FACTORS AFFECTING MUSIC PUBLISHING IN UGANDA: A CASE STUDY AT KASIWUKIRA MUSIC PUBLISHERS KAMPALA DISTRICT

i
FACTORS AFFECTING MUSIC PUBLISHING IN UGANDA: A CASE
STUDY AT KASIWUKIRA MUSIC PUBLISHERS
KAMPALA DISTRICT
BY
KUTEESA CATHERINE
08/U/17170/PS
A DISSERTATION SUBMITED IN PARTIAL FULFILLMENT OF THE
REQUIREMENTS FOR THE AWARD OF THE DEGREE OF
BACHELOR IN LIBRARY AND INFORMATION SCIENCE,
MAKERERE UNIVERSITY, KAMPALA
JUNE 2011

ii
DECLARATION
I hereby declare that the work presented in this dissertation is of my own investigation and
findings. And has never been submitted anywhere for any degree in this university or any other
institution of higher learning.
Signed: ………………………………………………………………
Kuteesa Catherine (student)
Date: …………………………………………………………………
This dissertation has been submitted for examination in my approval.
Signature: ………………………………………………………………
(Dr. Mrs Eunice N.N. Sendikadiwa (supervisor)
Date: ……………………………………………………………………

iii
DEDICATION
I dedicate this dissertation to my first love Jesus Christ!
To my lovely family, Mr and Mrs Mulinda and my Siblings.
My sweet Auntie Catherine Musisi Nkambwe who has loved me and cared for me right from my
nursery education at Makerere University Nursery school up to University level, where I have
reached.
To my late brother, Timothy Mwesigwa whose sweet memories and love can never be forgotten.
May his soul rest in Heavenly Eternal peace!

iv
ACKNOWLEDGEMENTS
I greatly thank the almighty God who has given me strength and ability to finish up my three
years at Campus in good health.
My Auntie, Catherine Musis Nkambwe for providing free photocopying and printing services
and morally grooming me plus the entire Planning and Development Department(P.D.D)
Makerere University.
My lovely family, Mr and Mrs Mulinda for giving me Education, Anitah, Jonah, Lillian,
Norwell, and Tendo who have showed me love and great care.
My sincere gratitude goes to my supervisor Dr.Mrs Eunice N.N Sendikadiwa, for teaching me
and the good advice she has given me toward my work. Her good words of wisdom have
motivated me spiritually and physically, God bless you.
Iam also very greatful for my lecturers at EASLIS who have taught me right from First Year up
to the end of Third Year. Mrs Musaki, Mrs Joyce, Mr Kidaaga, Mr Khan, Dr Kiyingi, Dr okello
and Mr Aziyo. Without them I would not be what Iam today academically.
Special thanks goes to the various firms where I carried out my research, Kasiwukira Ltd, X-
zone International, Kasajja and sons, Lusani and the national theater of Uganda.for accepting and
helping me out, plus several artists who assisted me accordingly.
Appreciation goes to the Music lecturers such as Mr James Isabirye for giving me good
counselling in carrying out this research, Mr Mangeni, Dr Benon Kigozi, Mr Kasamba of M.D.D
Department for helping me out on the music Research findings.
I also acknowledge and thank several campus ministries that I used to minister for giving me a
go ahead, EASLIS Fellowship, Prophetic Evangelism Ministries (PEM), MDD fellowship and
the Main C.U fellowship for sharing good times with the Lord.
I appreciate the heartfelt prayers of my pastor, Imelda Namutebi Kula, Liberty Worship Team
and the entire music ministries at church for your prayers and blessings towards me.
A big thanks to all my friends at home, Campus, Liberty Worship Team, Namirembe 7’00clock
choir, PEM friends, EASLIS family, Enock, Tendo, Liz, Lilliane, Babra,Justine, and all the rest I
have not been able to mention for all the advices and kindness they showed me, throughout
Campus.
Respect goes out to my spiritual fathers and mothers for the good words of prophecy and advices
you have bestold to me spiritually, Ps Imelda Namutebi, Prophet Elijah Kyejune, Ps Joshua,
Caroline, Ps Twaha, Ps Sam K, Ps Abby, Mummy Bunga, Mr Kasamba(M.D.D) Department.
May the good Lord bless you all!

iv
TABLE OF CONTENTS
Declaration....................................................................................................................................... i
Dedication......................................................................................................................................iii
Acknowledgements........................................................................................................................ iv
Table of contents............................................................................................................................ iv
List of tables..................................................................................................................................vii
List of figures...............................................................................................................................viii
List of photos ................................................................................................................................. ix
List of acroynms and abbreviations ................................................................................................ x
Abstract.......................................................................................................................................... xi
CHAPTER ONE: INTRODUCTION TO THE STUDY .......................................................... 1
1.1 Introduction............................................................................................................................... 1
1.2 Background of the study........................................................................................................... 1
1.3 Statement of the problem.......................................................................................................... 4
1.4 Purpose of the study.................................................................................................................. 5
1.5 Objectives of the study.............................................................................................................. 5
1.6 Research questions.................................................................................................................... 6
1.7 Significance of the study........................................................................................................... 6
1.8 Scope of the study..................................................................................................................... 7
1.9 Definition of terms.................................................................................................................... 7
CHAPTER TWO: LITERATURE REVIEW............................................................................ 8
2.1 Introduction............................................................................................................................... 8
2.2 What is music publishing?........................................................................................................ 8
2.3 Copy Right Law...................................................................................................................... 11
2.4 The process of music publishing in Kasiwukira..................................................................... 13
2.5 State of music publishing in Uganda today ............................................................................ 13
2.6 The role played by music publications to the development of music as an economic activity
....................................................................................................................................................... 15
2.7 Major factors affecting music publishing in Uganda.............................................................. 16

v
2.8 Relationship between music publishing and other publications............................................. 18
2.9 Research gap........................................................................................................................... 19
CHAPTER THREE: METHODOLOGY ................................................................................ 20
3.1 Introduction............................................................................................................................. 20
3.2 Research design ...................................................................................................................... 20
3.3 Area of the study..................................................................................................................... 21
3.4 Population of the study ........................................................................................................... 21
3.5 Sample method........................................................................................................................ 21
3.6 Data Collection methods......................................................................................................... 22
3.7 Data collection instruments..................................................................................................... 23
3.8 Data quality control................................................................................................................. 25
3.9 Data collection procedures...................................................................................................... 25
3.10 Data analysis and presentation.............................................................................................. 25
3.11 Ethical issues......................................................................................................................... 26
3.12 Limitations to the study ........................................................................................................ 26
CHAPTER FOUR: PRESENTATIONS AND DISCUSSION OF THE FINDINGS........... 28
4.1 Introduction............................................................................................................................. 28
4.2 State of music publishing in Kasiwukira Music Publishers.................................................... 28
4.3 Types of music published in Kasiwukira................................................................................ 32
4.4 Several music publishing houses in Uganda other than Kasiwukira...................................... 33
4.5 How is music published in Kasiwukira?................................................................................. 37
4.6 How music making is affected by music publishing? ............................................................ 40
4.7 Problems affecting music publishing in Uganda. ................................................................... 42
4.8 What can be done to improve music publishing in Uganda ................................................... 45
4.9 Future prospects...................................................................................................................... 47
CHAPTER FIVE: SUMMARY, CONCLUSIONS AND RECOMMENDATIONS............ 48
5.1 Introduction............................................................................................................................. 48
5.2 Summary of the findings......................................................................................................... 48

vi
5.3 Conclusions............................................................................................................................. 49
5.4 Recommendations................................................................................................................... 50
5.5 Areas for further research ....................................................................................................... 51
REFERENCES:........................................................................................................................... 53
APPENDICES............................................................................................................................. 56
Appendix I: Organisational structure of Kasiwukira Publishers. ................................................. 56
Appendix ii: Interview guide for song writers and composers..................................................... 57
Appendix Iii: Observation guide................................................................................................... 58
Appendix Iv: Questionniare guides .............................................................................................. 59
Appendix V: Introductory Letter .................................................................................................. 66

vii
LIST OF TABLES
Table 1: Respondents at Kasiwukira Ltd. ...................................................................................................29
Table 2: Description of the population of the study...................................................................................30
Table 3: State of Music Publishing in other Music Publishers and Kasiwukira.........................................31

viii
LIST OF FIGURES
Figure 1: State of Music Publishing...........................................................................................................32
Figure 2: Process of Music Publications at Kasiwukira..............................................................................39

ix
LIST OF PHOTOS
Photograph 1: Showing Kasiwukira Limited..............................................................................................30
Photograph 2: Showing how Music Publications are maintained...............................................................33
Photograph 3 : Lusani Entreprises ..............................................................................................................34
Photograph 4 : showing the process of dubbing musical tapes...................................................................35
Photograph 5 : X-zone international ...........................................................................................................36
Photograph 6 : Showing CD’s and Tape Publications................................................................................38

x
LIST OFACROYNMS AND ABBREVIATIONS
© Copy Right
BLIS Bachelor of library and Information Science
CD Compact Disc
CISAC Confederation of International Society of Authors and Composers
CNRA Copy right and Neighboring Rights Act
DR Doctor
EASLIS East African School of Library and Information Science
IP Intellectual Property
Ltd Limited
MDD Music Dance and Drama
PEM Prophetic Evangelism Ministries
Ps Pastor
UK United Kingdom
UMCB Uganda Music Copyright Body
UMPA Uganda Music Publishers Association
UPRS Uganda Performing Rights Society
WIPO World Intellectual Property Organizations

