Abstract:
by the functionalist perspective, the study analyzes the Basotho accordion music over
the period 1980 – 2005. Of particular importance are the various themes addressed by the verbal
text that comes up in the music. Specifically, the study analyzes the language used in the
composition of the songs accompanying the Basotho accordion music; the rationale behind the
use of such language. The study also looks at the status of the composers or artists of the music
as well as the role of their music among Basotho; and last, it looks at the reception of the
Basotho accordion music by Basotho.
In order to address the above purposes of the study, the qualitative method was used to interpret
the songs. The population of the study was all the Basotho artists, radio presenters of the music,
shop owners selling the music, street vendors and the public that listens to the music and buys it.
A stratified random sampling method was used to select with the subjects of the study. A total of
100 songs were analyzed while 81 subjects were interviewed for this study.
The findings of the study on the issues investigated are that, Basotho accordion music promotes
or helps in the aesthetics of the Sesotho language; that it is a reservoir of rich language. The
recurring themes in the music range from social, political and economic issues. The music forges
patriotism among Basotho by promoting customs, norms and values of the nation. In terms of
status, the artists are either illiterate or semi-literate and the music is their main means of
livelihood. On the whole, most Basotho are receptive to Basotho accordion music in many
different ways.
The study concludes that Basotho accordion music is part of the oral traditional music of
Basotho since it retains some features of oral traditional music. Accordion music is very rich in a
variety of linguistic techniques common in oral traditions of Basotho. The music also reflects the
lifestyle of Basotho because of its historicity and coverage of concerns of the nation.
