An-Najah National University Faculty of Graduate Studies RELIGIOUS CODE SWITCHING IN ARABIC LYRICS: TYPES, FUNCTIONS AND TRANSLATION CHALLENGES By Iba’a Tayseer Jadah Supervisor Dr. Sufyan Abuarrah This Thesis is Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Applied Linguistics and Translation, Faculty of Graduate Studies, An-Najah National University, Nablus, Palestine. 2023 II III Dedication To all those who encouraged me to fly toward my dreams. To every single person in my life, regardless of their names and titles, who had great faith in me throughout my education journey, especially my doctors, lovely family and dear friends. IV Acknowledgments First and foremost, praise is to Allah for the support and blessing that gave me the strength which enabled me to accomplish this work. I would like to express my deepest gratitude to my beloved mum for her constant support and encouragement over those years and who has always encouraged me whenever I thought the task was getting too tough for me: Could not have it done without your support. I also would like to take this opportunity to express my special thanks and profound gratitude to my supervisor Dr. Sufyan Abuarrah for his invaluable advice, insightful suggestions and unwavering support and confidence. Without your guidance, the completion of this thesis could not have been possible. Last but not least, I would like to extend my thanks to my younger sister, Saba, and my friends who supported me through my path to Master’s Degree. V Declaration I, the undersigned, declare that I submitted the thesis entitled: RELIGIOUS CODE SWITCHING IN ARABIC LYRICS: TYPES, FUNCTIONS AND TRANSLATION CHALLENGES I declare that the work provided in this thesis, unless otherwise referenced, is the researcher’s work, and has not been submitted elsewhere for any other degree or qualification. Iba’a Tayseer Jadah h Student's Name: ____________________________________ Signature: 00/00/2023___________________________ Date: VI Table of Contents Dedication ....................................................................................................................... III Acknowledgments .......................................................................................................... IV Declaration ....................................................................................................................... V Table of Contents ............................................................................................................ VI List of Tables ............................................................................................................... VIII List of Appendices .......................................................................................................... IX Abstract ............................................................................................................................ X Chapter one: Introduction ................................................................................................. 1 1.1 Background ................................................................................................................. 1 1.2 Lyrics and linguistics .................................................................................................. 3 1.3 Reasons for Code Switching ....................................................................................... 4 1.4 Code Switching and Identity....................................................................................... 5 1.5 Code Switching and Translation ................................................................................. 6 1.6 Code Switching in Songs ............................................................................................ 7 1.7 Problem Statement ...................................................................................................... 8 1.8 The Questions of The Study ....................................................................................... 8 1.9 Objectives of The Study ............................................................................................. 8 1.10 Significance of The Study ......................................................................................... 8 1.11 Method ...................................................................................................................... 9 1.12 Limitations of the Study ........................................................................................... 9 Chapter Two: Literature Review .................................................................................... 10 2.1 Language and Culture Differences ........................................................................... 10 2.2 Language Contact ..................................................................................................... 12 2.3 Diglossia ................................................................................................................... 14 2.4 Code Switching and Code Mixing ............................................................................ 15 2.5 Types of Code Switching .......................................................................................... 16 2.6 Influencing Factors for Code Switching ................................................................... 18 2.7 Religious Music Code Switching ............................................................................. 19 2.8 Religion and Language ............................................................................................. 22 2.9 Previous Studies ........................................................................................................ 23 Chapter Three: Methodology .......................................................................................... 29 3.1 Data Selected ............................................................................................................ 29 3.2 Data Analysis ............................................................................................................ 30 VII Chapter Four: Analysis and Discussion .......................................................................... 31 4.1 Sami Yusuf Songs ..................................................................................................... 31 4.1.1 Al-Mu’allim ........................................................................................................... 31 4.1.2 My Ummah ............................................................................................................ 34 4.2 Maher Zain Songs ..................................................................................................... 37 4.1.3 Baraka Allahu Lakuma .......................................................................................... 37 4.1.4 Anta Alsalam ......................................................................................................... 41 4.3 Raef Haggag Songs ................................................................................................... 43 4.1.5 The bright moon (Thala’ Albadru) ........................................................................ 43 4.1.6 Southern Salawat Song (Salatu Allah, Salamu Allah) .......................................... 47 4.4 Hamzah Roberston Songs ......................................................................................... 48 4.4.1 He is one ................................................................................................................ 48 4.4.2 O Allah .................................................................................................................. 50 4.5 Discussion ................................................................................................................. 51 Chapter Five: Conclusion ............................................................................................... 60 5.1 Recommendations ..................................................................................................... 61 References ....................................................................................................................... 62 Appendices ...................................................................................................................... 68 ملخصال ب ............................................................................................................................... VIII List of Tables Table (1): the exact places of CS in the Al-Mu’allim song’s lyrics, English writing, suggested translation and some comments on the function of CS ................ 31 Table (2): contains the exact places of CS in My Ummah song’s lyrics, English writing, suggested translation and some comments on the function of CS ................ 35 Table (3): the exact places of CS in Baraka Allahu Lakuma song’s lyrics, English writing, suggested translation and some comments on the function of CS ................ 37 Table (4): the exact places of CS in the Anta Alsalam song’s lyrics, English writing, suggested translation and some comments on the function of CS ................ 