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如果將崔健的專輯《新長征路上的搖滾》視為中國搖滾樂的正式開端,中國搖滾樂儼然已有近三十年的歷史。作為一種西方另類文化產品的追隨者,中國搖滾樂並沒有簡單複製西方搖滾樂史;作為一種流行次文化現象,中國搖滾樂生動地反映和再現着中國社會的面貌及其歷史變遷,而這一在中國文化語境下的反映和再現則正是中國搖滾樂作為一種風格的原創性所在。本文試圖探討中國搖滾樂中的「中國元素」。為了能夠縱觀這三十年的歷史,筆者特意挑選崔健、唐朝樂隊、二手玫瑰樂隊作為三個「十年」的突出代表來進行考察。 ; 作為中國搖滾樂的先驅者,在崔健的音樂作品中保留著一種「紅色情結」,一些革命年代的印記依舊會在他的歌曲中顯現;另外,崔健的一句「一無所有」喊出了那一代青年人的心聲,這種直白地表達在當時不自覺地帶有了一種比較嚴肅的政治含意,也因此使中國搖滾樂的命運同西方搖滾樂一樣,最先以一種反叛的不安分子形象示人;唐朝樂隊是中國搖滾樂「黃金時代」的代表,對中國古代輝煌歷史時期的追憶,加之重金屬音樂風格的衝擊力,使其再造了一個理想的中國陽剛之氣──「文武雙全」;創新性地將搖滾和東北二人轉風格元素相結合使二手玫瑰樂隊成為近期中國搖滾樂的一朵奇葩, 他們既娛樂又嚴肅的反諷風格豐富了中國搖滾樂的語匯。通過對這三例的並置對比,本文意在論證三十年間中國搖滾樂中的「中國性」在體現方式上的微妙變化以及其風格演變的過程。 ; Having a history of nearly thirty years, Chinese rock is not only a term that indicates a regional genre, but also a specific music style. Its originality lies in its intimate relation with the particular social and economic conditions of China. This thesis focuses on "Chineseness" in Chinese rock, which covers musical characteristics, political identity, traditional and ancient culture and regional performing arts. In order to demonstrate its historical development, I choose and discuss three musical acts from each decade in Chinese rock history. They are Cui Jian in the 1980s, Tang Dynasty in the 1990s and Second Hand Rose after 2000. ; Widely regarded as the forerunner of Chinese rock, Cui Jian's music has a "red" ideology; meanwhile, his brave expression of the inner youth voice of that generation also give Chinese rock a rebellious image from the very beginning. Tang Dynasty represents Chinese rock's "golden age". Through invoking a glorious period in China's ancient history, they build an ideal Chinese masculinity in their style of heavy metal. Second Hand Rose innovatively absorbs elements from secular performing art in their music, criticizing new societal conditions in an ironic way. This thesis concludes with the view that the expression of "Chineseness in Chinese rock has been continually transforming throughout the decades, and those Chinese rock musicians' attitudes toward an "ideal" conceptualization of China have likewise ...

在香港,若逝世者生前沒有宗教信仰或指定的喪葬儀式,家人通常都會為他舉行道教葬禮。黎志添教授認為道教葬儀在香港已經習俗化。事實上,在一般情況下,進行道教葬儀根本不能反映死者生前信奉的宗教信仰。為何道教葬儀在香港會成為大部份香港人的習俗?我認為,道教葬儀音樂已成為香港人不言而喻的一種身份。 ; 港人一般不會關心葬儀,就算舉辦也不會深究儀式內容。但他們卻認為儀式中的音樂代表了他們的身份。在實地考察中,我發現道教葬儀音樂包含了不少廣東音樂的元素,曲牌《一錠金》就是其中的例子;事實上,採用道教儀式是香港人認同本土中國人身份的表現。 ; 在實地考察中,我發現研究道教殯儀音樂可有多個視角,其音樂及宗教元素更蘊含多層意義。本文以樂師的活動為切入點,以政治身份角力的角度,研究香港道教殯儀音樂。 ; In Hong Kong, a Taoist funeral is usually held for a deceased person by his or her family if the deceased did not have any religious belief or preference. In most cases, a Taoist funeral is a mere convention rather than a reflection of choice or religious affiliation of the deceased. To explore the reason of this ritual popularized in this particular region, I would like to suggest that the music played in a Taoist funeral is part of Hong Kong people's identities. ; Most Hong Kong people, in fact, would avoid the idea of death, not to mention death rituals. When they do, they usually have little knowledge of the Taoist ritual. Most, however, consider the music to be an essential part of the ritual, which reflects to a great extent, their identity. They do, however, consider that the music played represent their identity. ; During the fieldwork for this thesis, I identified a number of traditional Cantonese music pieces in the ritual. For example, the Cantonese tune "Yi-ding jin"一錠金has been playing a significant role. Ordinary Chinese people, as a matter of fact, accept that the music in Taoist funeral rituals represent their identity. ; I have come to understand that there are many layers in a Taoist funeral. The musicians, the ritual, and the Taoist philosophy are part and parcel of the funeral other than the music. Through extensive fieldwork and interviews, I attempt to draw a clear picture of Taoist funeral music activities in the Hong Kong community and explore the entwined relationship between politics and identity dynamics within Hong Kong Taoist funeral music. For a long time, perhaps even today, the identity of the Hong Kong people has remained a controversial ...

Leung Po Cheung. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. ; Includes bibliographical references (leaves 131-136). ; Abstracts in English and Chinese. ; Abstract --- p.i ; Acknowledgments --- p.iii ; Chapter Chapter 1 --- Introduction --- p.1 ; Research Questions ; Background to the research ; Research site ; Methodology ; Chapter Chapter 2 --- Literature Review and Theoretical Framework --- p.15 ; Cultural identity and its relation to the past ; The museum as a place for the creation and representation of the past ; The museum as a place of identity construction ; Chapter Chapter 3 --- The Development of the Hong Kong Museum of History and Its Exhibitions --- p.26 ; Historical development of the Museum ; Structure ; Missions ; The permanent exhibitions ; Chapter Chapter 4 --- "The Design and Construction of Identity in ""The Hong Kong Story""" --- p.47 ; "Behind ""The Hong Kong Story""" ; Designing the exhibition ; The construction of identity in the exhibition ; Conclusion ; Chapter Chapter 5 --- Interpretations of the Museum Visitors --- p.68 ; Visitors' general interpretations of the exhibition ; Impacts of the exhibition on visitors' cultural identity ; Conclusion ; Chapter Chapter 6 --- Analysis: The Museum and the Construction of Identity --- p.96 ; The interpretations and negotiations of identity among the Hong Kong people ; The Hong Kong Museum of History as a locus of identity construction ; The visitors' different museum experiences ; The political nature of the exhibition ; Conclusion ; Chapter Chapter 7 --- Conclusion --- p.121 ; Appendix --- p.130 ; Bibliography --- p.131