ER Chiang Song 余昌松
Performing Arts in Singapore (Music),
Accession Number 003701
- Oral History Centre
Source
- 11
Total Reels
- Teo Kian Giap
Interviewer
- 10:26:55
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
- 30 Jan 2012
Recording Date
- 00:58:33
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Born in 1956, Singapore. Lived on Magazine Road which was known as Chai Chuan Tou (æ´è¹å¤´) area. Father worked as an accounts clerk in a fish trading company there. Talked about the area, including Tan Si Chong Su (ä¿èµ¤å®«éæ°å®ç¥ ). His rented apartment was above a warehouse, where python was reared to catch mice. Remembered the celebration of Lunar New Year in the area, such as the lighting of firecrackers on New Yearâs Eve, lion dance and visiting temples. The Hungry Ghost Month was also celebrated, with a number of Teochew and Hokkien opera troupes performing on the same evenings. Getai shows usually appeared before the Hokkien opera performances. The Moon Cake Festival was celebrated on a smaller scale. Mentioned the area Shan Zai Ding (å±±ä»é¡¶) and the storytellers and rental book stalls in front of Thong Chai Building. Intervieweeâs life revolved around the âTeochewâ area. Recalled opium dens along River Valley Road. His family moved to Tong Watt Road as it needed more space.
We will get back to your request within 5 working days
Reel/Disc 2 of 11
Metadata
- 30 Jan 2012
Recording Date
- 00:56:16
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Interviewee enjoyed music lessons in Nan Chiau Primary School (å桥女ä¸éå°) because of its systematic teaching. In River Valley High School, music lessons were taught by Mr Tian Ming Enâs (ç°é¸£æ©) wife, using a song book called Zhong Xue Ge Ji (ä¸å¦æé). He joined the National Police Cadet Corps in school. Interviewee could enter National Junior College but decided to continue his studies in River Valley High School as it was nearer home. Mentioned radio programmes he listened to. While in pre-university, his classmates invited him to join the schoolâs Chinese orchestra and to learn the âshengâ (ç¬) instrument in Jue Xin Symphony Orchestra (ææ°ç®¡å¼¦ä¹å¢), based in Yin He Hui Guan (åºåä¼é¦). The cost and mastering of the instrument meant that not many students learnt to play the sheng. Interviewee also had to persuade his family to buy one. He learnt the instrument under Mr Yeo Yong Chun (æ¨è£æ¥). Pioneer sheng players in Singapore did not have the opportunity to observe how the sheng was played. Interviewee spent a year in Jue Xin Symphony Orchestra. Interviewee played excerpts of two songs Feng Shou Ge (丰æ¶æ) and Hong Chou Wu Qu (红绸èæ²). There were not many Chinese orchestra music scores then. Musicians had to copy the notation by ear, which resulted in inaccurate scoring at times. During that period, certain song titles had to be changed to make it less politically sensitive for application of performance licence.
We will get back to your request within 5 working days
Reel/Disc 3 of 11
Metadata
- 6 Feb 2012
Recording Date
- 00:57:14
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
There was no music competition for school Chinese orchestras when interviewee was still a student. The River Valley Chinese Orchestra had in-house performances, coached by the conductor and seniors. While serving his National Service, interviewee joined the Red Cross Society Chinese Orchestra. The orchestra was later disbanded and members moved to form the National Theatre Club Chinese Orchestra (NTCO), together with members from the Teachers Chinese Orchestra (æå¸åä¹å¢). He said that Mr Liu Xi Wen(åé¡æ), Chairman of the National Theatre Club and a Teochew-music player, wanted to set up a Chinese Orchestra. He elaborated more on the Red Cross Society Chinese Orchestra. Quek Yong Siu (éæ°¸ç§) and Yeo Poong Poh (æ¨æ¦æ³¢) were the conductor and deputy conductors respectively. Talked about NTCO, which had joint performances with other clubs at National Theatre and held its own concerts at Victoria Theatre. Interviewee also joined Havelock (Community Centre) Chinese Orchestra, conducted by Yeo Siew Wei (æ¨ç§ä¼). Talked about the joint concert and rehearsals with Keat Hong Chinese Orchestra, where he played a sheng solo âThe Mountain of Yimengâ. At that time, one had to write the accompaniment music score for solo pieces. The Chinese orchestra community would support one anotherâs concerts. Mr Yeo Siew Mong (æ¨ç§è) took over as conductor for Havelock Chinese Orchestra. Several conductors of the Chinese orchestras in Singapore were members of the Peopleâs Association Chinese Orchestra. Havelock Chinese Orchestra became less active when fewer Tuan Mong High School alumni members joined the orchestra.
