Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2007. / Act I of two-act musical comedy. "A thesis in music." "I plan to complete Act II during the summer of 2007"--ℓ. 228. Advisor: James Mobberley. Includes libretto, performance notes, and vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 13, 2007. Online version of the print edition.

Thesis (M.S.)--Ohio University, March, 2008. / Title from PDF t.p. Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 43-45).

Thesis (M.A.)--Rowan University, 2004. / Typescript. Includes bibliographical references.

Thesis (Ph. D.)--Concordia University, 2000. / Includes bibliographical references (leaves 273-305).

Thesis (Ph. D.)--University of California, Santa Cruz 2004. / Typescript. Includes bibliographical references (leaves 413-429).

Thesis (Ph. D.)--Purdue University, 1980. / Vita. Includes bibliographical references (p. 234-242).

Thesis (M.A.)--Catholic Theological Union at Chicago, 2005. / Vita. "May 2005." Includes bibliographical references (leaves 63-64).

Thesis (M.A.)--Catholic Theological Union at Chicago, 2005. / Vita. "May 2005." Includes bibliographical references (leaves 63-64).

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 also gradually changed. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Ren, Shaoren. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references and discographies. / Abstracts also in Chinese. / Abstract --- p.ii / Table of Contents --- p.iv / List of Figures --- p.v / Chapter Chapter I --- Introduction --- p.1 / Initial Research and Methodology --- p.2 / Chinese Rock in Historical Context --- p.5 / The “Chinese in Chinese Rock --- p.6 / Literature Review --- p.9 / Limits of This Study --- p.16 / Thesis Outline --- p.17 / Chapter Chapter II --- Cui Jian and Chinese Rock’s First On the New Long March --- p.19 / Alternative Military Song on the New Long March --- p.20 / “On a Stretch of Exhausted Earth, We Harvest Meager Hopes“ --- p.28 / Chapter Chapter III --- Tang Dynasty and Chinese Masculinity --- p.39 / China Calling for Heavy Metal --- p.40 / Tang Dynasty and Chinese Masculinity --- p.43 / Patriotism and Idealism --- p.57 / Chapter Chapter IV --- Second Hand Rose and Ironic Aesthetic --- p.62 / Spring Festival Gala and Twirling Duet --- p.64 / Twirling Duet Rock --- p.68 / “Big Bro, You’re Playing Rock, But What the Heck For?“ --- p.72 / Chapter Chapter V --- Conclusion --- p.83 / Maintaining Chineseness --- p.83 / Shifting Styles of Chineseness and Understanding “Ideals“ --- p.86 / Bibliography --- p.89