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one of them. Overall the observation procedure provided a wider spectrum in that different aspects of human behaviour were obtained from both the artists and the audience. It added valuable information to the analysis of the songs and the interviews held with different stake-holders. 1.9 CONCLUSION This chapter has briefly introduced the study covering its background, what triggered the study, what the study intends to pursue and the significane of the study. The chapter has further shown how other scholars have written about accordion music and other related genres. Last, the chapter covers how the study had been conducted inclusive of research design and data collection. 24
2.0 INTRODUCTION CHAPTER 2 THEORETICAL FRAMEWORK The researcher employs functionalism as the theoretical framework for the analysis of the accordion music. This theory is a sociological philosophy that originally attempted to explain social institutions as collective means to fulfil individual biological needs. It studies the contributions made by sociocultural phenomena to the sociocultural systems of which they are part. It emphasises the organic unity of society that leads functionalists to speculate about needs which must be met for some social systems to exist, as well as the ways in which social institutions satisfy those needs (http://en.wikipedia.org/wiki/functionalism). This theory is identified with sociologists and social anthropologists like Durkheim in the 1890s; Malinowski, 1920s -1930s; Radcliffe-Brown, 1920s – 1950s and Parsons, 1950s. It is said to have been dominant in the United States of America during the 1930’s although in the 1960s it was criticised for failing to relate to some basic social concerns. That is, it was unable to explain a number of features of American society, such as poverty, social change, dissent and the continuing influence and political and economic power of the wealthy. Feminist approaches also attacked functionalism as it provided a justification for male privilege and ignored the past and potential contribution of women (http://urengina-ca/~gingrich/n2f99htm). It was viewed as consensus theory as it did not address the issue of conflict in society; instead it projected an ideal picture of harmonious relationships. That is, functionalism was unable to account for social change or structuralist contradictions and conflict (http://www.hewett:norfolk.sch.uk/curric/soc/T & M/ funct.htm). Functionalists’ theories have often been criticised as teleological. That is, they reverse the usual order of cause and effect by explaining things in terms of what happens afterward, not what went before (http://web.grinnell.edu/courses/soc/s00/soc). 25
Page 1 and 2: ANALYSIS OF THE LANGUAGE TECHNIQUES
Page 3 and 4: OPSOMMING ONDERSOEK NA DIE TAALTEGN
Page 5 and 6: ACKNOWLEDGEMENTS I am indebted to P
Page 7 and 8: Accordion artists Accordion music F
Page 9 and 10: 2.2.1 Function --------------------
Page 11 and 12: a) Birth --------------------------
Page 13 and 14: 1.0 INTRODUCTION CHAPTER 1 INTRDODU
Page 15 and 16: 125,786 in 1990 to 57,989 in 2004 (
Page 17 and 18: The aim of the study is to analyse
Page 19 and 20: Artists/singers refer to people who
Page 21 and 22: There are three major reasons for c
Page 23 and 24: women they wanted and took them int
Page 25 and 26: them to be known, have to start by
Page 27 and 28: Today shebeen singing, as retailed
Page 29 and 30: Moletsane (1982), Mokitimi and Copl
Page 31 and 32: gives highlights of the production
Page 33 and 34: from various groups enabled one to
Page 35: compare and contrast the status of
Page 39 and 40: maintenance of the structural conti
Page 41 and 42: Parsons (1999:3) and others again v
Page 43 and 44: 2.2.3 CONSENSUS Consensus refers to
Page 45 and 46: 2.3 CONCLUSION Functionalism, in it
Page 47 and 48: ethnic group and who observes and p
Page 49 and 50: Although, given the above informati
Page 51 and 52: • Journalists from different quar
Page 53 and 54: fell off from the horses together w
Page 55 and 56: Concerning institutions, one may re
Page 57 and 58: maintaining one’s identity. The m
Page 59 and 60: Concerning the Lesotho Evangelical
Page 61 and 62: Mapefane, whose first album Bo-Mape
Page 63 and 64: With the changing times, the instru
Page 65 and 66: age minstrels. Regardless of this n
Page 67 and 68: Congress Party (B.C.P.) won the ele
Page 69 and 70: that were held at ‘Manthabiseng C
Page 71 and 72: It is worthwhile to give a general
Page 73 and 74: also dancers. The lead-singer somet
Page 75 and 76: Although there are important reason
Page 77 and 78: 3.3.5 MUSICAL INSTRUMENTS In the ea
Page 79 and 80: 3.3.7 ACCORDION MUSIC AND ITS RECEP
Page 81 and 82: etained and maintained as they list
Page 83 and 84: (iv) Thematic aspects Some people s
Page 85 and 86: manner, relate and describe whateve
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attractive, and, in some cases, div
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is a Mofokeng (of the hare), he is
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3.4 CONCLUSION Based on the given i
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speech in this music helps to retai
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considerably, and depends mainly on
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Father of Lerotholi, the locusts’
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The one who has lacks swift running
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other individuals; all in all, it r
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One could say that the use of prove
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Ngoana o tšoana le `m’ae, o tsam
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“Lebelo lea fela thota e sale”
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a) Proverbs used as titles of songs
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of this word, one finds it to be ca
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homestead. In this way, the artist
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The usage of these features also di
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Apostrophe is further carried on in
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There is a common feeling among the
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Among the Basotho, head-dressing is
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had from the boys. She prefers to u
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esult, she boldly tells him how to
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Someone who was feared by all the p
