The role of Tiktok in music promotion: An in-depth exploration of hiplife musicians' utilization of tiktok for music promotion and audience engagement.
By Anthony K. Forson, Asiedu Mary et al., 2023.
THE ROLE OF TIKTOK IN MUSIC PROMOTION: - AN IN-DEPTH
EXPLORATION OF HIPLIFE MUSICIANS' UTILIZATION OF TIKTOK FOR MUSIC PROMOTION AND
AUDIENCE ENGAGEMENT.
BY
FORSON ANTHONY KOJO BACS23172
ASIEDU MARY
BACS23225
SOWAH PRISCILLA NAA ADJELEY BACS23179
NTSIM CONSTANCE
BACS23171
A PROJECT WORK SUBMITTED TO THE UNIVERSITY OF MEDIA, ARTS AND
COMMUNICATION – INSTITUTE
OF JOURNALISM IN PARTIAL FULFILMENT OF
THE REQUIREMENTS FOR THE AWARD OF A BACHELOR OF ARTS DEGREE IN
COMMUNICATION STUDIES.
NOVEMBER 2023
DEDICATION
This dissertation is dedicated to the Almighty God for His
direction, love, and protection towards us. We also dedicate this dissertation
to our parents who have been a great influence in our lives and for the
wonderful support offered to us in our entire education.
ACKNOWLEDGEMENT
We are most
grateful to God Almighty for the wisdom, strength, and grace He gave us to go
through our programme of study and the completion of this study. We would like
to express our sincere gratitude to our supervisor, Dr. Solace D. Yawa
Asafo for patiently guiding us through the process of
the research study. We would like to appreciate our colleague Anthony Kojo
Forson whose energy, support and assistance kept us on our toes throughout this
study.
The emergence of social media platforms has
revolutionized the music industry, providing artists with unprecedented
opportunities for self-promotion and reaching a wider audience. Among these
platforms, TikTok has swiftly gained popularity as a central drive in the realm
of music promotion. This study explores how hiplife musicians utilize TikTok to
promote their music and interact with their audience. The study also examines
the mechanisms by which TikTok facilitates hiplife music promotion, and
audience engagement through a comprehensive review of existing literature.
Again, the study investigates the influences, strategies, and challenges TikTok
has offered hiplife musicians. To achieve this
objective, a qualitative research method was adopted for the study where
interviews were used as specific methods for gathering the data. The study also used existing theories and concepts to
explore the reasons and methods hiplife musicians employ when using TikTok to
promote their music.
APPENDIX I ............................................................................................................................ 50
CHAPTER ONE
1.0 Introduction
This study focuses on the role of TikTok in music promotion
by hiplife musicians in Ghana. It covers the background of the study, the
statement of the problem, the objectives of the study, and the organization of
the entire work.
1.1
Background to The Study
According to Mbaegbu (2015), music is an important element
of many people's lives in Africa. Folklore/tales and dirges music have long
been an important element of celebrations such as birth, puberty, marital
rites, festivals, and death (Asare, 2015). However, Internet technology
advancements have resulted in significant changes in how we interrelate,
communicate, learn, and build knowledge. Before the dawn of the new media,
hiplife musicians in Ghana had to pay a fee called “Payola” to have their songs
promoted on broadcast media. Offiah (2017) believes that, despite hiplife's
enormous popularity on the world music scene, many musicians within the genre
fail to break through and sell both their music and brands effectively. With
the proliferation of information and communication technologies, such as social
media, it is now feasible to learn about events without actually being there.
According to Franklin (2014), the "age of digital media" has brought
about significant innovation and radical transformations in all aspects of
life, leading to economic challenges for traditional media. DeFleur and Dennis
(2002), and MacQuail (2005) further explained that the way society utilizes
Social Media also influences their adoption and usage patterns. Unlike
mainstream media, Social Media offers a platform where people can freely
interact, share, and discuss information about each other and their lives using
a diverse mix of personal words, pictures, videos, and audio (Bruce and
Douglas; 2008, p.27 as cited by Michael Sena Dzansi 2020).
Wang (2020) highlights that TikTok, a social media platform
launched in 2016, has gained immense popularity among both consumers and
advertisers. It has emerged as the most popular place for short-form mobile
videos (D'Souza, 2013), users can create, share, and interact with videos up to
10 minutes long, even though shorter movies are more popular, (Bhatti 2023).
The platform features a variety of content, such as dancing, music,
lip-syncing, and amusing videos (TikTok, 2023). TikTok provides a variety of
features that increase the engagement and appeal of the videos created by
users, such as music, filters, and effects. Its global popularity is evident as
it stands as the most downloaded social media app (HT TECH, 2021), providing
users with a unique and engaging way to share their content online.
TikTok has evolved into an effective platform for musicians
to increase their visibility and engage with new followers. Many less popular
musicians have shot to popularity and achieved worldwide exposure as a result
of the platform's advanced algorithm and focus on viral content. For instance,
an upcoming artist named Olive the Boy effectively leveraged TikTok to promote
his song “Good Sin,” amassing millions of views and followers. Similarly, Olivia
Rodrigo achieved remarkable success through TikTok, as her song "Driver’s
License" went viral, propelling her to a Billboard chart debut that set a
new record (Grady, 2021). These examples demonstrate how TikTok has become a
vital venue for emerging artists to acquire attention and connect with new
audiences. With its capacity to generate viral content and its extensive user
base, TikTok has become an excellent resource for aspiring musicians and
entertainers looking to break into the music or entertainment industries.
According to We Are Social and Hootsuite's Global Digital Reports
2022, there were 5.31 billion
unique mobile users by the start of 2022, with 4.95 billion using social
media. Since its commencement in 2016, TikTok has been downloaded over 3
billion times. From the first quarter of 2020 to the second quarter of 2021,
the platform was downloaded 1.36 billion times (45% of all downloads). As of January 2023, Ghana registered 6.6 million social
media users with 39.5% registered on TikTok (Statista, 2023). TikTok now
has 1 billion monthly active users throughout the world. It is no surprise that
TikTok has become the most prevalent social media platform today. It is used by
almost every musician to promote their songs. Despite being relatively young,
TikTok has already had a significant impact on the online interactions and
activities of millions of people. It has been instrumental in shaping various
aspects of artistic expression, cultural exchange, social interactions, and
even political engagement (Alex Miltsov, 2022). TikTok has established itself
as an excellent platform for hiplife musicians to market their music and
communicate with a huge audience. Hiplife Musicians create short video clips
that include bits of their songs as teasers or previews. They can pique TikTok
users' interest and anticipation by publishing catchy and engaging clips,
pushing people to seek out the complete versions of the songs on streaming
platforms. All sorts of entertainment that arouse the public's/masses' interest
are set by media practitioners. TikTok also allows hiplife musicians to
broadcast their content, which allows the public to provide criticism (Ruth,
2010).
In recent years, music promotion has seen a significant
transformation as TikTok's prominence keeps growing in Ghana. Many Ghanaian
hiplife musicians use TikTok to interact with their audience. Music Promotion
has now curved to TikTok leaving the antiquated media (Broadcast (TV and radio)
and print) in an abyss. The “age of digital media” has witnessed innovation and
radical change across all aspects of journalism, creating economic difficulties
for legacy media (Franklin, 2018).
1.2 Statement of The Problem
TikTok's swift growth has been remarkable yet there is
still a scarcity of research on the platform, as pointed out by Schellewald
(2021). One vital area that warrants in-depth exploration is the role of TikTok
in music promotion by hiplife musicians. Music promotion holds immense
importance as it can expand the reach of content, transform hiplife musicians'
careers, and increase sales (Berger, 2016). However, TikTok stands apart from
other social media platforms when it comes to music promotion because it
employs a unique algorithm that offers material based on previous interactions
with the user (Anderson, 2020) and offers diverse features related to its
counterparts. Despite the growing popularity of hiplife music in Ghana, many
artists struggle to promote their work effectively and reach a wider audience.
Traditional methods for music promotion may not be sufficient in the digital
age. With the advent of TikTok, there is potential for an effective and
wide-reaching promotion strategy. However, there is a lack of understanding
about how TikTok can be leveraged for hiplife music promotion. This gap in
knowledge hinders hiplife musicians from fully utilizing TikTok to promote
their music and interact with their audience. Therefore, this study aims to
explore the role of TikTok in hiplife music promotion and audience engagement
and provide insights on how hiplife musicians can effectively utilize the
platform for music promotion.
1.3 Objectives of The Research:
The purpose of this study is to investigate how hiplife
musicians utilize TikTok for music promotion and engage with the
audience". The study will look at these objectives;
•
To examine the influence of TikTok on music
promotion among hiplife artists.
