kazadi2014

Kazadi, Kanyabu Solomon: A Sociological Analysis of the Production, Marketing and Distribution of Contemporary Popular Music by Zambian Musicians. M.A. Rhodes University (Grahamstown), 2014. xii & 126 p.

CONTENTS

Chapter 1
Introduction
1.1. Introduction 1
1.2. Popular music 2
1.2.1. Artist versus musician 3
1.3. Music industry 4
  1.3.1. Local versus global music industries 4
1.4. Music in Zambia 5
1.5. Goals of this research 6

Chapter 2
A theoretical and historical framework within which to contextualize the Zambian music industry
2.1. Introduction 8
2.2. Pierre Bourdieu and cultural studies 8
  2.2.1. Bourdieu’s concept of fields 9
  2.2.2. Bourdieu’s concept of habitus 11
2.3. An application of fields and habitus 13

Chapter 3
Bourdieu’s concepts in relation to the music industry on a global, African and Zambian level
3.1. Introduction 15
3.2. Globalization 16
3.3. World music 16
  3.3.1. Negative effects of “world music” 18
3.4. Digital advancements 19
3.5. Brief contextualisation of the global music industry 22
3.6. An overview of the African music industry 22
3.7. Brief exploration of music in the SADC region 24
3.8. An overview of the Zambian music industry 25
   3.8.1. The ‘Zambian sound’ 27
3.9. Piracy 28
3.10. Conclusion 30

Chapter 4
Methodology
4.1. Introduction 31
4.2. The use of qualitative research methods 32
4.3. Setting and study informants 33
4.4. Data sources and collection procedures 34
4.5. Internal validity 35
4.6. Triangulation 36
4.7. Limitations of qualitative research 37
   4.7.1. Research experiences: the emic and etic perspectives 37
4.8. Ethical considerations 40
4.9. Conclusion 40

Chapter 5
Institutions surrounding the music industry
5.1. Introduction 41
5.2. The Zambia Association of Musicians (ZAM) and Zambia
        Music Copyright Protection Society (ZAMCOPS) 42
  5.2.1. Zambia Association of Musicians (ZAM) 42
  5.2.2. The National Arts Council (NAC) 47
5.3. Zambia Music Copyright Protection Society (ZAMCOPS) 48
  5.3.1. Challenges faced by ZAMCOPS 48
  5.3.2. Royalty collection 49
5.4. Role of government in the music industry 50
5.5. Corporate support 54
  5.5.1. Generation of income for businesses linked 
            to the music industry 55
5.6. Experiences from other countries 55
5.7. Societal perspectives of music 57
5.8. Conclusion 60

Chapter 6
Production and distribution
6.1. Introduction 62
6.2. History of production and distribution in Zambia 62
  6.2.1. Role of radio 65
    6.2.1.1. Procedure of getting music on the airwaves 66
    6.2.1.2. Payola for more airplay 67
    6.2.1.3. Early use of Zambian music on the airwaves 69
    6.2.1.4. Censorship 69
  6.2.3. Television shows 70
  6.2.4. Music charts 71
  6.2.5. Music videos 75
  6.2.6. Albums 76
  6.2.7. Live performances 77
6.3. Online methods 78
  6.3.1. Online magazines 78
  6.3.2. Online music for purchase or free downloads 79
  6.3.3. Profile pages 79
  6.3.4. Online purchases 80
  6.3.5. Challenges of distributing music 82
6.4. Conclusion 82

Chapter 7
The creative process of music production
7.1. Introduction 84
7.2. Early development of musical interest 84
  7.2.1. Official musical training 84
  7.2.2. Self-taught 86
7.3. Groups versus solo musicians 87
  7.3.1. Sources of income 89
  7.3.2. Merchandise 91
  7.3.4. Collaborations 91
7.4. Management of artists 93
  7.4.1. The role of managers 93
7.5. Record labels and studios 96
  7.5.1. Home studios 96
  7.5.2. National studios 97
  7.5.3. Challenges experienced by studios 97
  7.5.4. Contracts 100
7.6. Challenges experienced by musicians 103
7.7. Conclusion 105

Chapter 8
Concluding remarks
8.1. Introduction 107
8.2. Fields and habitus 107
8.3. Challenges within the industry 108
8.4. Methods to build a career 109
8.5. Conclusion 111

Appendix viii
List of interviewees and respondents ix
Abbreviations xi