Audience Reception, Musical Meaning and Cultural Resonance in Bunga Popi: Implications for Malaysian Art Song

Art songs combine poetry and music, with composers using musical elements to interpret the meaning of a text. In Malaysia, the genre has developed through different musical traditions, languages, and cultural practices, yet audience reception remains under-researched. Guided by Stuart Hall’s encoding/decoding framework, this study examines audience preferences for 14 Malaysian art songs performed at the 2024 Malaysian Poems & Art Songs concert, focusing on Bunga Popi by Tan Jay Tze, based on a poem by Usman Awang (1955). An explanatory sequential mixed methods design with a follow-up qualitative case study was conducted. Questionnaire responses from 72 audience (n=72) members were analysed using descriptive statistics and thematic analysis. Bunga Popi received the highest mean rating (M = 4.69) and was selected for musical and textual analysis and a semi-structured interview with the composer. Audience responses revealed three themes: (1) emotional resonance and impact, (2) artistic and musical excellence, and (3) sociopolitical relevance. Listeners commented on the song’s emotional expression, familiar pop-derived elements, vocal performance, and humanitarian and anti-war message. The comparison of audience responses, musical and textual analysis, and the composer’s intentions showed how listeners’ interpretations of the song’s emotional expression and poetic meaning aligned with certain musical features and the composer’s intended message. The findings contribute to a better understanding of audience reception of Malaysian art songs by highlighting how listeners respond to their musical, emotional, and cultural meanings within the context of a live performance.