•
To investigate the strategies employed by
hiplife musicians for music promotion on TikTok To
assess the challenges of music promotion by hiplife musicians on TikTok.
1.4 Research Questions
•
How has TikTok influenced the format of music
promotion by hiplife artists?
•
What strategies do hiplife musicians employ to
promote their music on TikTok?
•
What challenges do hiplife musicians face when
promoting their music on TikTok?
1.5 Significance of The Study
This study is invaluable to hiplife Musicians, Music
Promoters, media organizations, content creators, TikTok Users, lecturers, and
students, as well as other academics who wish to conduct similar studies. It
will also support Music promoters in interacting with their audiences and
determining their information demands. This study seeks to fill the existing
knowledge gap on the role of TikTok in music Promotion. The study will also
assist music promotors who have not previously embraced TikTok to do so to
boost their productivity.
1.6 Scope of The Study
This study is focused on TikTok and Music Promotion. All
data important for this study were collected from hiplife musicians and Music
promoters. The data gathered by this study and the conclusions drawn from it
can apply to all hiplife musicians and Music promoters.
1.7 Operational Definition of Terms
TikTok is a social media platform that allows users to
make, share, and engage with videos up to 10 minutes long. However, shorter
videos are generally favored and prevalent by users, as highlighted by Bhatti
(2023).
Music promotion is the process of spreading your music,
growing your fan base, and advancing your career. It involves using various
tools and strategies to get your music heard by a wider audience (CD Baby,
2022).
1.8 Organization of The Study
This study consists of five chapters. The first chapter
gives an introduction to the background of the study, a statement of the
problem, the objectives of the study, research questions, the significance of
the study, and the scope of the study. The second Chapter covers the literature
review which is made up of the conceptual framework, the theoretical framework
of the study, and the empirical literature of the study. The third Chapter
presents discussions of the methodology employed to conduct this study
(Qualitative Research Method). The fourth Chapter discusses the analysis and
presentation of the data. This chapter discusses all the data collected from
respondents. Finally, chapter five provides a summary of major findings,
conclusions, and recommendations.
1.9 Chapter Summary
In this chapter, we explored the foundational aspects of
the paper, starting with the background that provides context for the research.
We then clearly stated the problem that the study aims to address. The research
objectives and research questions were also outlined to guide the
investigation. Additionally, the significance of the paper was discussed,
emphasizing the potential contributions and implications of the research
findings. Lastly, we provided an overview of the paper's organization,
highlighting how the subsequent chapters are structured to present a coherent
and comprehensive study.
CHAPTER 2
LITERATURE REVIEW
2.0 Introduction
This chapter looks at existing literature that relates to
the topic under investigation, focusing on three main dimensions. The conceptual
framework, the theoretical framework, and the empirical literature. The
conceptual framework looks at theories or interconnected concepts that form the
basis of the study. It provides the structure for understanding the research
topic. The theoretical framework is closely connected to the conceptual
framework. However, the theoretical framework puts the research topic under the
lens of specific theories that underpin the research topic. Finally, empirical
literature looks at scholarly works based on direct observations, data
analysis, or experimentation. It entails the collection and analysis of data to
support or refute the research question. All the aforementioned sum up to
enrich the research.
2.1 Conceptual Framework
This looks at key concepts that are elicited from the topic
under investigation. Regarding the topic under study, the keen concepts that
are peculiar and need exposition are TikTok and Music Promotion (content
creation, content dissemination, and audience engagement). These concepts are
the pivot around which the entire research revolves.
2.1.1 TikTok
TikTok originated from the merger of three different apps.
In 2014, Music.ly was launched in Shanghai and targeted a young audience with
lip-syncing and dancing content (Tidy, 2020). It had strong business ties and a
stable market in the US. In 2016, a Chinese tech company called
ByteDance introduced a similar app named
Douyin in China. Within a short span, it amassed over
100 million users in China and Thailand. Recognizing its
remarkable success, ByteDance acquired Music.ly in 2018 and integrated it with
Douyin to form TikTok, which soon became a global sensation (Tidy, 2020).
TikTok is a platform for creating and sharing videos that are between 15
seconds and 3 minutes in length. Users have access to various tools, such as
filters and music, to enhance their videos. Wang (2020) reveals that TikTok, a
social media platform is becoming increasingly popular among both customers and
promoters. It has become the leading destination for short-form mobile videos
since its inception in 2016 (D'Souza, 2023). Users can create, share, and
engage with videos on TikTok, with shorter videos being more favored by users
(Bhatti, 2023). The platform offers a diverse range of content, such as music,
funny videos, lip-syncing, and dancing (TikTok, 2023), and delivers a variety
of elements such as music, filters, and effects to increase video engagement.
TikTok has become the most downloaded social media app globally (HT TECH,
2021). As of September 2021, only 25% of TikTok's active users in the United
States were teenagers, while the majority were in their 20s, 30s, 40s, and 50s
or above (Statista Research Department, 2022). The user base in the United
States reached 65.9 million in 2020, projected to increase by 22% annually, and
is expected to reach 88.7 million users by 2024 (eMarketer, 2020). The
platform's rapid growth has captured the attention of marketers. In the United
States, 61% of TikTok users are female, and 39% are male (App Ape, 2021).
TikTok's most popular content category worldwide is "Entertainment,"
with 535 billion hashtag views, and "Dance" with 181 billion hashtag
views (Mediakix, 2020), highlighting TikTok's appeal as an entertainment app.
Despite being relatively young, TikTok has already reshaped how millions of
people interact online and engage (Alex Miltsov, 2022). TikTok users can be
producers or consumers, subscribing to accounts and liking content. The more
individuals engage, the more content appears on their feed (For You Page), with
TikTok's infinite content, allowing endless scrolling (Kang, 2019). According
to Insider Intelligence, TikTok will have 834.3 million monthly users worldwide
by 2023, with a sizable proportion of American users being under 30 (Clement,
2020). Start.io added that Ghana is estimated to have approximately 2.4 million
active TikTok users by the end of 2023 with almost 72% being female. TikTok is
a powerful tool for artists to acquire recognition and expand their fan base.
Its algorithm and emphasis on viral content have catapulted undiscovered
musicians to stardom. Clever marketing strategies have been utilized to promote
songs like "Good Sin" by Joel Ofori Bonsu (Olive the Boy) and
"Hosanna" by Banzy Banero, leading to millions of views and
followers. Similarly, Olivia Rodrigo's song "Driver's License" went
viral on TikTok, launching her to the top of Billboard's charts (Grady, 2021).
These examples demonstrate TikTok's pivotal role in elevating young Hiplife
musicians and connecting them with new supporters. The site is a useful
resource for musicians trying to break into the music or entertainment
industries due to its capacity for producing viral material and its sizable
user base. TikTok has proven to be an effective platform for musicians to
promote their music and interact with a large audience. As teasers or previews,
musicians create short video clips including fragments of their songs. They can
stimulate intrigue and anticipation among TikTok users by uploading catchy and
engaging excerpts, prompting people to seek out the full versions of the songs
on streaming sites. On TikTok, musicians frequently create or participate in
viral challenges or trends. They choreograph dances, catchy songs, or specific
behaviors that TikTok viewers can mimic in their films. Musicians can improve
awareness and encourage users to participate in their tracks by associating
their music with popular challenges. Musicians also work with TikTok
influencers that have significant followings and a loyal fan base. These
influencers may create videos featuring the musician's music and promote it to
their following, potentially increasing the musician's reach and engagement.
Musicians employ hashtag campaigns to promote their songs or albums. They urge
people to include hashtags when creating material, which helps to develop
user-generated content and enhance visibility. This method has the potential to
spark a larger discussion about music and establish a fan base.
2.1.2 Hiplife Music
Music is an art form that involves organized sound and is
created by musicians using various elements such as melody, harmony, rhythm,
and timbre. Music is a form of artistic expression that can be recorded and
distributed through various media. Hiplife music is also another music genre in
Ghana. Hiplife began as a Ghanaian variation of rap music in the 1990s. It combines
American hip-hop styles with a range of local popular genres (Shipley 2013).
Hiplife is thought to be a combination of the words "hip hop" and
"highlife." In the 1990s, this genre originated from highlife music
(Boateng, 2009). Hiplife music can also be considered indigenous because the
borrowed foreign elements in it have been indigenized. This is what John
Collins refers to as “progressive indigenization” (Collins, 2010). The roots of
hiplife in Ghana can be traced back to around 1973 when Gyedu Blay Ambolley
released "Simigwado," a song infused with Afro-funk vibes that
featured a rap-like spoken-word performance in Fante. This track is considered
by some as Ghana's earliest encounter with rap (Shipley 2013). Reggie
Rockstone, however, was a pivotal factor in the localization of hiplife
(Reginald Osei), who is credited with coining the term "hiplife."