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One also observes the adopted descr
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In line four, there is another exag
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feelings and our understanding. The
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in order to get in, especially when
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focus on the development of the are
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it goes deep down in our inner feel
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chief is expected to cater for the
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uses the word “kolla” meaning,
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him that it was a viper pretending
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that prompts Basotho to love accord
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herd-boy, the artist brings such ex
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When Famole likens himself to hail,
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Kunene (1971:68) writes about aesth
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Motho o bolaoa ke mokhotsi ke oa ha
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with Maama and Seeiso who are his u
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Ba bang ba re ke ile Molumong thabe
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the tip of people’s tongues; they
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Chakela litsietsi li tsoaloa le mot
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Bongata bo a hana bo a latola, Ba r
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contaminated water in order to prov
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There is another interesting part h
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CHAPTER 5 THEMATIC ASPECTS OF BASOT
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e said that with accordion artists,
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serve. This is what Radcliffe-Brown
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The tall and hefty one, The wife of
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etween individuals. This form of id
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This question is meant to make such
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I live at Mohale’s Hoek that is w
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You ask me who is my chief, I am th
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‘Na ke hotse le bashanyana, Ke ho
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as husband and wife in a normal mar
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As indicated earlier it is common f
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extra-marital affair on the side of
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different responses in different wo
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in Sesotho we say Molomo ha o na kh
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Mong’a monna ha a loana, Le mo jo
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c) Dishonesty Dishonesty is describ
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A similar concern is raised by Moek
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What has happened at Ha Marou, The
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With regard to accordion music, Pha
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challenge others to sing love songs
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Frame-Work and the National HIV/AID
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Avoid this disease you the youth, I
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`Mateboho, as one of the accordion
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points out that what ties Basotho t
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efficient plant for cleansing purpo
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“Ngoana ea sa lleng o shoela thar
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The document further states that, s
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Another song that provides a genera
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The above quotation, although too g
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) Exploitation by recording compani
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The mention of the name in these li
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are the low wages of about R500.00
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Therefore, if R500.00 - R244.00 is
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With regard to narratives, there we
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government remained in power from 1
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Manka le Phallang (1991), in his so
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Ke ale a theosa, A leba mose maoatl
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who was known as `Manthabiseng was
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The BAC was a political product of
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Moeti (1995) is one of the artists
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that, what LCD had done was morally
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Thabeng bana ba batho ba shoele ka
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these songs and others described th
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245
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accordion where he may practice on
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develop trust among themselves as o
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Another area worth researching on i
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did not really address the concerns
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Accordion artists like praise poets
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BIBLIOGRAPHY BOOKS Achebe, C.1958.T
Page 271 and 272:
Lesotho. 2003. Sexual Offences Act.
Page 273 and 274:
Pule, N.W. 2002. Politics since ind
Page 275 and 276:
Phafoli, L. 1994. Text in Emergent
Page 277 and 278:
Anon. 1986. Basotho National Party
Page 279 and 280:
Bo-mme ba Maphutseng. 2002. Ke Siil
Page 281 and 282:
Nong la Berea, 2000. Setsokotsane s
Page 283 and 284:
Mokete, R. (Chakela) Verbal communi
Page 285 and 286:
Mokete, R. (Chakela) 2006. Speech d
Page 287 and 288:
Their long-term and short-term deve
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