View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by South East Academic Libraries System (SEALS) A HOLISTIC APPROACH TO CONSUMPTION ANALYSIS IN THE POPULAR MUSIC MARKET A thesis submitted in fulfilment of the requirements for the degree of MASTER OF COMMERCE of RHODES UNIVERSITY by JONATHAN SCHECKTER January 2006 i Abstract This thesis seeks to gain a holistic understanding of consumption issues in the popular music market, such that it needs to account for the influence of 1) technological factors, 2) institutional factors, 3) cultural factors, and 4) an ontological aspect; as these are identified to be the most prominent aspects in the literature on the market. While there is a bourgeoning literature on the market, there has been little formal attempt to link such issues in a comprehensive fashion. The methodology applied provides a critique of the literature on specific consumption theories which have apparent pertinence to the music market. Each of the sociological, psychological, and economic theories (neoclassical and radical) is found to be too generalized to provide such an understanding, in that many issues concerning the music market would need to be eschewed if these theories were to be applied in an orthodox fashion. Moreover, the theories tend to point towards each other for the possibility of a credible, holistic consumption analysis. The most useful and all-encompassing consumption theory reviewed is the systems of provision approach advanced by Fine and Leopold (1993), in that the approach aims to be sensitive to the difference between commodities in terms of the economic and social processes and structures by which they become commodities, and thus it can allow one to consider adequately the four requirements identified above for a holistic understanding of the market. This approach is then applied to the western music market with the aim of 1) testing the approach identified, and 2) making a specific comment of the market. The market is found to be characterized historically by three distinct periods, each with distinct systems of provision (i.e. each with the four factors identified above relating to each other in a certain manner). It is proposed that preference formations in the final period identified have been institutionalized to a large extent, and there is a low probability of change occurring. The systems of provision approach is argued to be beneficial in highlighting which aspects of the existing consumption theories are relevant to the market at a point in time, and to what extent. Thus the richness of the approach stems from its ability to gain a holistic understanding, and to identify theoretical discussion topics, such as those concerning political economy. The approach is then applied to the South African music market, using the same historical methodology, in conjunction with current empirical evidence from the market. Doing this allows one to test the generality of the systems of provision approach, and to attempt to make a comment on the South African market. The techniques for obtaining empirical evidence are argued to be sound, but resource constraints prevented the research from reflecting a holistic view of the market. Nonetheless, a rich perspective is provided from interviews with prominent agents in the market, and thus the chapter is argued to provide the beginning of an understanding of preference formations in the South African music market, in which little research has been conducted (Stella, 2005). ii Contents Acknowledgements vi Chapter 1: Introduction 1 1.1 Goals 1 1.2 Context 1 1.3 Methodology 2 1.4 Structure and Outcomes 3 1.4.1 Consumption Theories 3 1.4.2 Application of the Systems of Provision Approach to the Western Popular Music Market 5 1.4.3 Application of the Systems of Provision Approach to the South African Popular Music Market 5 1.4.4 Conclusion 6 Chapter 2: Consumption Theories 8 2.1 Introduction 8 2.1.1 Goals of the Chapter 9 2.1.2 Structure of the Chapter 10 2.2 Consumption and Consumerism 11 2.2.1 Pre-modern Consumerism 13 2.2.2 The Birth of a Consumer Society 15 2.2.2.1 McKendrick et al. – Emulation and Trickle Down 15 2.2.2.2 Campbell – Change in Dominant Beliefs and Consumer Attitudes 17 2.2.3 Consumer Revolution – Overview 21 2.2.4 Outcomes 23 2.3 Corporate Institutions and Consumerism 24 2.4 The Neoclassical Theory of Consumption 28 2.4.1 The Origin of Consumer Sovereignty 29 iii 2.4.1.1 Jeremy Bentham 30 