School of Creative
Industries
Samantha Tham
Samantha Tham is a driven individual whose passion revolves around the sphere of music. Having been a wind band flautist for more than 10 years, Samantha constantly explores various disciplines to broaden her creative pursuits, integrating her communications background with administration in the arts. During her time at LASALLE College of the Arts, Samantha was involved in the inauguration of URA’s Project Rediscover at Telok Ayer, playing a multifaceted role overseeing aspects such as design and digital outreach of the students-led project. Samantha’s current interest is on audience development and engagement. Her undergraduate thesis explores how Chinese instrumental music organisations in Singapore can reach out to Generation Z. Samantha also enjoys graphic design on the side.
Thesis abstract
Reaching out to Generation Z: a study on Chinese instrumental music in Singapore
Attracting new audiences amidst the current backdrop of digitisation and in a new pandemic world is a priority for Chinese instrumental music organisations in Singapore. Generation Z (Gen Z), post-millennials currently aged 16 to 25, present untapped opportunities of growth for Chinese instrumental music in Singapore’s evolving arts scene. Possessing different habits, expectations and consumption patterns, this study aims to examine the accelerating divide between Chinese instrumental music and Gen Z in Singapore, to discover means and methods for Chinese instrumental music organisations to develop Gen Z audiences.
Understanding the relationship and perceptions between Chinese instrumental music and Gen Z in Singapore, this paper embarks on a sequential mixed-method study conducted amidst the COVID-19 pandemic. Elements of the study include firstly, a survey on Gen Z in Singapore which seeks to understand music consumption habits and the perception of the art form. Qualitative interviews were then conducted with managers of various Chinese instrumental music organisations which informs inner workings of the industry and its challenges faced. Lastly, additional qualitative data was derived through qualitative interviews with Gen Z Chinese instrumental musicians and a focus group with Gen Z participants. This enabled a deeper understanding of themes emerged. The paper will provide pertinent suggestions that aims to empower the community of Chinese instrumental music practitioners and companies in engaging Gen Z.