> Music industry | Books | Articles |

 Africa general / l’Afrique en général / África em geral  

Ambert, Cecile:
Promoting the Culture Sector through Job Creation and Small
Enterprise Development in SADC Countries: The Music Industry.

Geneva: International Labour Office,
SEED Working Paper No. 49, 2003. x & 69 p.
Contents – PDF Download / Télécharger / Baixar 560 KB 

 West Africa / Afrique de l’Ouest / África Ocidental  

 Burkina Faso  

Kohoun, Lanssa Moïse:
Méthodes de lutte contre la piraterie des oeuvres musicales par les organismes
de gestion collective dans l’espace communautaire ouest-africain (UEMOA) :
l’exemple du bureau burkinabé du droit d’auteur (BBDA).
Mémoire. Ecole Nationale d’Administration et de Magistrature (Ouagadougou), 2009. 70 p. & annexes A-Y
Table des matières – 1:1 Download / Télécharger / Baixar 104 KB

Ramde, Rodrigue:
L’impact de la piraterie sur le développement des entreprises musicales au Burkina Faso :
l’exemple des productions Tam-Tam, Ouagadougou.
Mémoire. Université de Ouagadougou, 2006. 113 p.

Sory, Moussa:
La lutte contre la piraterie des oeuvres musicales.
Mémoire. Université de Ouagadougou,  1997. 85 p.

Zougmore , Charles Antoine Antoinwindé:
Les implications culturelles et économiques de la gestion
collective du droit d’auteur et des droits connexes au Burkina Faso.

Mémoire. Université de Ouagadougou, 2005. 100 p.

 Côte d’Ivoire  

Mogba, Zephirin:
L’industrie de la musique en Côte d’Ivoire,
approche socio-économique d’une instance culturelle.

Mémoire. Université de Cocody-Abidjan, 1984.

 Ghana  

Adjetey, Adjei Moses:
Music Production and Preservation at Ghana Broadcasting Corporation.
M.Phil. University of Ghana (Legon), 2015. v & 104 p.
PDF Download / Télécharger / Baixar 5.60 MB

Adom, Bertha Setor:
Faisal Helwani: A Study of his Contribution to the Music Business of Ghana.
Ph.D. University of Ghana (Legon), 1999.

KPMG:
A Comprehensive Study of the Music Sector in Ghana. Final Report.
Accra: KPMG Ghana, 2014. 290 p.
ContentsPDF Download / Télécharger / Baixar 5.98 MB

 Nigeria  

Daramola, Olusanjo M. A. & Bosun Adekogbe:
Music Production and Managerial Techniques:
An Appraisal of some Digital Recording Studios in Southwestern Nigeria in the 21st Century.
VDM Verlag Dr. Müller, 2010. 104 p.
ISBN 978-3639-301-65-6

 Sénégal  

Ndour, Saliou (dir.):
L’industrie musicale au Sénégal. Essai d’analyse.
Dakar: CODESRIA, 2008, 179 p.
Table des matières

Pratt, Andy, C.:
The Music Industry in Senegal: the Potential for Economic Development.
A Report Prepared for UNCTAD with Research Input by Biram N’deck Ndiaye.
London: London School of Economics, 2004. 52 p.
ContentsPDF Download / Télécharger / Baixar 592 KB

 Central Africa / Afrique centrale / África Central  

 Cameroun  

Nkeng à Nkeng, Joël Christian:
Piraterie ou contrefaçon des œuvres musicales : facteurs explicatifs,
modes operatoires et impact sur les artistes-musiciens à Yaoundé.
Memoire. Université de Yaoundé I, 2010. 159 p. & annexes
Table des matières1:1 Download / Télécharger / Baixar 1.85 MB

Teko, Henri Tedongmo:
La piraterie musicale au Cameroun.
Une analyse socio-économique du marché illégal des œuvres musicales.
Saarbrücken: Éditions universitaires européennes, 2011. 84 p.
Table des matières

 Gabon  

Engandja-Ngoulou, Kanel:
Le développement des industries culturelles au Gabon.
Paris: L’Harmattan, 2012. 326 p.
Table des matières

 East Africa general / Afrique de l’Est en général / África Oriental em geral  

Wallis, Roger & Krister Malm:
Big Sounds from Small Peoples.
The Music Industry in Small Countries.
London: Constable, 1984. 419 p.
[Case study including Kenya and Tanzania).
Kenya IndexTanzania Index

 Tanzania  

Cuff, Martin & Ernest Omalla:
Study on Artist Copyright Management & Royalties Collection
and Distribution in the Tanzania Music Industry.
The Tanzania Musicians Network, October 2013. 52 p.
ContentsPDF Download / Télécharger / Baixar 1.57 MB

 Southern Africa / Afrique australe / África Austral  

 South Africa  

Abrahams, Randall:
Spinning Around: The South African Music Industry in Transition.
Cape Town: Human Sciences Research Council Publishers. Occasional Paper, Issue3, 2003. 33 p.
ContentsPDF Download / Télécharger / Baixar 248 KB

Birkholtz, Kristel:
Wired for Sound: An Investigation into South African Live Music
Performance and the Johannesburg Live Music Scene.
M.M. University of the Witwatersrand (Johannesburg), 2009. viii & 219 p.
PDF Download / Télécharger / Baixar 1.22 MB

Bruce, Emily:
The Business of Live Music in South Africa and the Jazz Musician.
M.M. University of Cape Town, 2013. 82 p.
PDF Download / Télécharger / Baixar 1.23 MB

Coetzer, Briét Louise:
A Business Model for the Digital Distribution of Music in the South African Context.
M.M. University of Pretoria, 2009. xii & 152 p.
PDF Download / Télécharger / Baixar 3.55 MB

De Villiers, William Murray:
Aspects of the South African Music Industry: An Analytical Perspective.
M.M. University of Pretoria, 2006. xiii & 98 p.
PDF Download / Télécharger / Baixar 1.22 MB

Herholdt-Powell, Ilse-Louise:
The Small Independent Recording Studio in South Africa.
M.M. University of the Witwatersrand (Johannesburg), 2007. xiv & 131 p.
PDF Download / Télécharger / Baixar 7.37 MB

Hope, Stuart:
An Investigation of the Effect that the Availability of Legitimate Channels
for Acquiring Digital Music has on Piracy in South Africa.
M.Com. University of Cape Town, 2014. 192 p.
PDF Download / Télécharger / Baixar 2.99 MB

Nkala, Dumisani Nomagugu:
Towards a Model for Digital Distribution and
Value Capture in the South African Music Industry.
M.B.A. University of Pretoria, 2012. viii & 169 p.
PDF Download / Télécharger / Baixar 1.82 MB

Pienaar, Cilnette:
Using the Business Model Canvas to explore how
Independent South African Musicians do Music-as-Business.
Ph. M. University of Stellenbosch, 2016. x & 102 p.
PDF Download / Télécharger / Baixar 34.20 MB

Pietilä, Tuulikki:
Contracts, Patronage and Mediation.
The Articulation of Global and Local in the South African Recording Industry.
London: Palgrave Macmillan UK, 2015. xi & 239 p.
Contents

Polak, Fiona Margaret:
Copyright and Digital Music Collections in South Africa. 
M.I.S. University of KwaZulu-Natal (Pietermaritzburg), 2009. xix & 243 p.
PDF Download / Télécharger / Baixar 2.75 MB

Shaw, Jonathan G.:
The South African Music Business. 3rd Edition
Sandown: ada enup, 2017. 704 p.
Download / Télécharger / Baixar “Contents_PDF” 2.96 MB

Steyn, Martha Magdalena:
A Supply Chain Model for the South African Recording Industry.
DBM. University of Pretoria, 2005. xiv & 227 p.
PDF Download / Télécharger / Baixar 764 KB

 Zambia  

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 – PDF Download / Télécharger / Baixar 2.19 MB

Mkandawire, Yadika:
Towards Eradiacting Piracy in Music: A Zambian Perspective.
B.L. University of Zambia (Lusaka), 2003. vi & 53 p.
Contents – PDF Download / Télécharger / Baixar 3.91 MB

Nsanta-Kalimukwa, Natasha:
Copyrights protection in the context of the music Industry in Zambia.
B.L. University of Zambia (Lusaka), 2005. vi & 48 p.
Contents – PDF Download / Télécharger / Baixar 1.99 MB

 Zimbabwe  

Banda, Jane:
Zimbabwean Copyright Law and its Effectiveness in
Protecting Composers’ Intellectual Property Rights.