2.4.1.2 William Harold Hutt 32 2.4.1.3 Analysis of Consumer Sovereignty, Democracy, and the Market – Towards an Ontological Stance 34 2.4.2 Further Developments in Neoclassical Utilitarian Economics 37 2.4.3 Towards an Interdisciplinary Approach 40 2.4.3.1 “The New Theory of Consumption” 42 2.4.3.2 Limitations 46 2.4.3.3 Merits 49 2.4.4 The Role of Economics in Consumption Analysis 50 2.5 The Systems of Provision Approach 54 Chapter 3: The Western Popular Music Market 58 3.1 Introduction 58 3.1.1 Goals of the Chapter 58 3.1.2 Structure of the Chapter 59 3.2 The Pre-rock Era – Tin Pan Alley 62 3.2.1 The Inception of the Music Market – The Printing Press 63 3.2.2 Sound Recordings 68 3.2.3 Radio 70 3.2.4 Overview – Tracing the Signal 75 3.3 The Rock Era 78 3.3.1 The Ideology of Rock 78 3.3.2 1448 – 1955 82 3.3.3 1956 – 1959 84 3.3.4 1959 – 1963 86 3.3.5 1964 – 1969 87 3.3.6 1969 – 1973 90 3.4 The Post-rock Era 92 3.4.1 The Evolution of Rock Ideology and the Configuration of the Dominant 93 Signal iv 3.4.2 Subculture and the Dominant Signal 98 3.4.2.1 Metal 100 3.4.2.2 Punk 102 3.4.2.3 Rap 103 3.4.3 The Essence of ‘Pop’ 104 3.4.4 Technology and the Dominant Signal 110 3.4.4.1 Cassette Tapes 110 3.4.4.2 SoundScan 111 3.4.4.3 MP3s and the Internet 113 3.5 Theoretical Concerns 115 3.5.1 Product Diversification and the Dominant Signal 116 3.5.1.1 Diversification through the Practices of Record Companies 117 3.5.1.2 Diversification and Authenticity 118 3.5.2 False Consciousness, Consumer Sovereignty, and the Dominant Signal – An Interdisciplinary Analysis 120 3.6 Conclusion 124 Chapter 4: The South African Popular Music Market 127 4.1 Introduction 127 4.1.1 Goals of the Chapter 127 4.1.2 Structure of the Chapter 128 4.2 History of the South African Music Market 131 4.2.1 Pre-1924 132 4.2.2 1924 – 1936 134 4.2.3 1936 – 1948 135 4.2.4 1948 – 1959 136 4.2.5 1960 – 1971 139 4.2.6 1971 – 1994 143 4.2.7 Overview 146 4.3 The South African Popular Music System of Provision 148 4.3.1 Market Segementation 151 v 4.3.1.1 Boeremusiek 151 4.3.1.2 Rock 152 4.3.1.3 Kwaito / Hip Hop 154 4.3.1.4 Gospel 156 4.3.1.5 Afropop 156 4.3.2 The Independents and the Majors 157 4.3.3 Gatekeepers in the Market and Payola 160 4.3.3.1 Mass Media 160 4.3.3.2 Relationship between Radio and Record Companies 164 4.3.3.3 Retailers 166 4.3.3.4 Artists and Gatekeepers 167 4.3.4 Activeness of Record Companies – Marketing and Ideal Creation 168 4.3.5 Piracy 170 4.3.6 The Music Market and New Media 171 4.4 Consumer Survey 173 4.5 Preferences and Product Development in the South African Popular Music Market 174 Chapter 5: Conclusion 179 Addendum A – Western Popular Music Chronology 184 Addendum B – Questionnaire for Music Consumers 186 Addendum C – Survey Results 189 List of References 202 vi Acknowledgements This thesis owes a great thanks to my supervisor, David Fryer, whose continued thought dedicated to the project perpetually guided the arguments and revealed original perspectives for analysis. His time dedicated to reading and criticizing draft chapters in the face of his impending PHD thesis submission is commendable and very much appreciated. A special thanks needs to be given to my parents, for their continued support and for funding a research trip to Johannesburg, including travel to Johannesburg, and travel and subsistence within Johannesburg. The candidates interviewed in this thesis added great value, and particular thanks are directed to those agents in the South African music market who took time out of their schedules to provide their perspectives on the market. Nicole Fox and Nick Grubb at 5fm were prepared to give detailed answers to questions in writing, and their extra effort is noted and much appreciated. Thank you to anyone who aided in discussion from any perspective related to this thesis. Popular music is a subject matter very close to a great many people, and their opinions were considered when attempting to balance the natural elitist perspective inherent in academic writing. Final thanks are given to the unnamed external examiners of this thesis who are prepared to dedicate their time and effort to furthering the development of knowledge in South Africa. 1 Chapter 1: Introduction 1.1 Goals The aim of this thesis is essentially twofold. First, it seeks analyze aspects of various existing consumption theories in order to locate a holistic theory, and to apply this theory to two different popular music markets.