QUEK Yong Siu 郭永秀
Performing Arts in Singapore (Music),
Accession Number 003379
- Oral History Centre
Source
- 11
Total Reels
- Lye Soo Choon 赖素春
Interviewer
- 09:35:31
Total Running Time
- Mandarin
Language
Copyright Notice
All rights to the recordings and transcripts on this website, including the rights to copy, publish, broadcast and perform, are reserved. Written permission is required for any use. If you have any queries, please contact nas@nlb.gov.sg
Reel/Disc 1 of 11
Metadata
- 7 Apr 2009
Recording Date
- 00:56:23
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Born 1951 Chenghai澄海, China. Came to Singapore at age of six. Recalled the place he stayed in Singapore during his childhood, along Singapore River and village at Bukit Merah in 1950s. Studied in Tao Nan School. Using frog skin to made drum and Erhu二胡. Recalled hearing someone playing piano at Tao Nan School. Father was traditional, only wanted him to concentrate in studies, had conflicts with his father. Heard his friend sang folk song when he was young. Father forbidden him to play music. Places that he stayed when he was young. Writing was his way of venting when he had conflicts with his father during secondary school days. Recall writing to a classmate who had cancer. The blow he had when the classmate passed away. Quitted high secondary school due to conflict with his father, applied to be craft teacher in Institute of Technical Education (ITE). Continued his study in Singapore Poly. Why he stopped writing in early 1970s. How he started to learn music.
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Reel/Disc 2 of 11
Metadata
- 7 Apr 2009
Recording Date
- 00:52:20
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*How he joined National Theatre Youth Group, left half a year later. Self-leant harmonica and Dizi 笛子 (Chinese transverse flute). Joined People's Association (PA) Chinese Orchestra 人民协会华乐团, played Dizi. Things he learnt from conductor Ma Wen马文. Why the Orchestra did not development much. Continued to study music with Ma Wen when Ma Wen returned to Hong Kong. Took Ma Wen’s advice, focus on composing and conducting. Standard of the Orchestra raise during conductor Wu Da Jiang 吴大江period, more members were enrolled. Changes in the Orchestra when a group of members from National Theatre Youth Group joined in. Left the Orchestra and form Jue Xin Orchestra 掘新管弦乐团, intended to compose Singapore music. Why he left Jue Xin Orchestra. Joined Chinese orchestra under Singapore Red Cross Society in mid 1970s, became conductor and helped to teach Erhu二胡. Recall “杨桃结果满上岗” that he composed came in second in competition. Inspiration and how he wrote the song. Composed “新加坡向你微笑” and won second in competition in 1977. How Chinese orchestra under Singapore Red Cross Society was disbanded. Changes in conductors in various orchestra groups in 1970s.
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Reel/Disc 3 of 11
Metadata
- 27 Apr 2009
Recording Date
- 00:54:34
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Former members of Singapore Red Cross Society were asked to joined National Theatre Club Music group after the Orchestra had disbanded. Learnt composing and music theory from Shen Ping Kwang沈炳光. A group of members from Ministry of Education orchestra also joined the Club. Cited example on how he suggested one member to change musical instrument. How he discovered Ci Zhong Suona次中唢呐. How he incorporated Kou Di 口笛 into the Orchestra. Why he left National Theatre Club. Recalled happenings in Jue Xin Orchestra 掘新管弦乐团 which he felt hurt. How he recruited members for Lee Howe Choral Choir李豪合唱团. Learnt symphony from Lee Howe. Recall handmade instrument in childhood days. Songs he learnt in primary school. How he learnt Erhu二胡 and harmonica. Joined National Theatre Youth Group and then People's Association Chinese Orchestra playing Erhu. Why he learnt composing. His self-learning process. Correspondence course that he took with conductor Ma Wen 马文. Joined composing course organized by National Theatre. Music training he had with Shen Ping Kwang. Compared the differences between what he learnt from Ma Wen and Shen Ping Kwang. Took music examinations.
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Reel/Disc 4 of 11
Metadata
- 27 Apr 2009
Recording Date
- 00:49:03
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Music theories that he learnt from Shen Ping Kwang沈炳光. Unrealistic to be professional musician in Singapore in 1980s. How conductor Wu Da Jiang 吴大江 influenced him. Things he learnt from Li Hao李豪. Talked about conducting, how he chose which piece of music to conduct and how he expressed it. Learnt contemporary mucis from Leong Yoon Pin 梁荣平. Things he learnt from Phoon Yew Tien潘耀田. Teaching electronic in Institute of Technical Education (ITE). His teaching profession and music had no conflict with each other. Rather his knowledge in electronic allowed him to understand sound processing better. It also helped when he was doing radio programme for Radio Heart 100.3FM on amplifier (发烧友) in 1990s. Elaborated on the changes in the way he composed music works over the years, cite example. Talked about <听雨> that he composed for Pipa琵琶 and string instrument. First started composing at age of seventeen. Took part in competition and won second in 1970s which gave him confidence. Composed more folk music using minor 民乐小调 at that time. Advice that Ma Wen 马文 gave him. Tried to write major大调 and later wrote more art songs艺术歌曲.