B.Sc. Midlands State University (Gweru), 2012. ix & 48 p.
ContentsPDF Download / Télécharger / Baixar 984 KB

Brusila, Johannes; Philip Donner & Nina Winquist (eds.):
ZIMIA: The Forming of a Music Industry Association in Zimbabwe.
Helsinki: Mediafrica, 1992. 78 p.
Contents

Brusila, Johannes:
Musikindustrin i Zimbabwe – en analys av fonogramindustrins
och musikradions filtreringsprocesser i ett afrikanskt land.

[The Music Industry in Zimbabwe – an Analysis of the Phonogram Industry’s
and the Music Radio’s Filtration Processes in an African Country].

Licentiatavhandling [Ph.D]. Helsingfors Universitet, 1995.

Chari, Salome:
An investigation into the Marketing and Promotion of Female Artists in Zimbabwe:
A case of Fungisai Zvakavapano and Chiwoniso Maraire.
B.Sc. Midlands State Univeristy (Gweru). 2007.

Chikowero, Moses {Mhoze}:
An Examination of the Zimbabwe Music Industry,
with Special Reference to Popular African Music, 1965–1985.
M.A. University of Zimbabwe (Harare), 2001.

Impey, Angela M.:
They Want us with Salt and Onions: Women in the Zimbabwean Music Industry.
Ph.D. Indiana University (Bloomington, Ind.), 1992. 256 p.
ProQuest no. 9310214

Mhiripiri, Joyce:
The Potential of the Music Industry to Generate
Personal Wealth and Contribute to National Development.
MBA, Midlands State University (Gweru), 2004.

Mukombahasha, Moses:
An Examination of the Zimbabwe Music Industry, 1965-1985.
B.A. University of Zimbabwe (Harare), 2001.

Muzari, G.:
Zimbabwean Music Industry in Transition:
A Study of the Rise and Characteristics of Urban Grooves Music.
B.Sc. Midlands State University (Gweru), 2005.

Ndanjeyi, Prisca:
Threat(s) Posed by Piracy to the Music Industry in Zimbabwe:
A Case Study of Alick Macheso and Madiz.
B.Sc. Midlands State University (Gweru), 2009.

Souza, E.:
Critical Success Factors in the Zimbabwe Music Industry:
The Musical Careers of Oliver Mtukudzi and Alick Macheso.
M.Sc. Midland State University (Gweru), 2007.

Page created 31/08/2018 © afrobib.com

  • Ambert, Cecile:
    Promoting the Culture Sector through Job Creation and Small Enterprise Development in SADC Countries: The Music Industry.
    Geneva: International Labour Office, SEED Working Paper No. 49, 2003. x & 69 p.
    ISBN 92-2-115283-9

    CONTENTS

    Foreword iii
    Executive summary ix

    1. Introduction
    1.1 Background 1
    1.2 Socio-economic issues in the music industry 2
       1.2.1 Importance of the sector to the cultural industries 2
       1.2.2 Music as a bridge across culture, national
                 boundaries and conflict 2
       1.2.3 Development issues in the music industry 3
    1.3 Global trends 4
       1.3.1 Global players’ perspective on global market trends 4
       1.3.2 Institutional and organizational dynamics 6
       1.3.3 Growth of World Music across cultural divides 8
       1.3.4 Music piracy and parallel economies 9

    2. The music industry value chain in the SADC region
    2.1 Conceptual framework for analysing the music industry 10
    2.2 Generic actors 10
    2.3 Diagram of the value chain in the music industry in 
          the SADC region 11
    2.4 Beginnings: The first segment of the value chain 12
    2.5 Production: The second link in the value chain 15
    2.6 Circulation: The third segment of the value chain 17
       2.6.1 Live performance circulation 17
    2.7 Delivery mechanisms: The fourth segment of the value chain 18
       2.7.1 Live performance delivery mechanisms 19
       2.7.2 Broadcasting 20
    2.8 Audience reception and feedback: The fifth segment of 
          the value chain 21
       2.8.1 The global recording industry-driven import market 22
       2.8.2 The international consumption market for SADC products 22
       2.8.3 The trans-regional market 23
       2.8.4 Local production for local consumption 24
    2.9 The pirate value chain 24
    2.10 Stakeholder bodies: Low capacity and bargaining power 26
    2.11 Lack of coordinating bodies 27
    2.12 Policy issues 28
       2.12.1 Copyright protection and collection systems 28
       2.12.2 Contractual arrangements 29
    2.13 Making a living 30
    2.14 Location 31
    2.15 Gender and racial issues 31
    2.16 Main characteristics of the music industry in the 
            SADC countries 31

    3. Analysis of key issues and proposals for targeted actions and interventions
    3.1 Key issues and dynamics emerging from the research 34
       3.1.1 Contextual preconditions for the growth of the industry 34
       3.1.2 Supportive policy and legislative measures 35
       3.1.3 Professionalism and entrepreneurship 36
       3.1.4 Developing local and international markets 37
    3.2 Gap analysis of the key issues and dynamics 38
    3.3 Targeted actions and interventions 40
       3.3.1 Institutional responsibility for driving actions and
                 interventions 40
       3.3.2 Education and training 41
       3.3.3 Developing localized, industry actor-specific business
                 growth strategies 43
       3.3.4 Establishing a facilitative framework for industry growth 44
    3.4 Concluding statements 46

    Bibliography 47

    Annexes
    1. Key organizations in the region 51
    2. List of interviewees 53
    3. Country cases 55
    4. Intellectual property, copyright and related rights and 
         collective management of rights 57
    5. National copyright offices in the SADC region 61

    Boxes
    1.1 Role of the music industry in fighting HIV/AIDS in Zambia 3
    1.2 Supporting musicians as a micro-marketing initiative in
           tourism destinations 3
    1.3 Mergers and agglomeration 7
    1.4 WOMAD, a celebration of World Music 9
    1.5 Impact of piracy on a developing country’s recording industry 9
    2.1 Music education through initiation processes 13
    2.2 Lack of formal education in music 14
    2.3 Musical milieu in Maputo 14
    2.4 Quality control and production facilities in South Africa 15
    2.5 Radio Tanzania recordings – An opportunity and a piracy risk 16
    2.6 An example of good practice in Zimbabwe: Fighting piracy
           through right-pricing and regulating the distribution network 19
    2.7 The paucity of live performance opportunities stifles livelihoods
           and music industry development in Angola 20
    2.8 Encouraging local performers: Music festivals are a
           growing industry 20
    2.9 Broadcasters – Makers and breakers in the music industry 21
    2.10 Artists developing a sense of the market: Papa Wemba, an
             artist of two musical worlds 23
    2.11 The MIDI Trust: An example of good practice in South Africa.27
    2.12 Government or parastatal intervention in the United Republic 
            of Tanzania 30
    3.1 Independent-driven music industry in the United Republic
           of Tanzania 36
    3.2 Proposed set of key questions to facilitate strategic thinking 
           in the music industry 43

    Tables
    2.1 Summary overview of main characteristics of the music
           industry in the SADC region 32
    3.1 Needs, assets and gaps: An overview of the music industry
           in the SADC region, 2002 39

    Figures
    1.1 Industry supply chain 8
    2.1 Diagram of the value chain in the music industry in the
          SADC region 12

  • Kohoun, Lanssa Moïse:
    Méthodes de lutte contre la piraterie des oeuvres musicales par les organismes de gestion collective dans l’espace communautaire ouest-africain (UEMOA) : l’exemple du bureau burkinabé du droit d’auteur(BBDA).
    Mémoire. Ecole Nationale d’Administration et de Magistrature (Ouagadougou), 2009.
    70 p. & annexes A-Y

    TABLE DES MATIÈRES

    Sommaire i
    Dédicace ii
    Remerciements iii
    Avertissement iv
    Liste des abreviations v

    Introduction générale 1

    Première partie
    Les organismes de gestion collective et la piraterie des
    oeuvres musicales
    5

    Chapitre I
    Un organisme de gestion collective : le bureau burkinabé du droit d’auteur (BBDA) 6
    Section I : La notion d’organisme de gestion collective 6
    Paragraphe I : La création d’organisme de gestion collective 6
    A. La définition de la notion d’organisme de gestion collective 6
    B. Le fondement et le domaine d’intervention des organismes de gestion collective 7
    Paragraphe II : Les différentes formes d’organisme de gestion collective 8
    A. Les formes publiques et semi-publiques 8
    B. Les formes privées 9
    Section II : La présentation du Bureau Burkinabé du Droit D’Auteur (BBDA) 9
    Paragraphe I : L’historique du Bureau Burkinabé du Droit D’Auteur (BBDA) 9
    A. La création et l’évolution du BBDA 9
    B. Les missions de l’institution 10
    Paragraphe II : L’organisation interne 12
    A. Les organes du BBDA 12
    B. Les partenaires 13