We will get back to your request within 5 working days
Reel/Disc 4 of 11
Metadata
- 6 Feb 2012
Recording Date
- 00:58:36
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Interviewee joined Havelock Chinese Orchestra for about five years. Members declined in subsequent years. With the demolition of Havelock Community Centre, the Chinese Orchestra was disbanded. Interviewee worked in two banks before joining People’s Association Chinese Orchestra (PACO) as a full time member. While serving his National Service, interviewee gathered information and materials on sheng playing. For example, he obtained the music and score of a work while on duty in Taiwan. As Singapore did not have the latest model for ‘shengs’ (with more reeds), their playing were restricted. Interviewee played part time for PACO while he was working. Interviewee learnt to play the suona from Mr Yeo Siew Wei when he was with the Havelock Chinese Orchestra. The visit of Oriental Song & Dance Company of China in 1979 had a great impact on Singapore's art scene. He had the opportunity to observe sheng playing and saw how ‘wu hua’ stone (五花石), was used to repair ‘sheng’. Singapore government official would sit in during the cultural exchange. He joined PACO as a full time member in 1982 when the orchestra expanded. Working hours and tasks. The orchestra performed regularly during community events. He talked about the conductor Mr Ku Lap Man (顾立民). Through the then Singapore Ambassador to Japan Lee Khoon Choy, PACO and a few arts groups performed in Japanese cities. Many members of PACO were formal members of the Youth Chinese Orchestra under the Ministry of Education (MOE).
We will get back to your request within 5 working days
Reel/Disc 5 of 11
Metadata
- 13 Feb 2012
Recording Date
- 00:58:40
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Interviewee listed other cultural groups under People’s Association (PA). In the early days, the People’s Association Chinese Orchestra (PACO) played pieces from Beijing Broadcast Orchestra's (北京广播乐团) repertoire. The PACO played in community events. PACO members were allowed to do private teaching. Interviewee taught at Singapore Foochow Association and NUS Chinese Orchestra. In 1987, interviewee went to Shanghai to learn 37-reed ‘sheng’ playing from Mr Weng Zhen Fa (翁镇发). He talked about 37-reed ‘sheng’. The design of ‘sheng’ varies across China, thus it may not be suited to play all ‘sheng’ pieces. In 1989, National Theatre Trust organized a concert featuring him and two other soloists. He played four solos in Victoria Concert Hall. More PACO members also held (joint) solo recitals after their performance.
We will get back to your request within 5 working days
Reel/Disc 6 of 11
Metadata
- 13 Feb 2012
Recording Date
- 00:58:10
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
No 6 Part I – 13/02/2012
The National Theatre Chinese Orchestra moved to Telok Ayer Performing Arts Centre when National Theatre was demolished. Mr Liu Xi Wen (刘锡文) passed away shortly and morale among students was low. The members decided to wind up the orchestra eventually. Interviewee left People’s Association Chinese Orchestra in 1990 and continued to teach in schools. The Singapore Youth Festival Chinese orchestra competition was introduced and standards of the school orchestras rose. However, he felt that schools place emphasis on competitions and some students joined the orchestras for co-curriculum activities points and were passive in appreciating the art form.
No 6 Part II – 20/02/2012
Interviewee elaborated on the years he joined the Red Cross Society Chinese Orchestra, National Theatre Chinese Orchestra and Havelock Chinese Orchestra. In 1991, interviewee and some musicians went to Alor Star (Kedah), Malaysia as judges and performers for a school orchestra competition. In the same year, he was the soloist with Keat Hong Chinese Orchestra, an event by the Ministry of Information and the Arts (MITA). He also performed in Beijing with the NUS Chinese Orchestra. Interviewee shared his experience teaching ‘sheng’ at Taichung and Kaoshiong in 1992.