41 Table (5): the exact places of CS in the The bright moon song’s lyrics, English writing, suggested translation and some comments on the function of CS ................ 44 Table (6): the exact places of CS in the Southern Salawat song’s lyrics, English writing, suggested translation and some comments on the function of CS ................ 47 Table (7): the exact places of CS in the He is one song’s lyrics, English writing, suggested translation and some comments on the function of CS ................................ 49 Table (8): the exact places of CS in the O Allah song’s lyrics, English writing, suggested translation and some comments on the function of CS ................................ 50 IX List of Appendices Appendex (A): Songs ...................................................................................................... 68 X RELIGIOUS CODE SWITCHING IN ARABIC LYRICS: TYPES, FUNCTIONS AND TRANSLATION CHALLENGES By Iba’a Tayseer Jadah Supervisor Dr. Sufyan Abuarrah Abstract Language as a system of customary spoken, signed, or written symbols is considered a tool through which humans express themselves as members of a social group and contributors to its culture. People who desire to contribute to cultural diversity and openness benefit from multilingualism. Code Switching (CS) and mixing are beneficial and dynamic phenomena that allow speakers to employ two languages simultaneously. When translating multilingual texts, a translator may encounter various aspects if obligated to transfer embedded foreign codes from a language other than the dominant language of the source text (ST) into the target text (TT), especially when the translator deals with a religious text. This thesis investigates how CS and translation are utilised in Arabic lyrics, highlighting some distinctions between how they are used in these songs and how they are used elsewhere. This descriptive, analytical thesis will look at a selection of songs of Sami Yusuf, Maher Zain, Raef Haggag, and Hamzah Robertson’s works. The study concludes that a deeper understanding of CS of terminology in terms of linguistic and creative features is required to translate multilingual song lyrics better. Some difficulties related to the transfer of instances of CS into the target texts are discussed in terms of the CS strategies’ typology. The strategies include the use of translation to substitute or reduplicate the source material, rewriting with varying levels of difference from the original, juxtaposing components from different languages, and composing directly in a CS variety. Keywords: Code switching, types, functions, translation challenges. 1 Chapter one Introduction 1.1 Background This thesis constitutes a relatively new area that has emerged from understanding the challenges faced by translators. Multilingual people often utilise a specific code in both verbal and nonverbal communication. Even within extremely brief utterances or a short- written line, bilingual or multilingual people may transfer from one code to another or combine codes. This is called CS or language alternation (Wardhaugh & Fuller, 2015). Humans can communicate their thoughts, emotions, and points of view to others. On the other hand, language communicates who we are and can also influence our self-concept and sense of belonging. When one language cannot explain itself effectively, especially in bilingual settings, two or more languages can improve the deficiency (Apple & Muysken, 1987). One feature of such bilingual cultures is cultural assimilation, which results in bilingual speakers who use CS between languages as a distinctive, figurative, and common means of communication (Weinreich, 1953). Switching languages or linguistic variations within the same communication, also known as CS, is a rapidly rising phenomenon, according to Finlayson and Slabbert (2002), as contact between speakers of diverse languages expands around the world (Finlayson & Slabbert, 2002). CS is defined as the simultaneous employment of two language kinds in a speech by Myers & Scotton (2006). They continue by saying that the speaker’s social identity and level of education have a role in shaping the code they use. CS is more common among bilingual and multilingual speakers, as implied by the definitions (Myers-Scotton, 2006). Conversational CS differs significantly from musical CS. According to Bentahila and Davies (2006), CS does not occur spontaneously or intimately in song lyrics. Furthermore, unlike in conversation, it is not addressed to a single speaker or a specific group known to the speaker personally, which clarifies the singer’s intention to relate himself to international society in a local context, and thus CS aims to deliver rhetorical and aesthetic effects in the song’s lyrics (Bentahila & Davies, 2006). According to Bentahila and Davies (2006), vocalists and song composers who plan, create, and ponder 2 lyrics before their songs are published use CS in lyrics as a purposeful language transition. Singers in music are conscious of the possibility that their words will be misunderstood by people who do not utilise language the same way they do. CS can also reflect a poetic function, albeit one that is purposefully crafted rather than random. As a result, CS that occurs organically in speech differs from CS in lyrics. Singers and songwriters who have planned, composed, and represented lyrics prior to the release of their music employ CS in lyrics as a deliberate language alteration (Bentahila & Davies, 2006). Some translators believe that multilingual TT accurately represents multilingual ST, but most translators struggle with texts that include CS between languages. This assumes that features of the ST, such as CS should be conveyed to the TT. The ST becomes more homogenized when CS is ignored or filtered throughout the translation process. This technique prevents TT receivers from actively discovering the otherness in the ST evoked by the text translation (Arica, 2012). CS is an indicator of cultural norms and comprises key components of the speaker’s message. Many translators find it difficult to translate songs’ lyrics that contain some examples of CS. The key reason for this is that the use of CS in an ST reflects linguistic and sociolinguistic aspects and conveys an artistic and literary message to the reader. As a result, when translating such texts, the translator must work on multiple parameters simultaneously (Picone, 2002). To this end, the translator must focus on different parameters simultaneously when translating such texts. One point is to consider the stylistic features associated with using CS in song lyrics. The second is to consider the type of CS used in the song. The third is to identify the function of the CS used in the song, identity of the performer and the audience, and determine the specific content and theme of the song. Then the translator can determine the most suitable translation strategy for translating CS. For example, when a translator wants to translate some of Sami Yusuf’s “Al-Mualim” song lyrics, the translator uses “Abal Qasim,” that is largely known to Muslim listeners. This represents a sort of intra-sentential switching in which the translator utilises a single word from another language. The translator must apply the best technique, transliteration, to translate it as “Al-Qasim’s Father” in this case. 3 Based on the short review above, the current thesis differs from others in that it focuses on CS in songs that combine both Arabic and English. Other researchers have demonstrated some CS regardless of the genre of lyrics. However, this thesis concentrates on CS and mixing in songs in a specific genre, religious songs. This study deals with CS and highlights its significant role in making more sense for Islamic songs. In this case, CS made the messages of writer understood more clearly for the translator and audience as Arabic words were inserted to emphasise the original message of writer. It considers the translation of these CS cases, then analyses them and studies their types and functions from a religious point of view. It also focuses on the challenges translators face when analysing the function of CS in relation to the song’s context. Other studies such as “ Code switching as a poetic device: Examples from rai lyrics” by (Davies & Bentahila, 2008) and “Code Switching and Code Mixing as Stylistic Devices in Selected Gospel Songs of Mercy Chinwo” by (Chinelo, 2021) demonstrates how CS is used as a stylistic device that can contribute to the poetic effect of song lyrics. This study tries to analyse CS and code-mixing from the singer’s and translator's perspectives and how they intend to use them. 1.2 Lyrics and linguistics A quick look at songs as a universal language genre with interrelated religious and linguistic meanings shows that the religious component arrangement and its impact on the linguistic form are still in their beginnings (Thomason & Kaufman, 1988). Because lyrics are examples of written communication, questions arise about the suitability of such texts for linguistic analysis and the overall connection between linguistics and any written literature, which is any human expression through writing such as poems (Romaine, 1995). Lyrics are not only the set of words in the sentences but also the artist's emotions, such as passion to communicate certain intentions, as fighting, problem solving, jealousy, peace, and so forth. In song lyrics, the artist or composer conveys messages to the listener based on a specific situation or context (Romaine, 1995). Along with its recursive nature and comprehensive cultural and linguistic information, music is an important resource for language comprehension. 