xi
ABSTRACT
The study set out to critically investigate the factors affecting Music Publishing in Uganda,
which was carried out at Kasiwukira Music Publishers, with emphasis of other Music Publishing
Houses in Kampala.
The study’s objectives were to examine the state of Music Publishing in Uganda, asses the level
of Music Publishing in Kasiwukira, find out how Music is published in Kasiwukira, look at other
Music publishing houses, identify problems and suggest possible solutions to them.
To achieve the objectives of the study, qualitative research was used where both questionnaire
tools and instruments were used for data collection such as, questionnaires that were
supplemented by both observation and interview guides. A sample of 5 five respondents at
Kasiwukira were selected plus also 3 three publishing house in Kampala city.
The study revealed and showed that the state of Music Publishing in Uganda is still growing due
to poverty the state of publishing houses was poorly structured, managed and under developed.
The major factor affecting Music Publishing was the rampant piracy affecting the music
publishing business.
Other problems were revealed such as, un qualified people working in music publishing who do
not know what they are doing, exploitation of Musician/artists by publishers, weak laws
governing the country, lack of respect of intellectual property, plagiarism and poverty.
Suggested solutions to the problems proposed included, Respect of intellectual property owners,
strong enforcement of the law by the government, unity among the publisher and musicians,
massive sensitization of the public, and provision of free funds to publishing houses.
Future prospects were also discussed and these included, need to set up a music school offering
music publishing courses and employing highly qualified teachers from abroad.
In conclusion, Music Publishing in Uganda is currently in a poor, under developed state but there
is a higher potential growth and improvement in the years to come.

1
CHAPTER ONE: INTRODUCTION TO THE STUDY
1.1 INTRODUCTION
This chapter presents the background to the study, statement of the problem, purpose of the
study, specific objectives, research questions, scope of the study, and significance of the study.
1.2 BACKGROUND OF THE STUDY
According to Merriam web-stars dictionary, “Publishing” is the business or profession of the
commercial production and issuance of title, information, musical scores or sometimes recording
or art”. it’s the activity that involves the whole intellectual and business procedure of selecting
manuscripts, preparing them through proper arrangements to make books, market them as
printed matter to the public in exchange of money. Just as books are published in various ways,
music also goes through the similar process as a book itself.
Music according to the Longman dictionary of contemporary English: the living dictionary
(2003) refers to a series of sound made by instruments such as drums, piano, guitars, or vocal
tones (voices) in a way that is pleasant and exciting.
Therefore, music publishing is the owning of copyrights of a song. According to Tim
Whitsett(2005:6) As soon as a song writer or composer completes writing a song, he/she will
own all the copyrights of that song. And the fact that one wrote the song, he/she owns the song.
It automatically means that they are the publishers of that song.
The music publishing houses are established with the aim of protecting musicians (artists), song
writers and composers rights of owning their songs in the country. Among the music publishing
company houses we have in Uganda are, Lusyn, Kasiwukira, Dick productions, AK studios,
AKM studio, power music house, Tubro, music sounds, Dynamic studio and Hallelujah. Which
are registered under the Uganda Music Publishers Association (UMPA) this association boasts of
leading publishers that buy music from artists and sell it to the public. The association is known
for having distributed music for many years.
Most Ugandan Music is published in Luganda because it’s the commonest language used in the
country. English and other languages such as Runyoro-Rutooro,Luo take a small %.

2
Although many artists, composers and song writers have come up with new ideas, Ibrahim
Ssebagaala, the operations manager of the association says that members of the association buy
artists work(songs) and albums and sell them to the to the public through exiting agents across
the country.
”Artists are safe because they receive their money at once. After paying artists for their music,
the publishers start toiling with the selling of the music” says Ssebagaala.
The publications include, music books hymn books, sheet music, CDs and audio tapes where
several music of artists is stored. Music publishing has been taken for granted in Uganda.
Basically in this chapter I have looked at the major factors that have led Ugandan music
publications to lag behind and tried to find out ways of how music publishing laws can be
enforced effectively to protect the rights of musicians.
1.2.1 Kasiwukira Music Publishers
Kasiwukira Music Publishers is one of the oldest and the first (1st
), music studios for publishers
that were (1st
established in Uganda. It started way back in the 1989 as Angel sounds and later in
1993, changed its names to Kasiwukira Ltd. It is located at; Nalubwama house, Plot 26/28 Ben
Kiwanuka Street, opposite old taxi park, Kampala Uganda.
An article from Sunday vision Friday, (March 4 2011) talks about the ‘Kampala exclusive
billionaires club’ which reveals the owner and founder Sebunya Bugembe (treasure),popularly
known as “Kasiwukira” after his famed Kasiwukira studios is one of Uganda’s pioneer music
production studios who also owns Nalubwama Arcade where the studio is found on Ben
Kiwanuka street road.
1.2.2 Historical Background of Music Publishing
According to the History of Music Publishing-Wikipedia, the free encyclopedia, accessed on
15-3-2011, the early history of music publishing is explained as follows,
Music publishing did not begin on a large scale until the mid-15th
century with the first printing
of music. The earliest existence of printed music dates from about 1465AD, and then only
liturgical chants were printed. This date falls shortly after the printing of the Gutenberg Bible and
the invention of movable type.

3
Before the advent of Gutenburg and his printing press, all music was copied out by hand, this
was an expensive and time consuming process. Consequently little music prior to the 16th
century remains; the majority that is extant sacred music of the Catholic Church. Priests and
monks of the church spent large amounts of time painstakingly copying the chants for everyday
of the church year. Little secular music prior to 1500 was few. The collections available were
owned by wealthy noblemen, such as the Chantilly Codex of French Ars subtilior music.
The father of modern music printing was a man named Ottaviano Petruccui, a printer and
publisher who flourished in large measures. His first collection was entitled Harmonice musices
odhecaton A, and contained 96 polyphonic compositions, mostly by Josquin des prez and
Heinrich Isaac. Petrucci flourished by publishing mainly Dutch language works, rather than
Italian, as Flemish works were very popular through Europe in the Reinaissance. Petrucci used a
triple impression method of printing music, in which a sheet of paper was pressed three times.
The first impression was the staff lines, the second the words, and the third the notes. This
method produced very clean results, though it was time consuming and expensive.
Around 1520 in England, John Rastell developed a single-impression method for printing music.
Elizabeth1granted the monopoly of music publishing to Tallis and his pupil William Byrd which
ensured that their works were widely distributed and have survived in various editions, but
arguably limited the potential for music publishing in Britain. This method was adopted and used
widely by a Frenchman, Pierre Attaingnant. With his method, the staff lines, words, and notes
were all part of a single piece of type, making it much easier to produce. However, this method
produced messier results, as the staff lines often did not line up exactly and looked wavy on the
page. The single-impression method eventually triumphed over Petrucci's, however, and became
the dominant mode of printing until copper-plate engraving took over in the 17th century.1.4
1.2.3 Music Publishing in Uganda
Semakula Gerald (Interview,2011) An accountant and a publisher at Kasiwukira said that
music publishing in context of Uganda’s music industry is a process of getting the works of
musicians that are already in textual form to the audience that desires to consume them
especially in audio and video for. He said that mainly music publishing in Uganda is centered
onto the marketing and distribution of music works of artists after the publisher has entered into
a formal agreement with the artist.

4
Music publishing in Uganda is basically unheard of by many local musicians/artists and most of
them hardly know the importance of publishing their songs. However, there associations being
set up to up lift the publishing industry. These include the Uganda Music Publishers Association
(UMPA) and Uganda Performing Rights Society (UPRS), Uganda’s Music Copyright Body
(UMCB).
Uganda Music Publishers Association (UMPA) first published in Jan 13 2006, has been at center
stage in ensuring that Ugandans shift from enjoying music from other countries to embracing
locally produced songs and also encouraging and support composers and artists to exploit all
they have in their talent. UMPA is an association of music publishers who come together to fight
for the heath of music in Uganda. It boasts of leading publishers that buy music from artists to
sell to the public. These include, Lusyn, Kasiwukira, Dick productions, AK studios, AKM
studios, Power music house, Tubro music sounds, Dynamic studio sound and Hallelujah. Which
are all members of the association?
Ibrahim Ssebagaala, the operations manager says that members of the association buy artists
work and albums which they sell to the public through exciting agents across the country.
Ssebagaala says that the association has helped artists by taking business risks on their behalf,
producing and marketing the music throughout the country. ‘Artists are safe because they receive
their money at once after paying artists for this music, the publishers start toiling with the selling
of the music’ says Ssebagaala.
Most Music Publications in Uganda consists of local music recorded on CDs, Tapes of local
musicians, artists such as Rabadaba, Ndagire Mariam, GNL, Mesearch Semakula, Bebecool,
Juliana Kanyomozi and many others. Song writers such as Sylivah Kyagulanyi, Sam Ggombya
and many others.
1.3 STATEMENT OF THE PROBLEM
Music publishing compared to book publishing today is not a common thing that everyone
knows, due to the emergency of many book publishing houses all around Kampala, every person
can easily trace out a book publishing house even a primary scholar. But on other hand when we
shift to the music publishing, most people are aware of the music itself but not well conversant

5
with music publishing. WHY? Is it because not everyone is a musician or knows music? Why is
music publishing not popularly known as the book publishing industry?
Even upcoming reknown artists who have come up with new songs/ tracks are less concerned
about publishing their songs and owning copyright laws to their music. A few that know, fear
spending their money to register with the existing music publishing companies in Uganda, such
as UMPA,UPRS, they just prefer not to join.
Besides many uneducated talented musicians are therefore uncertain of the purpose and role of
publishing their music, hence many of them are exploited in disguise by many production houses
which claim to be music publishing houses that buy their music and their rights of owning the
songs to themselves and only pay them little amounts of money.
It is therefore to this cause that the researcher took up this topic to clearly find out whether music
publishing exists in Uganda, its state and factors affecting it. Therefore by the end of this
research study the researcher will have established solutions and remedies to the problem.
1.4 PURPOSE OF THE STUDY
The main aim of the study was to find out whether a music publishing industry exists in Uganda,
its state and factors affecting it.
1.5 OBJECTIVES OF THE STUDY
The study objectives are to:-
1. To examine how Music making is affected by Music Publishing.
2. To assess the level/state of Music Publishing in Kasiwukira Music Publishers.
3. To find out how Music is published in Kasiwukira Music Publishers.
4. To find out several publishers/publishing companies’ engaged in Music Publishing in
Uganda.
5. To identify the types of music published in Kasiwukira Music Publishers.
6. To identify the various problems that has affected the development of Music Publishing
in Uganda.