    Chapitre II
    La nature juridique de la piraterie et les effets induits 16
    Section I : La notion de piraterie 16
    Paragraphe I : La définition de la piraterie 17
    A. La contrefaçon stricto sensu 17
    B. Les délits assimilés à la contrefaçon (contrefaçon lato sensu) 19
    Paragraphe II : La typologie et les manifestations de la piraterie 20
    A. Les formes de piraterie au Burkina Faso 20
    B. Les actes constitutifs de piraterie 22
    Section II : Les effets néfastes de la piraterie 24
    Paragraphe I : Les conséquences de la piraterie sur la production des oeuvres et sur les artistes 24
    A. L’impact sur la création et le développement musical 24
    B. L’impact sur les intervenants de la création 26
    Paragraphe II : Les conséquences de la piraterie sur les performances économiques nationales 27
    A. La détérioration du marché discographique 27
    B. La perte des recettes fiscales28

    Deuxième partie
    Les méthodes de lutte du bureau burkinabé du droit d’auteur (BBDA) contre la piraterie des oeuvres musicales 31

    Chapitre I
    Les moyens de lutte du bureau burkinabé du droit d’auteur (BBDA) contre la piraterie des oeuvres musicales 33
    Section I : Le cadre juridique et institutionnel 33
    Paragraphe I : Les opérations de contrôle 34
    A. L’identification et l’authentification des supports 34
    B. Les opérations de saisie et les mesures à la frontière 36
    Paragraphe II : La capacité du BBDA d’ester en justice et les sanctions liées à la piraterie 39
    A. La capacité d’ester en justice 39
    B. Les sanctions pénales et civiles 40
    Section II : Le soutien des autres structures aux actions du BBDA et les actions préventives 41
    Paragraphe I : L’apport des autres structures 41
    A. L’apport du gouvernement 41
    B. L’apport de la société civile 42
    Paragraphe II : Les actions de communication 43
    A. La sensibilisation43
    B. La formation 44

    Chapitre II
    Analyse des méthodes de lutte du bureau burkinabé du droit d’auteur (BBDA) contre la piraterie des oeuvres musicales 46
    Section I : L’appréciation des actions de lutte 46
    Paragraphe I : Les performances 46
    A. Au niveau des actions préventives 46
    B. Au niveau des intervenants de la lutte 47
    Paragraphe II : Les insuffisances et les lacunes 49
    A. Au niveau des actions de contrôle et de communications 49
    B. Au niveau juridique 51
    Section II : Suggestions pour une lutte efficace contre la piraterie 53
    Paragraphe I : Les propositions au niveau régional 53
    A. La création d’une structure communautaire de coordination 53
    B. La nécessité d’harmoniser les législations dans l’espace communautaire 53
    Paragraphe II : Les recommandations au niveau national 55
    A. L’implication des acteurs 55
    B. Le renforcement des moyens juridiques et institutionnels 59

    Conclusion générale 62

    Bibliographie 65
    Table des matières 70

    Annexes A
    Annexe I : Organigramme du BBDA B
    Annexe II : Nombre de contrats de cession et calendrier annuel de répartition des droits C
    Annexe III : questionnaires et entretiens F
    Annexe IV: Résultats du dépouillement des questionnaires Q
    Annexe V : Protocole d’accord entre le BBDA et la Direction Générale des Douanes U
    Annexe VI : Etat des saisies de supports piratés Y

  • KPMG:
    A Comprehensive Study of the Music Sector in Ghana. Final Report.
    Accra: KPMG Ghana, 2014. 290 p.

    CONTENTS

    1 Executive Summary 11
    1.1 Introduction 11
    1.2 Country Profile 11
    1.3 The Creative Industries in Ghana 11
    1.4 Music Sector Overview 12
    1.5 Market Characteristics 12
    1.6 Regional and Local Sector Dynamics 13
    1.7 Regulatory Framework 13
    1.8 Economic Value Analysis 13
    1.9 Social Contribution 15
    1.10 Industry Infrastructure 16
    1.11 International Dynamics 17
    1.12 Linkage with other Sectors 17
    1.13 SWOT Analysis 17
    1.14 Recommendations 18
    1.15 Conclusion 19

    2 Introduction 20
    2.1 Project Background 20
    2.2 Objectives 20
    2.3 Scope of Work 20
    2.4 Justification 21
    2.5 Methodology 22
       2.5.1 Sources of Data 22
       2.5.2 Sampling Techniques 24
    2.6 Limitations 24
    2.7 Conclusion 24

    3 Country Profile 26
    3.1 Introduction 26
    3.2 Political Environment 26
    3.3 Economic Environment 27
    3.4 Social Dynamics 29
    3.5 Technological Factors 31
    3.6 Country Outlook 31
    3.7 Conclusion 32

    4 The Creative Industry in Ghana 33
    4.1 Overview 33
    4.2 Characteristics of the Creative Industry in Ghana 34
    4.2.1 Overview 34
    4.3 Conclusion 36

    5 Music Sector Overview 37
    5.1 Historical Perspective 37
       5.1.1 Overview 37
       5.1.2 Music Genres 37
    5.2 Industry Oversight 42
    5.3 Professional Organizations 45
       5.3.1 Creators Associations 45
       5.3.2 Producers Associations 46
       5.3.3 Collective Management Organization (CMO) 47
    5.4 Current State of the Sector – Challenges and Opportunities 48
    5.5 Porter‘s Five Forces Model 48
    5.6 Conclusion 49

    6 Market Characteristics 51
    6.1 Overview of Music Value Chain 51
    6.1.1 Typical Music Value Chain around the World 51
    6.1.2 Music Value Chain in Ghana 52
    6.2 Volume of production by Type 75
    6.3 Conclusion 78

    7 Regional and Local Sector Dynamics 79
    7.1 Regional Features of the Sector 79
    7.2 Conclusion 93

    8 Regulatory Framework 94
    8.1 Review of Regulations 94
    8.2 Review of Policy Documents 97

    9 Economic Value Analysis 101
    9.1 Introduction 101
    9.2 Employment Characteristics 101
       9.2.1 Size of the Sector 101
       9.2.2 Characteristics of Employment 103
    9.3 Value of Sector (Revenue Sources and Estimation) 124
       9.3.1 Framework for Analysis 124
       9.3.2 Domestic Revenue Estimation 126
    9.4 Contribution to GDP 131
    9.4.1 Summary of GDP 131

    10 Social Characteristics & Contribution 132
    10.1 Social characteristics of the sector 132
    10.1.1 Creators 132
    10.1.2 Business Category 133
    10.2 Overview 141
    10.3 Sociological aspects of music 141
    10.4 Benefits of music 141
    10.5 Social groups and events 142
       10.5.1 Social circles in Ghana 142
       10.5.2 Choral groups 142
       10.5.3 Traditional/folkloric bands 145
       10.5.4 Public bands 148

    11 Industry Infrastructure 150
    11.1 Introduction 150
    11.2 Training Institutions 150
       11.2.1 Educational Institutions 150
       11.2.2 Capacity Building Institutions 153
    11.3 Manufacturers 155
       11.3.1 Local Instrument Manufacturers 155
       11.3.2 Audio/Visuals 158
    11.4 Digital Music Downloads 159
    11.5 Event organisers and Venues 160
       11.5.1 Data analysis – Event organisers 162
       11.5.2 Data analysis – Venue operators 163

    12 International Dynamics 166
    12.1 Ghanaian music abroad 166
       12.1.1 Live performances 166
       12.1.2 International awards 166
       12.1.3 Operational base of music distributors 167
    12.2 Exposure of tourists to Ghanaian music 167
    12.3 Volume of Exports 170

    13 Linkage with other Sectors 172
    13.1 Music as a subject – Musicology 172
    13.2 Music as an art – Applied Musicology 172
       13.2.1 Film 173
       13.2.2 Theatre art 173
       13.2.3 Fashion 174
       13.2.4 Medicine & therapy 175

    14 SWOT Analyses 177
    14.1 Introduction 177
    14.2 Strengths 178
    14.3 Weaknesses 178
    14.4 Opportunities 184
    14.5 Threats 184
    14.6 Conclusion 185

    15 Recommendations 186
    15.1 Observations and Recommendations 186

    16 Conclusion 191
    16.1 Objectives 191
    16.2 Methodology 191
    16.3 Findings 191
    16.4 Observations and Recommendations 192