4 1.3 Reasons for Code Switching According to Hermans if a speaker thinks he will lose some of his messages while using the first code, he may try to convey it using another code, not because the first code does not satisfy the linguistic conditions, but for other reasons (Hermans, 2011, cited in (Alzabidi, 2017)). For example, people CS to ensure successful communication and that others understand them. In various places throughout the world like in India, the name Wi-Fi (/waɪ-faɪ/) is pronounced ‘wee-fee’ (/wi-fi/). When travelling in particular countries, a person who is aware of this may adjust their pronunciation, for example, by switching from one linguistic code to another to ensure they are understood. Also, Flâner is a French verb that implies to walk aimlessly with no particular objective in mind. Because there is no direct English translation for Flâner, a French person speaking English may CS and utilise it rather than explain its meaning in English. Salazar (2011) states that there are three main causes of CS: (a) trouble expressing oneself in L2, (b) difficulty translating L1 to L2, and (c) a restricted lexicon or vocabulary in L2. However, there may be additional motivations for the changeover if both speakers are fluent in the codes used during the transition (during the dialogue) (Salazar, 2011). A person fluent in two languages may choose to CS between them because one term sounds better or even more serious in one language while expressing the same idea in the other language. When CS is widely used in a society, it becomes an identifying trait of the language spoken by its members. People frequently CS to act or speak more like others around them, both intentionally and unconsciously. Based on the short review above, a person might CS only to be accepted by their peers. Switching languages may efficiently express one’s individuality, strengthen social bonds, and appeal to a sense of collective duty among members of the same ethnic community. Conversely, some individuals use CS to alienate and elevate them. Using several codes for identity verification is a very reliable method (Tatsioka, 2010). Whether members of the in-group or the out-group are in positions of authority is a major factor in determining one's membership, a point emphasised by LaBelle (2011 as cited in (Alzabidi, 2017)), accordingly, one may employ CS to alienate or integrate members into a group. A speaker may use CS to enhance communication and comprehension, reduce 5 the likelihood of misunderstanding, and emphasise points that could otherwise be overlooked. Some phrases and vocabulary commonly used may evolve due to the concepts explored in a certain problem. CS was first identified by Nortier (2011) as a method of communication used by certain bilingual speakers when discussing sensitive topics such as religion, education, and cursing (Nortier, 2011). However, Khan (2009) argues that the speaker may change not for reasons of skill or the topic itself but rather owing to the speaker’s relationship with the other partner in the communication event (Khan, 2009 as citied in (Alzabidi, 2017). As summarised by (Soden & Mooney, 2011) there are a variety of situations in which a speaker could CS, consciously or unconsciously. It might be relevant to the subject or occur if someone who only speaks a certain code or dialect enters the discussion. Therefore, CS may also represent coherence and inclusion, as well as distance and exclusion. Analyzing the linguistic levels alone will not help you interpret and judge the reasons for the switch. There is a need to perform in-depth research on conversation’s psychological and social impacts. 1.4 Code Switching and Identity In recent decades, the most prominent theme in sociolinguistic research has been identity construction and social practices. Linguists believe that social classifications such as ethnicity, class, or gender should not be taken for granted. The main impetus for this shift has come from the social constructionist paradigm, which has dominated most sociolinguistic and discourse-analytic research on identity (Chambers, 2009). Identity studies have proved that groups and individuals construct and project images of themselves that are not separate from and do not pre-exist from the social practices in which they are displayed and negotiated. Participants in social activities “do” identity work, aligning with or disassociating themselves from social categories of belonging based on the local context of interaction and their insertion into the larger social world (Meyerhoff, 2011). 6 Visible identity claims are linked to social activities and respond to complex interactions between local and global factors. Researchers have systematically argued that neither identity classes nor their social meanings can be accepted as fact and that researchers still have a lot to learn about the types of identities that are suitable for people in different social contexts, as well as the strategies they use to claim them. Identity analysis revolves around when, why, and how people are considered members of specific groups. Understanding identity as a self-category that establishes boundaries helps develop an analysis of the dynamics that shape CS. When people talk about their experiences, they usually, if not always, display their identity (Myers-Scotton, 1993). 1.5 Code Switching and Translation Many translators such as Nortier and Myers-Scotton find it difficult to translate texts containing some CS instances. The main reason is that CS in a ST reflects linguistic and sociolinguistic elements and conveys an aesthetic and literary message to the reader (Auer, 1998). When translating such texts, the translator must work across multiple criteria simultaneously. One point to consider is the stylistic characteristics associated with using CS in literary texts. Another reason is the singularity of bilingual literary texts, in which authorial creativity is influenced by the singular practices of bilingualism (Chan, 2002). CS indexes social values, attitudes, and key elements of the speaker’s message. As a result, it is used appropriately due to the message’s primary importance allowing the recipient to interact with the message's actual intent (Albirini, 2016). According to Jan-Petter and Gumperz (2007), the social meaning of the variables in the CS may be impacted by the speakers' variations in local values, background, and social contexts. Thus, they state that “the context where one of a set of possibilities is commonly used becomes a component of its meaning, such that whenever this form is employed in a context in which it is uncommon, it incorporates some of the original setting,” (Jan- Petter & Gumperz, 2007). Because of this, the ST’s usage of idioms, fixed expressions, and even certain sentences from another code gives the message an additional layer of nuance that the TT needs to 7 understand. A translator or mediator must be able to pick up on and express this distinct flavour (Backus, 2010). Although some translators see multilingual TT as the perfect illustration of multilingual ST, most of them have trouble with texts that combine voices from various systems with CS. CS is assumed to be included in whatever signifies multilingualism in the ST and transferred to the TT. “Translators betray their own instructions by reacting to their own customary preconceptions,” (Arica, 2012). Translators should stick to the ST in order to produce a TT that is not influenced by the translator’s background; nevertheless, this is not always the case because translators are influenced by their background and traditional preconceptions. A flattened version of the ST is produced when CS is ignored or filtered out altogether during translation. Therefore, it is crucial to have a plan that achieves the speaker’s aims, evokes his message, and does not flatten or compromise the TT. According to Arcia (2012), the TT must be translated with intent, and the foreign language's qualities must be preserved (Arica, 2012). This provides strong evidence that, in reality, CS is possible in TT. The interactions, in terms of CS, resemble song lyrics. There may be a personal touch, and the CS may connect to the immediate consequence of the encounter or highlight the issue by providing a specific social connotation of privacy and secrecy to the dialogue. 