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Reel/Disc 5 of 11
Metadata
- 27 Apr 2009
Recording Date
- 00:54:52
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Content of the music pieces he composed. Literary books he wrote. His views about music, had no biases on the content and the types of music. How he composed music pieces with lyrics provided to him. Hope to compose according to his preferences, but will treat those asked by others to compose as challenges. Contemporary poems he wrote, why not suitable to compose to song. Cited example on getting inspiration from poem he wrote and composed Yu De Lian Xiang （雨的联想）as Pipa 琵琶and string instrument弦乐 music piece, content of the piece. Challenges in composing the piece using two types of instruments. Differences in composing song and music. Process of composing, elaborate with examples how he used various musical instruments. Talked about being a conductor for Chinese orchestra. How he was engaged to be conductor for Lee Howe Choral Society李豪合唱团 in early 1980s. National Theatre Trust engaged him to be conductor of Chinese Orchestra. Performances they had. Music pieces wrote for dance group. Performances he took part. Left music circle in 1990 to take care of his child.
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Reel/Disc 6 of 11
Metadata
- 21 Jul 2009
Recording Date
- 00:55:13
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Arrangement he made before he left National Theatre Dance Group in 1990. Developed interest in photography. Started to write reviews of musical performances since 1980s, how he wrote. Published collections of his review Yue Yun《乐韵》in 1990s, feedbacks he received were encouraging. How Chinese orchestra groups were different from western music groups. Reviews he wrote about choir performances. Felt that no research had been done for music and choir history in Singapore and this became a mission for him to record the performances. Process of writing reviews and how he handled pressures from it. How he was engaged by radio station to do music programme, music he chose for the radio programme. Books that he published from 1980s to 1991. Reduced his involvement in music in 1990s to take care of his child. Recalled Journey of Tang’s poetry 唐诗之旅 in 1980, a performance of poems, music and dances. How he composed music for Man Jiang Hong《满江红》. Recalled a talk that he gave on composing. Composed fewer pieces due to workload, could not do it without support from his wife.
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Reel/Disc 7 of 11
Metadata
- 21 Jul 2009
Recording Date
- 00:48:57
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*How he got to know broadcaster from UFM 100.3职总心电台. Improved himself while doing music programme for UFM100.3. Felt happy doing radio programme, Talked about a series Fa Shao You发烧友 which he put in his technical knowledge. Did folk music programme for Capital FM95.8. Did music programme for Radio Singapore International till it closed down in 2008. TV programme about his teaching in Institute of Technical Education (ITE) was made by Mediacrop Channel 8 in 2009. How he prepared the content for radio programme he did since 1970s. How he joined the Association of Composers (Singapore) 作曲家协会 in 1980s, became its President since year 2000. His involvement and activities of Association of Composers. Changes in the Association over the years. How they recruited members. Yearly plan of the Association.
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Reel/Disc 8 of 11
Metadata
- 27 Jul 2009
Recording Date
- 00:56:09
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
How Singapore Chinese Music Association 新加坡华乐协会was formed. Its objectives. The Association had helped to mediate disputes and reduce misunderstanding among groups and individuals. Activities and members of the Association. Talk about Dong Fang Nan Sheng He Chang Tuan 东方男声合唱团(eastern male choir). Being the conductor, how he worked with them. How the Choir came under Char Yong (Dabu) Association. How the Choir had joint performance with overseas artists. Talk about funding issues. How they recruited members. Most of the songs they performed were Mandarin. Members of the Choir. Interviewee being member of Singapore Chinese Orchestra (SCO) Artistic Panel. His long term relationship with SCO. Chinese orchestra examination held by National University of Singapore Chinese Orchestra. Talk about Ding Xiao Yan Ruan Zhu Musical Group丁晓燕阮族乐团. How interviewee got interested in musical instrument Ruan阮. Talk about Ruan and its development in Singapore.
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Reel/Disc 9 of 11
Metadata
- 27 Jul 2009
Recording Date
- 00:56:21
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*How Whampoa Arts Station 黄埔艺术站 was formed, its founder Sim Piak How沈璧浩. How interviewee was invited to join the Station. Young musicians graduated from Nanyang Academy of Fine Arts (NAFA) recruited by interviewee to join the Station. Interviewee’s duties as the vice-chairman of the Station. Talked about “Sharing Memories in Joy”往事一起回味 hosted by Wu Wei Cai吴伟才 for the Station, how popular it was. Interviewee involvement in photography activities. Instrumental music that he composed, cite examples on how he gained inspiration to compose them. Music pieces he wrote in various forms. Music he wrote for dance. Process of composing and amending his music for dance performance. How he worked with dance instructor in amending his music works. Talked about conducting orchestra for dance performance. Differences in songs that he composed over the years. Various types of songs he composed for choir and Buddhism organization. Religious songs he wrote, elaborate on his views on this type of music.
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Reel/Disc 10 of 11
Metadata
- 23 Mar 2010
Recording Date
- 00:53:43
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*His first solo concert, presented his music pieces held in 2005. Received help from many friends and the concert was well received. How he chose which piece to be presented in the concert. Made new arrangement for his music piece, elaborate with examples. How he arranged singer to perform his songs. How he chose which songs to be performed. Sponsorships he received for the concert. How he arranged the last item of the concert. Held another concert in Beijing in 2006, performed by Beijing professional choir. Why his works were well received by China audience. Willing to provide his score to other, not very concern about copyrights as his aim was to promote music. His views on copyrights issues. Changes of The Composers and Authors Society of Singapore (COMPASS) over the years. Compare the differences between his concert in 2005 and 2006. Felt that the China choir that performed his works in Beijing was very professional and he was surprised that his works could be expressed in new ways. How he managed to get a chance to hold his concert in China. Had more confidence after the concert. Why he was able to uphold his interest in music, did felt tire but never thought of giving up. “Artistic Excellent Award” he received from COMPASS in 2003. His guideline for being a judge of competition. How to finalise the results when judges had different views.
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