This study utilises a quantitative exploratory design to explore digital distribution of music in the South African recording industry. According to Cooper and Schindler (2010:102) exploratory research is appropriate when there is a paucity of research on a subject. In this study, it is used to obtain in-depth information on the research topic in order to better understand the phenomenon. Given the limited empirical and theoretical research on the South African music industry, an exploratory design approach is appropriate.
The researcher aims to explore the facets of digital music distribution in order to gain knowledge on this topic to generate and test a hypothesis. The hypothesis determines whether the information presented is based on an exploratory study of digital music distribution, thereby considering knowledge and appropriateness. This enables the researcher to reach conclusions and make recommendations.
3.2.1 Research Approach
A quantitative research design is employed for this study. Quantitative research is designed to evaluate objective data and relies on numerical and statistical data, excluding feelings and opinions (Sibanda, 2009:2). Creswell (2014:4) describes quantitative research as a method used to test theories by examining the relationships among variables. The variables are then measured on instruments so that numbered data can be analysed using statistical procedures and
packages. The purpose of quantitative research is to test hypotheses, examine cause and effect, and make predictions. The researcher isolates variables and relates them to determine the magnitude and frequency of the relationships and to determine which variables to investigate (Sibanda, 2009:2).
3.2.2 Sampling Technique
There are two types of sampling, namely probability and non-probability sampling. The researcher employs non-probability sampling. The non-probability sampling method allows for a specific element to be chosen. The researcher uses purposive sampling, also known as judgemental sampling. Creswell (2014:189) observes that in quantitative research, the researcher purposefully the selects participants or sites (or documents or visual material) that best enables the respondents to understand the problem and research question. This sampling technique does not entail random sampling or the selection of a large number of participants, but is based on the judgement of the researcher regarding the characteristics of a representative sample (Bless, Kagee and Smith, 2006:106). In this research study the sample targeted and comprised of musicians.
In addition to purposive sampling, snowball sampling offers a quicker and more efficient means to gather data. Babbie and Mouton (2006:167) advises that snowball sampling is appropriate when it is difficult to locate the desired number of members of a special population. A few people from the target population are requested to provide information on how to locate other members of that population whom they know. In this way, they serve as informants and assist in identifying colleagues, acquaintances or friends. Just as a snowball increases in size with the accumulation of snow, so too does this sampling technique accumulating respondents for this exploratory research. In coupling purposive sampling with snowball sampling, the researcher will be referred to professionals within the same industry.
3.2.3 Target Population
In order to be able to compose, produce, record and digitally distribute music, the artist or band needs to reside in an urban area. Urban areas are highly developed and offer efficient access to technology, infrastructure, business development, and professionals in the targeted industry as well as wider audiences. According to Statistics South Africa (2014), KZN has the third largest population in SA of 3,442,361 million, representing 19.8% of the total population. Of this population, 84, 4% reside in urban areas, with 14.7% in tribal or traditional areas and the remaining 0.5% lives on farms. The majority of the KZN population has access to cellular
phones (90.7%); while 24.6% have access to computers, 78.5% to television, 32.4% to satellite television, 71.8% to radio and 32.6% to motor vehicles.
More than half of KZN’s population (58.8%) does not have access to the Internet with 11.7%
accessing the Internet from their homes, 19.1% from their cellular phones, 4.8% from their offices, and 5.7% from elsewhere. The facts that more than 50% of the population of KZN does not have access to the Internet and similar technologies implies that the majority of the musicians within KZN reside in Durban that offers viable technological resources and opportunities to record and distribute music.
Babbie and Mouton (2006:100) describe the population as those people or a group of people who the study is about. As it is impossible to interview all the members of a population of interest, a sample of the population is selected for data collection. The target population for this research study was selected using the Diffusion of Innovation theory’s guidelines for sampling.
Given (2008:697) notes that researchers who adopt a deductive or theory testing approach, select individuals or cases that embody the theoretical constructs.