1.6 Code Switching in Songs The study of language mixing in songs or CS has frequently been limited to conversations in bilingual communities, where members use more than one language in the same conversation (Gumperz, 1970). The study of public use of CS in mass-audience discourse is a relatively new phenomenon. In addition to being a helpful tool for the bilingual in daily communication with other speakers of other languages, CS also have a poetic function, contributing to the artistic and rhetorical impact of discourse that is not unexpected but carefully designed (Davies & Bentahila, 2008). As a result, CS in natural conversation is markedly different from CS in songs’ lyrics. Speakers can use CS in a natural context in conversation, and they are commonly 8 unconscious of the way that they are switching between the two languages. Whereas the CS within the song’s lyrics is fully conscious, the words are predetermined and typically composed and edited to serve specific purposes (Alzabidi, 2017). 1.7 Problem Statement Language is important in social life because everyone uses it to communicate. Song, as one of the modes of communication, is a means of expressing oneself. From a sociolinguistics point of view, CS has been studied as an important strategy for establishing social relationships. It has been clarified that it is used as a personal communication tool to enhance discourse. To globalise and hybridise popular music, CS serves as both a localizing and a globalizing device. It can be described as a poetic tool. This thesis examines how translation and CS can be used to create multilingual song’ lyrics, highlighting some distinctions between the functions they perform in such songs and how they are utilised in other contexts. 1.8 The Questions of The Study The following questions will be addressed in this thesis: 1.Should the TL (Arabic) translator use CS? 2. What is the best way for translators to employ CS effectively in Arabic lyrics? 3. What are the different forms and functions of CS in light of translation of lyrics? 4. What challenges do translators experience while using CS in Arabic lyrics? 1.9 Objectives of The Study This thesis aims to: 1. Describe how to use CS in Arabic lyrics. 2. Explain how CS can be used to form Arabic lyrics. 3. Clarify the types of CS and their functions. 4. Investigate the difficulties that translators face when using CS in Arabic lyrics. 1.10 Significance of The Study In a bilingual and multilingual culture, CS is a common occurrence. People use CS in a wide range of interactions for a variety of reasons and purposes. Utilising CS in music differs from using it in conversation. Additionally, in writing, CS make texts more 9 conversational and approachable by employing informal language, rhetorical devices, and narrative structures that resemble natural conversation. Thus, this thesis will describe how CS differs in music, how translators use it, the types of CS and their functions, and the challenges of translation in relation to CS. The current study is important as it highlights the necessity of CS in religious songs to attract a larger audience and reflect on all the challenges and difficulties that the translator might face when translating code-switched utterances from one language to another. Moreover, it emphasises the translator’s role in conveying the intended message as required based on knowledge, culture, and religion sometimes. This paper also focused on the CS function and its linguistic effectiveness in a multilingual context. This study is also a work on Islamic texts; it focuses on CS functions and translation challenges. It is a unique study in the linguistic field as it combines CS, code-mixing, and translation challenges. As a result, it combines the linguistic field, translation, and music. 1.11 Method Purposive sampling is adopted to collect data in this study. Purposive sampling is defined by (Lopez & Whitehead, 2012) as a sampling strategy that allows the researcher to select a sample of songs linked with the phenomena and research problems being examined. The researcher used a descriptive-analytical method, describing the types and functions of CS in these songs, and analyzing their translations in light of their functions and the translation challenges that face translators of such songs. CS is a tool for expressing one’s sense of belonging to a group. This study will make a substantial addition to the study of CS in other contexts, such as music and lyrics. It will explain that CS in lyrics serves a variety of purposes, including discussing specific concerns, lexical needs and availability, being persuasive, exhibiting group identity, simplifying words and idioms, and conveying powerful deep feelings. 1.12 Limitations of the Study Selected sample limitation: This study is limited to translating Arabic lyrics for Sami Yusuf’s Al-Mualim and My Ummah. Maher Zain’s Barka Allah Lakuma and Anta Asalam, Raef Haggag’s The bright moon and Southern Salawat and Hamzah Robertson’s He is one and O Allah. 10 Chapter Two Literature Review 2.1 Language and Culture Differences Many social theorists and cultural scholars are concerned with the interrelationship between language, identity, and cultural differences. Language, identity, and cultural differences are all intertwined and influence each other, as is widely recognized. (Alshammari, 2018). When individuals in the same social, historical, and geographical location have the same way of seeing the world, it is called culture. This includes understanding what others are saying, similarly recognizing events and objects, judging whether particular actions are acceptable, and producing texts, objects, and discourses that have significance for the rest of the group (Gibbs, 2006). There are several ways in which culture and language are connected. Many subfields within linguistics deal with the obvious cultural and linguistic connections between, for example, proverbs, politeness, linguistic relativity, the cooperative principle, metaphor, metonymy, context, semantic change, discourse, ideology, print culture, oral culture, literacy, sociolinguistics, speech acts, and so on. Several subfields within the study of languages have sought to analyse and make sense of the intricate connections between these two key elements (Foley, 1997). If it is considered that the purpose of both cultures and languages is to convey meaning, then it can be seen how the two are connected. Consistent with Geertz’s theory, “Man is an animal trapped in webs of significance he has spun” (Geertz, 1973,27). This perspective on culture emphasises the importance of the individual. The concept of a “cultural circuit” introduced by (Zou, 2012) is about the connection between meaning, language, identity, and cultural difference. According to Hall (1997,17), “The question of meaning arises concerning all the different moments or practices in our “cultural circuit” – in the construction of identity and the marking of difference, in production and consumption, as well as in the regulation of social conduct,” and language is the “privileged medium.” This concept of a “circuit” utilises the web’s participatory aspect in producing meaning (Hall, 1997). 11 Meaning-making occurs not just in the sense of producing and comprehending language (Glick, 1974, as cited in Cole & Scribner, 2006), but also in the sense of correctly identifying things, determining what behaviour is acceptable or unacceptable, following a conversation, generating meaningful objects and behaviours for others in the group, and so on. Meaning-making is a collaborative activity (linguistic or otherwise) that takes place in various situations (from the immediate to the background) and to varying degrees of success. Successful participants in this process of meaning-making are considered culturally homogeneous (Kovecses, 2006). Language comprises linguistic signals, which are combinations of form and meaning (which can range from simple morphemes to complex syntactic constructions). Learning a language entails being familiar with certain linguistic symbols. As a result, language can be considered a repository of culturally shared meanings held in the form of linguistic signs. This gives the language historical significance in cultural stabilization and preservation. This function is particularly significant in the case of endangered languages, and it frequently explains why minorities want linguistic rights (Gumperz, 1996). Members of a culture interact with one another for certain reasons. They develop specific discourses to achieve their goals. Such discourses are assemblages of meanings related to specific topics of discussion Charteris-Black (2004). Discourses can be considered ideologies when they provide a conceptual framework within which key subject issues are debated in a society and when they operate as hidden rules of conduct. Discourse, in this sense, is another mean of producing meaning in civilizations. Making meaning in a culture is an important aspect of socialization (Charteris-Black, 2004). Culture is the basic element in building a society, which is very important in understanding civilization. As a result of this research, understanding the culture of the TT makes it easier to produce a decent language that takes all the cultural concepts into consideration. Moreover, socialization is important in building a civilization, and it’s the same in translation, in which you need to understand and contact before you move and translate. 