Analysis of the language techniques and thematic - University of the ...

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TABLE OF CONTENTS ABSTRACT------------------------------------------------------------------------------------------------------------- II OPSOMMING --------------------------------------------------------------------------------------------------------- II DECLARATION ----------------------------------------------------------------------------------------------------- III ACKNOWLEDGEMENTS ----------------------------------------------------------------------------------------- IV ABBREVIATIONS ----------------------------------------------------------------------------------------------------- V KEY WORDS --------------------------------------------------------------------------------------------------------- VI TABLE OF CONTENTS ------------------------------------------------------------------------------------------- VII CHAPTER 1 ------------------------------------------------------------------------------------------------------------- 1 INTRDODUCTION ---------------------------------------------------------------------------------------------------- 1 1.0 INTRODUCTION --------------------------------------------------------------------------------------------- 1 1.1 BACKGROUND ---------------------------------------------------------------------------------------------- 1 1.2 STATEMENT OF THE PROBLEM --------------------------------------------------------------------------- 4 1.3 PURPOSE OF THE STUDY ------------------------------------------------------------------------------------ 4 1.4 VALUE OF THE RESEARCH --------------------------------------------------------------------------------- 5 1.5 DEFINITION OF TERMS ------------------------------------------------------------------------------------- 6 1.6 SCOPE OF THE STUDY -------------------------------------------------------------------------------------- 8 1.7 LITERATURE REVIEW -------------------------------------------------------------------------------------- 9 1.7.1 History of Southern African Township music and Basotho Accordion Music ---------------- 10 1.7.2 Basotho migrant labourer’s lifela/travellers’ songs --------------------------------------------- 16 1.7.3 Basotho Music ---------------------------------------------------------------------------------------- 18 1.7.4 African Music in General --------------------------------------------------------------------------- 18 1.8 METHODOLOGY ------------------------------------------------------------------------------------------- 19 1.8.1 Research design -------------------------------------------------------------------------------------- 19 1.8.2 Population --------------------------------------------------------------------------------------------- 19 1.8.3 Sample ------------------------------------------------------------------------------------------------- 19 1.8.4 Sample Procedure and Sampling Technique ------------------------------------------------------ 19 1.8.5 Data Collection --------------------------------------------------------------------------------------- 21 1.8.6 Collection of Cassettes ------------------------------------------------------------------------------- 21 1.8.7 Interviews ---------------------------------------------------------------------------------------------- 22 1.8.8 Observation ------------------------------------------------------------------------------------------- 23 1.9 CONCLUSION ----------------------------------------------------------------------------------------------- 24 CHAPTER 2 ------------------------------------------------------------------------------------------------------------ 25 THEORETICAL FRAMEWORK --------------------------------------------------------------------------------- 25 2.0 INTRODUCTION -------------------------------------------------------------------------------------------- 25 2.1 ELEMENTS OF FUNCTIONALISM -------------------------------------------------------------------------- 26 2.1.1 Function ----------------------------------------------------------------------------------------------- 26 2.1.2 Social system ------------------------------------------------------------------------------------------ 27 2.1.3 Social Structure --------------------------------------------------------------------------------------- 27 2.2 OVERVIEW ------------------------------------------------------------------------------------------------- 28 vii