6
7. To suggest possible solutions to the problems.
8. To determine future prospects of Music Publishing in Kasiwukira Music Publishers.
1.6 RESEARCH QUESTIONS
1. What is the state of Music Publishing in Kasiwukira Music Publishers?
2. How is Music making affected by Music Publishing?
3. How is Music Published in Kasiwukira?
4. What are the types of Music published in Kasiwukira Music Publishers?
5. What are the several Music publishing houses in Uganda other than Kasiwukira?
6. What are the various problems affecting the development of Music Publishing in
Kasiwukira Music Publishers?
7. What can be done to improve Music Publishing in Uganda?
8. What are the future prospects of Music Publishing in Kasiwukira Music Publishers?
1.7 SIGNIFICANCE OF THE STUDY
The study was to enlighten the musicians who are ignorant about music publishing in the aspect
of music field. It was to also enlighten several artists, song writers and composers of songs about
the purpose of music publishing and owning the copyrights of their songs.
It was to fight against exploitative measures of exploiting artists that normally sell their rights
and music to publishing companies, ending up disowning their song to publishing companies.
The study benefited the artists, composers, and writer to realize their rights that they have to
obtain money when their song is illegally released and also enjoy royalties equally with the
publisher for any amount earned. For example, fifty/fifty has to be earned, when an agreement
has been made between the artist and the publisher.
The study also gave the importances of copyright laws and intellectual properties governing the
music publishing industry in Uganda. Hence artists, musicians and song writers should realize
their rights of ownership not to be exploited in favor of money by people who take to use the

7
form in which the original work is expressed by the author who is entitled to the rights, that they
should receive payments when their compositions are used commercially or played on radio, or
television.
1.8 SCOPE OF THE STUDY
This was carried out with reference of one of the first established music publishers in Kampala
which include the Kasiwukira Music Publishers and included interviewing the music
professional publishers in Kasiwukira studios about how several musical sets are published and
stored. The study was descriptive in nature and involved several stages of publishing music as
well as music sang by artists in Uganda.
1.9 DEFINITION OF TERMS
According to the Longman Dictionary of Contemporary English: The Living dictionary (2003),
MUSIC: a series of sounds made by instruments or voices in a way that is pleasant and exciting.
PUBLISHING: The business of producing books and magazines. As well as musical articles.
FACTORS: Refers to a cause or influence, hence its one of the several things that influence or
cause a situation.
AFFECT: To do something that produces an effect or change in something or on someone’s
situation.

8
CHAPTER TWO: LITERATURE REVIEW
2.1 INTRODUCTION
This chapter presents literature review from sources such as monographs, journals, and
multimedia. The literature is presented according to sub-themes; what is Music Publishing,
copyright law, The process of music publishing, state of music publishing in Uganda today, Role
played by music publications to the development of music as an economic activity, Major factors
affecting music publishing and the Relationship between music and other music publications.
2.2 WHAT IS MUSIC PUBLISHING?
According to Tim Whitsett, (2005:6) in his book “Music publishing: The Real Road to Music
Business Success”, Music publishing is the owning of the copyrights of a song, as soon as one
completes writing a song he/she will own all the copy rights of that song.
Music publishing is carried out by a person called a music publisher. According to Wiki
definition (2011) http://Wikipedia, the free encyclopedia a music publisher who is part of the
music industry is a person responsible for ensuring that the song writer and composer receives
payments when their compositions are used commercially through an agreement called a
“publishing contract” hence a song writer or composer ‘assigns’ the copyrights of their
composition to a publishing company. A music publisher will therefore make sure that the
composers receive royalties from various uses of their compositions. Publishers also provide
substantial advances against future income where in return a company receives a % as high as
50% and varies for different kinds of royalties.
Today therefore, music publishers are mainly concerned with administration of copyrights,
licensing songs to record companies, and collecting royalties’ on behalf of the songwriters.
However music publishers perform several purposes given below:-
Keith Holzman (2005) in his book, “The Role of Music Publishers” says that the essential
purpose of a music publisher is to administer, exploit and collect royalties for the copyright
properties. He further explains that Administration consists of the filing of a notice of copyright
with the U.S copyrights office in Washington, issuing of Licenses, collecting of royalties and
paying writers and company publishers their share of proceeds.

9
He further says that exploitation involves getting artists works record with their copyrights and
extend them to getting them used in films, Television, Radio and TV commercials without their
permission even reaching an extent of not paying them their royalties.
He says that creative publishers work with their song writers, composers and help them improve
their crafts, findings and ultimately their output.
A publisher’s most important task is the control and protection of musical intellectual property.
This involves the management of many different types of musical rights, including performance
rights, reproduction rights, digital rights, written rights, foreign rights, and artistic terms. Such
management requires publishers to administer and collect fees, all with the purpose of protecting
copyrights and preserving the artists under a label.
Music publishers are critical for record labels. Whether they are in house or independent, music
publishers manage various business aspects of music production, thus allowing label musicians
to focus on creating new material. A good publisher will work to gather quality talent, protect the
work they produce and successfully promote that work in the music industry, hence improving
the music industry for artists with a record label.
Keith Holzman (2005) says that in some cases an artist may not want to grant total publishing
rights but may agree to a co-publishing deal, whether it doesn’t require too much money as a co-
publisher.
Tim Whitsett (2005:6) in his book, “Music publishing: The Real Road to Music Business
Success”, provides a clear understanding of music publishing in business and says that an artist,
composer, songwriter may choose not to keep copyrights forever and decide not to share them
with anyone hence an artist becomes a self publisher of his own music. Any income that comes
out of the song generated will be yours. (Theirs) they receive both the writers share and
publishers. For example if royalties amount to $100, 000, they will get $100,000 to themselves
only.
Another situation can exist when an artist, song writer will allow/accept to publish their song
with a music publisher. In that case they agree to transfer all their publishing rights and any

10
income earned is shared equally, that is fifty/fifty. The song writer only gets his/her share for
example, if royalties amount $100,000, he/she gets $50,000.
The third situation can exist when an artist, song writer allows transferring only half of their
music publishing rights to their publisher which is known as a co-publishing deal. As the song
writer receives his share, plus half of the publishers share. In other wards an artist, songwriter
gets 75% of all the income while the publisher gets only 25%. If royalties amount to $100,000,
the artist gets $75,000 and the publisher $25,000.
Keith Holzman (2005) in his book, “The Role of the Music Publisher” explains and gives the
five different rights that a music publisher controls given below:-
Mechanical royalties
It refers to royalties paid for the reproduction of songs on CDs, DAT, Audio cassettes, flexi
discs, musical greeting cards. They also refer to rights of reproducing music via mechanical
means and dates to the early days where the reproduction of songs was in music boxes, player
piano rolls and phonographs records where permission is required to mechanically reproduce a
licensed work thus a publisher issues licenses to those who request the right to record a work
already mechanically reproduced.The money paid and collected for such licensing is what we
call a mechanical royalty.
Foreign Monies (foreign sub-publishing)
Foreign countries sometimes have different laws governing the collection and distribution of
mechanical rights hence its necessary for domestic publishers to enter into agreements with a
foreign publisher(sub-publisher) to collect a song writers mechanical royalties in that territory.
After the publisher takes a cut (from 15% to 25%) the rest of this foreign income is divided
between the publisher and the song writer according to their agreement.

11
Synchronization Licenses
Whenever a song is used with a visual image, it’s necessary to obtain a synchronizing license
permitting the use of that song. Music publishers issue synchronizing licenses to television,
advertisers, motion picture, companies, video manufacturers and CD Rom. A portion of this
money is paid to the song writer. Hence there are two licenses involved, one for the written
copyright and one for the recorded performance.
Public performance rights/ royalties.
Performing rights societies such as BMI, ASCAP or SESAC collect royalties on behalf of the
music publishers and for, radio, television, live public performance spaces such as songwriters,
nightclubs, hotels, discos, retail stores and many others that use music in an effort to enhance
their business.
Even though music publishers do not collect this performance rights income, publishers remain
entitled to 50% of the money received by BMI, ASCAP, SESAC and others. In Uganda we have
got the Uganda Performing Rights Society (UPRS) that was set up since 1985.
Print Licenses/ rights
This involves sheet music. Although music sheet music has lessened; many songs are still
available in print form. These include books of songs by specific artists, instruction books or
compilation of hits with in a given type. The music publisher issues print licenses and collects
this income from the sheet music company, while the song writer receives a small royalty got
from the sale of his/her song in print form.
2.3 COPY RIGHT LAW
According to the Copyright Law in Uganda, governed by the Copyright and Neighboring
Rights Act, 19 2006 by Jeroline Akubu (Feb,2008), in Music Publishing there exists rights that
protect its creation because music is gathered by the creation of one’s mind which is referred to
as Intellectual Property (IP).
In Uganda, we have the Uganda Music Copyright Body (UMCB) that protects music from the
moment a musician, song writer, composer releases out their songs, it means they have made
new innovations and inventions therefore they need to safe guard their new findings or creations
of their minds (that is Intellectual Property I.P) so that it doesn’t be copied by others.