12 2.2 Language Contact When two or more speakers of the same language interact, or when two or more languages or varieties interact, this is called language contact. In linguistics, language is described as a living organism that lives, grows, and dies. A language connects with the people who speak it, and language speakers give the language new life (Gardner-Chloros, 2020). Language contact manifests itself in a variety of ways, including language merging, borrowing, and relexification. Pidgin, creoles, CS, and mixed languages are the most common products of language contact. Other hybrid languages, such as English, do not fall neatly into one of these categories. The interaction of two languages can result in substituting one for the other, known as a “language shift.” This is most common when one language has a higher social status than another (prestige), which can sometimes result in the extinction or destruction of a language (Romaine, 1995). There is no doubt that any community that has contact with another will have an exchange of languages between them. This exchange is called bilingualism. It is defined as using two languages by a person or a group of speakers, such as the repetitive language of a specific region or nation (Sumarsih et al., 2014). Bilingualism is a common occurrence in any linguistic community; it is monolinguals that is rare. Bilingualism arises from language contact and cannot be studied apart from the study of speakers. Different languages and speakers interact (language contact) for a variety of reasons, resulting in bilingualism (Fishman, 1970). A person who can interact in at least two languages is called a bilingual person. A bilingual is usually defined as someone who can speak, interact, read, or understand two languages equally well (this is known as a balanced bilingual), a bilingual person usually knows one language better than the other. Multilingualism refers to the use of more than two languages by an individual, a country, a community, a nation, and so forth. Multilingualism and bilingualism are common terms used interchangeably to describe people who speak more than one language (Fromkin et al., 2007). Bloomfield categorized bilingualism as a native-like command of two languages. Bilingualism is a feature of language use, not a concept of language. It is a feature of the 13 message rather than the code. It does not belong to the domain of langue but rather to the domain of parole (Bloomfield, 1933). Haugen added that it is “The ability to produce complete, meaningful speech in another language” (Haugen, 1953, p.7). It is now suggested that the idea be broadened to include not just passive knowledge of the written language but also any engagement with potential models in a second language, as well as the ability to employ these in the original language community (Haugen, 1953). If language is a group property, then bilingualism is the personal property of the speaker. The use of two languages by an individual implies the integration of different distinct language communities, but that does not mean the existence of a bilingual community. The bilingual community can only be categorized as a dependent group of bilingual people for various purposes. The most popular feature of bilingualism is the use of CS. It includes using two languages or linguistic varieties within the same conversation or speech (Grosjean, 1982). According to Maftoon & Shakibafar (2011,82) bilingualism is a habit of mutually modifying linguistic practices that vary in degree, function, alternation, and interference. Bilingualism can be defined in terms of these four inherent characteristics (Maftoon & Shakibafar, 2011,82). 1. Degree: The extent of bilingualism of a bilingual person can only be determined by their fluency in each transitional language. This is accomplished by administering a proficiency test on speaking, listening, writing, and reading skills to determine the bilingual’s mastery of the phonology (or graphics), grammar, vocabulary, semantics, and stylistics of each language. 2. Function: it is further subdivided into external and internal functions. The number of interactions with other speakers determines the bilinguals' external functions. The frequency, duration, and contact limit of these contacts can vary, and the areas of contact include all media through which the languages were acquired (home, neighbourhood, playgroup, and school). Internal functions are non-communicative uses of language, such as internal speech (monologue, soliloquy), competence, and so on (personal ability). Sex, age, intelligence, memory, language, attitude, and motivation can all influence competence. 14 3. Alternation: The frequency with which a bilingual switches from language A to language B, as well as the condition or situation in which this occurs, is of interest here. The degree of alternation is determined by the functions of each language in its overall behaviour, and the degree to which a bilingual masters the language is determined by its alternation. The subject of conversation, the individual being talked to, and the tension are the three factors involved in the conditions for switching from one language to another. 4. Interference: It occurs when one language’s features are used while speaking or writing in another. It differs from borrowing in that interference is a characteristic of performance, whereas borrowing is a characteristic of competence. Interference is also personal, whereas borrowing is systematic and communal. In the current research, the aforementioned concepts such as degree, function, alternation, and interference are clear and consistent. As any research should be consistent, this research takes such concepts into consideration to deliver the intended message as clearly as possible. Further, the degree of fluency is obvious in songs and their translations, and the function appears in the number of interactions that occurred between the singer and his audience, along with the alternation that occurs when the singer switches from one language to another. Furthermore, interference occurs when the language features of a language are used in another language, and that was clear in using the Arabic terms and features in an English context. 2.3 Diglossia Hudson (2002) defines diglossia as a sustainable language situation in which a highly codified, superimposed variety is learned through formal instruction for formal transactions in addition to the primary dialect. As a result, diglossia refers to specialized linguistic functions or varieties (Hudson, 2002). A diglossic situation arises in a community when two distinct codes have clear functional separation; one is used in one set of circumstances and the other in another (Hoffman, 1991). 15 Ferguson (1959) describes diglossia as a language situation in a multilingual community in which one language is considered more prestigious and socially important than the others (Ferguson, 1959as cited in (Hudson, 2002)). Fishman (1967) proposed that diglossia could be extended to situations found in many communities where forms of two genetically unconnected (or at least historically distant) languages dominate higher and lower norms, such that one of the languages (e.g. Latin in Medieval Europe) is used for religious, educational, literacy, and other highly regarded domains, while another language is only used for more informal, primarily linguistic domains (Fishman, 1967 as cited in (Hudson, 2002)). Some aspects and situations in a diglossic situation are also probably more suited to using one language over another. Fishman asserts that a domain-specific CS model in which bilinguals select which code to use based on where they are and what they are discussing is necessary. A bilingual Spanish-English speaker, for example, may speak Spanish at home and English in class but Spanish at recess (Fishman, 1970). Arabic is a diglossic language, and diglossia is considered a language situation in a multilingual community in which one language is considered more prestigious and socially important than the others. Further, in this research, Arabic is a decent and prestigious language, and that appears in the Arabic terms used to connect the two languages and deliver the message. 2.4 Code Switching and Code Mixing Since diglossia is a phenomenon that depends on comparing two languages to see which one is more prestigious and socially important than the other, it’s important to understand the difference between CS and code mixing. A code is a variety or a style of language. It is a form of specific language variation, particularly for the various verbal planning strategies. A code is a rule in communications that converts a piece of information (for example, a letter, word, or phrase) into another form or representation that is not necessarily of the same type. Some linguistic scholars use the terms “code mixing” and “CS” interchangeably, especially in informal contexts of syntax, morphology, etc. Both terms refer to speeches drawn from components of two or more grammatical systems (Eldin, 2014). 