2.2.1 Function ----------------------------------------------------------------------------------------------- 28 2.2.2 Interdependence -------------------------------------------------------------------------------------- 29 2.2.3 Consensus --------------------------------------------------------------------------------------------- 31 2.2.4 Equilibrium -------------------------------------------------------------------------------------------- 31 2.2.5 Evolutionary change --------------------------------------------------------------------------------- 32 2.3 CONCLUSION ----------------------------------------------------------------------------------------------- 33 CHAPTER 3 ------------------------------------------------------------------------------------------------------------ 34 HISTORIOGRAPHY OF BASOTHO ACCORDION MUSIC ---------------------------------------------- 34 3.0 INTRODUCTION -------------------------------------------------------------------------------------------- 34 3.1 THE CONCEPT OF MOSOTHO AND SESOTHO ------------------------------------------------------------ 34 3.1.1 Examples of dynamic changes within the Basotho culture. ------------------------------------- 37 3.2 OVERVIEW OF BASOTHO MUSIC IN GENERAL --------------------------------------------------------- 41 3.2.1 Traditional music ------------------------------------------------------------------------------------- 42 3.2.2 Acculturation in Lesotho 1980-2005 --------------------------------------------------------------- 44 3.2.3 Transformation within church services ------------------------------------------------------------ 45 3.2.4 Gospel music ----------------------------------------------------------------------------------------- 47 3.2.5 Jazz music --------------------------------------------------------------------------------------------- 48 3.2.6 Choral music ------------------------------------------------------------------------------------------ 49 3.3 ORIGINS OF THE BASOTHO ACCORDION MUSIC ------------------------------------------------------- 49 3.3.1 Evolution of accordion music 1980-2005 --------------------------------------------------------- 53 a) The beginning, 1980-1985 ---------------------------------------------------------------------------------------- 53 b) Military era 1986-1993-------------------------------------------------------------------------------------------- 54 c) Mokhehle era, 1993-1998 ---------------------------------------------------------------------------------------- 54 d) Mosisili era, 1998-2005 ------------------------------------------------------------------------------------------- 55 3.3.2 The status of the music ------------------------------------------------------------------------------- 56 a) Artists and their training ------------------------------------------------------------------------------------------ 58 b) Performance -------------------------------------------------------------------------------------------------------- 60 c) Naming of the albums --------------------------------------------------------------------------------------------- 62 3.3.3 Language usage -------------------------------------------------------------------------------------- 64 3.3.4 Predominant themes of the accordion music ----------------------------------------------------- 64 3.3.5 Musical Instruments ---------------------------------------------------------------------------------- 65 3.3.6 Recording ---------------------------------------------------------------------------------------------- 65 3.3.7 Accordion Music and its Reception ---------------------------------------------------------------- 67 3.3.8 General views ----------------------------------------------------------------------------------------- 68 a) Appreciation of the lyrics in the music ------------------------------------------------------------------------- 68 (i) Use of Sesotho as a mother tongue ------------------------------------------------------------------------------ 68 (ii) Employment of language techniques ---------------------------------------------------------------------------- 69 (iii) Manipulation of emotions ---------------------------------------------------------------------------------------- 70 (iv) Thematic aspects --------------------------------------------------------------------------------------------------- 71 b) Appreciation of Personal identity -------------------------------------------------------------------------------- 71 (i) Eloquence ----------------------------------------------------------------------------------------------------------- 72 viii
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: Accordion artists Accordion music F
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 and 36: compare and contrast the status of
Page 37 and 38: 2.0 INTRODUCTION CHAPTER 2 THEORETI
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
Page 87 and 88:
attractive, and, in some cases, div