12
Intellectual Property is therefore any innovation, commercial or artistic, or any unique name,
symbol, logo, or design used commercially. It is protected by four (4) primary fields namely;
Trademarks and Names, Copyrights on music, videos, and patterns and other forms of
expression, patents on inventions, and confidential information. Music publishing has to
therefore be guided by copyright laws to protect one’s work.
WIPO Intellectual Property land book (a comprehensive introduction to the policy, law and use
of IP) says that Intellectual Property is protected by, copyrights on music videos, patterns and
other forms of expression.
A copyright is therefore a form of expression of protection provided to the authors of “original
works” of authorship [including literary, dramatic, musical, and artistic and other intellectual
works] both published and unpublished.
An overview of the copyrights law in Uganda (February, 2008) by Jeroline Akubu, copyright
regime in Uganda is currently governed the copyright and neighboring act, 2006. She says that
the act was meant to replace the copyright act, cap 215 and provide protection of literary,
scientific and artistic intellectual works and their neighboring rights. A copyright contains three
elements namely;-
1. The symbol © (letter c in a circle) meaning copyright or abbreviated as “copr”
2. The year when the book was first created.
3. The name of the owner of the copyright.
Jeroline Akubu says that the application of the copyright and neighboring act 19, 2006 applies to
any work including works created or published before the start of the act which has not yet fallen
into the public where the work is. She says that the act has to be;-
1. Created by a citizen of Uganda or person resident in Uganda.
2. First published in Uganda, irrespective of the nationality or residence of the author.
3. Created by a person who is a nationality of or resident in a country referred to in section
81(reciprocal arrangement) or
4. First published in a country referred to in section 81( reciprocal arrangement)

13
She says that the subject matter protected by copyright are the works eligible for protection
under the act which are dramatic, musical and all musical works under the music publishing
industry in Uganda.
2.4 THE PROCESS OF MUSIC PUBLISHING IN KASIWUKIRA
According to one of the publishers in Kasiwukira music publishers Semakula Gerald
(Interview, 2011), this is how he explained the process of publishing music.
After the music has been composed by the artist and being recorded from another recording
studio, it is brought to Kasiwukira publisher in the assessing panel. He said this involves the
publisher comment towards the music whether it will be marketable or not. If it’s not marketable
automatically the song will be rejected. But if it’s marketable, it under goes another stage.
Having been assessed as good music and being marketable, music is sent to the studio for final
touches.
The making of master tapes and master Cd's comes next. Having got the master CD’s,
publication of works starts with advertising through posters, news papers, radios and television
showing the date of release of the album. And before the album is released, there contracts made
between the Kasiwukira publishers and the artist on how royalties are to be shared amongst the
tow parties. Gerald said that, mainly Kasiwukira has been buying the entire copyright of the
artist and leaving him/her the right of performance. (see appendix 1 for the stages)
2.5 STATE OF MUSIC PUBLISHING IN UGANDA TODAY
The state of music publishing in Uganda today is gradually increasing and advancing due to the
invention and set up of several societies that govern and control the music publishing industry in
Uganda. They are working hard to receive many Ugandan music artists and help them protect
their work jealously, these include;-
The Uganda Music Publishers Association (UMPA) has been a center stage of ensuring that
Ugandans shift from enjoying music from other countries to embracing our locally produced
songs. UMPA is an association of music publishers who come together to fight for the health of
music in Uganda. Among the membership music publishers, are the Lusyn, Kasiwukira, Dick
productions, AK studios, AKM studios, and power music house, Tubro music sounds, Dynamic
studio and Hallelujah. All these are members in the association which has distributed music for

14
quite a long time. Ibrahim Ssebagaala (2006), the operations manager of the association says
that members of the association buy artists work/songs and albums and sell them to the public
through existing agents all over the country. He says that members help artists by taking business
risks on their behalf. “Artists are safe because they receive money at once after paying artists for
their music, the publishers then start toiling with the selling of music”. Says Ssebagaala.
Another society includes the Uganda Performing Rights Society (UPRS) and the Uganda Music
Copyright Body (UMCB) in Uganda that controls music publications of different artists and
performers. It was formed by authors mainly musicians in 1985 to advance the cause of
copyrights administration in Uganda. It is also registered with the registrar of companies as a
company limited hence it belongs to all its members.
UPRS is recognized by the government as a collecting society and it’s a member of the
Confederation of International Societies of Authors and Composers (CISAC)
In 2004, WIPO donated a work station to Uganda and was represented to UPRS by government
for purpose of managing copyright laws efficiently to confront/reach international standards.
Several musicians have this to say on UPRS. (Celebs on UPRS) comment,
GNL (2010) says, “I could not chase all users of my music, mark you my music has
gone international. I have just realized that UPRS with its international connections is the
body to manage my rights”
Mariam Ndagire (2010) says that musicians out there do not know the role and
importance of UPRS.
Rabadaba (1999:2010) says that “copyright in my music is not only my capital but
my valuable asset that must be protected jealously. People should stop duplicating and selling
our music without permission”
Hence state of music publishing in Uganda today is so much taken for granted by most musicians
who are ignorant of their rights. And release of their music to be played anyhow without
permission today, Ssebagaala (2006) says the biggest threat to publish in Uganda is piracy
therefore the existing copyright laws are too weak to provide protection to licensed music sellers.

15
Copyright and neighboring rights act.2006 has to be clearly enforced to protect musical
intellectual property of Ugandan music.
2.6 THE ROLE PLAYED BY MUSIC PUBLICATIONS TO THE DEVELOPMENT OF
MUSIC AS AN ECONOMIC ACTIVITY
According to http://www.music biz academy.com, (2005) a music publication includes various
process of reproducing pieces of music. That is, any written, recorded or printed material that is
copied for distribution is regarded to be a music publication. Music publications can be geared
towards genres such as classical, blues, jazz, and rock, pop, folk or ethnic types of music among
others. Music publications may address various artists’ songs, instruments, theoretical plays or
venues.
Music publications have entered into the 21st
century with computer downloads and podcasts.
They can also be compiled in formats such as single artist song books, folk instrumentals or
religious song books. Some extent of sheet music or choirs, orchestras while others aimed at
specific instruments or vocal pieces. Hence the music Biz Academy tries to give and explain
some of the roles of the music publications.
The first role is to exploit musical copyrights to generate royalties for example the UPRS,
members in the association invest in song writers across all genres of music help nurturing the
talent, promote the works of writers and find avenues for their work to be heard by the public.
Music publications play a vital role in the music industry in developing music, helping to protect
it and negotiating a value for it in the market place taking care of business aspects with a song
writers career, time is given to writers to concentrate more on writing and composing.
Role of publications also help music publishers in the company to make investments interns of
money, time and experience with writers. They exploit the copyright in the music and songs
created by the writers in order to make a return on that investment and reward to the writers for
their creative works. They can also work with a writer to match them to other writers, pitch the
work for synchronization and recording opportunities’ to market the services of the song writer.
Music publications are also a source of income to the owners of the music such as song writers,
composers and artists who release various song albums, receive money in return. Hence music is

16
business to them and has to be earned inform of money making. Therefore various music
publications such as CD’s, radio cassettes where music is stored, earn artists a lot of money in
the music industry.
2.7 MAJOR FACTORS AFFECTING MUSIC PUBLISHING IN UGANDA
Music publishing in Uganda is affected by many problems which include the following;-
Ibrahim Ssebagaala, (2006) the Operations manager of Uganda Performing Rights Association
(UPRA) says that the biggest threat to publishing in Uganda is piracy. He says “there are music
cutting centre’s in every corner of town, distributed” where an original CD can be sold at a fee of
10,000/= Uganda shillings (us$5) or above if the musicians publicize and agents are to be tight in
business. But in Kampala, many people get their music CD’s from small music recording joints
sold at around 3,000/=(us$1.5) such piracy is illegally carried out in Uganda with the owners of
music knowing very well how their music is sold with out their permission.
Mr. Joel Isabirye (Interview 2011) a lecturer of Kyambogo University, Department of
Performing Arts, elaborated saying that the music publishing industry in Uganda is still very low
and operating at very low standards. The publisher that are may know are not protecting
musicians rights of owning their music because they also are pirates to musicians songs and
exploit artists by encouraging them to sell all their rights to owning their music for a period of
years, in return they pay them a lump sum amount of cash such as 1m (one million) or 2m (two
million) Uganda shillings. This agreement becomes very exploitative to musicians because after
paying them at once the money they receive later in the remaining year totally belongs to the
publishers and not the musicians. Hence the owner of the song benefits less from it; therefore the
biggest factor in Ugandan music publishing is piracy which has to be fought against seriously.
Ssebagaala says that radio stations are not supposed to play artists music without the presenter
talking while a song is playing. Radio stations have also posed a problem in the development of
music in Uganda because they also have to pay money to the artists before they release osr play
the music out to the public. Today it’s rarely in radio stations that they do not respect artists and
their music in a form that they also illegally play music.
Other factors are the existing copyright laws which are very weak and acting less towards
providing protection to licensed music sellers. Music sellers today carry out piracy where they