This term first emerged in his 1996 EP titled "Tsoo Boi" (Shipley
2013). In the early days of the hiplife genre, Ghanaian artists initially
adopted American performance styles. However, by the mid1990s, they had begun
to infuse indigenous musical and literary aspects into their work to connect
with the Ghanaian audience more fully. Reggie Rockstone's ability to seamlessly
switch between English, Pidgin, and Twi languages served as a model for many
subsequent artists. These artists began experimenting with local beats,
rhythms, and the use of proverbs and indirect forms of communication, which are
characteristic of traditional modes of expression (Carl and Dankwa 2015). The
music landscape in Ghana went through a significant transformation with the
surge of home-based rap releases which displaced traditional genres like
highlife, burgher highlife, and gospel from the top spots on the music charts.
This marked the birth of a new Ghanaian music genre. As the genre gained
popularity, some artists dropped out of the race while others persevered and
established themselves. Hiplife music no longer plays only at clubs in Accra,
Kumasi, or Takoradi but it has also made its mark in other African nations and
even reached international cities like London, as well as various locations in
Holland, Germany, and Belgium where
Ghanaians abroad or "Afropeans" and their friends
gathered (Ama de-Graft Aikins 2008). Reggie Rockstone, widely regarded as the
godfather of hiplife, continued to lead the way, constantly evolving his
musical direction with each new album (Shipley 2013). However, there were
emerging talents posing a challenge to his reign. Kwaku T of Talking Drums, known
for his bilingual mastery of English and Twi, remained true to his roots,
collaborating with Panji and the Pidgin crew while waiting for the recognition
he deserved. Obrafour, whose name means 'the Executioner' in Asante Twi, burst
onto the scene in 1998 with a debut album that deviated from the norm. Before
Obrafour, most hiplife artists attempted to imitate Reggie's style with richer,
conscious lyrics set to captivating beats. Tic Tac, the tall boy next door with
a distinctive raspy voice, dominated the airwaves in 1999 with his hit
"Philomena," a cheeky take on women with excessive body hair, and
released a promising album of the same name (Dankwa 2017). Lord Kenya, an
understudy of Busta Rhymes, dazzled audiences with his high-energy stage
performances, which included him struggling on the floor with a microphone, a
spectacle that became legendary. There were also notable groups making waves in
the hiplife scene, such as Native Funk Lords (NFL), and the Nima crew, who
impressed their audience with their sheer numbers, talent, and business insight
reminiscent of New York's Wu-Tang Clan. Buk Bak adopted a humorous approach,
referencing Ghanaian staple foods in the style of Gyedu Blay Ambolley (Shipley
2013). Nkasei, somewhat reminiscent of Obrafour, also demonstrated a strong
commitment to incorporating their cultural knowledge and history into their
craft. TH4Kwagges, hailing from Takoradi, earned high praise as one of the
country's premier hiplife groups. Meanwhile, numerous underground artists
patiently honed their skills, awaiting their moment to shine. The hiplife genre
was marked by an energetic and competitive spirit that characterized its
present landscape (Shipley 2013).
2.1.3 Hiplife Music Promotion
Music promotion is the process of spreading your music,
growing your fan base, and advancing your career. It involves using various
tools and strategies to get your music heard by a wider audience. Michael Sena
Dzansi (2020) added that marketing and promotion are critical instruments for
improving and developing any product or service in any industry, including the
music industry. Painstil (2019) claims that promotion includes understanding
the audience's needs and desires and that by doing so, Hiplife musicians are
actually well-equipped to provide music that best meets those goals. Music
promotion has been around for as long as music itself. Even before the
widespread use and purchase of playback technology such as phonograph cylinders
or gramophone records (which were the earliest commercial medium for recording
and reproducing sound.), music was actively promoted. By the 1920s, Ghana was
gaining from the establishment of record labels like Zonophone and HMV by
certain British merchants. On the West African market, these companies were
proudly releasing Ghanaian highlife albums (Collins, 2002: 8). Ghana was
acknowledged as the first nation to have its permanent recording studio, Decca,
which was founded in 1948. Over time, the number of these recording studios and
enterprises increased, and by the mid-1970s, the nation could brag of four
recording studios and two record pressing plants that could create more than
500,000 albums annually (Shipley 2013).
As music genres and viable promotional mediums have
multiplied, hiplife music promotion has only grown more important and
difficult. The fact that there are now many more independent hiplife artists
than supporters, label-employed hiplife musicians only serves to emphasize the
need for promotion (Masnick, 20 1 3). This implies that a lot more obscure hiplife
musicians are now vying to promote their music on a wider range of platforms,
including TikTok. According to Nii Kotei Niko (2020), TikTok is used as a tool
to generate income and reproduce the Hiplife musician brand.
2.1.4 How Hiplife Musicians Utilize Tiktok
for Music Promotion and
Audience Engagement
Michael Sena Dzansi (2020) suggests an integrated marketing
approach that combines various marketing communication tools such as
advertising, public relations, personal selling, sales promotion, and direct
marketing to promote Hiplife music and artists. According to Todorova
(2015), musicians can meet their audience for advertising
and promotion by using techniques integrated within the marketing communication
mix. He added that musicians need to use the internet to merge the promotional
mix on a single platform i.e. TikTok and build long-term relationships with
their audiences. The “case” hit maker, Andrew Nii Commey Otoo, popularly known
as Mr. Drew uses a strategy he calls "dance with Drew" where he meets
his fans, dances with them, and shares the videos on TikTok. This approach
together with others has earned him 1.1 million active followers on TikTok and
8.3 million likes. Ogden et al. (2011) propose that management and artists
establish and build their brands, as well as promote their music, in order to
acquire devoted followers. In terms of music promotion on TikTok, Hiplife
musicians create content that involves producing and sharing short, engaging
videos that feature an artist's music, brand, or message. TikTok is a platform
that allows users to make and share short-form videos that have the potential
to go viral. Many artists have found success on TikTok by creating challenges,
using trending hashtags, and collaborating with other users to create duets or
spin-off videos. The creative and interactive nature of TikTok allows artists
to express their individuality and connect with a like-minded audience. By
consistently creating and sharing high-quality content that resonates with
their target audience, artists can effectively promote their music and grow
their fan base on TikTok. By way of promotion, Hiplife artists feature their
songs on their TikTok profiles. This is based on the idea that when people see
their favorite Hiplife musician in a song, they are more likely to listen to
it. With these gestures, Hiplife artists demonstrate a desire to share their
success on TikTok (Nii Kotei Nikoi 2020).
Content dissemination is another way Hiplife musicians use
TikTok to promote their music and engage with their audience. This aspect of
music promotion looks into the process of distributing and sharing content that
promotes an artist's music on the platform. This can be done in several ways,
including using hashtags, creating challenges with their song, collaborating
with popular TikTok influencers, posting related videos, and using TikTok’s
Spotlight program. TikTok, in general, has become a potent and economical
avenue for Hiplife artists to spread their music and image to create a
following. Gregory Bortey Newman, known as King Promise in the music space collaborated
with an influencer called Dance God to create a dance challenge for his song
“Terminator”. Many upcoming hiplife musicians, dance fanatics and TikTok users
jumped on that trend. The snippet of the music video had 4.2 million likes
after a fortnight. The goal is to increase the visibility and reach of their
content so that it can be discovered by a larger audience. With over 368,000
followers on TikTok, Hiplife artist, Sarkodie interacts with his fans,
announces his projects, and shares his lifestyle (Nii Kotei Niko 2020).
TikTok's algorithm ranks videos based on their engagement level, so creating
engaging content that resonates with your target audience can help your music
go viral on the platform. Additionally, TikTok allows users to use the same
song when making their videos, which can further increase the exposure of the
song.
TikTok's impact on music promotion is fueled by its
algorithm-based content discovery and viral potential (Schellewald, 2021). The
platform's algorithmic recommendation mechanism exposes users to an array of
content, including music. TikTok's algorithm enhances the visibility of
musicrelated material when users interact with it through likes, comments, and
shares, resulting in a larger audience and a greater potential of becoming
viral hits. (Pitre, 2023). Moreover, TikTok's unique atmosphere for music
promotion stems from its emphasis on user-generated content and challenges
(Schellewald, 2021). Users actively participate in music-related tasks and
produce videos with song excerpts. This causes a chain reaction in which songs
gain popularity as more users join in (Jorgenson, 2022). Jorgenson (2022)
argues that this participatory culture encourages participation, creativity,
and community building around certain tracks, further promoting and recognizing
them within the platform. TikTok has made it simpler for Ghanaian youths to be
exposed to American hip-hop culture and music videos, impacting Ghanaian
Hiplife music videos and Hiplife musicians in areas such as stage names,
location of music video shooting, and outfit choice (Osei Bonsu 2019).