    17 Appendices 193
    17.1 Appendix A – Details of Educational Institutions 193
    17.2 Appendix B – Questionnaires administered for the survey 198
    17.3 Appendix C – Names of some sensational Ghanaian music professionals,
            music archives and the impact of colonialism 274
    17.4 Appendix D – Ghanaian population according to age groups and regions 276
    17.5 Appendix E – Categories and sub-categories of the Music Industry 278
    17.6 Committee Members 288
    17.6.1 Oversight Committee Members 288
    17.6.2 Technical Committee Members 288

    18 Bibliography 290

  • Ndour, Saliou (dir.):
    L’industrie musicale au Sénégal. Essai d’analyse.
    Dakar: CODESRIA, 2008, 179 p.
    ISBN 978-2-86978-234-1

    TABLE DES MATIÈRES

    In Memoriam v
    Remerciements vi
    Les contributeurs viii

    Ousmane Sow Huchard
    Preface x

    Abreviations xiv
    Liste des tableaux et figures xvi

    1. Saliou Ndour
    Presentation générale 1

    2. Saliou Ndour
    Approche socioéconomique de 1’industrie musicale au Sénégal 7

    3. Abdoulaye Niang
    Aspects socioculturels de la construction du fait musical
    au Sénégal 79

    4. Youssou Soumaré
    Dimension juridique de l’industrie musicale 115

    5. Mariama Forti Daniff
    L’industrie musicale : aspects politiques 166

  • Pratt, Andy, C.:
    The Music Industry in Senegal: the Potential for Economic Development.
    A Report Prepared for UNCTAD with Research Input by Biram N’deck Ndiaye.
    London: London School of Economics, 2004. 52 p.

    CONTENTS

    Summary of the policy recommendations 4
    Contents 9

    The cultural industries, music and development t11
    The cultural industries 11
    Music and the cultural industries 13
    Music as a tool of development 14
    Consumption 14
    Multiple objectives 15
    Music as an international industry 15
    The music industry 15
    Internationalisation and ‘world music’ 17
    Senegal 20
    Geography and situation 20
    Music in Senegal 20
    The music production system 23
    MPS: The concept 23
    Content Origination 23
    Production 24
    Reproduction (distribution) 24
    Consumption 27
    Music ‘policy’ 30
    Collecting Societies and IPR/regulatory environment 30
    Public support of musical projects 31
    Assessment of the Challenges and Opportunities facing the music industry in Senegal, and policy
    Recommendations 33
    Opportunities 33
    Challenges 33
    Policy recommendations 34
    Content origination 34
    Production 36
    Distribution 37
    Consumption 38
    Policy and regulation 40

    Appendix 1: Data Issues 42
    Concepts 42
    Taxonomies 42
    Recommendations 43
    Methodology 45
    Method of working 45
    References 46

  • Nkeng à Nkeng, Joël Christian:
    Piraterie ou contrefaçon des œuvres musicales : facteurs explicatifs, modes operatoires et impact sur les artistes-musiciens à Yaoundé.
    Memoire. Université de Yaoundé I, 2010. 159 p. & annexes 1-4

    TABLE DES MATIÈRES

    Epigraphe i
    Dédicaces ii
    Rémerciements iii
    Liste des tableaux et illustrations iv
    Liste des sigles, abbreviations et acronymes v
    Glossaire vii
    Resumé viii
    Abstract ix
    Sommaire x

    Introduction 1
    I – Présentation et justification du choix du sujet 2
    II – Problématique 5
    III – Hypothèses de recherche 9
    IV – Revue de la littérature 10

    V –  Méthodologie 13
    V.1 – Cadre conceptuel de l’étude 14
              V.1.1 – Les variables 14
              V.1.1.1 -variable dépendante ou expliquée 14
              V.1.1.2 – variables indépendantes ou explicatives 14
              V.1.2 – Les indicateurs des variables indépendantes 15
              V.1.2.1 – Les indicateurs de la récession économique 15
              V.1.2.2 – Les indicateurs de la croissance démographique 15
              V.1.2.3 – Les indicateurs du développement des TIC 15
              V.1.2.4 – Les indicateurs de la crise des valeurs morales 15
    V.2 – Cadre théorique d’analyse 16
              V.2.1 – L’approche dynamiste et critique 16
              V.2.2 – L’approche stratégique 19
    V.3- Nécessaire recours à l’interdisciplinarité 21
    V.4 – Techniques de collecte des données 23
              V.4.1 -L’observation et ses variantes 24
              V.4.1.1 – L’observation documentaire 24
              V.4.1.2 – L’observation directe 25
                        a)- L’observation directe non structurée 25
                        b)- L’observation directe structurée 26
              V.4.1.2 – L’observation-participation 27
    V.4.2 – Les entretiens 28
    V.5 – L’exigence d’une recherche qualitative 29
    V.6 – L’échantillonnage 30
    V.7 – Dépouillement, analyse et interprétation des entretiens 34
              1 – La vérification 35
              2 – Le rassemblement des questions 34
              3 – Le codage 34
                 a) – Etablissement des catégories 35
                 b) – Analyse de contenu d’interviews 35
                 c) – Nombre de catégories 35
                 d) – Le classement des réponses 35
    VI – Clarifications terminologiques 35
    VII – Champ d’observation 40
    VII.1 – Champ géographique 40
    VII.2 – Champ social 41
    VIII – Plan de l’étude 42

    Première partie
    Approche globale du droit d’auteur et modes operatoires de la piraterie au Cameroun 43

    Chapitre I
    Approche globale du droit d’auteur 44
    I  –  Droit d’auteur et propriété intellectuelle 45
    I.1 – Evolution historique de la propriété intellectuelle et 
            des droits qui en découlent 45
    I.2 – La propriété intellectuelle et la localisation du droit
             d’auteur en son sein 46
              a) – La propriété industrielle 46
              b) – La propriété littéraire et artistique 46
              c) – La propriété sui generis 46
    I.3 – Le droit d’auteur 47
    I.3.1 – Le droit moral ou droit de la personnalité 48
    I.3.2 – Le droit patrimonial 48
    I.4 – Les droits voisins du droit d’auteur 49
    II  –  La spécificité des oeuvres musicales et leurs
             principales atteintes 49
    II.1 – Caractéristiques générales de l’oeuvre musicale 
              susceptible d’être protégée 49
              1) -L’originalité 49
              2) – Nécessité d’une mise en forme de la créativité 50
    II.2 -Atteintes portées aux oeuvres musicales 50
    II.2.1 -Atteintes aux droits moraux 51
    II.2.2 -Atteintes aux droits patrimoniaux 51

    Chapitre II
    Les modes operatoires de la piraterie 52
    I – Les visages de la piraterie à Yaoundé 53
    I.1 -Typologie des pirates ou des contrefacteurs 53
    I.1.1 – Niveau individuel 53
    I.1.2 – Niveau micro-social 54
    I.1.3 – Niveau macro-social (global) 54
    I.2 – Formes de piraterie ou de contrefaçon 56
    I.2.1 – La forme analogique 56
             A – La copie d’enregistrements existants 56
                    1) – La copie totale 56
                    2) – La copie partielle 56
             B – L’enregistrement clandestin (« bootleg ») 58
    I.2.2 – La forme numérique 59
    I.2.3 – La piraterie des signaux de radiodiffusion et la piraterie par câble 60
    II – Les pratiques de l’activité 61
    II.1 – Localisation de la piraterie à Yaoundé 61
    II.2 -Origine et distribution des oeuvres musicales contrefaisantes 64
    II.2.1 – Pistes des oeuvres pirates ou contrefaisantes 64
    II.2.1.1 – Le marché intérieur 64
    II.2.1.2 – Les pays étrangers 65
             a) – Le port de Douala 65
             b) – La frontière avec les pays voisins 65
    II.2.2 – Distribution des oeuvres musicales contrefaisantes 66
             a) – Organisation de la filière de distribution 66
             b) – La distribution des supports physiques pirates 67
             c) – Des points fixes de téléchargement 70

    Deuxième partie
    Facteurs éxplicatifs et impact de la piraterie des oeuvres musicales au Cameroun 71

