本研究致力探討傳統客家山歌在當代城市環境中的發展，並重點探索山歌音樂的形成與今日客家人的文化／族群身份（cultural／ethnic identity）兩者之間的相互作用。在民族音樂學的範式（ethnomusicological paradigm）下，筆者運用了民族誌（ethnography）的資料搜集方法，把香港大埔實地考察的結果作為主要的立論基礎。筆者的實地考察活動始於2000年，主要在大埔社區收集山歌和接觸歌者。一種稱為「九龍山歌」的旋律，被歌者視作「土生土長」的曲調已經有相當長的一段時間。本文是對「九龍山歌」全面研究的結果，除了分析客家山歌的音樂特性及演唱風格外，亦會討論文化及族群身份與音樂形成的關係。

This research investigates the development of traditional Hakka shange (mountain songs) in a contemporary urban context, emphasizing the interplay between music making and ethnic and cultural identity in Hakka populations. Framed in the ethnomusicological paradigm, the study uses ethnographic research as a key tool for gathering data related to fieldwork conducted in Tai Po, Hong Kong. This fieldwork has been carried out since 2000, with key research elements colledted in shange gatherings at the Tai Po Community Center. A shange tune, termed Kowloon Shange, has long been recognized by local Hakka singers as an indigenous Hakka shange tune. This research thoroughly investigates Kowloon Shange. In addition to analyzing the musical characteristics and singing style of Kowloon Shange, this paper discusses issues of cultural and ethnic identity in relation to music making.