16 According to Victoria and Rodman (1998), CS is a linguistic concept that means conversing in more than one language or dialect. Language contact phenomena such as loan translation, borrowing, pidgins and creoles, and transfer or interference can be differentiated from CS (Fromkin & Rodman, 1998). Code mixing is another concept that is closely related to CS. Code mixing occurs when a conversant uses both languages concurrently to the point where they CS from one to the other during a single utterance. This means that code mixing occurs without a topic shift and can involve different language levels, such as morphology and lexical items (Wardhaugh, 1986). According to Muysken (2000), code mixing occurs when a speaker uses vocabulary and grammar from more than one language in a single conversation. Code mixing is a linguistic and social phenomenon of a bilingual or multilingual society. Bilingual or multilingual speakers simultaneously use two or more languages, thereby representing two or more cultures, and this cannot be isolated from their language usage (Muysken, 2000). Though some linguistic scholars use the terms “code mixing” and “CS” interchangeably, code mixing, as opposed to CS, proposes a hybrid form that borrows from several grammatical systems and is used by multilingual. And the difference between code mixing and CS may be summed up as follows: the former is concerned with linguistic competence and grammatical correctness, while the latter is concerned with linguistic performance. The practice of code mixing, which simultaneously utilises competency in two languages, suggests that these skills are neither stored nor processed separately (Wardhaugh & Fuller, 2015) 2.5 Types of Code Switching Because language is used in social contexts, bilingual and multilingual speakers frequently CS from one language to another when interacting. It is a cognitive process that includes several unique CS examples. CS is the process of inserting the embedded language into the matrix language of an utterance. Linguists have divided CS into two categories based on the variety of language shifts: grammatical and sociolinguistic (Myers-Scotton, 1993). 17 Poplak (1980) distinguished three types of CS (intra-sentential, inter-sentential, and tag switching) from a grammatical standpoint. Similarly, sociolinguistics has metaphorical and situational CS (Poplack, 1980). According to Hoffman (1991:112), there are six types of code mixing and CS: 1. Emblematic: In this CS category, a specific set of phrases and tags from one language are embedded into an otherwise foreign language utterance. That includes tag phrases, interjections, conjunctions, fillers, and idiomatic expressions. Such as, in English, “you know,” “I mean,” and “right.” First Example: - ok كلميني اليوم - ‘Call me today, ok.’(Alkhawaldeh, 2019) Second Example: - He was Muhammad صلى هللا عليه و سلم(Al-Mu’allim) - He was Muhammad (PBUH) 2. Intra-sentential CS: This type of switching takes place within a clause or sentence boundary. First Example: -cup holder أعطيني ال please حار mug ال - The mug is hot; please, give me a cup holder. Second Example:- Let’s raise our hands and make Du’a (Baraka Allahu Lakuma) - “Let’s raise our hands and make Du’a” is an example of intra-sentential CS. In this term, “Du’a” is an Arabic term for supplication, and it is inserted within an English sentence. 3. Inter-sentential CS occurs at a clause or sentence boundary, in which each clause or sentence is in one language or another. First Example: - “I have to finish the homework قبل نهاية األسبوع” - “I have to finish the homework before the weekend.” Second Example: - “My Ummah, my Ummah 18 He will say Rasulullah on that day Even though we’ve strayed from him and his way” In these lines, the expression “My Ummah, my Ummah” is an Arabic term written in English, while the subsequent sentences “He will say” and “Rasulullah on that day” are in English. This CS between English and Arabic within different sentences is an example of inter-sentential CS. 4. Intra-lexical code mixing: This type of mixing occurs within a word boundary. First Example: - bonus assignment الزم أعمل ال stillجيدة mid مع إن عالمتي في ال - “Though my grade in the mid-exam was good still I have to do the bonus assignment.” Second Example: - “أبا القاسم, you’re the light of my life, يا حبيبي يا محمد.” - Aba Al-Qasim, you’re the light of my life, my beloved Muhammad 5. Continuing the conversation with the previous speaker: this type of CS arises to proceed from the previous speaker’s utterance. 6. Involving a change in pronunciation: This type of CS or code mixing occurs at the phonological level. Thus, a CS is an inter-sentential transition from one language or dialect to another. A language’s CS occurs at the sentence or clause level. On the other hand, code mixing is an intra-sentential change in which elements of one language are incorporated into another. It can be found at a language’s word, phrase, expression, and particle levels. 2.6 Influencing Factors for Code Switching Some restrictions on CS have been stated in the literature; it has been stated that shifts between languages are only possible in certain places and not just about anywhere. According to Hymes (1986), eight factors influence the occurrence of code choice (setting, participants, ends, act sequence, key, instrumentalities, norm of interaction, and 19 genre). Most intriguingly, these factors combine to form the acronym SPEAKING (Gumperz & Hymes, 1986). 2.7 Religious Music Code Switching Music, as a language and way of communicating, sometimes necessitates using verbalized words (language) and dance to communicate its ideals and meanings to its listeners effectively. The age-old relationship between language and music has rendered the two inseparable entities. Although music is a nonverbal method of communication, one technique to improve musical expression is to use the appropriate linguistic features (Picone, 2002). Of course, CS in speech differs significantly from CS within lyrics and other forms of literature. The former is a well-thought-out tactic, and its accompanying conversation is well-documented and archived (Muysken,1990). Moreover, although CS in speech is often reserved for interlocutors who are proficient in both languages and so capable of fully comprehending the message, song lyrics represent a more public form of discourse whose audience might include those who are not fluent in one of the languages spoken (Muysken, 1990). As a result, it appears unwise to draw inferences about conversational CS using data from literature or other prepared discourse, though some researchers appear to have done so. Indeed, Picone (2002, p.193) states, “I judge not only that there may be, but that there must be, significant differences between literary CS and real-life CS.” (Picone, 2002). However, while the CS in the lyrics occur to conform to the rules of conversational CS in the society where they originate, appearing in syntactic configurations well confirmed from spontaneous speech, the lyrics are not simply conversations set to music. On the contrary, they have a distinct poetic quality and are meticulously constructed, with the kinds of regularity and repetitive patterns found in other popular songs (Romaine,1989). While composers of lyrics in any language can use the resources provided by that language to accomplish a variety of aesthetic effects, those who set out to compose songs in two languages have not only the separate resources of each language at their disposal but also a further range of effects that can be achieved through the contact of elements from the two languages (Romaine, 1989). 