Another critical factor is TikTok's capacity to democratize
music promotion by giving both established and up-and-coming Hiplife musicians
the same opportunity (Schellewald, 2021). Instead of only depending on
conventional industry gatekeepers, artists can earn visibility and recognition
on TikTok based on the value and appeal of their work (Pitre 2023). This allows
upand-coming artists to exhibit their skills and connect with a broad audience
without requiring significant resources or established industry contacts (Liu,
2022). Noting the new generation's exposure to music via TikTok, Borg (2014)
encourages bands to use the internet to unify their promotional mix on a single
platform. TikTok has also made it easier for Hiplife artists in Ghana to
promote their music and reach a wider audience (Kofi Adjepong 2019).
2.2 Theoretical Framework
A theoretical framework provides a perspective for
evaluating a subject by providing the basis for predictions about the
relationships among the variables of research activity. It provides an
explanatory framework for some observations, and from the explanation's
assumptions flow several plausible hypotheses that can be verified to provide
support or put the theory to the test. Miller (2005) also contends that a
theory is defined as a set of systematic generalizations based on scientific
observation that leads to additional empirical observation.
2.2.1 Diffusion of Innovation Theory
Diffusion of innovation theory is the process by which an
innovation is communicated through certain channels over time among members of
the social system (Rogers, 2003). The theory states that an innovation (that
is, an idea, new technique, or new technology) diffuses or spreads throughout a
society in a predictable pattern. A few people will adopt an innovation as soon
as they hear of it. Other people will take longer to try something new, and
still others will take much longer. When a large number of individuals quickly
adopt an innovation, it is said to explode into existence (Bryant and Thompson,
2002). The theory proposed by
Everett Rogers, states that the adoption and diffusion of innovations occurs
through a predictable process within a social system. The theory identifies
several key elements and stages that contribute to the adoption and diffusion
of innovations. The theory categorizes adopters into five groups based on their
willingness and speed to adopt. These groups include; Innovators, early
adopters, early majority, late majority, and laggards (Rogers 2003).
•
The innovators: This category is described as
bold and open to new experiences. Their social interactions are more diverse
than those of other groups. Despite geographical distances, such groups tend to
establish cliques and communicate with one another (Rogers, 1995).
•
The early adopters: They are more regional than
cosmopolitan. This adopter's category creates the opinion leaders of any
category due to their important role in their local community. Early adopters
are sought after for knowledge of new inventions, and their opinions are
appreciated. Because of their success and willingness to try new things, those
in this adopter category have earned the respect of others in the community.
The early adopters value the respect of people in the community, and their
activities are directed toward sustaining that regard (Rogers, 1995).
•
The early majority: People in this category do
not want to be the first to accept new technologies or concepts. The early
majority, on the other hand, wants to ponder, frequently for some time, before
its members decide to adopt. These individuals play a crucial role in
legitimizing an innovation or demonstrating to the rest of the community that
the innovation is valuable and that adoption is desirable.
•
The late majority: Members of this group are
suspicious and wary of the benefits of adoption. They wait until the majority
of the community has tested and adopted the idea before acting. Peer pressure
or societal pressures can sometimes be used to motivate the late majority
group. In other circumstances, they are compelled to adopt the improvements due
to economic necessity.
•
The laggards: This group's members are the last
to adopt. The laggards are stuck in the past, in the old ways of doing things,
and are hesitant to try anything new. Many of these folks interact with others
who share their beliefs. When a laggard accepts an innovation, the rest of
society may have advanced so far that the "innovation" is no longer
relevant (Rogers, 1995).
The theory also looks at the five stages to which people
adapt to change, which include knowledge, persuasion, decision, implementation,
and confirmation (Rogers 2003). These
changes conform to the literature under study.
•
In the Knowledge stage, individuals and
organizations become aware of the innovation and acquire basic knowledge of it.
According to Rogers (2003), this stage involves exposure to information through
various channels, such as social media, interpersonal communication, or
promotional material (p.161).
•
During the Persuasion stage, individuals or
organizations develop a favorable attitude toward innovation. Roger, (2003)
states that individuals actively seek more information, evaluate the advantages
and disadvantages of the innovation, and engage in discussions with others
about its merits (p.177).
•
The third stage which is the Decision stage
involves deciding whether to adopt or reject the innovation. Here Rogers (2003)
explains that the decision is influenced by factors such as perceived benefits,
compatibility with existing practices or values, and available resources (p.
200). It is a critical point where individuals or organizations commit to
implementing the innovation.
•
During the Implementation stage, individuals or
organizations put the innovation into practice. Rogers (2003) notes that this
stage involves learning, adapting existing routines, and overcoming challenges
that may arise during the implementation process (p. 229). It is a phase where
individuals or organizations actively engage with innovation.
•
In the Confirmation stage, individuals or
organizations evaluate the outcomes and results of adopting the innovation.
Rogers (2003) explains that they assess the benefits, reassess their decision,
and seek reinforcement or confirmation that the innovation has been worthwhile
(p. 251). Positive experiences in this stage can lead to further adoption and
advocacy of the innovation.
These stages represent a sequential progression in the
adoption process, as individuals or organizations acquire knowledge, form
attitudes, make decisions, implement, and evaluate the innovation.
2.2.2 Relevance of The Theory to The Study
The above theory by Everett Rogers is relevant to this
study because of its focus on how hiplife songs are promoted within society or
social groups using TikTok and the stages hiplife musicians go through when
promoting their music on TikTok. The theory helps us to understand that hiplife
musicians are categorized into five key adopters when it comes to utilizing
TikTok for music promotion and audience engagement. The theory also explains
that each of the five adopters goes through some key stages before committing
to whatever decision they make. The theory helps us to investigate how hiplife
musicians perceive TikTok, whether it offers advantages over traditional music
promotion methods or not, and whether the platform offers effective and
efficient ways to reach and engage with their audience or not, which influences
their decisions to adopt TikTok or not. The theory also helps in understanding
why some hiplife musicians prefer traditional music promotion methods to TikTok
and vice versa. The theory explains that adopters (highlife musicians) assess
the benefits, reassess their decisions, and seek reinforcement or confirmation
that the innovation has been worthwhile. This will guide the study to gain a
thorough understanding of the processes involved in choosing TikTok for music
promotion.
2.3 Empirical Literature
Existing literature sheds light on the evolution of hiplife
music, hiplife music promotion, challenges, and the utilization of social media
in promoting the genre. According to Carl (2017), the promotion of hiplife
music in Ghana has been closely linked to the development of a music industry
that is based on the production and distribution of sound recordings, but also
on the organization of live performances, the production of music videos, and the
broadcasting of music on radio and television. However, in the article “Hiplife
Music and Rap in Ghana as Narrative and Musical Genre” by Florian Carl and John
Wesley Dankwa (2015), they posit that many Hiplife artists struggle to get
their music played on the radio or distributed through traditional channels and
that some resort to self-promotion through social media and other online
platforms. This highlights the need for greater investment in local
infrastructure and resources for music distribution and promotion in Ghana.
Despite the challenges highlife musicians face in promoting their music,
Hiplife artists often collaborate with other artists, both locally and
internationally, to create new and innovative sounds. This collaboration has
helped to shape the evolution of Hiplife and has contributed to its popularity
both in Ghana and abroad. This has helped in cross-cultural exchange in the
development of the Hiplife genre (Carl and Dankwa 2015). Dankwa (2017) also
argues that Hiplife artists have signed with international record labels, which
has led to increased exposure and commercial success, but has also raised
concerns about the loss of local identity and cultural heritage.
2.4 Summary of Literature Review
This chapter reviews the key concepts of the study; hiplife
Music, music promotion, TikTok, and audience engagement. It discusses how the
hiplife genre came to being and how it has overshadowed the traditional genres
like highlife, burgher highlife, and gospel. The chapter also reviewed related
studies by other researchers. The chapter also used the Diffusion of Innovation
theory by Everett Rogers as its theoretical framework. The theory looked at the
five innovative adopters as characterized by Rogers and also discussed the
major stages adopters go through to adopt an innovation. The relevance of the
theory adopted by the researchers for this study was clearly stated in this
chapter.
CHAPTER 3
METHODOLOGY
3.0 Introduction
The focus of this research is to investigate how hiplife
musicians utilize TikTok for music promotion and audience engagement. To
fulfill the study's objectives and to attempt to address the research questions
raised in the preliminary chapter, this chapter will concentrate on the
proposed research approach for this study. The framework of research design,
research methods, research approach, mode of data collecting, sample selection,
research process, and the type of data analysis, as well as any ethical concerns
that may occur, are all displayed in the research methodology. This will act as
a guideline for how the research will be carried out.