    Chapitre I
    Démographie galopante, crise économique, développement des TIC et crise des valeurs morales au coeur du phénomène 72
    I – Démographie galopante, récession économique des années 80 
          et pauvreté 73
    I.1- La démographie galopante 73
    I.2 – La récession économique des années 80 et ses corollaires 76
    I.2.1 – Un contexte économique en ébullition 76
    I.2.2 – Les PAS comme voie de sortie de la crise 77
    I.2.2.1 – Contenu des P.A.S 78
    I.2.2.2 – Faiblesses des PAS 79
    I.2.2.3 – Echec des PAS, crise de l’emploi et montée du 
                   chômage 80
    I.3 – Essor du secteur informel 83
    I.3.1 – Secteur informel comme source d’emplois, de revenus et 
               d’espoir 88
    I.3.2 – Secteur informel : lieu privilégié du commerce illicite 91
    II – Incidence du développement des TIC 92
    II.1 – Le développement des TIC 92
    II.2 – Libéralisation de l’Internet 93
    II.3 – Dérives de la libéralisation de l’Internet 94
    III – Société camerounaise et déliquescence des valeurs morales 95
    III.1 – Une crise multidimensionnelle 97
              a) – L’homosexualité 97
              b) – La corruption et la prédation généralisée 99
              c) – Faux diplômes et faux âges 101
    III.2- La culture camerounaise dans le tumulte 106
    III.2.1 – La musique camerounaise: une musique de la 
                  transgression (L’exemple du Bikutsi) 106
              a) – Des images souvent osées, lubriques et obscènes 106
              b) – Des thèmes et des paroles à connotation sexuelle 108
    III.2.2 – Crise des structures camerounaises de protection du
                   droit d’auteur et droits voisins 111

    Chapitre II
    Portée antinomique du phénomène 115
    I – Le versant positif du phénomène 116
    I.1 – Une importante débouchée pour les jeunes sans emplois 116
    I.2 – Une réponse aux besoins essentiels des pauvres 116
    I.3 – Un moyen efficace de distribution des oeuvres musicales 117
              a) – Degré de fréquence et de dépendance de la clientèle à
                      l’égard des oeuvres pirates 117
              b) – Accessibilité de la clientèle aux oeuvres musicales 118
              c) – Un moyen de promotion efficace des oeuvres
                     musicales 119
    II – Des effets pervers considérables 119
    II.1 – Au niveau politique 119
    II.2 – Au niveau économique 120
    II.3 – Au niveau social 121
              1) – Encombrement et confrontations dans l’espace 
                     urbain yaoundéen 121
              2) – Exclusion sociale ou marginalisation des
                      artistes-interprètes 122
    II.4 – Au niveau culturel 123
              1) – Facteur majeur de la baisse de la production
                     artistique 123
              2) – Une entrave à une gestion collective efficace des
                      droits d’auteurs 124
              3) – Une gangrène pour l’art musical 125

    Chapitre III
    De la répression de la piraterie 127
    I – Cadre juridique de la piraterie ou de la contrefaçon des 
         oeuvres musicales 128
    I.1 – Eléments constitutifs du délit de contrefaçon 128
    I.2 – La loi n° 2000/011 du 19 décembre 2000, relative au 
             droit d’auteur et droits voisins 128
    I.3- Sanctions prévues par la loi camerounaise 129
    I.3.1 – Dispositions pénales 129
    I.3.2 – Dispositions civiles 130
    I.3.3- Autres dispositions (mesures douanières) 130
    II – Lutte contre la piraterie au Cameroun 130
    II.1 – Initiatives en faveur de la lutte 131
    II.1.1 – Initiatives prises par l’Etat 131
    II.1.2 – Initiatives prises par les artistes-interprètes 132
              1) – Encombrement et confrontations dans l’espace
                     urbain yaoundéen 132
               2) – Exclusion sociale ou marginalisation des
                      artistes-interprètes 132
    II.2 – Piraterie des oeuvres musicales au Cameroun: jusqu’ou
              peut aller la traque ? 133
    II.3 – L’Etat camerounais : entre complicité et inertie 134

    Conclusion 139

    Bibliographie 145

    Table des matières 153

    Annexes 159
    Annexe 1 : Guides d’entretien
    Annexe 2 : Thèmes d’entretiens
    Annexe 3 : Identité des personnes interviewees
    Annexe 4
    Titre I
    Titre II
    Chapitre II
    Chapitre III
    Chapitre IV
    Titre III
    Titre IV
    Chapitre II
    Titre V
    Titre VI
    Titre VII
    Titre VIII

  • Teko, Henri Tedongmo :
    La piraterie musicale au Cameroun.
    Une analyse socio-économique du marché illégal des œuvres musicales.

    Saarbrücken : Éditions universitaires européennes, 2011. 84 p.
    ISBN 978-613-1-58896-9

    TABLE DES MATIÈRES

    Dédicace 1
    Remerciements 2

    Introduction 5

    Chapitre 1
    La lutte contre la contrefaçon et la piraterie musicales  au Cameroun 13
    1- Les dispositions légales d’organisation etde gestion des œuvres musicales au Cameroun 14
    1-1- Le Droit d’auteur 14
    1-2- Les Droits voisins 16
    2- Les procédures de coercition en cas de violation du droit d’auteur et des droits voisins 17
    2-1-La qualification du délit 17
    2-2- Les sanctions 19
    3- La pertinence des dispositions légales d’organisation et de gestion des œuvres musicales 20
    4- Les acteurs engagés dans la lutte contre la contrefaçon et la piraterie musicales 22
    4-1- Le Ministère de la culture (MINCULT) 22
    4-1-1- Les Mesures 22
    4-1-2- Les stratégies 23
    4-2- Les organismes de gestion collective 24
    4-2-1- Le Comité Musical de Lutte Contre la Piraterie (CMLCP) 26
    5- La pertinence des stratégies des acteurs engagés dans la lutte contre la contrefaçon et la piraterie musicales 28

    Chapitre 2
    Les contrefacteurs 30
    1- Les fournisseurs 30
    2- Les éditeurs 32
    3- Les distributeurs 34
    4- Les vendeurs 35

    Chapitre 3
    L’économie du marché illegal des œuvres musicales 38
    1- Le couple produit-marché  38
    1-1- La segmentation stratégique 39
    1-2- La formation des prix 39
    2- Le Mécanisme de l’offre 41
    2-1- Les coûts de production 41
    2-2- L’évolution des ventes 43
    2-3- Le Positionnement 48
    3- Le Mécanisme de la demande 49
    3-1-La Clientèle 49
    3-2- La distribution 51

    Chapitre 4
    Les mecanismes fonctionnels du marché illegal des œuvres musicales 54
    1- Les dynamiques identitaires 54
    2- Fonction urbaine 56
    3- Fonctions sociale et économique 59

    Conclusion 66
    Bibliographie 73
    Annexes 77

  • Engandja-Ngoulou, Kanel :
    Le développement des industries culturelles au Gabon.
    Paris: L’Harmattan, 2012. 326 p.
    ISBN 978-2-296-96045-9

    TABLE DES MATIÈRES

    Table des graphiques et tableaux 15
    Préface 17
    Introduction générale 21

    Première partie
    Les grands axes de la politique culturelle gabonaise 41

    Chapitre 1
    La politique culturelle gabonaise (1960-1980) 45
    1. La culture gabonaise sous la présidence de Léon Mba 45
       1.1. La vision culturelle du Président Léon Mba 47
       1.2. Le bilan 47
    Conclusion partielle 62
    2. Les débuts de la politique culturelle sous
        le président Omar Bongo 63
       2.1. Paragraphe 1 :
              Les résolutions du PDG en matière de politique culturelle 63
       2.2. Le bilan 64
    Conclusion partielle 78

    Chapitre 2
    La politigue culturelle gabonaise à partir de 1980 79
    2.1. Le plan décennal de developpeinent culturel de 1980 à 1990 79
    2.2. Les résultats obtenus 81
    Conclusion partielle 86
    2.3. La politique culturelle au-dela du plan décennal de
            développement culturel 87
    Conclusion de la première partie 97

    Deuxième partie
    L’état des lieux des industries culturelles gabonaises 101

    Chapitre 3
    Le commerce des produits culturels gabonais 105
    3.1. La spécificite du produit culturel 106
       3.1.1. Des caractéristiques propres à unec industrie particulière 106
       3.1.2. Le cycle de vie d’un produit culturel 108
    3.2. Le marché des produits culturels gabonais 112
       3.2.1. Le marché de la consommation 112
       3.2.2. L’évolution de l’offre culturelle sur le marche gabonais 116
    Conclusion partielle 120

    Chapitre 4
    Les principales industries culturelles gabonaises et l’action internationale 123
    4.1. La filière de l’édition 123
    Conclusion partielle 134
    4.2. L’industrie musicale 150
    4.3. L’industrie audiovisuelle : radio, television et cinema 163
    4.4. La francophonie et les industries culturelles au Gabon 199
    Conclusion partielle 219
    4.5. Les contributions internationale hors OIF 224
    Conclusion de la deuxième partie 230

    Troisième partie
    Pour une rédéfinition de la politique culturelle gabonaise 233

    Chapitre 5
    Pour une nouvelle approche de la culture gabonaise 239
    5.1. La formation et les ntic comme préalables a la dynamisation
            des industries culturelles au Gabon 239
    Conclusion partielle 253

