chihora2016
Chihora, Tinomutenda: |
CONTENTS
Declaration i
Supervisor’s Approval form ii
Dedication iii
Acknowledgements iv
Abstract v
Chapter 1
1.0 Introduction 1
1.1 Background of the study 1
1.2 Statement of the problem 2
1.3 Research questions 3
1.4 Significance of study 3
1.5 Limitations 4
1.6 Delimitations 4
1.7 Functional definition of terms 5
1.8 Conclusion 5
Chapter 2
2.0 Literature review 6
2.1 Introduction 6
2.2 The historical background of Zimdancehall 6
2.2.1 Zimdancehall defined 6
2.2.2 The origin and development of Zimdancehall 6
2.3 The role of text in a song 8
2.4 The Impact of Technology on Music Production,
Marketing, Performance and Distribution 13
2.5 The role of music censorship in Zimbabwe in
view of vulgar lyrics 14
2.6 The marketing of music in Zimbabwe today 15
2.7 The context in which Zimdancehall is performed 15
2.8 Conclusion 16
Chapter 3
3.0 research methodology 17
3.1 Introduction 17
3.2 Research Design 17
3.2.1 Research Approach 17
3.3 Research Population 18
3.4 The Sampling Procedures 18
3.5 Research Instruments 19
3.5.1 Interviews 19
3.5.1.1 Advantages of interviews 19
3.5.1.2 Disadvantages of interviews 20
3.6 Data collection Procedures 20
3.7 Data analysis 20
3.8 Ethical considerations 20
3.9 Conclusion 21
Chapter 4
4.0 Data presentation, interpretation and analysis 22
4.1 Introduction 22
4.2 Data Presentation 22
4.2.2 Summary of reasons given by the interviewees
on the use vulgar lyrics by Zimdancehall in Gweru 23
4.3 Data interpretation and analysis 26
4.3.1 Zimdancehall and its origins 26
4.3.2 Zimdancehall artists, their lifestyle
and needs 27
4.3.3 Zimdancehall production and marketing
procedures 32
4.4 Conclusion 36
Chapter 5
5.0 Summary, conclusions and recommendations 37
5.1 Introduction 37
5.2 Summary of the Research 37
5.3 Conclusions 37
5.4 Recommendations 39
References 41
Appendices 45
Interview guide for Zimdancehall artists I
Interview guide for Zimdancehall producers II
Interview guide for arts organization III
Interview guide for pastors, church elders and youth IV
Interview guide for music critics V
Introductory letter