17
collect various original CD’s of several artists and copy their songs whish they easily burn out on
poor quality CD’s to sell out to people, which is a form of piracy hence that pirated music is of
poor quality because it’s mostly done by unqualified people and robs the government share of
taxes which would otherwise have been got from licensed publishers to provide social services to
citizens.
Another effect is in the distribution channels. Isabirye Joel, lecturer at Kyambogo University(on
2nd
of march 2011) after an interview with him, he explained that the distribution channels of
music today are very un realistic because they lack laws that move up and down distributing
musical cassettes and CD’s of several musicians to people. They move from one place to another
advertising the CD’s and video tapes as well and sell them to people at 2000/= or 3000/= Uganda
shillings. Something which is not right to just sell musicians songs like that without permission
from them. And no one know whether such music sold, half of the money is paid to the
musician/artist.
He further says that a musician’s song or work after it has been released or sung, it has to receive
a record label. Musician’s intellectual property has to be signed with a record label that
administers control over the use of the music and collecting royalties for the labels musical
property. He says that today’s music released by artists rarely has a record label; this makes their
music very risky since they lack copyrights that can protect them and preserve the artists under a
label.
Another artist Rachael Magoola (march, 2nd, 2011) said that there’s a lot of chaos and
disorganization among the several musical artists that no one wants to lead another, and that’s
what there’s no organizational structure of a music industry in Uganda because most of the
artists are hungry to be famous in just a short time and own their music alone not minding about
the next generation. She says because of this her one of her music was recorded in the UK and
never in Uganda because the publishing industry is not clearly defined.

18
2.8 RELATIONSHIP BETWEEN MUSIC PUBLISHING AND OTHER PUBLICATIONS
Music publishing is the owning of copyrights of a song and is carried out by a music publisher
who may be a company or an extension of another company that manages a record, or label.
Musical copyrights that ensures that the artist, the owner of right song receives payment for their
work.
Music publishing therefore is compared to publishers such as books, drama, audio-visual and
sound recordings, computer programmes, works on drawing, painting, photography works of
applied art, illustrations, maps, plans, and many other works are also different publications
similar to music publication.
I will compare music publishing with book publishing because book publishing is what is in line
with my course, Library and Information Science which normally aims at books.
According to Merriam-web stars on-line dictionary “publishing is the business or profession of
commercial production and issuance of lite, information, musical scores or sometimes recording
or art” book publishing therefore specializes in the commercial production and distribution of
book-related products like audio-books, electronic books and the like. And music publishing
specializes in the commercial and distribution of musical related products such as audio music,
e-music, CD’s, DVD’s, videos and mp3.
Music publishing basically is the owning of copyrights of a song according to Tim Whitsett
(2005:6) well as book publishing similarly owns of textual words and compositions of literature
by an author. Hence both music and book publishing own copy rights to their intellectual
property creators.
Both of them have to be purchased by the buyer in order to get them. Since publishing is a
business aimed at making money, both publications are carried out by publishers mainly to
obtain money as their source of income.
They are also highly demanded in the public. Music is highly demanded every day on special
occasions such as weddings, introduction parties, graduation, it is played in churches, hence
without it, and things cannot be good. Similarly to books in education, each level demands

19
different types of books to be used, for example nursery, primary secondary, college and
university all have suitable books at each stage. Hence highly demanded.
Both publications can also be done in local language such as Luganda. For example their many
musical publications in local languages composed and sung by many artists as well as the book
publications which can also be published in local languages and many others. Hence a
relationship exists between music and book publishing.
2.9 RESEARCH GAP
Music publishing is today not commonly known, as compared to book publishing that even a
primary kid knows, and most people in Uganda hardly know about it especially upcoming artists
or musicians. Though a lot of literature has been carried out on Music Publishing in Uganda,
however, none of the correspondents have mentioned the major challenges affecting Music
publishing in Uganda. The study therefore sought to fill this gap.

20
CHAPTER THREE: METHODOLOGY
3.1 INTRODUCTION
This chapter describes how information was gathered. It presents the methods, procedures and
techniques that were used to gather the required data for the study. It mainly involves: Research
design, Area of the study, Population of the study, Sampling procedure and sample selection,
Data collection instruments, Data analysis, and Ethical issues put into consideration.
3.2 RESEARCH DESIGN
According Webster (1985), to research is to search or investigate exhaustively. It is a careful or
diligent search, studious inquiry or examination especially investigation or experimentation
aimed at the discovery and interpretation of facts, revision of accepted theories or laws in the
light of new facts or practical application of such new or revised theories or laws, it can also be
the collection of information about a particular subject.
According to Kerlinger, “Research design is the plan, structure and strategy of investigation
conceived so as to obtain answers to research questions and to control variance”.
According to Green and Tull, “A research design is the specification of methods and procedures
for acquiring the information needed. It’s the overall operations patterns or framework of the
project that stipulates what information is to be collected from which source and by what
procedures”.
The research design used was the descriptive study design and evaluative research designs. This
gave the researcher ability to evaluate and describe the state of music publishing basing at
Kasiwukira Music Publishers. The research design was accompanied by qualitative methods.
Qualitative research is concerned with non statistical methods of inquiry and analysis of social
phenomena. (Ruth G. McRoy (1993).
3.2.1 Descriptive Study Design
Http://www.davidmlane.com/hyperstat/index (2001) on 8/4/11) states that descriptive
research is a design undertaken when the researcher desires to know the characteristics of certain
groups. Such as age, sex, occupation, income, and education. Its objective is to answer the who,
what, when, where, and how of the subject under investigation. It’s therefore designed to

21
describe the present situation or the features of a group or product. The researcher therefore used
cross sectional studies which are under descriptive studies an involved a sample of elements
from the population of interest at a single point of time. The study was conducted through a
descriptive research design that involved intensive case studies of Kasiwukira music publishers,
several musicians and composers purposely to describe and explain how music publishing was
done and discover who were involved in it. The design was chosen simply because it used
smaller samples for in-depth analysis.
3.3 AREA OF THE STUDY
The research was carried out in Kampala district, at Kasiwukira Music Publishers located at
Nalubwama House, Ben Kiwanuka Street opposite the old taxi park.
3.4 POPULATION OF THE STUDY
According to Steve Simon, 2002-10-11, a population is a collection of items of in research. It
represents a group that you wish to generalize your research to. He says that populations are
often defined in terms of demography, geographical, occupation and time. The study population
will be conducted at “Kasiwukira music publishers” because it was the first publisher of music in
Uganda to be set up and its location being very near in Kampala city, Ben Kiwanuka Street,
opposite old taxi park which was very accessible for the researcher to reach. There are many
other publishers of music in Uganda but the population involved selecting only one publishing
house under the study that the researcher’s discoveries were based upon. It consisted
interviewing several artists, producers, Kasiwukira Music Publishers, other publishing houses/
distributors and song writers. The predicted number of respondents amounted to be 10(ten) song
writers, 1(one) 20 producers, 22(twenty two) artists, and 5 respondents from Kasiwukira Music
Publishers and 3 other publishing houses. Totaling to 60 respondents altogether.
3.5 SAMPLE METHOD
A sample is a finite part of a statistical population whose properties are studied to gain
information about the whole (Webster, 1985). When dealing with people, it can be defined as a
set of respondents (people) selected from a larger population for the purpose of a survey.
According to Mugo Fridah W. (1990) sampling is the ‘act, process or technique of selecting a
suitable sample or a representative part of a population for the purpose of determining

22
parameters or characteristics of the whole population. The sample consisted of respondents from
other publishing houses, artists and song writers, producers and those selected from Kasiwukira
as the target population. The sample size was totaling to 60 respondents. The researcher chose a
purposive sampling technique method basing on the purpose of the study.
3.5.1 Purposive Sampling
According to Rousseau J, Robichaud L. Health Qual Life Outcomes 2004: 2(1) A purposive
sample is a sample selected in a deliberative and non-random fashion to achieve a certain goal.
Purposive sampling is also a method in which elements are chosen based on the purpose of the
study. Purposive sampling involved studying the entire population of some limited group or a
subject of the population. http://www.QMS accessed on 8/4/11. The study employed purposive
sampling technique where the researcher consciously decided who to include in the sample.
Hence it was used to collect focused information looking at the state and factors affecting music
publishing in Uganda. The study was preferred because it saved time and selected typical and
useful cases only. The predicted figures of respondents that were sampled were 60 in number.
3.6 DATA COLLECTION METHODS
The methods which were employed for the study consisted of Questionnaires, interviewing,
observations, document analysis and setting questions for the respondents.
3.6.1 Questionnaires
They were used since the study was concerned with variables that could not be directly observed
such as views, opinions and feelings of the respondents. These ones were designed basing on the
objectives of the study and contained both open ended and closed ended questions which were
distributed to Kasiwukira, composers and some artists. These types of questions were used
because they allowed respondents to fill in their responses where ever they felt comfortable.
They were in form of paper pen/pencil questionnaires that were given to a number of people to
fill in.
3.6.2 Interviews
An interview is a direct interaction between the researcher and the respondent. It involved the
researcher asking questions which were answered back by the respondents. It mainly involved