    Conclusion partielle 262

    Chapitre 6
    L’encadrement structurel des industries culturelles et la dynamisation de l’action internationale 263
    6.1. L’action publique au service des industries culturelles 264
    Conclusion partielle 273
    6.2. Le renforcement de l’action internationale 276

    Table des annexes 299
    Ressources documentaires 305

  • Wallis, Roger & Krister Malm:
    Big Sounds from Small Peoples.
    The Music Industry in Small Countries.
    London: Constable, 1984. 419 p.
    Case study including Kenya
    ISBN 0-09-465300-3 (Hardback) 0-09-465360-7 (Paperback)

    See Main menu “Music industry – Books” for full Table of Contents

    KENYA INDEX

    Kenyan music, xii, xv, 30-33, 43, 60, 227, 298;
    benga beat, 93;
    broadcasting (VoK),
    25, 125, 145, 171, 205, 205, 234, 245, 250, 257-9, 263-4;
    CBS in, xiii, 82, 93-5, 96, 99, 108, 245;
    copyright,
    47, 145-6, 167, 171, 175, 176, 182-6, 203-4, 204, 205, 209;
    cultural dominance in, 298-9;
    EMI in, xiii, 92-3, 108; and external cultural forces, 65;
    government policy, 228, 223;
    international co-operation, 47, 48, 49;
    ‘Malaika’ case, 182-7 & n;
    manufacturing costs, 159;
    music education, 230;
    music in hotels, 62, 293;
    National Music Organization Treaty, 143-6;
    national pop-rock scene, 303, 306, 310;
    organization of musicians in, 290-91;
    phonogram industry, 24, 25, 113, 115, 117;
    Polygram in, 76, 77, 81, 93, 144-5, 151;
    popular music, 32-3, 302;
    Presidential National Music Commission, 65;
    profile of change (appendix), 350-56;
    traditional music, 31-2,43
    Kenya National Cultural Council, 228

  • Wallis, Roger & Krister Malm:
    Big Sounds from Small Peoples.
    The Music Industry in Small Countries.
    London: Constable, 1984. 419 p.
    Case study including Tanzania
    ISBN 0-09-465300-3 (Hardback) 0-09-465360-7 (Paperback)

    See Main menu “Music industry – Books” for full Table of Contents

    TANZANIA INDEX

    Tanzanian music, xiii, xv, 30-33, 43, 57, 60, 145;
    broadcasting (Radio Tanzania),
    83,209, 225, 226, 227, 233, 234, 257,259-61, 264;
    copyright, 47, 209, 211;
    cultural dominance, 298-9;
    government policies, 218-19, 225-7, 230, 237, 260-61, 295-6;
    jazz bands, 13, 33, 64, 219, 227, 260, 261, 280-81, 303;
    local music groups, 43, 260-61;
    mechanical reproduction’s lack of resources, 152;
    mediaization, 280-81;
    music education, 230, 231;
    national pop-rock scene, 303, 306-7, 310;
    phonogram industry, 113, 115, 117, 295-6;
    phonogram technology, 277, 281;
    piracy, 45, 227;
    popular music, 32-3, 64-5, 219, 298, 302;
    profile of change (appendix), 376—80;
    soul music, 14;
    tradition and change,
    13-17, 31-2, 227, 230, 270; and transnational, 83, 95, 96;
    unofficial music sector, 227
    Tanzanian District Cultural Offices, 225, 226
    Tanzanian Film Company (TFC), 64, 95, 152, 225, 226, 226
    Tanzanian Ministry of Culture and Youth, 218-19, 225
    Tanzanian National School of Music, Dance and Drama, 230

  • Cuff, Martin & Ernest Omalla:
    Study on Artist Copyright Management & Royalties Collection and Distribution in the Tanzania Music Industry.
    The Tanzania Musicians Network, October 2013. 52 p.

    CONTENTS

    1. Introduction

    2. The music industry
    2.i Global overview
    2.ii Key components
    2.iii Sector value chain
    2.iv Revenue streams for international musicians
       2.iv.i Authors
       2.iv.ii Performers

    3. Copyright
    3.i Overview
    3.ii Copyright – international norms
       3.ii.i Automatic rights
       3.ii.ii Author’s rights
       3.ii.iii Moral rights
       3.ii.iv Economic rights
       3.ii.iv.i Performing Rights
       3.ii.iv.ii Mechanical Rights
    3.iii Neighbouring rights
    3.iv Copyright uses
    3.v. Collective management
       3.v.i Main activities
       3.v.ii Governance of collective management societies
       3.v.iii Reciprocal international arrangements
       3.v.iv Blanket licenses
    3.vi African CMO case studies

    4. Music in Tanzania
    4.i Tanzanian music sector overview
    4.ii Treatment of copyright in Tanzania
    4.iii Legislation
    4.iv Policy

    5. Stakeholders
    5.i COSOTA
    5.ii World Intellectual Property Organization
    5.iii BASATA
    5.iv BRELA
    5.v COSTECH
    5.vi MCT
    5.vii TANTRADE
    5.viii Tanzania Broadcasting Corporation
    5.ix Tanzania Communications Regulatory Authority
    5.x Tanzania Revenue Authority
    5.xi Music – private sector
    5.xii Broadcasters – television, radio
    5.xiii East Africa copyrights management

    6. Key challenges
    6.i Outdated legal framework
    6.ii Critical under-resourcing of COSOTA
    6.iii Bureaucracy & red tape
    6.iv Lack of transparency
    6.v Piracy
    6.vi Powers of enforcement
    6.vii Lack of government coordination
    6.viii Lack of a business-oriented music sector policy
    6.ix Lack of awareness & information of copyrights
    6.x High tariffs on musical instruments
    6.xi Lack of industry statistics & information
    6.xii The “tyranny of location”

    7. Recommendations
    7.i Overhaul of act
    7.ii Enable & resource COSOTA
    7.iii Adoption of technological best practice
    7.iv Outsourced royalties management agency
    7.v Music as business
    7.vi Developmental approach
    7.vii Improved sector coordination
    7.viii Industry organisation / coordination
    7.ix Waiver of import duties on musical instruments
    7.x Business skills training
    7.xi Copyright training & awareness promotion
    7.xii Enforcement / anti-piracy
    7.xiii Research & development
    7.xiv Home copy levy
    7.xv Distribution and consumer development
    7.xvi Digitisation of back catalogue

    8. Technology solutions
    8.i Technology interventions for COSOTA operations
    8.ii Shazam
    8.iii Other applications
    8.iii.i. Hello Sign
    8.iii.ii Eventbrite
    8.iii.iii Lemon Wall
    8.iii.iv Fujitsu ScanSnap
    8.iii.v Xero
    8.iii.vi HelloFax
    8.iii.vi Adobe EchoSign
    8.iii.viii Shoeboxed
    8.iii.ix Nitro
    8.iii.x. Evernote

    9. Summary of recommendations

    10. Strategies
    A: Formalised government
    B: Formalised & skilled industry
    C: Process management

    11. Conclusion – outcomes of the research

  • Abrahams, Randall:
    Spinning Around: The South African Music Industry in Transition.
    Cape Town: Human Sciences Research Council Publishers,
    Occasional Paper, Issue 3, 2003. 33 p.
    ISBN 0-7969-2020-6

    CONTENTS

    Preface iii
    About the Author iv

    Spinning Around: The South African Music
    Industry in Transition 1
    Does a truly South African music style exist? 9
    Making music,making money 19

    Notes 30
    References 31
    Sound recordings 32

  • Pietilä, Tuulikki:
    Contracts, Patronage and Mediation.
    The Articulation of Global and Local in the South African Recording Industry.
    London: Palgrave Macmillan UK, 2015. xi & 239 p.
    ISBN 978-1-137-56231-9

    CONTENTS

    List of Figures, Tables, and Maps
    Acknowledgements

    Introduction 1
    Patronage and mediation
    Authorship and rights ownership
    Context: population and economic developments in South Africa
    The research material and organization of the book

    1 The South African Recording Industry 19
    Historical developments: concentration and consolidation
    International and local music
    International and local music in the major companies’ structures
    Music sales trends according to the statistics
    The rise of local music and the independent sector
    The recording industry associations and the needletime issue
    Africa as an ’emerging market’

    2 Recent Industry Developments 47
    Declining physical sales, gradually increasing digital sales
    Strategies to tackle the decreasing physical sales
    Publishing and synchronization revenues
    The live music scene

    3 A Segmented Music Market and Attempts to Capture It 71
    Radio broadcasting
    Describing the market segments
    Adjusting to the market
    Sales

    4 The Wholesaling and Retailing of Music 89
    Diversification of the distribution sector
    Concentration in the buying sector
    The story of Reliable Music Warehouse
    Big and small operators
    Music selling as mediation

    5 Negotiating Value in the Music Chain 112
    The recorded music value chain
    Other agents and rewards
    Discussion

    6 Organizing Relationships in the Recording Industry:
    Contracts and Patronage 126
    Relations of production and appropriation
    Artists’ and musicians’ accounts of their recording careers
    Roles and responsibilities in relationships
    Musicians’ strategies
    Exploitation or caretaking? arguments and counter-arguments

    7 Continuities in Patronage Arrangements 158
    Sources of confusion
    Rewards in kind: the terms of and items under negotiation
    The small labels’ perspective
    The 360 degree deal and the patronage issue
    Discussion

    Conclusion 176

    Appendix A: Tables 184
    Appendix B: Interviewed People Notes
    Notes
    Bibliography
    Index

  • 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

  • Mkandawire, Yadika:
    Towards Eradicating Piracy in Music: A Zambian Perspective.
    B.L. University of Zambia (Lusaka), 2003. vi & 53 p.

