A study of the perception of contemporary South African popular music among Durban youth in five culturally diverse schools. I feel that a study of this nature is significant as it will add to the small body of literature on South African music and specifically South African popular music The impact of the media and music on the youth of South Africa is also an area that has been under-researched.
This study will consider how South African popular music is perceived by school students in five culturally diverse Durban schools. The impact that South African music has on the formation of the identity of Durban adolescents and the impact that the local recording industry has on their preferences will be discussed. South African popular music will be placed in a larger context, and the impact of globalization on the preferences of the adolescent will be considered.
By using both qualitative and quantitative data collection methods, I hoped to gain a rounded view of respondents' feelings about South African music. He goes on to discuss the South African music industry, strategic options for growth in the industry and the quota system.
Literature Review
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With the statement that I enjoy listening to South African popular music, 43.5% of respondents agree and 10% strongly agree. Similarly, only 8.5% of Thomas More respondents strongly agree and 32.2% agree with the statement (Figure 8). Of Bonela Secondary's respondents, 64.4% choose East Coast Radio as their favorite radio station, while 22% choose Metro fm.
Of the Hillcrest High School respondents, 47.1% choose 5fm as their preferred radio station, 37.4% choose Metro fm and 20.1% choose East Coast Radio (Figure 13). A comparison was made between respondents' favorite radio station and their response to the statement I enjoy listening to South African popular music (Figure 14, p. 72). Of the respondents who choose East Coast Radio, 18.9% agree and 8.8% strongly agree with the statement.
Finally, respondents' choice of favorite radio station was compared with their response to the statement. I feel that local popular music is a good thing. Radio stations should play less than 40% local music, and only 5.7% of respondents choose this statement. Respondents' home languages are compared with their responses to the quota system in South Africa.
Among respondents who choose East Coast Radio as their favorite radio station, the majority, 49.4%, choose the statement I wouldn't change it. In contrast, the majority of respondents at Thomas More College, 73.3%, have access to DStv at home. We therefore tested these claims and compared access to DStv with respondents' response to local music.
According to the findings, access to DStv has almost no effect on whether respondents like listening to South African popular music. Among respondents who do not have access to DStv, 8.6% strongly disagree with the statement, compared to 12.6% of respondents who have access to DStv. Thus, more respondents with access to DStv disagree or strongly disagree with the statement that South African music is well marketed than respondents without access to DStv.
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In this regard, the economic circumstances of the respondents from Bonela High School should be taken into account. Most of the respondents from Bonela High School, Hillcrest High School and Sastri College list R&B as the music genre they enjoy, while the majority. Another obvious factor is the contradictory way in which respondents view South African music.
There is also a tendency among respondents from each of the schools to criticize South African music for a lack of variety - many of them view local music as repetitive and boring. At Thomas More College, three of the respondents feel that radio stations should not be forced to play South African music. On the other hand, three of the respondents argue that a quota is essential for the survival of South African music.
Two of the respondents feel that the quota for radio should be increased to 50% local content. In discussing the limited access the respondents have to South African music, the role of the media inevitably came up. Virtually without exception, the respondents feel that South African music needs a lot more advertising and exposure.
The respondents from Bonela Sekondêr also single out the local soapie Backstage for their support of local music. What is immediately clear is the initial way in which some of the respondents view local music. In general, apart from these negative comments, the respondents support local music.
Most respondents from Sastri College initially claimed to dislike South African music, but slowly came around. Respondents from Thomas More College base their discussion of South African music exclusively on South African rock, as they are not exposed to other genres of local music. Like respondents from other schools, respondents from Gelofte Skool cite a lack of advertising and promotion as one of the main reasons for the lack of support for local music.
Conclusion
This research will be relevant to anyone involved in the South African music industry. 1999 'Just Do It?' Youth, Global Media, and the Construction of Consumer Meanings." In Youth and the Global Media. 34; Ski Jumper Defense: A Critique of Youth Subculture Theories." In the record: Rock, pop and the written word.
34; Introduction: Misplaced Youth: An Introduction to the Sociology of Youth and Their Music. "In Adolescents and Their Music. 34; How Autonomous is Relative: Popular Music, Social Formation, and Cultural Struggle." Popular music vol. 34; Paradoxical Ethnicity: Puerto Rican Musicians in New York City after World War I. “Latin American Music Review.
34;Regulations Relating to the Imposition of Sound Broadcasting License Conditions Regarding South African Music."State Gazette 17939. 34;Is there a Fan in the House?: The Affective Sensibility of Fandom." In The Adoring Audience. 34;Random Thoughts Provoked by the Conference 'Identities, Democracy, Culture and Communication in Southern Africa.'" Critical Arts.
MTV (in the UK) and the question of representation." In Youth and the Global Media. 34; Regulations relating to the imposition of sound broadcasting license conditions regarding South African music." ICASA South African Music Content Regulations. Youth and the Meaning of Visible Prestige in Modern Culture." In Youth and the Global Media.
34; Producing popular music in southern Africa: a critical encounter between theory and practice, with special attention to audience, identity and gender. "Unpublished Honors Paper. 34; The Role of the Media and Music Stores in South African Popular Music." Unpublished honors paper. Approximately how much of the music you are exposed to is South African music.
SABC2
Rate the following TV channels in order from the one you watch the most to the one you watch the least. Make 1 the channel you watch the most and 6 the channel you watch the least. Circle the number next to the magazines you bought or read in the last month.
Make a list of the channels and next to each channel indicate how many hours and minutes you spend watching each channel every day. Every day you spend approximately many hours and minutes listening to audio channels on DSTV.
Thank you for taking the time to complete this questionnaire