3.1 Research Design
According to DePoy and Gitlin, (2010), the research design
is the blueprint for data collection, measurement, and analysis that embodies
the overall framework of research. It focuses on the techniques and methods of
collecting data and analyzing it. Therefore, a research design is about
choosing the best approach or method for collecting data. This approach allows
for a systematic and logical integration of all study components, ensuring that
the research problem is effectively addressed. It underlines the importance of
quality in preserving the research's validity, objectivity, and accuracy.
The research design for this study is exploratory.
According to Painstil (2019), exploratory research provides insights and
understanding of a problem or condition. Haamann et al. (2019) seconded and
underlined that exploratory research is utilized not only to study and supply
knowledge on an undefined subject but also to help obtain a better
understanding of an existing problem.
With the little information gathered on how hiplife
musicians in Ghana utilize TikTok for music promotion and audience engagement,
utilizing an exploratory research design allowed for a comprehensive
understanding of the subject as delved deeper into it. The research design
guided the choice of the population and sample for the study, the sampling
method to use, data sources, the tools for data collection, as well as the
process for presenting and analyzing the data.
3.2 Research Method
Saunders et al (2016) explain that a research technique is
a broad strategy defining how a researcher intends to approach the research
problems at hand. They went on to highlight that there are primarily two major
research approaches: quantitative and qualitative. Quantitative research is
utilized to gather numerical data or data that can be converted into
statistical information to quantify a particular problem. In contrast,
qualitative research is employed to uncover patterns in thoughts and opinions,
enabling researchers to delve deeper into the issue.
Qualitative research typically begins with assumptions, a
particular perspective, the potential use of a theoretical framework, and an
exploration of the meanings that individuals or groups attribute to social or
human problems (Creswell, 2007). Salvador (2016) emphasizes that the choice
between quantitative and qualitative methods depends on the specific research
questions at hand, as each approach has its unique strengths and is better
suited to answer certain types of questions that the other may not be equipped
to address.
Carol (2016) argues that qualitative research is valuable
for exploring new ideas and gaining a deeper understanding of perspectives. It
achieves this by examining a smaller sample in more detail. In contrast,
quantitative research utilizes numerical data to explain phenomena on a larger
scale, concluding a broader sample. Consequently, to better understand the
research study “The Role of TikTok in Music Promotion. An in-depth exploration
of hiplife musicians' utilization of
TikTok for music promotion and audience engagement”, a
qualitative research method was adopted for the study. The purpose behind this
was to establish a personalized and in-depth question-and-answer session. This
approach allowed the researchers to gather the unique perspectives of each
participant and explore topics and issues related to the subject matter in
greater depth.
3.3 Research Population and Sample
The population for this study were underground hiplife
musicians from the University of Media, Arts, and Communication - Institute of
Journalism but based in Accra. Accra, as the country's focal point for music
promotion and marketing, is a hub for talent development (Modern Ghana, 2007).
The study's sample consists of five underground artists
from the University of Media, Arts, and Communication - Institute of
Journalism. All five respondents were male but for anonymity reasons, the
identity of the respondents were replaced with pseudonyms throughout the study.
This selection provided a comprehensive understanding of the topic under
investigation, allowing for the collection of in-depth data on the utilization
of TikTok in music promotion and audience engagement.
3.4 Sampling Technique
The sampling method chosen for this study
was purposive sampling. According to Taherdoost
(2016), Purposive sampling is one of the most often
utilized qualitative sampling procedures because it assures that participants
are chosen on purpose based on their relevance to the research at hand. In line
with Palinakas (2015), purposive sampling is employed to identify and gather
information from individuals or groups who possess significant knowledge about
the phenomenon under investigation. The TikTok accounts of the underground
hiplife musicians from the Institution were placed under the lenses of the
researchers. The accounts were well scrutinized by considering the music
content with the most views, most likes, most comments, and how the artists
engaged with their audience. Out of the findings, the researchers agreed to use
one-third of the 16 hiplife musicians within the Institution as the sample
size. The respondents were chosen due to the resource limitations of the
researchers. Time, budget, and human power were considered in selecting the
respondents for the study. Again, the respondents were also chosen to allow for
a more detailed exploration of their experiences and perspectives on the study
in accordance with the research method employed for the study. Purposive
sampling operates on the premise that the research aims to gain insight by uncovering
information and, therefore, must select a sample that can provide valuable
insights (Nel, 2017). This sampling technique is sometimes referred to as
selective because it relies on the researcher's judgment in choosing the units
of study. The idea behind purposive sampling is that researchers can better
understand a subject by selecting participants or samples they believe can
offer appropriate answers to the research question, thereby enhancing the depth
of the study.
3.5 Sources of Data
The study relied on two primary sources of
data: primary and secondary. As described by Harvey
(2012), primary data sources consist of first-hand data
collected by researchers themselves during a specific research inquiry. In the
case of primary data, researchers administer and collect responses that will be
utilized to examine the phenomenon being studied.
In contrast, secondary data, as defined by Allen (2017),
refers to information gathered by other researchers for purposes other than the
current study. Secondary data sources encompass information retrieved from
existing sources such as research articles and other publications that may not
be directly relevant to the current research but contain data that could be
helpful for it. Within this study, the primary data was gathered through
interviews conducted with upcoming hiplife musicians from the University of
Media, Arts, and Communication - Institute of Journalism. On the other hand,
the secondary data for this study involves relevant information from research
publications and articles related to the hiplife music and promotion field and
the TikTok accounts of the respondents. Both primary and secondary data sources
played crucial roles in this research. The primary data provided new insights
into understanding the topic under study while the secondary data contributed
to the study by providing existing literature that addresses questions relevant
to the research, enriching the overall understanding of the study's objectives.
3.6 Data Collection Method
In this study, data collection was primarily face-to-face
in-depth interviews. The interview took place on the University of Media, Arts,
and Communication - Institute of Journalism (UNIMACIJ) campus, Osu but on
different days. Respondents 1 and 2 were available for the interview on
Friday 13th October, 2023 while Respondents 3,4 and 5 were
interviewed on Tuesday 17th October, 2023. TikTok accounts such as
@original_Domino, @officialsaico, @baba_ogbojo, and others were examined by the
researchers with the help of the respondents. On 31st October 2023,
a phone interview was conducted to solicit further information from the
respondents. To guide the interview process, an interview guide was developed.
The interviews in this study followed a semistructured format, including a
series of open-ended inquiries. Dossetto (2020) argued that openended questions
are designed to elicit responses that go beyond simple yes or no answers,
encouraging respondents to provide detailed viewpoints, including their
feelings and attitudes. This approach facilitates a deeper understanding of the
subject matter and provides additional insights. Furthermore, the use of
open-ended questions allows for meaningful conversations between the
interviewer and interviewee, enabling them to delve into relevant issues within
the topic in greater detail. During the data collection process, detailed notes
were taken, and audio recordings were also made. These records served as
valuable references for identifying emerging themes and other noteworthy
subjects that arose during the interviews.
3.7 Data Presentation and Analysis
Processes
Following the data collection phase, the audio recordings
were transcribed into text and paired with the notes taken throughout the data
collection process. This combined data was used to identify and produce themes
in answer to research questions. Transcribing the audio recording was done
manually by listening to the recordings and transcribing them word for word.
Thematic analysis approach was utilized for the Data presentation and analysis.
As described by Braun and Clarke (2012), thematic analysis is systematically
detecting, organizing, and providing insights into significant patterns in a
dataset. This method focuses on the meaning contained within the dataset,
allowing researchers to acquire a better understanding of collective or shared
experiences. Moreover, Nowell et al. (2017) underline that thematic analysis is
adaptable and may be used for a variety of research investigations, providing a
comprehensive and detailed explanation of data even in difficult situations.
Additionally, this method was advantageous for examining the perspectives of
diverse research participants, highlighting both their commonalities and
differences, and uncovering unexpected insights. A content analysis tool was
also employed. Hsieh & Shannon (2005 p.1278) defined content analysis as a
research approach for the subjective interpretation of text data content
through a systematic classification process of coding and finding themes or
patterns. This method was also relevant to the study because it helped in
assessing how audiences engage with hiplife music on TikTok. Attention was
given to comments, likes, shares, and other forms of interaction to gauge
audience sentiment, preferences, and behavior.
3.8 Ethical Considerations
When engaging with respondents, it is crucial to give careful
thought to ethical considerations. As a result, the guidelines established in
the Ghana Institute of Journalism Research Ethics policy and procedures were
properly followed.
Before conducting the interviews, participants were
presented with a consent form. This form outlined the research's aims and
objectives, serving to inform and educate participants about the study.
Additionally, participants were reassured that their confidentiality and
anonymity would be protected throughout the research process. This ethical
approach ensured that all participants were well-informed and that their rights
and privacy were protected.