20 Unlike conversational CS, religious music CS pushes the boundaries of the art forms in ways closely tied to the constraints and complexities of the art forms themselves. Code choices, for example, are imposed rather than negotiated informally by conversation participants (Picone, 2002). Furthermore, because creative CS is fixed in text, it invites a deeper metalinguistic inspection and such an examination is required in some circumstances to achieve its goals. It has been demonstrated that religious CS is more than a passing craze according to Picone (2002). CS expands the artist's palette of options for painting the nuanced shadings of identity, and thus it can be used to serve creative expression very well. As a result, it provides a compelling new set of motivations for CS as well as fertile ground for further linguistic investigation (Picone, 2002) The conscious and creative employment of different languages or linguistic varieties within a religious work, such as religious music, is referred to as religious CS. The concept of religious CS can be applied to this research by examining how various languages and styles are used within the songs to produce certain religious effects. In “Al- Mu’allim,” song by Sami Yusuf, there is CS between English and Arabic, with certain sentences and words wholly in one language and others a blend of the two. The song’s use of English and Arabic is not random, but is carefully chosen to achieve specific religious effects. For example, the use of English in the song makes it more accessible to a wider audience, yet the inclusion of Arabic gives an emotional and spiritual dimension to the song. Similarly, in “My Ummah,” song by Sami Yusuf employs religious CS. It is employed to create a unique religious effect. The song is written in English and Arabic, reflecting the diversity of the Muslim community and emphasising the solidarity that can be found across diverse languages and cultures. The usage of different languages also contributes to the song's emotional impact, with each language adding to a different component of the overall message. In the case of Maher Zain’s songs “Baraka Allah Lakuma” and “Anta Asalam”, religious CS is used to communicate a message of cultural and linguistic diversity while also reaching to a wider audience. The lyrics in “Baraka Allah Lakuma” CS from English and Arabic, sometimes within the same line or expression. This CS is used to convey the notion of unity among people from various cultures and languages. The alternating use of languages improves the song’s musical flow while stressing the concept of common values and experiences across cultures. In Anta Alsalam, the use of CS in this song 21 emphasises the universality of spirituality and faith while also allowing the music to reach a wider audience. The Bright Moon is a mix of traditional Arabic music and contemporary pop, with lyrics in both Arabic and English. Religious CS in this song enhances the emotional effect of the lyrics while also creating a sense of cultural and linguistic diversity. Through the use of religious CS in this song is able to reach a wider audience and generate a more universal message of love and unity by mixing Arabic and English in the song. The Southern Salawat Song, similarly, is a mix of Arabic and Southern American musical styles, with lyrics that CS between Arabic and English. This song blends traditional Islamic devotional music with elements of country and blues to create a one-of-a-kind and intense musical experience. The use of CS in this song highlights the Islamic world's cultural and linguistic diversity while also bridging numerous musical traditions and genres. Through the use of religious CS, it is able to interact with audiences on a deeper level and create a sense of cultural and linguistic diversity that is both uplifting and motivating by merging different musical styles and languages. In “He is One,” Hamza Robert expresses Allah’s oneness in English and Arabic. The use of CS in this song emphasises the universality of the message while simultaneously bridging multiple linguistic and cultural contexts. The song combines traditional Islamic and Western musical elements, including nasheed and hip hop. The overall result is a one- of-a-kind and inspiring musical experience that connects to a broad audience. Similarly, in “O Allah,” Hamza Robert expresses Allah’s beauty and majesty in English and Arabic. The use of CS in this song offers a one-of-a-kind musical experience that merges several languages and cultural situations. The song incorporates traditional Islamic and Western musical influences, including nasheed and R&B. As a result, a strong and emotive musical experience is created that is accessible to a broad audience. Overall, the use of religious CS in these songs highlights music’s ability to overcome cultural boundaries and bring people together. The songs’ use of several languages promotes a message of inclusiveness and understanding while also adding to the creative and emotional impact of the music. 22 2.8 Religion and Language According to Little & McGivern “Religion is a system of beliefs, values, and practices concerning what a person holds sacred or considers to be spiritually significant” (484, 2014). Religion encompasses spiritual beliefs, rituals, ethics, and the search for meaning in life. Every religion has a culture, which refers to the collective expressions and social practices that emerge from religious beliefs within a society. It includes rituals, symbols, art, music, literature, festivals, and ethical values that shape the identity and social dynamics of a society (Little, W., & McGivern, 2014). In addition, religious use language within its cultural context to deepen the religious belief. The connection of language and religion is an important topic explored in sociolinguistics since religion has a significant influence on society. It is impossible to overlook this relationship because language impacts society, reflects religion, and plays an important role in societies. In fact, language has always been used to portray religion. This is shown in the fact that for a religion to survive among future generations, it must be transmitted, and here is where language is crucial. When language and religion come together, they form a religious language, such as Arabic, which is a distinct method of communication used in certain circumstances (Davis, 2015). As classical Arabic is Qur’anic Arabic, and the Qur’an is the major source of Islamic religion, it is a source of the laws and provisions (Salahuddin Mohd. Shamsuddin & Siti Sara Binti Hj. Ahmad, 2017), classical Arabic speakers were regarded to be far more religious than speakers of any other variety. The primary language used in all required Islamic religious rites is Arabic. However, not all religious acts must be conducted in Arabic. Du’a, for instance, is a type of prayer or supplication that can be performed in Arabic or any other language the performer chooses. Muslims hold that no matter what race or language someone speaks, Allah is all-knowing. (Davis, 2015) In this instance, it does not deal with a community or any other social environment. However, it is important to consider the person's ethnic heritage and other pertinent social factors to comprehend this. The majority of research on spiritual topics has been done in the fields of sociology, health communication, and religion. However, language choice, mixing, and CS studies mostly concentrate on social domains. In the case of spiritual communication addressed to the 23 “intangible” recipient, this area calls for concentration from a different angle. The topics of function, formality, distance, and linguistic proficiency are the credible criteria to be carefully considered in choosing one’s language or code in du’a (Davis, 2015). 2.9 Previous Studies The following studies supports the researcher’s current work in that they investigate and analyse the topic of CS. The studies of Rachid Sliouat (2013), Adenugba Funmilayo (2016), Eirlys Davies and AbdelâliBentahila (2008), Rahmawaty Kadir (2021), Ridwan Nova Ria (2016), Teeratorn Likhitphongsathorn and Pattama Sappapan (2013), Hala El Saj and Charles Sarraf (2018), and Eliza Jocelin, TryanaTryana (2019) and (Babalola & Taiwo, 2009) all examine language use and attitudes in the context of popular music. Sliouat’s study looks into Moroccan university students’ views toward Arabic and French, whereas Funmilayo (2016) investigates CS and code-mixing in Nigerian secular songs. Davies and Bentahila (2006) concentrate on translation and CS in bilingual popular song lyrics, while Kadir investigates CS in Indonesian popular songs and its implications for English language instruction. Ridwan Nova Ria’s research centres on CS and code mixing in Bondan Prakoso Featuring Fade 2 Black lyrics, whereas Teeratorn Likhitphongsathorn and Pattama Sappapan investigate English code mixing and CS in Thai pop songs. The study by Hala El Saj and Charles Sarraf explores the role of language mixing in religious songs, while the study by Eliza Jocelin and TryanaTryana investigates code-mixing and CS in Korean song lyrics. (Babalola & Taiwo, 2009) study analysed the nature of the phenomena of CS, the reasons for CS, the stylistic impacts of this trend, and the implications of this practice for communication through music. Furthermore, Thawabteh’s (2011) study highlighted the challenges of English-Arabic subtitling, aiming to identify the linguistic, cultural, and technical difficulties faced by subtitling students. Thawabteh (2016) study discusses the topic of subtitling the Qurʼan through audiovisual translation (hereafter AVT) and its ideological implications. This is by analysing AVT of the Qurʼan in six TV channels, finding both translations into other languages and within the same language (Arabic). However, the study argues that the principles of AVT are not considered in translation due to ideological reasons related to the Qurʼan’s sanctity, which are considered more significant than the technical aspects of AVT (Thawabteh, 2016). 