23
face to face, open ended interviews by means of verbal interaction. The researcher used both
structured and unstructured interviews. They were used as a tool for collecting data needed for
the research. This was very flexible for the researcher to get different answers from both verbal
and non-verbal responses. And also obtain information that could not be directly observed.
3.6.3 Observations
It is the process of watching something or someone carefully for a period of time. The researcher
had to observe events and times/season among the several publishers and looked at the
Kasiwukira studios, how they publish music and what is involved in a music publishing house.
And observed the publishing process. The purpose gave access to the researcher to see for herself
what actually takes place at Kasiwukira. Hence allowing the researcher to record information as
it occured.
3.6.4 Documentation Analysis
This refers to the critical examination of public or private recorded information related to the
issue under investigation. This method was based on reading several books related to music
publishing as my topic as it helped me obtain valuable information from the previous searches
and studies related to the topic. The purpose was used to obtain unobtrusive information at the
pleasure of the researcher without any interruptions. Enabling the researcher to obtain the
language and words from the informants, hence obtained constructive information and access
data at her convenient time.
3.7 DATA COLLECTION INSTRUMENTS
According to the Longman dictionary of contemporary English, (2003) data refers to information
or facts.
According to W.A. Swan, 2008, data collections are types of data collection tools required and
used during research. They are instruments used to collect information for performance
assessment, self and external evaluation. The researcher therefore used qualitative data collection
methods. (Patton 1990)says, Qualitative methods are ways of collecting data which are
concerned with describing meaning, rather than with drawing statistical references (e.g. case
studies, interviews, questionnaires They provide a more in depth and rich description.
Loveleena Rajeev (2010-2011) says that Qualitative research methods investigates the why and

24
how of decision making, not just what, where, when. The researcher employed instruments such
as the interview guides, observation guides, and questionnaires which were constructed in the
appendices. Data collection methods used by the researcher are explained below:-
3.7.1 Questionnaire guide
They were used since the study was concerned with variables that could not be directly observed
such as views, opinions and feelings of the respondents. These ones were designed basing on the
objectives of the study and contained both open ended and closed ended questions that were
distributed to Kasiwukira, composers and some artists. These types of questions were used
because they allowed respondents to fill in their responses where ever they felt comfortable.
They were in form of paper pen/pencil questionnaires and were given to a number of people to
fill in. (See Appendix IV)
3.7.2 Interview guide
An interview guide is a direct interaction between the researcher and the respondent. It involved
the researcher asking questions which were to be answered by the respondents. And mainly
involved face to face, open ended interviews by means of verbal interaction. The researcher used
both structured and unstructured interviews. They were used as a tool for collecting data needed
for the research. This was very flexible for the researcher to get different answers from both
verbal and non-verbal responses. And also obtain information that could not be directly
observed. (See Appendix II)
3.7.3 Observation guide
It is the process of watching something or someone carefully for a period of time. The researcher
had to observe events and times/season among the several publishers and looked at the
Kasiwukira studios, how they publish music and what is involved in a music publishing house.
And also observed the publishing process. The purpose allowed the researcher to see for herself
what actually takes place at Kasiwukira. Hence allowing the researcher to record information as
it occured. (See Appendix III)

25
3.7.4 Photography and recording
For purposes of illustration within the research paper, the researcher used photographs which
were taken by a camera. Interviews were recorded on an audio tape which enabled the researcher
to play back. Hence easing analysis, transcription and interpretation of data.
3.8 DATA QUALITY CONTROL
This involved editing and selecting data for the research report that was relevant. Data was
analyzed by use of interview guides, questionnaire guides and other data instruments, where only
relevant data was selected. Possible measures and precautions were considered to maintain data
quality by the researcher.
3.9 DATA COLLECTION PROCEDURES
Qualitative data was collected from Kasiwukira music publishers during the time period of 3
months using the above mentioned data collection techniques. The data was collected by the
researcher herself after she had obtained an introductory letter from the Director of the East
African School of Library and Information Science (EASLIS) that introduced her to the intended
place for research.
3.10 DATA ANALYSIS AND PRESENTATION
Qualitative data was organized into meaningful patterns and this was done basing on the research
objectives. Data was therefore analyzed using qualitative techniques which involve:-
Editing
This involved looking/searching of the mistakes done in the writing and checking of wrong
spellings. This was performed by the editor who assisted the researcher to cross check any
written mistakes. that is, incomplete sentences, questions and paragraphs’ this was therefore a
way of analyzing data by the researcher.
Coding
This was used to categorize questions into meaningful answers. It also involved the construction
of a coding frame which consisted of full set of categories into which data was classified. And
answers got from both open ended and closed ended questions.

26
3.11 ETHICAL ISSUES
The researcher also explained to the respondents the nature of the research topic under
investigation before questionnaires were issued out, So as to obtain information from them. The
researcher also stated the purpose of the study to the respondents. With the use of an introductory
letter which was presented to the concerned authorities of the company. Data was collected with
their consent and approval.
Respondent were well assured of confidentiality for example no names were asked and were
informed that the research was for academic purposes only.
3.12 LIMITATIONS TO THE STUDY
The limitations which were encountered included the following;
Long distances, where by the places where the researcher went, in order to collect information
from several people were very hard to find research and hence missed interviewing some of the
respondents. For example one of the respondents lived in Bushenyi a place the researcher was
not be able to reach because of the long distance.
Transport costs was also be a limit whereby the researcher nearly needed 10,000/= a day to
reach out to several studios, musical distribution centre’s and some musicians who at times will
request some money to be given to them before interviewing them. I just had to have enough
money with me for transport which in most cases I never had. And moving from one location to
another was very expensive for me in terms of transportation.
The was also big limitation of language barrier where by some people the researcher was
interviewing and asking about music publishing did not understand what she was actually meant
by publishing music. Most of them understood only music producing and recording. English was
also be a big problem for them to speak, answer and write down on the questionnaires I
provided. I had to hearsel using Luganda which I was not well conversant with.
Another limit was getting bias from some of the respondents who thought about the researcher
being a spy something which was not right. And others gave false information about the various
questions that were be asked, hence this made the researcher not to obtain the correct information

27
that was needed from some people. In addition, some respondents wanted to first be paid by the
researcher a certain amount of money which the researcher never had at times.
The researcher also experienced financial constraints that sometimes were not enough; the
researcher was unable to move out to several other places.
Weather changes also hindered the researcher from carrying out her research appropriately. for
days that were rainy brought hindrances’ for the researcher not to carry out research on several
days that were planned. This hindered some respondents that were absent in their places of work.
Plus others who were telling the researcher to come back the next day. this was so hectic.
The researcher also suffered rejection when she went to one of the music publishing houses
(XYZ) and found one of the directors that dismissed her and refused to answer the questionnaire.
He was complaining why the case study was made at Kasiwukira and not XYZ. Information was
therefore not obtained in such an area.
The researcher was also deceived by some artists who told her that they were not around, when
actually they were lying. Some never picked the calls; others were so busy that they had no time
to interact. Others who promised to answer the questionnaires by Email did not. This limitation
however led the researcher to miss out some information which was very vital from some artists
who never answered and returned back the questionnaires. Hence a limitation.
The researcher spent some good days missing lunch because of some appointments that she had
with various respondents, who made her to wait a full day spending the whole day hungry. This
was because the time and opportunity to meet some people was only at lunch time. Hence this
brought complicated ulcers to the researcher for not taking lunch.

28
CHAPTER FOUR: PRESENTATIONS AND DISCUSSION OF THE
FINDINGS
4.1 INTRODUCTION
This chapter presents the findings based on the research questions which the study aimed at
answering and discussions made at each finding. The study addressed the following questions:
What is the state of music publishing in Kasiwukira Music Publishers?
What are the types of music published in Kasiwukira?
How music is published in Kasiwukira Music Publishers?
What are the several music publishing houses in Uganda other than Kasiwukira?
How is music making affected by music publishing?
What are the several problems affecting music publishing in Kasiwukira?
What can be done to improve music publishing in Uganda?
What are the future prospects of music publishing in Kasiwukira Music Publishers?
This chapter presents results based upon the responses of the respondents in the field by use of
questionnaires and interview guides.
4.2 STATE OF MUSIC PUBLISHING IN KASIWUKIRA MUSIC PUBLISHERS
4.2.1 Description of the sample size.
The respondents were from Kasiwukira music publishers mainly because it was the researcher’s
case study area. The respondents from Kasiwukira mainly comprised of the staff such as the
marketing manager, sales manager, an accountant and a producer as well as a publisher. For the
study, 7 questionnaires were prepared for the respondents at Kasiwukira, but only two
questionnaires were not filled up because the limited number was only 5. From these respondents
different responses were represented in the table as follows:-

29
Table 1: Respondents at Kasiwukira Ltd.
Category No. of respondents
Accountant 1
Marketing manager 1
Producer 1
Publisher 1
Sales manager 1
Total 5
Source: Field Data 2011
The state of music publishing according to the researcher’s observation is still underdeveloped
but there’s potential of growth to the next international level for the coming years to come in the
future. The researcher observed that the state was not that good as compared to the international
level standard of music publishing. Credit is given to the well organized structure of Kasiwukira,
it has got a good organizational structure, and a recording studio is just within the premises with
several offices that are full of working people.
Kasiwukira is among the music publishers that have a recording studio compared to other music
publishers in Kampala city. It has so far made more than 100 music publications of musicians
which are uncountable, therefore should be credited for that. But the question lies as to why
some musicians still don’t publish their works in Kasiwukira? And why do some other
individuals publish them outside the country such as UK or any other country, the reason is
because there’s a gap which needs to be filled, and some musicians say that they are unqualified,
others appreciate what has been done, others they are not trustworthy. This means that the music
publishing process is still poor hence not in a good state as per now buts there’s potential gap of
improvement.