We will get back to your request within 5 working days
Reel/Disc 7 of 11
Metadata
- 20 Feb 2012
Recording Date
- 00:57:57
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Interviewee continued his discussion on his teaching stint in Taiwan, including preparing his students for competitions. In 1993, interviewee became the ‘sheng’ instructor for the 80-member NTUC Chinese Orchestra, comprising union and non-union members. Change of leadership in NTUC and the formation of the Singapore Chinese Orchestra resulted in the disbandment of the orchestra eventually. Some members went to join Singapore Foochow Association and Yuhua Community Centre Chinese orchestras. Interviewee shared his 3-month study trip to Shandong province learning under ‘sheng’ master Mou Shan Ping (牟善平), supported by the National Arts Council (NAC). Mentioned that Singaporean musicians mostly did short term courses in China at that time. He went to Shangdong as he wanted to learn something different from the Shanghai and Beijing masters.
We will get back to your request within 5 working days
Reel/Disc 8 of 11
Metadata
- 5 Mar 2012
Recording Date
- 00:58:40
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Interviewee also took lessons from Mr Hu Tian Quan (胡天泉), a Shan Xi-style (山西) ‘sheng’ master. Interviewee knew him when Mr Hu was judging at the National Chinese Music Competition in Singapore. Talked about Shandong and Shanxi style of ‘sheng’ playing, and what he learnt from both masters. Upon his return to Singapore, interviewee planned a solo recital to showcase what he has learnt in Shandong. Talked about his preparation for the concert “The Tour of Resounding Sheng” (群笙之旅), the song selection, the venue etc. In 1996, interviewee set up the Nanyang Polytechnic Chinese Orchestra. Most members did not have any playing experience and there were several students from China. He had to use ‘jian sheng’ (键笙) instead of traditional ‘sheng’ in the orchestra, as the former was easier to learn. It is a common practice in school orchestra at time of recording. However, a lot of skills would be lost while playing ‘jian sheng’.
We will get back to your request within 5 working days
Reel/Disc 9 of 11
Metadata
- 5 Mar 2012
Recording Date
- 00:50:17
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Fewer Singaporean students are learning the traditional sheng. Felt that Singapore has now lagged behind Hong Kong and Taiwan in terms of traditional sheng playing. Interviewee stopped teaching in Nanyang Polytechnic due to difference in opinion on the direction of the orchestra. Mentioned briefly his other ‘sheng’ projects. Feeling that the traditional ‘sheng’ standard is lagging behind and wishing to profile his students, interviewee organized a joint concert in 2012, The Sound of “He”. One of the performers was his son Er Wei Sheng, which interviewee only taught him seriously recently. Interviewee also had two students from Malaysia performing in the concert. The aim of the concert was to re-introduce audience to traditional ‘sheng’ (in particular 37-reed ‘sheng’) and songs, and to provide a platform for his students. Compared to the previous concert in 1994, orchestra members, including student ‘sheng’ players, were lukewarm to the concert. Public attendance however was encouraging. He said that his aims for the concert were achieved. He hoped to do contemporary and Western works in his next concert.
We will get back to your request within 5 working days
Reel/Disc 10 of 11
Metadata
- 12 Mar 2012
Recording Date
- 00:55:39
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Interviewee talked about the importance of maintaining the ‘sheng’. He learns to improve his playing and at the same time seeks advice on how to repair ‘sheng’. He first saw the materials for maintenance : copper plate (紫铜盘) and ‘wu hua’ stones (五花石) when China National Song and Dance Ensemble troupe member showed them to him. In the past, there was only basic maintenance of sheng. The processes for sheng maintenance. These include preparing the wax, dismantling the reed, removing the old wax, cleaning the reed with porcelain, applying ‘wu hua’ stones powder onto the reed, and tuning the reed.
We will get back to your request within 5 working days
