khoo.

The Esplanade

Esplanade - Theatres on the Bay

The 2002 launch of the arts centre, Esplanade - Theatres on the Bay, has served to focus the island's multi-genre music making. It is now the venue for the Singapore Symphony Orchestra's subscription and gala concerts. In addition, the arts centre has ensured a representation of classical and traditional music from the four primary cultures in the land. In particular, the regular festivals of Hua Yi, Pesta Raya and Kalaa Utsavam ensure that interpreters of these different repertories are heard on a regular basis.

The Esplanade - Theatres on the Bay also presents 3 music festivals, including Baybeats which aims to groom the local alternative music scene and youth culture, providing opportunities for youths and the music community to participate and enjoy their own music at low cost. Many ticketed as well as non-ticketed performances at Esplanade - Theatres on the Bay feature local musicians from Singapore.

See also

References

  1. ↑ 1.0 1.1 1.2 1.3 Lee Tong Soon. "Singapore". In Terry Miller, Sean Williams. The Garland Handbook of Southeast Asian Music. Routledge. ISBN 978-0-415-96075-5.
  2. ↑ Craig A. Lockard (1998). Dance of Life: Popular Music and Politics in Southeast Asia. University of Hawai'i Press. pp. 217–218. ISBN 978-0-8248-1918-7.
  3. ↑ Craig A. Lockard (1998). Dance of Life: Popular Music and Politics in Southeast Asia. University of Hawai'i Press. p. 220. ISBN 978-0-8248-1918-7.
  4. ↑ Tom Schnabel (March 26, 2013). "Pop Yeh Yeh, 1960s Music from Singapore and Malaysia". PRI's The World.
  5. ↑ "Melayu Pop Yeh Yeh 60an Swallows with Andy". Singapore 60s Andy's Pop Music Influence. April 29, 2009.
  6. ↑ World and Its Peoples: Malaysia, Philippines, Singapore, and Brunei. Marshall Cavendish Corporation. 2007. p. 1281.
  7. ↑ 7.0 7.1 Craig A. Lockard (1998). Dance of Life: Popular Music and Politics in Southeast Asia. University of Hawai'i Press. pp. 224–228. ISBN 978-0-8248-1918-7.
  8. ↑ Boon Chan (3 August 2013). "Xinyao uniquely Singapore". The Straits Times.
  9. ↑ "An Introduction to Xinyao". Xinyao Singapore.
  10. ↑ 10.0 10.1 Frederick Lau (2007). Music in China. Oxford University Press. pp. 149–151. ISBN 978-0-19-530124-3.
  11. ↑ Tong Soon Lee (2008). Chinese Street Opera in Singapore. University of Illinois Press. p. 80. ISBN 978-0-252-03246-2.
  12. ↑ Tong Soon Lee (2008). Chinese Street Opera in Singapore. University of Illinois Press. pp. 85–88. ISBN 978-0-252-03246-2.
  13. ↑ "Singapore Chinese Orchestra (SCO)". Web Archive Singapore. National Library Board Singapore. Retrieved 2009-03-16.
  14. ↑ "Acclaimed orchestra maestro lives, breathes Chinese music". The Straits Times. 7 August 2013.
  15. ↑ Koh Sze Wei (May 30, 2006). "Nan Yin – A Historical Perspective".
  16. ↑ Norman Cho. "Bangsawan In Singapore". Bukit Brown.
  17. ↑ The Rough Guide to Singapore. Rough Guides. pp. 155–156.
  18. ↑ "Singapore National Youth Orchestra". Ministry of Education.
  19. ↑ Steven Ang. "Music director Adrian Tan ushers in new era for Braddell Heights Symphony Orchestra". Time Out Singapore.
  20. ↑ "About Us". The Philharmonic Orchestra Singapore.
  21. ↑ "NUS Symphony Orchestra". National University of Singapore.
  22. ↑ by Patricia Shehan Campbell, Trevor Wiggins, ed. (2013). The Oxford Handbook of Children's Musical Cultures, Volume 2. Oxford University Press. p. 344. ISBN 978-0199737635.
  23. ↑ http://repository.nie.edu.sg/jspui/bitstream/10497/970/1/VedicMetal.pdf
  24. ↑ http://www.bastardized.org
  25. ↑ Drummer KEVIN TALLEY To Guest On ABSENCE OF THE SACRED Album
  26. ↑ http://www.thegauntlet.com/article/1225/17781/Earache-Records-signs-Wormrot.html
  27. ↑ http://heavymetaltribune.com/wp/heavy-metal-tribune-zines/
  28. ↑ http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=31929599&blogId=360668631
  29. ↑ Yeow Kai Chai (26 August, 2005). "Writing's on the Walls". The Straits Times. Page 10. Retrieved 18 August 2014.

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