30
Photograph 1: Showing Kasiwukira Limited
Source: Field Data at Kasiwukira, at Nalubwama Arcade
Table 2: Description of the population of the study
Category of respondents Number of respondents
Artists and musicians 22
Composers and song writers 10
Distributers/ other music publishing houses 3
Producers 20
Kasiwukira Music Publishers 5
Total 60
4.2.2 Description of the state of other music publishers
There other music publishers in Kampala Uganda which the researcher looked at in particular
and observed their state of music publishing in Kampala. These included Kasajja and sons
Emporium which is located at cooper complex near the old taxi park. The researcher had to ask
people to locate/ find out such a publishing house, because it had no sign post directing someone
and also situated in a slummy area where all the publishing process takes place. Lusani

31
Enterprises’ limited located on energy centre building near equity bank which is opposite the
old taxi park and X-Zone International which is also opposite the old taxi park,. Their level/
state of music publishing were compared with that or Kasiwukira as presented in the table below:
Table 3: State of Music Publishing in other Music Publishers and Kasiwukira
Music publishers Number of respondents State as observed
Kasajja and sons Emporium 1 Poorly developed
Lusani Entreprises 2 Under developed
X-Zone International 1 Moderate
Kaswukira music publishers 5 Improving
Total 9 ………………………….
It was observed that the state and level of music publishing in Kasiwukira publishers exceeds the
other publishers as compared to their place of residences. It is located in Nalubwama house near
old taxi park, it is fully constructed with enough space for publications stores, has a publishing
house, a recording studio, well set up offices for consultations. X-Zone International is situated
in Kampala near the old taxi park, with many publications of Cds and tapes. Its location calls for
an expansion room because of too much congestion. Lusani Entreprises are also centered in the
centre of Kampala city and also not well developed in terms of infrastructure. Kasajja and sons is
poorly infrastructure with poor welcome in case someone is to approach them, they are located in
slummy area fully congested with a lot of other businesses operating in the same area. All the
three music publishers’ didn’t have studios of their own. Hence musicians approach them with
their music already recorded in another studio.
It was also observed that these publishing houses had inadequate publishing equipments, the
available ones observed were very old fashioned and poorly out dated, but were still working and
users seemed to be very comfortable with what they had. Hence the state of music publishing.

32
Figure 1: State of Music Publishing
59%23%
10%
8%
state of music publishing
Kasiwukira Music
Publishers
X-Zone International
Lusani Entreprises
Kasajja and sons Emporium
Source: Field Data 2011.
4.3 TYPES OF MUSIC PUBLISHED IN KASIWUKIRA
There many types of music published by several music publishers, but it was observed that in
Kasiwukira ltd, mostly East African Music was published and this included, local,secular
Ugandan music, Tanzanian and Kenyan music as well as Sudanese (Jaluo) published.
4.3.1 How are they classified?
Music publications were classified according to various genres of music which included both
local and foreign music productions as well as publications in various categories such as. Band
music, Country, music, Disco music, Gospel music, Kadongo Kamu, Ragga, Regga, and Secular
music. A sales person of tapes will actually know where such music is kept and stored if at all a
buyer wants to purchase.
4.3.2 How are they maintained?
The researcher also observed that after recording and making music publications, such as
dubbing Cd’s and duplicating tapes, finished publications are put in shelves as a way of
maintaining them. For example Cd’s and tapes are sealed up and packed in shelves for good
maintenance.

33
Photograph 2: Showing how Music Publications are maintained
Source: Field Data at Kasiwukira sales shop, 2011.
4.3.3 How are they distributed?
Publications are distributed through several agents that are mostly retailers. They come to the
Kaswukira shop and order the number of copies they want. Such Cd’s and tapes are packed up in
boxes and sold to retailers at affordable prices. The researcher observed that there agents outside
Kampala that distribute musical publications to various music libraries around various parts of
the country.
4.4 SEVERAL MUSIC PUBLISHING HOUSES IN UGANDA OTHER THAN
KASIWUKIRA
Research was carried out and three publishing houses were selected and discovered as one of the
other publishing houses of music. From the data collection questionnaires artists were given and
asked to write down publishing houses they knew, these were the ones given, XYZ,
X-Zone International, E-Music, J.O.B Sounds of which some of them hard no licenses of owning
publishing houses but were operating. The researcher decided therefore to look at three
publishing houses which included; Kasajja and sons Emporium, Lusani Entreprises, and X-Zone
International and all these were located in the same premises of Kampala city opposite old taxi
park.

34
4.4.1 Lusani Entreprises
This one is situated on Energy centre building, near Equity bank, lower floor ground. It is also
opposite the old taxi park next to the city complex building. It was first established in 1997 and
its owned by a director by the names of Silver Ndawula. Its stock is mainly tapes and CD’s, and
some stored up in big boxes.
Music publishing is carried out in Lusani where by an artist brings their song already recorded on
the CD’s and publishers receive it they make judgments’ on how music flows and determine
whether the song will sell out to the market. If at all artists song is accepted, the publishing
contracts are made between the publisher and the artist. Terms and conditions are discussed
together and negotiations’ made such as advanced payments made to artists by publishers are
done there and then. Copyright protection is to be made by the publisher towards an artists’
work. Artists are in most cases given performance rights and publishers remain with the rights of
only distributing, making adverts over radio television, posters are made hence promoting artists
sale of their songs on CD’s and tapes.
Photograph 3 : Lusani Entreprises
4.4.2 Kasajja and sons Emporium
Kasajja and sons is located at cooper complex building near the old taxi park. It was found in the
slummy surburb of many business workers that operate various kinds of businesses round the

35
area. The researcher observed that the place where Kasajja Emporuim was situated is an untidy
place that was so congested and fully packed with many Cd’s and tapes.
Its well known by the public since it was one of the first music publishing house which was well
known for Kadongo Kamu publications. Therefore since 1980when it was established, it still
specializes in publishing Kadongo Kamu music that attracted many musicians by then even up to
now that it is still holding back its name.
Both music publications and productions are made by the Kasajja and sons Emporium. The
process of publishing is similar to that of Kasiwukira and Lusani. They have so far made 100
publications for musicians. It was observed that the state of music publishing in Kasajja is
declining now days as compared to the past or olden days hence it is not yet good at all and
satisfying due to the rampant piracy taking place within the country.
Photograph 4 : Showing the process of dubbing musical tapes
Source: Field Data 2011 Kasajja and sons Emporium
4.4.3 X-Zone International
X-zone international is situated at Yamaha building also opposite the old taxi park in the heart of
the city. It’s based in a large building which comprises of many businesses. The researcher

36
observed that x-zone had modernized equipments with good services offered to people. It mostly
had gospel collections of songs hence this one majored in Christian music mostly though it also
supplies other songs and CD’s and tapes such as secular and western music.
It was first established in 2005 as a music publishing house to mainly support upcoming gospel
artists as well as secular musicians. It is managed by one director called Brian Kabiito who is
assisted by other people. Cassette duplicators and CD printers are used usually when carrying out
music publications in x-zone international. Over 400 musicians have so far published their works
with x-zone. It was observed by the researcher that the state of music publishing in x-zone
international is at a moderate level, this means that it was not in a bad situation though it was
lacking its own studio but was doing well.
Photograph 5 : X-zone international

37
4.5 HOW IS MUSIC PUBLISHED IN KASIWUKIRA?
Music publishing in the context of Ugandan Music industry is the process of getting the works of
musicians that are already in material form to the audience that desires to consume them
especially in audio and video formats.
After making clear observations, the researcher noted the following process of music publishing
at Kasiwukira publishers as explained below:-
Musicians and several artists come into Kasiwukira studios to record their music which may be
written down on a piece of paper or recorded on a Cd somewhere. The publisher’s job is to first
listen to the music and hence make judgments’ towards the song, whether it will sell or not.
Another role of the publisher is to ensure that the artist/ musician receive payments when their
compositions are released or used commercially through an agreement called a ‘publishing
contract’. A song is rejected by the publisher in most cases when an artist’s song makes no sense
to the publisher, most especially new artists who are not well known by the public.
But a song sung by a well known artist such as Wilson Bugembe, Judith Babirye, cannot easily
be rejected by the publisher, because such an artist is already known publically and has a chance
of his music to boom in the market at the release of their new song. A publisher will therefore
enter into contracts with the artist and make negotiations with them. If at all the song is accepted,
terms and conditions will be discussed between the two parties who will come out with an
agreement. In most cases at Kasiwukira, artists songs are sold to publishers who are in turn paid
a large sum of money worth 10 million shillings to the artist.
The publisher at Kasiwukira explained that only performing rights are accorded to the artist
hence advances made in such contracts are all owned by the artist. Outrights and sub rights are
also offered to the artist/ musician at Kasiwukira. Well as the publisher’s job is only to publicize
the musician/artists songs through making adverts on radio, television, posters in large quantities
to make the public aware of the song going to be released. Hence distribution rights by the
publisher remain subject to him and any royalty made towards distribution of tapes and Cd’s are
only enjoyed by the publisher.
On publishing an artist’s song in Kasiwukira, several labels are put on to the artists Cd’s, and
tapes released as master copies. They are produced with an artists photograph on top in colored

38
form, together with other songs to make a full album. He said that an artist cannot come with
only one song and expects one song on the Cd. Otherwise an artist has to come to Kasiwukira
studio with at least 6 songs that makes a full album for the release their music.
The process of music publishing in Kasiwukira ends when an artist’s song has been released to
the public for consumption by the people. In return getting money out of its sale. This is done
mostly by the publishers who market, distribute and sells Cd’s and tapes to the public. Protection
towards artist’s song is made when such artists are advised to register their copyrights with the
Uganda Performing Rights Society (UPRS).
Other activities carried out in Kasiwukira are both music productions and recordings and made,
music publications are carried out where they edit an artist’s song by including in the
instrumental soundings, vocal training are carried out, with mixing of machines applied to the
song to make good publication of the song. After the song is well produced, it is then recorded
on the Cd’ which are produced in multiple copies to suit the market of the buyers.
Photograph 6 : Showing CD’s and Tape Publications
Source: A sales Man in Kasiwukira Shop.
The photograph shows a sales man in Kasiwukira sales shop, where after music has been
recorded in studio it is also recorded on a CD or tape which are brought to the shop for buyers.