3.9 Chapter Summary
This study's chapter sets the structure for data collecting
to answer the research questions. It justifies the use of a qualitative
research method and an exploratory strategy to obtain a deeper understanding of
the subject. The study utilized purposive sampling to select hiplife musicians
for the study. In-depth face-to-face interviews were conducted and the ethical
principles were followed. Additionally, secondary data sources were analyzed to
complement the research data. A thematic analysis and content analysis approach
was used for the data presentation and analysis.
CHAPTER 4
FINDINGS AND DISCUSSIONS
4.0 Introduction
This chapter is focused on analyzing the results obtained
from the semi-structured interview that was used as a data collection tool.
Five underground artists who are actively doing hiplife music were deliberately
sampled and interviewed for the study. The data gathered was analyzed using the
Thematic analysis method. The findings from the interviews were categorized
under the research questions of the study;
1. How
has TikTok influenced the format of music promotion by hiplife artists?
2. What
strategies do hiplife musicians employ to promote their music on TikTok?
3. What
challenges do hiplife musicians face when promoting their music on TikTok?
and the stages of the theory that underpins the study,
focusing solely on the Knowledge stage, the Decision stage, and the
Implementation stage.
The study explores how hiplife musicians utilize TikTok for
music promotion and audience engagement. This part of the discussion focused on
drawing from hiplife artists, their perspectives on how TikTok has influenced them, the strategies they use to promote their
music on the platform, and the challenges
they face when promoting their music on the platform. These formed the themes
for the analysis of the discussions in this section.
4.1 Knowledge Stage
The knowledge stage is the first step in the
innovation-decision process. At this step, the individual learns about the
existence of an innovation. A person learns about the presence of an innovation
through communication channels.
According to Rogers (2003), the knowledge stage of the Diffusion of Innovation
theory is when an individual or an organization becomes aware of the innovation
by getting exposure to information through various communication channels,
such as social media, interpersonal communication, or promotional
material.
Based on the theory that underpins the study and the
research questions, the researchers asked the respondents how they learned
about the existence of TikTok as a platform for music promotion and these are
their responses;
R1:
“Through Instagram. I was on almost every
social media platform but I didn’t know about TikTok. I was surfing IG one day
and I came across a 30 seconds video with almost 1400 likes so I downloaded the
app and I signed in to entertain myself and for inspiration but found out that
it’s easier to reach more audience as compared to other platforms”
R2:
“The internet because it was the new kid
on the block. It was circulating everywhere and out of curiosity, I downloaded
it.”
R3:
“A friend of mine introduced me to TikTok
but trust me at first I didn’t like it, in a few months I saw people hopping on
TikTok and I was like let me also give it a try and now am cool with it”.
R4:
“Through the numerous trending videos on
Social Media. I think Asantewaa made a video with it and posted it on SnapChat.
That was how I got to know about TikTok.”
R5:
“Through a friend, who was recommending
it to me”
4.2 The Decision Stage
The decision stage involves deciding whether to adopt or
reject the innovation, Rogers (2003) explains that the decision is influenced
by factors such as perceived benefits, compatibility with existing practices or
values, and available resources. When an individual (or other decision-making
unit) engages in behaviors that lead to a choice to adopt or reject the
innovation, a decision is made (Rogers, 1983). While adoption involves "using
an innovation fully as the best course of action available," rejection
means "not adopting an innovation" (Rogers, 2003). According to
Rogers, if an innovation can be tried on a smaller scale or with more trials,
it has a better possibility of being adopted or accepted by individuals. The
same cannot be said for all advances. According to Rogers
(1983), the individual decides whether to adopt or reject
the technology during the decision stage. However, adoption or rejection may
not be permanent, and the individual may alter his or her mind later. The
responses from the interviewees confirmed Rogers's argument on the decision
stage as all the respondents had an objective to satisfy by choosing to promote
their music on TikTok. The respondents established the grounds for why they
chose TikTok for music promotion and audience engagement over other platforms.
They argued that TikTok has the potential to grow its fan base through
challenges, endorsements from influencers, and consistent appearance of the
snippets of their songs on the “FOR YOU” feature of the platform. “The
“for you page”. It makes your content reach users even if they’re not your
followers” (Respondent 2). They
added that the platform has the potential to grant them a foothold in the music
industry. Respondent 5 added that he found inspiration from Camidoh and Kidi,
two popular musicians whose music videos or challenges are easy to come by on
TikTok.
R1
“We are in an era where millions of
people are into TikTok and so there’s a high rate of your content going viral
if you frequently post content people like”
R2
“The fact that your content can reach a
large audience even if you don’t have many followers”
R3
“It’s a platform where you can reach a
vast majority of people in minutes as compared to the other media platforms”
R4
“There’s a lot of audience on the app”
R5
“Well a lot of musicians got their
breakthroughs to the top with TikTok so I also felt like I could also get my
breakthrough with TikTok as well that’s why I started using. Camidoh and Kidi
were both in my year group, I saw them use that platform”
4.3 The Implementation Stage
Rogers (2003) notes that this stage involves learning,
adapting existing routines, and overcoming challenges that may arise during the
implementation process. It is a phase where individuals or organizations
actively engage with innovation. At this point, the innovation is being used in
daily life, or it has been put into practice. Until the implementation stage,
the innovative decisionmaking process was entirely mental. However,
implementation entails overt behavior change as the new notion is put into
action (Rogers, 1983). The implementation stage can be challenging for a user.
The novelty of an innovation, as well as the uncertainties that surround it,
may hinder the individual's acceptance of the innovation. Because of these factors,
the flow of information continues to shift from users to others. At this stage,
uncertainty about the outcomes of the innovation can be an issue. As a result,
the implementer may require technical assistance from change agents.
In other to understand what goes into music promotion using
TikTok, the respondents shared their experiences when they made their first
appearance on TikTok and highlighted the strategies they use when promoting
their music on TikTok.
R1:
“It was quite cumbersome. I was extremely
exhausted but I was like I have to try and know it well so I can also flex with
it but the response was low people didn’t react to my first post concerning my
music on TikTok. Right now we’re growing bit by bit on TikTok”
R2:
“Within a couple of minutes I had almost
50 people watch my video as compared to the other platform where it takes days
to get 50 people to view the video”
R3:
“It was quite okay I got around 1000
views on one of my posts even without many followers”
R4:
“I often do short visualizers of my songs
and sometimes I do make ladies do a video of themselves singing my songs which
I do post on TikTok”
R5: “Sing along, promotion of
lyrics, create a dance move
Across all the responses we had regarding the
implementation stage, we noticed a singular tone from our respondents. The tone
explicitly emphasizes keenly on growth and virality. The consensus seemed to be
that the seemingly random exposure of TikTok was the main attractive feature
when compared to platforms like Instagram which propelled the participants to
implement the innovation for music promotion.
4.4 Influences
Research question one sought to understand how TikTok has
influenced the production and promotion of hiplife music on TikTok. TikTok has
become an essential tool for the promotion of hiplife music in Ghana.
Information technology has evolved into a powerful tool that influences human
behavior and lifestyle (Abena Kyeraa 2015). TikTok, a sort of information
technology, has altered the world of hiplife music promotion. The Platform has
inspired hiplife musicians in terms of hiplife music promotion and audience
connection in any form, regardless of location. A variety of web technologies
are accessible over the Internet. TikTok is one technology that is making waves
in terms of music promotion and audience involvement. TikTok has changed and
influenced music promotion in general. TikTok, among the many online
communication platforms accessible, has emerged as the most current and
appealing medium for music promotion and connecting people all over the world
(Abena Kyeraa 2015). To understand the influence of TikTok on hiplife
musicians, the researchers asked how using TikTok for music promotion
influenced their career as hiplife artists and if they can share any changes in
their fanbase demographics since they started promoting their music on TikTok
here are their responses.
R3 “My music now gets to an audience that
doesn't like Hiplife and is slowly embracing my craft. Yes, currently I have
fans in different parts of the world and even Ghana and also in Nigeria with
the help of TikTok”
R5
“It has helped me to look at things from
a different perspective in a sense that anytime I write a song I now write for
all as compared to when I was just doing music for family and friends”
R1 “I was able to gain some amazing fans on
TikTok supporting my music and I must say am very grateful for that. Yes, I now
have more followers on my X (Twitter) and Instagram accounts, also on my
Audiomack, Apple, and Boomplay”
The responses from the respondents conform with TikTok user
growth. TikTok's download volume has surged from 130 million in 2017 to 2.6
billion in 2020, without including users in China and other regions (more than
600 million). A huge number of downloads and users delivered 1.9 billion in
income in 2020, a roughly 5.5-fold increase over 2019.