Page 89 and 90:
is a Mofokeng (of the hare), he is
Page 91 and 92:
3.4 CONCLUSION Based on the given i
Page 93 and 94:
speech in this music helps to retai
Page 95 and 96:
considerably, and depends mainly on
Page 97 and 98:
Father of Lerotholi, the locusts’
Page 99 and 100:
The one who has lacks swift running
Page 101 and 102:
other individuals; all in all, it r
Page 103 and 104:
One could say that the use of prove
Page 105 and 106:
Ngoana o tšoana le `m’ae, o tsam
Page 107 and 108:
“Lebelo lea fela thota e sale”
Page 109 and 110:
a) Proverbs used as titles of songs
Page 111 and 112:
of this word, one finds it to be ca
Page 113 and 114:
homestead. In this way, the artist
Page 115 and 116:
The usage of these features also di
Page 117 and 118:
Apostrophe is further carried on in
Page 119 and 120:
There is a common feeling among the
Page 121 and 122:
Among the Basotho, head-dressing is
Page 123 and 124:
had from the boys. She prefers to u
Page 125 and 126:
esult, she boldly tells him how to
Page 127 and 128:
Someone who was feared by all the p
Page 129 and 130:
One also observes the adopted descr
Page 131 and 132:
In line four, there is another exag
Page 133 and 134:
feelings and our understanding. The
Page 135 and 136:
in order to get in, especially when
Page 137 and 138:
focus on the development of the are
Page 139 and 140:
it goes deep down in our inner feel
Page 141 and 142:
chief is expected to cater for the
Page 143 and 144:
uses the word “kolla” meaning,
Page 145 and 146:
him that it was a viper pretending
Page 147 and 148:
that prompts Basotho to love accord
Page 149 and 150:
herd-boy, the artist brings such ex
Page 151 and 152:
When Famole likens himself to hail,
Page 153 and 154:
Kunene (1971:68) writes about aesth
Page 155 and 156:
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
Page 163 and 164:
Chakela litsietsi li tsoaloa le mot
Page 165 and 166:
Bongata bo a hana bo a latola, Ba r
Page 167 and 168:
contaminated water in order to prov
Page 169 and 170:
There is another interesting part h
Page 171 and 172:
CHAPTER 5 THEMATIC ASPECTS OF BASOT
Page 173 and 174:
e said that with accordion artists,
Page 175 and 176:
serve. This is what Radcliffe-Brown
Page 177 and 178:
The tall and hefty one, The wife of
Page 179 and 180:
etween individuals. This form of id
Page 181 and 182:
This question is meant to make such
Page 183 and 184:
I live at Mohale’s Hoek that is w
Page 185 and 186:
You ask me who is my chief, I am th
Page 187 and 188:
‘Na ke hotse le bashanyana, Ke ho
Page 189 and 190:
as husband and wife in a normal mar
Page 191 and 192:
As indicated earlier it is common f
Page 193 and 194:
extra-marital affair on the side of
Page 195 and 196:
different responses in different wo
Page 197 and 198:
in Sesotho we say Molomo ha o na kh
Page 199 and 200:
Mong’a monna ha a loana, Le mo jo
Page 201 and 202:
c) Dishonesty Dishonesty is describ
Page 203 and 204:
A similar concern is raised by Moek
Page 205 and 206:
What has happened at Ha Marou, The
Page 207 and 208:
With regard to accordion music, Pha
Page 209 and 210:
challenge others to sing love songs
Page 211 and 212:
Frame-Work and the National HIV/AID
Page 213 and 214:
Avoid this disease you the youth, I
Page 215 and 216:
`Mateboho, as one of the accordion
Page 217 and 218:
points out that what ties Basotho t
Page 219 and 220:
efficient plant for cleansing purpo
Page 221 and 222:
“Ngoana ea sa lleng o shoela thar
Page 223 and 224:
The document further states that, s
Page 225 and 226:
Another song that provides a genera
Page 227 and 228:
The above quotation, although too g
Page 229 and 230:
) Exploitation by recording compani
Page 231 and 232:
The mention of the name in these li
Page 233 and 234:
are the low wages of about R500.00
Page 235 and 236:
Therefore, if R500.00 - R244.00 is
Page 237 and 238:
With regard to narratives, there we
Page 239 and 240:
government remained in power from 1
Page 241 and 242:
Manka le Phallang (1991), in his so
Page 243 and 244:
Ke ale a theosa, A leba mose maoatl
Page 245 and 246:
who was known as `Manthabiseng was
Page 247 and 248:
The BAC was a political product of
Page 249 and 250:
Moeti (1995) is one of the artists
Page 251 and 252:
that, what LCD had done was morally
Page 253 and 254:
Thabeng bana ba batho ba shoele ka
Page 255 and 256:
these songs and others described th
Page 257 and 258:
245
Page 259 and 260:
accordion where he may practice on
Page 261 and 262:
develop trust among themselves as o
Page 263 and 264:
Another area worth researching on i
Page 265 and 266:
did not really address the concerns
Page 267 and 268:
Accordion artists like praise poets
Page 269 and 270:
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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