    CONTENTS

    Dedication i 
    Contents ii
    Preface iv
    Acknowledgements v
    Quote vi

    1. Introduction 1
    1.1 Copyright 1
    1.2 Performance rights 3
    1.3 Protection of copyright and performance rights 3
    1.3.1 Infringement 3
    2. Legal framework 7
    2.1 Historical Background 7
    2.2 Overview of the law 10
    3. Piracy 19
    3.1 Definition 19
    3.1.1. Infringement as piracy  21
    3.2 Prevalence 23
    4. Effects of piracy 28
    4.1 Victims of piracy 28
       4.2 Effects of piracy 29
       4.2.1. Economic effect 29
       4.2.2. Cultural effect 30
       4.2.3. Intellectual and social effect 32
    5. Towards eradicating piracy 34
    5.1 Efforts to curb piracy 34
       5.1.1. Enactment of copyright 34
       5.1.2. Amendment to customs and excise act 35
       5.1.3. Raids 35
       5.1.4. Information to public 37
       5.1.5. Ratification of international conventions 37
       5.1.6. Reciprocal representation agreements 37
       5.1.7. Awareness amongst enforcement agencies 38
    5.2 Status quo 38
    5.3 Recommendations 39
       5.3.1. Political will 40
       5.3.2. Strengthening the law 41
       5.3.3. Institutions 41
       5.3.4. Awareness campaigns 45
       5.3.5. Law enforcement agencies 46
       5.3.6. Partnership with IFPI 48
    5.4 Conclusion

    Bibliography 52

  • Nsanta-Kalimukwa, Natasha:
    Copyrights Protection in the Context of the Music Industry in Zambia.
    B.L. University of Zambia (Lusaka), 2005. vi & 48 p.

    CONTENTS

    Chapter One 
    1.0 Introduction
    1.1 History of copyright 5
    1.2 Justification for protecting copyright in music 6

    Chapter Two
    2.0 Piracy 9
    2.1 Socio-economic and cultural implications 16
    2.2 Systems in place to fight piracy 18

    Chapter Three
    3.0 Role of collective management of copyright- Zambia 
          Music Copyright Protection Society (ZAMCORPS) 22
    3.1 Socio-economic and cultural implications 25
    3.2 Payment of royalties 28

    Chapter Four
    4.0 Analysis of the provisions of The Copyright and 
          Performance Rights Act, 1994
    31
    4.1 What constitutes infringement? 32
    4.2 Enforcement mechanisms 34

    Chapter Five
    5.0 Conclusions and recommendations 41
    5.1 Lack of proper knowledge and understanding
          of copyright laws 41
    5.2 Piracy 41
    5.3 Poor enforcement 42
    5.4 Technological advances 43
    5.5 Ineffective Music promoters 43
    5.6 Lack of political will 44
    5.7 Recommendations 45

  • Banda, Jane:
    Zimbabwean Copyright Law and its Effectiveness in
    Protecting Composers’ Intellectual Property Rights.

    B.Sc. Midlands State University (Gweru), 2012. ix & 48 p.

    CONTENTS

    Contents i
    Approval Form iii
    Abstract iv
    Acknowledgements v
    Dedication vi
    List of Tables vii
    List of Figures viii
    Acronyms ix

    Chapter 1
    1.0 Introduction 1
    1.1 Background to the problem 1
    1.2 Statement of the problem 4
    1.3 Objectives 5
    1.4 Research questions 5
    1.5 Significance of the study 6
    1.6 Assumptions 6
    1.7 Limitations 7
    1.8 Delimitations 7
    1.9 Definition of terms 8
    1.10 Conclusions 8

    Chapter 2
    2.0 Literature review 9
    2.1 Introduction 9
    2.2 Who music composers are 9
    2.3 Copyright law and intellectual property rights 10
    2.4 History and development of Copyright Law 12
    2.5 Who owns copyright in a musical work 12
    2.6 The Collecting Society in Zimbabwe 13
    2.7 Duration of Copyright 14
    2.8 How composers have benefited from copyright law 15
    2.9 Rights protected by copyright law 15
       2.9.1 Economic rights 16
       2.9.2 Moral rights 16
       2.9.3 Mechanical rights 17
       2.9.4 Performing rights 17
    2.10 Copyright Infringement 17
    2.11 Piracy 19
    2.12 Conclusion 23

    Chapter 3
    3.0 Methodology and research design 24
    3.1 Introduction 24
    3.2 Research design 24
    3.3 Population, sample and sampling procedure 25
    3.4 Research instruments 25
        3.4.1 Questionnaires 25
        3.4.2 Interviews 27
    3.5 Data collection procedure 27
    3.6 Data presentation, analysis and interpretation 29
    3.7 Conclusion 29

    Chapter 4
    4.0 Data presentation, analysis and interpretation 30
    4.1 Introduction 30
    4.2 Responses 30
    4.3 Conclusion 40

    Chapter 5
    5.0 Summary, conclusions and recommendations 41
    5.1 Introduction 41
    5.2 Summary of the results 41
    5.3 Conclusion of findings 42
    5.4 Recommendations 43
    5.5 Conclusion 44

    References 45

    Appendix 1 46
    Appendix 2 47
    Appendix 3 48
    Department Letter 49
    Release Form 50

  • Brusila, Johannes; Philip Donner & Nina Winquist (eds.):
    Zimia. The Forming of a Music Industry Association in Zimbabwe. 
    Helsinki: Mediafrica, 1992.  78 p.
    ISBN 952-9675-01-1

    CONTENTS

    Preamble 4

    Stephen Roskilly
    Music Recording Studios 7

    Louis Mhlanga
    The Music World and the Musician in Zimbabwe 17

    Pauline Manjengwa
    The Contribution of Education towards the Development of
    a Music Industry 25

    Julian Howard
    Viability of the Music Industry in Zimbabwe 30

    Busi Chindove
    Music Promotion in the Radio Media 39

    Jethro Shasha
    Local Music for the Home Market 44

    Munya Brown
    Moving Forward in Unity 49

    Biggie Tembo
    Putting a House in Order 52

    David Smith
    Music Development in Retrospect:
    The Point of View of an End User 56

    Constitution of the Zimbabwe Music Industry Association (ZIMIA) 66
    List of Organisations and Companies 75

  • Mortaigne, Veronique:
    Cesaria Evora. La voix du Cap-Vert.
    Arles: Actes Sud, 1997. 203 p.

    ISBN 2-7427-1152-X 

    afropop1995

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  • Mortaigne, Veronique:
    Cesaria Evora. La voix du Cap-Vert.
    Arles: Actes Sud, 1997. 203 p.

    ISBN 2-7427-1152-X 

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  • Johnson, John William:
    ‘Heelloy’. Modern Poetry and Songs of the Somalis.
    London: HAAN Publishing, 1998. xxiii & 241 p.
    ISBN 978-1-874-20981-2

    CONTENTS

    Foreword to the first edition by B. W. Andrzejewski ix
    Foreword to the 1996 edition by Abdilahi Qarshi xi
    Preface to the first edition xv
    Preface to the 1996 edition xxiii

    1. Introduction
    The social context 1
    The Nature of Traditional Pastoralist Poetry 12
    The Historical Development of Modern Oral Poetry 17

    2. The Family of Miniature Genres
    The Nature of the Family of Miniature Genres 27
    The Poetry of the Miniature Family 32

    3. The emergence of the Belwo
    The Historical Background 49
    The Belwo is Born 53
    The Poetry of the Belwo 59

    4. The Heello: Period One
    The Metamorphosis: Belwo to Heello A 75
    The Modem Poem: Heello A to Heello B 82

    5. The Heello: Period Two
    The Historical Background 95
    The Poetry of the Second Period 103

    6. The Heello: Period Three
    The Historical Background 117
    The Poetry of the Third Period 146

    7. Characteristics of the Heello: All Periods
    Themes Common to All Periods 175
    Structural Characteristics and
    Development Common to All Periods 190
    The Impact of Media on Modern Poetry 208

    8. Conclusion
    The Inheritance of the Heello 215
    Forces Behind the Success and Development of Modern Poetry 216

  • Bere, Wonderful G.:
    Urban Grooves:
    The Performance of Politics in Zimbabwe’s Hip Hop Music.
    Ph.D. New York University, 2008. xiii & 229 p.

