AUDIO DIGITALISATION OF MUSIC: REDEFINING CREATION, PRODUCTION AND DISSEMINATION OF POPULAR MUSIC IN UGANDA by Pamela Mbabazi 2007/HD03/11064U BA (Music) A Dissertation Submitted to the Department of Music, Dance and Drama in the Faculty of Arts in Partial Fulfilment of the Requirements for the Degree of Master of Arts in Music of Makerere University November, 2010 DECLARATION I, Pamela Mbabazi do hereby declare that the work in this dissertation is my original work and has never been submitted for any award of a degree in any University or Institution of higher learning. Student: Pamela Mbabazi Signature ……………… Date Principal Supervisor: Dr. Sylvia Nannyonga-Tamusuza Assoc. Prof. of Music (Ethnomusicology) Signature …………….... Date Second Supervisor: Dr. Justinian Tamusuza Professor of Music (Composition) Signature ……………… Date ii DEDICATION To my family and friends iii ACKNOWLEDGEMENT I wish to express my gratitude to Dr. Sylvia Nannyonga-Tamusuza, my principal supervisor and lecturer for devoting her time to the supervision of this work. I particularly thank Dr. Nannyonga-Tamusuza for the constructive criticisms and comments which shaped my data into this dissertation. Similarly, I extend my thanks to Prof. Justinian Tamusuza, my second supervisor for the tireless efforts to see to it that I complete this dissertation. I also thank my supervisors for the classroom discussions and supervision sessions, which have been stimulating and very helpful as I put together the different ideas in this dissertation. Furthermore, I thank my lecturers at Makerere University for their intellectual support. I particularly convey my sincere thanks to Dr. Wotsuna Khamawa, Dr. Susan Kiguli, Dr. Jessica Kaahwa and Dr. Abasi Kiyimba for the preparatory lectures before going to the University of Bergen. To Dr. Patrick Mangeni thanks for taking your time to read through some of the drafts of this dissertation. In the same vein, I thank all my professors from the University of Bergen for the lectures, supervision sessions and criticisms which shaped my ideas. I particularly owe my thanks to Dr. Thomas Solomon, Dr. Annemette Kirkegaard, Dr. Erik Steinskog, Dr. Sigbjørn Apeland and Prof Paul Berliner for their academic contributions. In a special way, I would like to appreciate all my informants for accepting to share their knowledge and experiences on digital technology with me. I am particularly grateful to Eddie Mpagi, Eddie Yawe, Moses Matovu, Joanita Kawalya, Naomi Kabarungi and Paddy Kayiwa for taking their time to share their experiences with me. To Brian Omondi my trainer on music production, thank you very much for your time and availing your studio for my practice. God bless you all. I would like to thank NORAD through the Arts and Cultural Education (ACE) program whose offer for the scholarship gave me an opportunity to take on and complete a Master of Arts in Music Degree program. I am particularly grateful to NORAD for the iv financial support which enabled me to study not only at Makerere University but also at the University of Bergen (Norway). I cannot hesitate to commend the good environment and academic support given to me by my classmates at both universities, during this challenging academic experience. Thank you Stella, Anita, Dominic, Jenitha, Nicolas, David, Jon Ingen and Hanna Hansen. I am also indebted to Steinar Seatre who introduced and exposed me to studio recording techniques. I also extend my sincere thanks to Jorunn Saetre, Kjellfrid Reite, Kathryn Bousman, Ingrid Gjersten, Sigrid Blindheim, and Sølgun for making Bergen a home away from home. Thank you for being very receptive, loving, caring and understanding. That is all I needed to excel in my academic work. I cannot forget the love, care and assistance rendered to me by the NORAD project coordinator in Uganda, Mr. Matia Kabuye and the project accountant Mrs. Susan Kyamulabi. Thank you very much. Special thanks go to my son, Melvin Byabagambi, who withstood my absence as well as my busy schedule while undertaking the entire master’s degree program. To my mother, Mrs. Ida K. Bitwire, my sisters Patience Musiime, Penny Arineitwe and Margaret Burahi, and my friend Barry Andrew Byakwaga, I thank you very much for taking good care of my son while I was studying. I also thank you for your prayers and comfort. To my brother Godfrey Mwebaze, my concerned friends and relatives, I give my gratitude. Your support, prayers, encouragement and Love have enabled me to accomplish this work successfully. I also give my heartfelt gratitude to my friend and counselor, Reverend John Barya. It is written in the Bible in James 5:16 that “…The prayer of a righteous man is powerful and effective.” Thank you for your prayers and advice. They are indeed powerful and effective. May God continue to empower you. Finally, I thank the Almighty God who has listened to my prayers and whose comfort, love, and grace have been unending. Thank you Lord for your mercy and protection which kept me healthy and alert to the completion of this dissertation. v TABLE OF CONTENTS DECLARATION ....................................................................................................................... ii DEDICATION ......................................................................................................................... iii ACKNOWLEDGEMENT ........................................................................................................ iv TABLE OF CONTENTS .......................................................................................................... vi LIST OF FIGURES ................................................................................................................... x CHAPTER ONE: GENERAL INTRODUCTION .................................................................... 1 1.1 Introduction .................................................................................................................... 1 1.2 Background to the Study ................................................................................................ 1 1.3 Statement of the Problem ............................................................................................... 3 1.4 Definition of Terms........................................................................................................ 4 1.5 Objectives ...................................................................................................................... 6 1.5.1 General Objective ..................................................................................................... 6 1.5.2 Specific Objectives ................................................................................................... 6 1.6 Scope of the Study ........................................................................................................... 7 1.6.1 Geographical Scope .................................................................................................. 7 1.6.2 Content Scope ........................................................................................................... 7 1.7 Hypothesis...................................................................................................................... 8 1.8 Significance of the Study ............................................................................................... 8 1.9 Dissertation Outline ....................................................................................................... 9 CHAPTER TWO: LITERATURE REVIEW .......................................................................... 10 2.1 Introduction .................................................................................................................... 10 2.2 Popular Music in Uganda............................................................................................... 11 vi 2.3 Digital Technologies of Music....................................................................................... 13 2.4 Impact of Music Technology on Creation, Production, and Dissemination .................. 14 2.5 Theoretical Framework .................................................................................................. 17 CHAPTER THREE: RESEARCH METHODOLOGY .......................................................... 21 3.1 Introduction .................................................................................................................... 21 3.2 Research Design............................................................................................................. 21 3.3 Sampling ........................................................................................................................ 22 3.4 Tools of Research .......................................................................................................... 22 3.4.1 Interviews ................................................................................................................ 23 3.4.2 Participant Observation ........................................................................................... 24 3.4.3 Media ...................................................................................................................... 25 3.4.4 Library Research ..................................................................................................... 26 3.4.5 Photography and Audio Recording ......................................................................... 26 3.5 Data Analysis ................................................................................................................