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

In order to analyze the relationship of punk to anarchy, this thesis will investigate the discursive function of "anarchy" both in contemporaneous accounts of punk and in subsequent histories. Beginning with the genesis of British punk and the first references to anarchy in different media during the late 1970s, subsequent chapters focus on the seminally influential anarcho-punk band Crass in order to discern their impact on the evolution of the anarcho-punk genre and its relationship to anarchism up through the mid-1980s. Several other anarcho-punk bands will also be considered for their contributions to this genre. In addition to providing an in-depth study of anarcho-punk, which has been largely ignored by scholars, the present work seeks to enhance understanding of the role of anarchy in punk discourse and hopes to offer a starting point for analysing recent developments in other politicised subcultures.

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It is the aim of this thesis to trace the short history of rock journalism, to examine the factors that led to its development, and to evaluate Rolling stone, the most successful rock magazine and the only one to attract a general-interest audience. Emphasis was placed on the factual development of the publications. Personalities were not developed and a statistical content analysis was avoided in favor of an interpretation of trends. Rock journalism has not yet received an objective evaluation. Its treatment in the several books on the underground press has been superficial and couched in political or even moral terms. By every indication, the rock magazines have exerted more influence than have the underground newspapers and should be accorded proper study. / text

The Eighties were a time in Western popular music that seemed to exist only by virtue of it coming after something else---namely, the 1960s counterculture and the punk rock of the 1970s. Inheriting both the failure of permanent cultural revolution and the intense cynicism that is punk's strongest legacy, youth cultures in the 1980s found it increasingly difficult to live in the present. This thesis labels this historical dilemma postmodern. It will show how SPIN magazine attempted to move past this dilemma in order to assert a unique identity for 1980s popular music and youth cultures. In particular, John Leland, a columnist for SPIN, appropriated a pop aesthetic as an identity marker and, in the process, questioned the supposed ineffectiveness of pop music for a political postmodernism. An analysis of Leland's writing uncovers what accounts of this era tend to ignore: the social function of postmodernism.

M.Ed. (Education) / During the last two decades there has been a definite lowering of moral standards among the children of the West. This also pertains to the youth in South Africa. Among the many influences the child experiences in society, rock music, with its themes of sex, drugs, satanism, rebellion, materialism, secular humanism, suicide, nihilism, hedonism, blasphemy and profanity is possibly the most negative. Add to the above-mentioned, subliminal mind control and backward masking and it becomes clear why the Christian educator and the Christian parent must address the problem of rock and roll. Furthermore, rock music has directly or indirectly been responsible for much of the anti-social behaviour of present day youth. Tragically, modern day society is responsible for promoting the rock culture (with the help of modern technology), by making available to the youth of today records, videos and magazines, without realising the spiritual and moral damage they are causing. The modern day music entrepreneur has motives that are not honourable and not Christian as it is m?ney that makes the music go around. A very extensive literature study confirmed the above. As norms and values differ from culture to culture, the Christian norm was chosen as the irrevocable absolute norm rooted in the Word of God, to judge the morals upheld by the propagators of rock and roll. On the basis of the literature study done, an empirical investigation, formulating items obtained from the study for inclusion in the questionnaire, was conducted. The sample consisted of English speaking boys and girls in standard 7 and standard 9 from four high schools on the near East Rand. Cluster sampling was done by randomly selecting a class group from each of the standard 7 and standard 9 class groups of the four high schools concerned...

Fung Chui Bik. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 1-7 (3rd gp.)). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter One: --- Literature Review --- p.5 / Chapter Chapter Two: --- Methodology --- p.23 / Chapter Chapter Three: --- Historical Background / Chapter 3.1 --- The emerging of Indie music in Hong Kong --- p.26 / Chapter 3.2 --- New wave of DIY --- p.31 / Chapter Chapter Four: --- The Mediations & Active Prosumers --- p.38 / Chapter 4.1 --- The Mediations of Producers-consumers --- p.40 / Chapter 4.2 --- The Mediations of Professional-consumers --- p.52 / Chapter 4.3 --- The Mediations of Media workers --- p.62 / Chapter Chapter Five: --- Different Modes of Indie Prosuming --- p.70 / Chapter 5.1 --- Disciple --- p.73 / Chapter 5.2 --- Practitioner --- p.77 / Chapter 5.3 --- Critical Prosumer --- p.83 / Chapter Chapter Six: --- Conclusion一 A New Indie Culture --- p.86 / References and Bibliography / "Appendix I，II，III, IV"

Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.

This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.