In this study, the researcher was guided by the theory of Diffusion of Innovation that was used to reach the targeted musician population in the Durban area. As noted earlier, this theory posits that in order to diffuse technology or the product, musicians need to reside in areas that have access to the resources required to diffuse the innovation.
3.2.4 Type of Sample and Sample Size
The RiSA website states that the association has 250 members in KZN. Although the website does not list members per city, the researcher used deductive logical reasoning together with the theory of Diffusion of Innovation to support the sample size selected. This was achieved by taking into consideration that in order to digitally distribute music, musicians will need to have access to technology-enabling equipment, devices and bandwidth speed. These are available in urban area such as Durban. In addition, the researcher used statistics pertaining to KZN to provide clarity on inhabitants’ access to the Internet, technology and other resources that facilitate distribution of and access to digital music. Residents living in urban areas, especially in the city of Durban have access to the appropriate resources required to diffuse an innovation.
Table 3.1: Sample Size for a Given Population Size
Population size (N) Sample Size (S) Population size (N) Sample Size (S)
10 10 160 113
15 14 170 118
20 19 180 123
25 24 190 127
30 28 200 132
35 32 210 136
40 36 220 140
45 40 230 144
50 44 240 148
55 48 250 152
60 52 260 155
65 56 270 159
70 59 280 162
75 63 290 165
80 66 300 175
85 70 320 181
90 73 340 191
95 76 360 196
100 80 380 205
110 86 400 210
120 92 420 217
130 97 440 226
140 103 460 242
150 108 480 248
Source: Sekaran, U and Bougie, R. (2010) Research Methods for Business: A Skills Building Approach, 5th ed. United Kingdom: John Wiley and Sons Ltd: Pp. 295 – 296.
Table 3.1 indicates the corresponding sample size for different population sizes. This study made reference to these population sizes in determining the target sample size of 152 participants from the estimated population size of 250 (Sekaran and Bougie, 2010:295).
Although a sample size of 152 was required, the researcher was able to obtain a sample size of 217. This is almost 87% of the population size.
Table 3.2 below depicts the composition of the sample.
Table 3.2: Composition of Sample
Biographical Variables Frequency Percentage
Age 18 – 25 years 144 66.4
26 – 35 years 51 23.5
36 – 45 years 16 7.4
46 years and older 6 2.8
Total 217 100.0
Gender Male 106 48.8
Female 111 51.2
Total 217 100.0
Race African 135 62.2
Indian 46 21.2
White 19 8.8
Coloured 14 6.5
Other 3 1.4
Total 217 100.0
Education High School 11 5.1
Matric 84 38.7
Bachelors’ Degree 90 41.5
Honours 19 8.8
Masters 6 2.8
PhD 2 .9
Other 5 2.3
Total 217 100.0
Artist Category
Belong to a label 58 26.7
Independent artist 119 54.8
Social music entrepreneur 38 17.5
Other 2 .9
Total 217 100.0
Number of years in the music industry
Less than a year 61 28.1
1 – 3 years 99 45.6
4 – 6 years 34 15.7
7 – 10 years 11 5.1
Over 10 years 12 5.5
Total 217 100.0
Music is distributed by
Myself 151 69.6
My Label 66 30.4
Total 217 100.0
Medium of Electronic distribution 105 48.4
Distribution Traditional means 38 17.5
Both 74 34.1
Total 217 100.0
Websites used to distribute music
iTunes 41 18.9
Social Media Websites 113 52.1
SAmp3.com 36 16.6
Napster 11 5.1
Soundcloud 47 21.7
Other 14 6.5
Total 262 120.9
Music is aligned with
Customer demands 58 26.7
Label demands 42 19.4
My own artistic taste 117 53.9
Total 217 100.0
Source: Developed by the researcher from data analysis.
Question 9 on the research instrument allowed the respondent to select more than one option hence the frequency and percentage differs from other questions.