    CONTENTS

    Dedication iv
    Acknowledgements v
    Abstract viii
    List of tables 13

    Introduction 1

    Chapter I
    Back to the same: from great Zimbabwe to Zimbabwe ruins 17
    Causes of the Zimbabwean crisis 20
    The land question 20
    Balancing act: Social justice and economic progress 25
    ESAP 26
    War veterans 27
    The civic community 28
    Land invasions: The third chimurenga 29
    Rigged elections 31
    Breakdown of the rule of law 32

    Chapter II
    Music, society and politics 36
    Marxism and the arts 37
    Music and social memory 41
    Chimurenga music 43
    Post-independence protest music 51
    Post-independence chimurenga music 53
    Music serving the state 57

    Chapter III
    Censorship in Zimbabwean music 61
    Censorship legislation 66
    Censorship and Entertainment Control Act, 1967 67
    Blacklisting of music on radio and television 73
    Harassment and intimidation of musicians 74
    Self-censorship 77
    Co-option of musicians and take-overs of recording companies 78
    Recording industry censorship 80

    Chapter IV
    Towards a genealogy of urban grooves 82
    From worldbeat to localbeat: Hip Hop to urban grooves 82
    Defining urban grooves 94
    Its grooving time: Urban youth culture takes center stage 96
    The pre-urban grooves movement 100
    Government intervention and the 75 percent local content policy 115
    The Capital Radio saga 116
    The B.S.A 116
    “Urban Grooves Volume 1”: Urban grooves arrives 118
    Issues in urban grooves 120

    Chapter V
    Infectious beats: State politicization of urban grooves 124
    State sponsorship of urban grooves 131

    Chapter VI
    Deception, dissonance and subversion in urban grooves 146
    Urban grooves or urban blues: Love, migration and the blues in the grooves 159
    Laughter as medicine: Xtra large 171
    Social dissonance as political protest: Maskiri 176
    Disowning urban grooves 184
    Toyi Toyi Hip Hop: Performance as activism 185

    Conclusion
    The sound of mourning 190
    Endnotes 198

    Bibliography 204

  • Chamisa, Vimbai:
    Commodified Versions of Shona Indigenous Music:
    (Re)constructing Tradition in Zimbabwean Popular Music.
    M.A. University of the Witwatersrand (Johannesburg), 2012. viii & 128 p.

    CONTENTS

    Declaration ii
    Dedication iii
    Abstract iv
    Acknowledgements v
    Contents vi
    List of Figures viii

    Chapter One
    Introduction 1
    Musical Traditions and Historical Processes 4
    Influences in the Popular Music 7
    Research Aim and Rationale 9
    Research Objectives 10
    Research Methods and Procedures 11
    Classifying the Repertoire 16
    The Socio-political Significance 18
    Chapter Summaries 19

    Chapter Two
    Literature Review and Theoretical Framework 21
    Introduction 21
    Towards Understanding Shona Popular Adaptations
    as “Traditional” Art 21
    Authenticity and Identity in Music 25
    Adaptation of Traditional Music and Copyright 28
    Structural Analysis 32

    Chapter Three
    “Doing the Serious Business of Older People Correctly”:
    Zimbabwean Mbira Popular Adaptations 36
    Introduction 36
    Historical Background to the Performance of Mbira Indigenous Music 37
    Strategies for Adapting Mbira Traditional Music 39
        Imitation: Entire Mbira Adaptation 40
        Sampling: Adapting the Standard Basic Mbira Part: Imitation 44
        Abstract Adaptation: Adapting Sung Mbira Melody and or Text 52
    Connection between Popular Texts and Traditional Mbira Pieces 59
    Conclusion 62

    Chapter Four
    Impacts of Shona Ngoma Rhythms on Zimbabwean Popular Music 66
    Introduction 66
    Understanding Ngoma Rhythms 67
    Combining Technique: Interpreting Connections between Shona Ngoma Genres 69
    Traditional and Popular Manifestations 74
    Imitation: Entire ngoma adaptations 75
    Sampling of Shona ngoma music 76
    Jiti Popular music: Relationship between Musical Style and Lyrics 84
    Conclusion 88

    Chapter Five
    Commodified Shona Music: Safeguarding Indigenous Musical heritage? Local Community Perspectives 92
    Introduction 92
    Preservation through Adaptation 95
    Traditional Music and the Heritage Discourse in Zimbabwe 96
    Community Members and their Relationships to Shona Traditional Music 98
    Hearing Popular Adaptations as Nhaka 102
    Discussions of the Traditional 107
    Conclusion 109

    Chapter Six
    Conclusions 110

    Appendix
     A List of Commodified Shona Songs 115

    Bibliography 121
    Discography 128

  • Collins, [Edmund] John:
    Fela. Kalakuta Notes. 2nd edition
    Middletown, Conn.: Wesleyan University Press, 2015.  xii & 326 p.
    ISBN 978-0-8195-7539-5 (paper) 978-0-8195-7540-1 (ebook)

    CONTENTS

    Foreword by Banning Eyre ix
    Introduction 1

    Part 1 Early Days
    1 The Birth of Afrobeat 27
    2 Joe Mensah Remembers 41
    3 Fela in Ghana 49
    4 Stan Plange Remembers 29

    Part 2 Confrontation
    5 Kalakuta is Born 67
    6 “JB” Talks about Fela 73
    7 The Kalakuta Republic 81
    8 The Black President 114
    9 Amsterdam and After 125

    Part 3 Retrospect
    10 Mac Tontoh on Fela 139
    11 Frank Talk about Fela 152
    12 Obiba Plays It Again 165
    13 Smart Binete Sorts It Out 174
    14 Anku Checks Out the Beat 178
    15 Nana Danso Orchestrates 183
    16 Some Early Afro-Fusion Pioneers 197
    17 Interview with Fela 204
    18 Afterthoughts and Updates 209
    19. Felabrations at Home and Abroad 238

    Chronology 259
    Notes 269
    Selected Bibliography 281
    Discography 285
    Appendix A: “Shuffering and Shmiling” Score 303
    Index 309

  • Erlmann, Veit (ed.):
    Populäre Musik in Afrika.

    Veröffentlichungen des Museum für Völkerkunde.
    Neue Folge 53. Abteilung Musikethnologie VIII.
    Berlin: Museum für Völkerkunde, 1991. 312 pp. & 2 CDs.
    ISBN 3-88609-213-5

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  • Sweeney, Philip:
    Directory of World Music. A Guide to Performers and their Music.
    With Contributions from Peter Gabriel, Andy Kershaw, Giberto Gil [&] Manu Dibango.
    London: Virgin Books, 1991. 262 p.
    Section Africa 1-81
    ISBN 0-86369-378-4

    sweeney1991CONTENTS

    AFRICA

    The North and West
    Introduction: Peter Gabriel 1
    Libya 3
    Tunisia 5
    Algeria 6
    Morocco 13
    Mauritania 16
    Senegal 17
    Mali 20
    Guinea 26
    Guinea-Bissau 29
    Cape Verde 29
    Sierra Leone 31
    Côte d’Ivoire 32
    Ghana 34
    Togo and Benin 36
    Nigeria 37

    Central Africa, The South and East
    Introduction: Manu Dibango 42
    Cameroon 44
    Zaire 49
    Congo 56
    Gabon 56
    Angola 57
    Zambia 58
    Mozambique 59
    Zimbabwe 60
    South Africa 65
    Madagascar 70
    Mauritius and Reunion 71
    Tanzania and Zanzibar 72
    Kenya 74
    Uganda 76
    Burundi 76
    Ethiopia 77
    Sudan 79

  • Lee, Hélène:
    Rockers d’Afrique. Stars et légendes du rock mandinque.
    Paris: Albin Michel, 1988. 223 pp.
    ISBN 2-226-03 139-1 

    TABLE DE MATIÈRESafropop1995

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