39
The process of how music is published in Kasiwukira is explained and elaborated by the
following diagrams below:-
Figure 2: Process of Music Publications at Kasiwukira
Step 1: Music is composed
by an artist /musician and
recorded from any recording
studio.
Step 2: Music is brought to
kasiwukira publishers to the
assessing panel
Step 4: Master CD’s are made where a song sung
by a musician is stored on to it. Having got the
master CD’s publication works starts where
advertisements on posters and small flyers are
made, showing the date of the release of the
album. The making of master CD’s and albums
brings an album to be released to the public for
sale. Hence Music Publishing.
4.5.2 How many musicians/artists publish their works in Kasiwukira?
The researcher found out that the total number of musicians exceeded the number of
composers/song writers that publish their works in Kasiwukira. A total number of over 2,000,000
musicians were estimated by the respondents at Kasiwukira of only those that have so far
published their works with Kasiwukira music publishers.
Step 3: Having been assessed as good music by
the publisher as being marketable, music is sent to
the studio for making final touches. Contracts are
usually made under this stage between Kasiwukira
and the publisher. Mainly Kasiwulkra has been
buying the entire copy right of the artist leaving
him/her the rights of performance.

40
Table 4: percentage of published works
Category Number of responses (%) Percentage level
Artists/ musicians 22 88
Composers/ song writers 3 12
Total 25 100
It was observed that the total number of musicians does not amount to that of composers simply
because some artists compose their music themselves, while still others buy the music from
different composers/ song writers. But in Kasiwukira, musicians and artists publish their works
as compared to a few song writers and composers.
4.5.3 HOW ARE THEY DISTRIBUTED TO THE PUBLIC?
Though Kasiwukira carries out music publications its other sole duty is to distribute the finished
products for public consumption. Commissioning agents are used to distribute several artists’
music to various parts of Uganda, which is usually distributed through various channels such as,
electronic media, Cd’s, audio tapes, flash discs and air waves, that is radios and television where
adverts are made. Publications are distributed to various agents such as retailers in different areas
and channels in Kampala. Some come from western, east and northern Uganda to purchase their
favorite songs in large quantities which are taken back to the districts for distribution.
4.6 HOW MUSIC MAKING IS AFFECTED BY MUSIC PUBLISHING?
Music making in regards to music compositions and performances is both positively and
negatively affected by music publishing through the following ways:-
It has a positive effect of promoting the music publishing industry as an effort undertaken to
generate money through this industry through the sale of musical works. Since publishing is a
business and the main objective is to make money, music publishing also runs the same cause.
Because it promotes and makes known the publisher who later attracts other artists, songwriters
and composers to rely on him/her. In other wards music publishing promotes the music industry
which consists of several songs that are sold out the public for consumption.

41
It also affords musicians to make money through recording their songs in the publishing house.
An artist’s song that is good and booming will therefore attract many people to purchase the
album, not only does the artist receive advances from the publishers but also money from various
performances that he/she carries either monthly, yearly, or weekly makes them accumulate a lot
of wealth in terms of cash.
On the other hand publishers also earn their own share for the distribution of published works.
Hence music publishing becomes their source of income after making several music
compositions for the artist that take their time and energy, as in mixing songs, chords and
mistaking necessary productions that music of come sounds well, the publisher is therefore
entitled to making cash and earning from what he/she does.
Confidence and trust is also brought between the publisher and artist. If an artist is already
known by the publisher and releases a song or brings the a new album, in most cases it cannot
easily be rejected by the publisher because the publisher is sure of the market of the song and has
hope of not making loses but money out of it. For example an artist such as Wilson Bugembe,
can go to a studio without money but because his a public figure and people know him, the
publisher will just accept his music to be published expecting to get back their money when the
song is released out to the public. Hence the mutual trust and confidence by an artist and a
publisher.
It also gives an oppourtuniy of the endusers to acces their favourate songs which are already
published by the publisher and easily locate them at the market. Hence music publishing
positively affects the outcome of music making.
Negatively, when there is no mutual trust and understanding between publishers and artists, a
publisher can easily reject an artist’s song if it is not satisfactory or if an artist is not well known
by the publisher and the public but has a good song as well the publisher can easily reject it
knowing that people won’t buy the music. Music publishing therefore negatively affects music
making where an artist sees it as a wastage of time spending their hours and time composing
their song, in the end reaching to publisher that the song is rejected with some times no clear
reasons.

42
Music publishing is also very expensive and costly, in that not everyone is able to publish their
new songs or compositions some artists will fail to publish their works because of lack of money
to inject into it, others fear being cheated by publishers who may give them less advanced
payments, others have a strong belief that it’s a wastage of time publishing their musical.
On the side of publishers, starting up a business music publishing is not something easy, as it
may incur a lot of risks and large sums of money which may be a loan got from a bank that it
may hard replace back the money. Hence very risky.
4.7 PROBLEMS AFFECTING MUSIC PUBLISHING IN UGANDA.
Piracy The researcher observed that piracy is one of the major problems affecting music
publishing in most of the publishing houses the researcher went to. A number of respondents at
Kasiwukira were complaining of the rampant piracy negatively affecting them. After
publications are done and released out to the market, there are pirates that get hold of such CD’s
and make other duplicate copies from the master CD made by the publisher. Pirates will just
burn out many copies of CD’s which are sold out to the public at a cheaper price of 2000/=
compared to the one made by the publisher which is worth 5000/= this means that the publisher
will lose market of buyers who end up buying poor quality CD’s at cheap price. This affects the
music publishers who lose market of their original made CD’s.
Semakula elaborated that they have spy agents that are commissioned to move around in
Kampala and other parts of the country. He said that if at all they are caught, they are given a
fine of buying the original CD’s at a higher price and taken to the courts of law. Due to weak
laws, bribes can be made between the pirates and the police that later can be released and seen no
longer any where or may decide to contnue with the piratic job elsewhere they cannot easily
found or be caught. Since sometimes such pirates obtain their source of income from such
activity. Hence piracy is one of the major problems.
Music Illiteracy Many people who are now days working or employed in music publishing
houses are unqualified professionals who did not study music and lack musical concepts. Some
illiterates that the researcher found in the various publishing houses have no knowledge about
music, what is done in a music publishing house, how music is harmonized and composed, even
some that claim they are publishers are instead producers and only distributers of music

43
collections. It was observed that there is a big gap of poor publishers who are less qualified,
underdeveloped and not professionals. Some hide themselves under the name publishers but are
not real. Music illiteracy levels in Uganda, has therefore led to poor music publishing.
Copy right law not being implemented The government of Uganda passed the copyright and
neighboring rights act 19 of 2006 but since then it has never been implemented and put into
practice. Penalties were stated in the act that whoever is to be found with an artist’s work
pirating, plagiarizing or accessing it without permission from the owner should be subject to
severe punishments in the courts of law and should be questionable as to why they have
committed such crimes. This however was said but remained still, as there are many pirates
today that access artists works without permission but still not caught and punished. Negligence
of the copyright law has become a problem affecting music publishing in Uganda.
Poor enforcement of criminal suspects that violent the copy right law Such criminals are
caught and taken to the courts of law, but in most cases they are not given fines or punished for
their wrong deeds. They are just imprisoned for a month and then released afterwards. Such
criminals that violent the laws are poorly handled by the police who are also bribes, that after
being given some money they release them freely. Criminals that disrespect the copy right law
governing music are not punished by the court, hence a affecting music publishing in Uganda.
Technology Technology now days that is used, such as iPods’, flash discs mp3 and use of
laptops that store up to 500 songs. One can easily download music via the internet and access the
songs they want. An album of songs can also be downloaded and copied on a flash disc. This
will therefore limit and hinder people to buy Cd’s and tapes published and distributed to the
market by the publisher. They will see it as of no benefit since they already have their down
loaded music. This will affect the publisher in that he/she will lose market of buyers. Hence a
problem.
Poorly infrastructed publishing houses There is also a big problem of poorly published houses
producing half baked work which is sub-standard and not matching with the international level.
This is due to lack of unqualified skilled publishers and producers that don’t know how to do
their job. There Poorly infrastructured houses which lack recording studios, good offices, and
congested untidy rooms. This problem has therefore led to poor music publications.

FACTORS AFFECTING MUSIC PUBLISHING IN UGANDA: A CASE STUDY AT KASIWUKIRA MUSIC PUBLISHERS KAMPALA DISTRICT

FACTORS AFFECTING MUSIC PUBLISHING IN UGANDA: A CASE STUDY AT KASIWUKIRA MUSIC PUBLISHERS KAMPALA DISTRICT

Recommended

Recommended

More Related Content

Similar to FACTORS AFFECTING MUSIC PUBLISHING IN UGANDA: A CASE STUDY AT KASIWUKIRA MUSIC PUBLISHERS KAMPALA DISTRICT

Similar to FACTORS AFFECTING MUSIC PUBLISHING IN UGANDA: A CASE STUDY AT KASIWUKIRA MUSIC PUBLISHERS KAMPALA DISTRICT (20)

Recently uploaded

Recently uploaded (20)

FACTORS AFFECTING MUSIC PUBLISHING IN UGANDA: A CASE STUDY AT KASIWUKIRA MUSIC PUBLISHERS KAMPALA DISTRICT