The steady growth of TikTok indicates that people have come
to accept and adapt to this media paradigm despite the fierce competition
across social media platforms. This wider audience has become a reason for many
hiplife artists on why they have chosen to utilize TikTok for music promotion
and audience engagement.
4.4.1 Advertising Costs
Advertising on social media has evolved into an affordable
alternative to purchasing advertising space in traditional broadcast or print
media. The promotional costs for hiplife musicians are considerably reduced by
targeting some customers via the Internet. TikTok's algorithm can lock a
person's interests based on the information they gave when signing up for the
platform, and it will send content that is most likely to entice users to take
on a challenge or follow a hashtag trend. Users today are more engaged than in
the past since they do not have to accept fixed material but can navigate
through a variety of options. Hiplife artists can compose music that is
particularly placed on TikTok based on the qualities of this social media
platform, attracting more users to the song.
R1
“I am in a dance group called DWP so
anything I want to promote my music with a dance challenge, my colleagues in
the dance group will join me to do the challenge and before I realize it, it
will be trending. So I don’t pay anyone for promotion”
R3
“With the help of TikTok, I don’t need to
pay any Payola to have my music promoted by a DJ or any media house. I just
have to assign a challenge or a hashtag to my craft and post it on TikTok, then
boom. This has helped me to reduce the costs associated with music promotion”
R5
“TikTok is good, man. The right content
to the right people at the right time. People can even save your content.
Unlike TV and radio stations, your song will be played once or twice within a
week but with TikTok, your content will be shown many times to so many users
and it is completely free”
4.4.2 The Income of Tiktok
Advertisements in videos contribute significantly to the
income of hiplife artists who market their music on TikTok. A hiplife artist
with over a million fans can make more than 5,000 cedis on every video if they
include one advertisement (Hanson 2016). Some advertising appears on their own,
while others are accompanied by hiplife music or other material. If a hiplife
musician wants to be well known, they will purchase flow on the platform, which
means their videos will be recommended to a larger number of people. It is an
expedient technique for them to become wellknown on the assumption that people
accept and enjoy their video style and content. TikTok coins are also
advantageous to overall revenue because they allow individuals to donate
presents to hiplife musicians and others on the platform.
R3
“Anytime I hold a live session, I get
people to appreciate my craft by sending me money through the app. I also get
featured in commercials for upcoming products. Truth be told, this is one of
the means I have been supporting my music career.
R5
“My goal is to reach 1000 followers and
above. When that dream is achieved, not only will I be known but TikTok will
pay me for every content that will hit 1k views and beyond.”
R2 “Money is good, man. However, there are other
benefits to that app that are worth more than money. the only thing I want on
the platform is the numbers. Once I get the numbers, the money will follow”
4.5 Strategies
Research question two sought to understand the key
strategies employed by hiplife musicians for music promotion on TikTok.
Wawrowski (2020) defines promotion as "all types of marketing activities
aimed at driving demand." Meanwhile, Coates and Hardman (2019) define
promotion as a one-way flow of information or persuasion intended to guide a
person or organization to behaviors that result in marketing exchanges. Hiplife
musicians can use promotions to get people who were previously uninterested in
their musical abilities to become interested and become part of their fandom. Like
any product, music is a commodity that needs appealing marketing strategies to
sell. Hanson (2016) argued that Promotion is a wise advertising strategy. He
furthered that musicians put their music on TikTok as a form of advertisement
to be demonstrated by more users. By creating dance challenges, hashtag trends,
and lip-syncing challenges, among others, users then make their version of that
challenge which contributes immensely to the virality of the musicians and
their music content.
Music promotion, as justified in the literature review is a
subjective concept that means different things to different people. However,
the nature of the study demanded finding out from the participants what their
view of the concept is and the strategies they employ to promote their music on
the platform. The analysis of the findings shows that hiplife musicians have
one objective when it comes to music promotion, “wider audience”. The various
individuals who participated in the semi-structured interviews demonstrated a
high sense of understanding of the concept of music promotion. In a broader
view, the participants explain the strategies
they employ when promoting their music on TikTok and how they engage with their audience and utilize audience feedback to better their
craft.
“Dance challenges is one of the contents
that always helps in promoting my music on TikTok. Most collaborations can be a
breakthrough for an artist. For example, if I collaborate with Stonebwoy it is
really going to be a big win for me and it can be my breakthrough to the top,
not that alone I will be known by other audiences as well. Kwadwo Sheldon is
one of the brand influencers, trust me if Kwadwo Sheldon highlights your music
then you should know you’re blowing. With audience engagement, I engage with my
followers Through comments and I reply to DM. Honestly, at first, I got hurt
when people criticized my post, but right now I have learned to accept
criticism. I don’t get hurt anymore. Now if the energy I get from them is
negative, stay cool with a positive vibe. Dance challenges are what I employ to
promote my music on TikTok. Erm, I don’t collaborate with influencers or
popular musicians. I really wish I could partner with someone like Dance Lord
or Allo Danny to do a dance challenge for my music but I can’t because it’s too
expensive. No, because of the high cost. I plan to start TikTok Live to engage
with people when I release my new music. If I know the content I’ve brought out
is valid I don’t bother about negative comments because we are in an era where
people just like to hate. After all, it’s a trend.”
4.6 Challenges
In connection with research question 3, the study was keen
on finding out and understanding the major challenges hiplife musicians
encounter when promoting their songs on TikTok. Despite the opportunities
TikTok presents to hiplife musicians, it poses few challenges to hiplife
artists who use the Platform to promote their music. According to Dr. Suman
Kumar Kasturi (2014), Most social media sites allow the audience to create an account,
after accepting the terms of the agreement, which are often vague. The terms of
the agreement can be understood differently. They pose a threat, indirectly.
TikTok poses an equal threat to the security of personal information and other
concerned data. Hacking of accounts is the most common feature; with hacking,
there is an imminent threat to the audience of social media. In line with
security issues, deception can’t be left out. The identity of the individual
who joins the social networking sites may be either original or fake. The truth
of his/her identity is not known to the fellow users.
R4
“The account I am using now is my third
account. The first 2 were hacked. The hacker was using my accounts to beg for
money. The audience who felt like victims of that scheme started attacking me
on this new account. To be frank with you, it really affected me”.
The participants explained that music promotions on TikTok
come with their challenges apart from
the aforementioned.
R5
“I don’t collaborate with influencers or
popular musicians. I really wish I could partner with someone like Dance Lord
or Allo Danny to do a dance challenge for my music but I can’t because it’s too
expensive. I can’t even afford to have my music played on the radio let alone on
live tv. It is really expensive.”
R2
“Getting influencers to jump on your
challenge is quite expensive so what I do is, I speak to all my friends with
TikTok accounts to jump on the challenge and encourage their friends to do so.”
R1
“I’d say on TikTok most uprising
musicians don’t really get much attention such as likes and views on their
posts as compared to the likes of Shatta Wale, Stonebwoy and among others.”
R3
“Promoting music on TikTok is quite
challenging because you’ll have to battle with popular artists for the
audience. Other artists promote their craft at the same time as me, especially
the most popular artists.”
According to the conclusions of the interviews, TikTok has
now become the go-to social media site for the majority, if not all, hiplife
musicians. TikTok has grown into a major social media platform, providing
opportunities for well-known and emerging hiplife artists. Hiplife musicians,
on the other hand, are expected to know and grasp the interests of the audience
to give more accurate Hiplife music content without losing active users or
supporters. Maintaining this method of operation is completely effective.
4.7 Chapter Summary
This chapter delved into a comprehensive examination of the
research data and its outcome. It discusses the influences of TikTok on hiplife
musicians, the strategies they employ when promoting their music on TikTok, and
the challenges they face when using the platform for promotional purposes and
audience engagement. To protect the privacy of the research participants,
pseudonyms were employed for the individuals involved in the interview.
The forthcoming chapter will offer a concise overview of
the study’s key points and provide recommendations based on the research
findings.
CHAPTER 5
SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
5.0 Introduction
This is the final section of the research investigation. It
focuses on the study's summary, findings, limitations, and future research
recommendations.
5.1 Summary of The Study.
The study sought to analyze the role of TikTok in music
promotion. An in-depth exploration of hiplife musicians' utilization of TikTok
for music promotion and audience engagement. The first chapter presented and
established the tone for the research. It gave an overview of what the study is
going to look like. It contained the background of the study which created the
setting of the study, the statement of the problem, the objectives of the
study, and the research questions. The organization of the study as well as the
significance of the study were also discussed.
The second chapter was dedicated to a review of the
literature of other research materials that are related to the topic and its
objectives. This was done to help establish the context of the study so that it
might be integrated into the arguments of other related studies. The chapter
began by exploring and discussing the various concepts underpinning the study
such as the concept of TikTok, hiplife music, and music promotion. The chapter
then continued to explore the theoretical framework underpinning the study. The
theory used in the study was the Diffusion of Innovation by Everett Rogers. The
relevance of the theory was also considered in the chapter. The chapter also
reviewed related studies that were tailored toward understanding the topic
under investigation.
Chapter 3 spoke about the methodology used for the study.
It was established that the nature of the study demands soliciting views from
hiplife artists who use TikTok for promotional and audience interaction
purposes. For this study as expressed in the research objectives, the study
used the qualitative research methodology since the nature of the study lends
itself to a contextual and artiste-specific approach, hence the case study
approach. Purposive sampling was used to identify and gather information from individuals
or groups who possess significant knowledge about the phenomenon under
investigation. A total of five participants were sampled for the
semi-structured interviews. An interview protocol was developed using themes
from the research objectives and interviews were done through face-to-face
meetings at the University of Media, Arts, and Communication - Institute of
Journalism (UNIMAC-IJ) campus, Osu.
The fourth chapter examined the acquired data and attempted
to make sense of it. Since the methodology adopted the qualitative method,
thematic analysis was used in the analysis of the data where the responses were
assessed in terms of how they answered the questions informed by the research
objectives and questions. The findings were then discussed in tune with the
three broad research objectives that formed the basis for this study as well as
the stages of the theory used in the second chapter of the study.
The fifth chapter focuses on the summary of the study, the
conclusions as well as limitations of the study.
5.2 Conclusions of The Study.
This analysis and discussion captured the objectives and
also helped answer the questions proposed in chapter one of the study by
analyzing the data and making meaning out of it.
5.2.1 How TikTok Influenced the Format of Music
Promotion by Hiplife Artists
The findings of the study showed that TikTok has influenced
the production and promotion format of the individuals that were sampled for
the study. Wider audience was seen as the center of the influence. The
responses given by the respondents implied how hiplife musicians want their
music to be heard by a wider audience in other to gain a foothold in the music
industry. This objective of the respondents conforms to the TikTok user growth
as the platform has now become the most downloaded app with 672 million
downloads globally according to Forbes.
The respondents also believed that, although TikTok is
fulfilling their dreams of growing their fandom, the platform has also reduced
the advertising cost for them. The respondents maintained their argument that
the platform has given them the liberty to skip record label policies. They
argued that artists previously had to rely on funding from labels to afford
marketing, whereas, on TikTok, the audience is in charge of deciding the
popular songs, regardless of label affiliation. Even those artists who are
signed to independent labels will have a higher chance of getting their music
through as smaller labels tend to take higher risks.
A section of the participants argued that the platform
offers them a passive income regardless of their popularity. The income of
TikTok is available for everyone. The TikTok coins permit the audience to
appreciate their favorite hiplife musicians for the efforts they put into their
craft.
5.2.2 The Strategies Hiplife Musicians
Employ to Promote Their Music On
TikTok
The assessment of the various strategies
employed by hiplife musicians to promote their music on
TikTok revealed that the strategies have the potential to
push their songs and increase their fan base. One of the central strategies
adopted by hiplife musicians for music promotion is dance challenges. Dance
challenges have become proliferated and pervasiveness, and this can help
artists by expanding their reach and making access to their supporters and fan
base easier resulting in the formation of friendships and relationships that
increase their visibility and popularity. The respondents believe that dance
challenges and influencer collaboration can be a means of breakthrough for
them. The study also revealed that some hiplife artists are using TikTok to
connect with their audience through TikTok live and comments. TikTok allows
artists to directly engage with their fans. These engagements happen through
text in the comment section of their videos, and through video replies to
audience comments while others use dance challenges, hashtag trends, and
lip-syncing to promote their music.
5.2.3 Challenges Hiplife Musicians Face
When Promoting Their Music on
TikTok
Like every other social media, TikTok also poses challenges
for hiplife musicians when promoting their music on the platform. The study
identified that the most typical challenge is account hacking; with hacking,
there is an instant threat to the audience. In terms of security, deception
cannot be overlooked. The identification of the person who joins social
networking sites may be genuine or false. The truth about his/her identity is
unknown to the other users. Some respondents shared that their TikTok accounts
have been stolen many times. The study also revealed that collaborating with
TikTok influencers for music promotion is another challenge due to the cost
associated with
it.
5.3 Practical Suggestions of the
Study.
The findings of the study necessitate the recommendations
of some suggestions that will help artists maximize the gains in their use of
social media for music promotion and audience engagement.
•
Hiplife musicians should be very intentional
about their craft when promoting their music on TikTok in other to reach the
wider audience they hope for since the study revealed that, the platform is now
the most downloaded social media app globally and users delivered
1.9 billion in income in 2020.
•
Hiplife musicians should leverage on trends.
TikTok is a trend driven platform. Hiplife musicians stay updated with the
latest trends on the platform and find creative ways to incorporate their music
into these trends.
•
Upcoming hiplife artists should follow the
TikTok accounts of popular hiplife musicians and learn from them. The study
revealed that collaborating with popular artists is expensive. However,
following their account will give you knowledge about how they do their
things.
•
Hiplife musicians should start by promoting
their music within their immediate community. The findings of the study
revealed that one participant collaborates with his colleagues from a dance
group to promote his music. This will not only save you advertising costs but
will also prepare and propel you for a wider audience.
5.4 Limitations of The Study
The
study suffered from the following limitations.
•
Time, budget, and human power resulted in the
use of upcoming hiplife musicians. The research was devoid of popular hiplife
musicians due to the cost associated with interviewing them and their
availability for the interview.
•
The sample size used limits the researchers from
making generalizations on how hiplife artists utilize TikTok for music
promotion and audience engagement.
5.5 Recommendations for Future Studies
This research will be used as a resource for future
inquisitions. Future studies that seek to investigate the role of TikTok in
music promotion. An in-depth exploration of hiplife musicians' utilization of
TikTok for music promotion and audience engagement should take note of the
following recommendations
•
Prospective research should involve conducting a
content analysis to examine how hiplife artists use TikTok for music promotion
and audience engagement. This will provide an empirical understanding of how
they promote their music and increase their fan base on TikTok.
•
Surveys should be conducted to ascertain the
public's impression of TikTok's influence in the development of hiplife
musicians. These studies can be tailored to analyze how the general public
perceives the methods in which various hiplife artists in the music industry
use TikTok to market their music in terms of the benefits and drawbacks.
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APPENDIX I
These set of
Interview Questions are designed to solicit information on The Role of
TikTok in
Music Promotion. An In-Depth Exploration of Hiplife
Musicians' Utilization of Tiktok for Music Promotion and Audience Engagement.
Your response will
help the researchers achieve the stated objectives required. Your answers to
these questions shall be highly appreciated and considered purely confidential
since this study is strictly for academic purposes. All respondents are
therefore not liable to any information they provide.
INTERVIEW QUESTIONS
TOPIC:
The Role of Tiktok in Music Promotion. An In-Depth Exploration of Hiplife
Musicians'
Utilization of Tiktok for Music Promotion
and Audience Engagement.
KNOWLEDGE STAGE
1. How
did you first learn about TikTok as a platform for music promotion?
2. What
features of TikTok do you think make it a good platform for promoting your
music?
3. How
do you keep yourself updated about the latest trends and features on TikTok?
DECISION STAGE
4. What
motivated you to start using TikTok for music promotion?
5. Did
you consider any other social media platforms for music promotion? If so, why
did you choose TikTok?
6. Can
you share any specific goals or expectations you had when you started promoting
your music on TikTok?
IMPLEMENTATION STAGE
7. Can
you describe your first experience promoting your music on TikTok?
8. What
strategies do you use to promote your music on TikTok?
9. How
do you measure the success of your music promotion on TikTok?
10. Can
you share an instance where a song gained popularity due to promotion on TikTok?
INFLUENCE OF TIKTOK ON HIPLIFE MUSIC PROMOTION
11. How
has using TikTok for music promotion influenced your career as a hiplife
artist?
12. Can
you share any changes in your fanbase demographics since you started promoting
your music on TikTok?
13. Have
there been changes in the way you create music since you started using TikTok?
STRATEGIES FOR MUSIC PROMOTION
14. What
kind of content do you think works best for promoting music on TikTok?
15. How
do you engage with your audience on TikTok?
16. Do
collaborations with other artists or influencers form part of your strategy? If
yes, How?
If not, why?
CHALLENGES OF MUSIC PROMOTION
17. What
challenges have you faced while promoting your music on TikTok?
18. How
do you deal with negative comments or feedback on your posts?
19. Have
there been instances where the effort put into promoting music on TikTok did
not yield the expected results? How did you handle it?
GENERAL
20. Looking back, would you say that using
TikTok for music promotion has been beneficial for your career? Why or why not?
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