24 These works emphasise the complexities of language use and attitudes in popular music genres such as Algerian French rai, English and Bahasa Indonesia, and English and Korean Pop music. They also highlight the significance of studying popular culture for understanding language variation and change. However, in this study, we analyse the complexities of language use in religious Arabic and English lyrics, particularly CS and code mixing. This focus sets our study apart from others in the field. Sliouat’s (2013) study examines the usage of CS between colloquial Arabic and French in a collection of rai music song lyrics from Algeria and Morocco. The numerous examples provided demonstrate how switching is expertly employed to improve the argumentative and aesthetic impact of the lyrics. CS patterns interact with lyric structure features, including rhyme, line divisions, and stanzas, reinforcing linkages and divisions and increasing various sorts of patterning. Switching can also contribute semantically to a lyric’s message, such as when it is used to incorporate specific lexis or diction characteristic of the genre, to emphasise semantic oppositions or similarities or achieve parallelism, or when it is used to focus primarily on certain lexical terms (Sliouat, 2013). Adenugba Funmilayo’s (2016) study investigates the nature of CS as a linguistic phenomenon in communication, the stylistic effect of the trend, the implication of the communication practice, and the strategies used by Nigerian artistes to carry this out effectively. CS is a rule-governed action among bilinguals motivated by linguistic and socio-psychological reasons rather than a symptom of mental disorientation. These variables may differ between code switched varieties. Previous CS researchers discovered that the Igbo have a higher rate of CS than the other two most populous linguistic groups, Hausa and Yoruba. According to observations, Igbo-English bilinguals have a socio- psychological reason for CS (Funmilayo, 2016). Davies and AbdelâliBentahila’s (2008) research looked into how translation and CS can be utilised to create multilingual song lyrics and compared the functions they serve in such songs with how they are employed elsewhere. The discussion is based on examples from various sources, such as Western pop and North African rai music. Among the tactics mentioned are translation to substitute or reduplicate the source material, intending to rewrite with variable degrees of divergence from the original, juxtaposing components from different languages, and composing directly in a CS variation. It is believed that 25 code flipping and translation frequently have comparable effects in such lyrics (Davies, Eirlys Bentahila, 2008). Kadir’s (2021) descriptive, qualitative study investigates the many types and functions of CS in song lyrics between English and Bahasa Indonesia. Between 2009 and 2019, fifteen Indonesian songs were researched. The content analysis reveals four types of CS in popular Indonesian song lyrics: Inter-sentential CS, intra-sentential CS, CS with changes in pronunciation, and iconic CS are all examples of CS. It goes on to demonstrate that the functions of CS in songs range from discussing specific issues, lexical needs and availability, empathy, conveying group identity, simplifying words and phrases, and conveying a strong emotion/gaining attention (Kadir, 2021) Ria’s (2016) study sought to identify the form of CS and code-mixing in Bondan Prakoso’s songs featuring Fade 2 Black’s lyrics. This research aimed to investigate the many sorts of CS and code-mixing that occur in the lyrics of Bondan Prakoso featuring Fade 2 Black tracks, as well as why the song's authors alter or mix their words. In the study, the descriptive-qualitative method was used, and the data were written lyrics. The researcher collects information by scanning the internet for lyrics. Hoffman's theory of CS and code-mixing types and reasons is used to analyse the data. According to the findings, the most prevalent motivation for employing CS and code-mixing is to explain the speech content to the interlocutor (34%) (Ria, 2016). Likhitphongsathorn and Sappapan’s (2013) study intended to fill that gap by researching and describing the recent phenomena of English code mixing and CS in Thai pop songs. Thai pop songs use English codes differently than other forms of communication because they are creatively exploited to achieve rhetorical and aesthetic effects. The study investigated which English units and nativized English characteristics were employed as song writing strategies. Simple phrases were revealed to be the most often appearing things at the CS level, with English words being the most common code-mixing parts. When it came to nativization, reduplication was widely used (Likhitphongsathorn et al., 2013) El Saj and Sarraf’s (2018) study looked into the communication functions of language mixing in religious songs, particularly those of Sami Yusuf. “The data indicate that the merging of two languages, English and Arabic, occurred primarily for two reasons,” says 26 Sami Yusuf. The first purpose is to reach out to a varied audience with a variety of language origins. The second reason is to catch the attention of the listeners. In the lyrics of these songs, the English and Modern Standard Arabic (MSA) languages are displayed beside each other. (Saj & Sarraf, 2018) Jocelin and TryanaTryana (2019) study’s goals are as follows: to recognize code-mixing and CS in each lyric of Red Velvet's song Taste and to categorize the types of code- mixing and CS found in each lyric of Red Velvet’s song Taste. This descriptive and qualitative study discusses the significance of code-mixing and CS in Red Velvet’s song Taste. According to the conclusions of this study, the Korean song “Taste by Red Velvet” contains 9 code-mixing and 11 code shifts. There are two types of code-mixing: intra- sentential mixing and one that involves a change in pronunciation (Jocelin & Tryana, 2019). The study by (Babalola & Taiwo, 2009) intends to analyse the nature of the phenomena of CS, the reasons for CS, the stylistic impacts of this trend, and the implications of this practice for communication through music. Our data show that, whereas most CS occurs in three languages—English, Nigerian Pidgin, and Yoruba—Yoruba plays a significant role. As a result, the language serves as a vehicle for developing topics inside the songs. This study used a descriptive-qualitative data collection strategy, including documentation and content analysis. Miles and Huberman’s interactive model was used for the data analysis, including data collection, reduction, data display, and conclusion. Sarkar and Winer (2006) study intends to build a framework for comprehending ‘CS’ in Quebec Hip-Hop, which may include languages rappers do not profess to fully understand and for which they have no ethnic ‘claim’ Lyrics were examined in terms of pragmatics (rapper signature, vocative, and discourse-marking), poetics (facilitating internal rhyming), and acting numerous personas. The analysis was done by lexical item origin, CS’ types (lexical, morphological, syntactic, phonological), and discourse function (getting attention, rhyming). CS and language selection are both involved in making language choices. Switching strategies serve both “globalization” and “localization” roles and are used in various ways by individuals, but they are fundamentally related by the presentation of multilingualism as a natural and desirable condition. This is the first study investigating hip-hop CS in the post-Bill-101 Quebec linguistic-sociopolitical milieu. It 27 reveals a new approach for Québécois adolescents to question official definitions of ethnic and linguistic communities (Sarkar & Winer, 2006). In mode-mixing strategies in Blackpink’s album study (2021), the researchers sought to determine the sorts of code-mixing featured in numerous songs from Blackpink’s album and to characterize the functionality of respective expressions that employ code-mixing in their study “code-mixing strategies in Blackpink’s album.” This study used a descriptive-qualitative approach, with data collected through documentation and content analysis. The findings revealed 37 data points categorized as intra sentential mixing, intra lexical mixing, and change of pronunciation. The most prevalent type of data was intra- sentential mixing; code-mixing features represented numerous functions such as quotation, addressee designation, repetition, interjection, message qualifying, personalization and objectivization, and personal expression. According to the analysis, the top three most prominent functions of code mixing were personalization and objectivization, addressee definition, and message qualifying.(Mulyati1 et al., 2021) However, each of these works approaches the issue from a distinctive angle. Rachid Sliouat’s (2013) study “Language Attitudes Among Sidi Mohammed Ben Abdellah University Students” like the current thesis, addresses the use of CS in song lyrics, but it demonstrates how switching is skillfully employed to enhance the rhetorical and aesthetic effect of the lyrics. Similarly, Adenugba Funmilayo’s (2016) study “Code Switching and Code Mixing in the Lyrics of Selected Nigerian Secular Songs” explored the nature of CS as a linguistic phenomenon in communication, the stylistic effect of the trend, the meaning of the communication practice, and the tactics utilised by Nigerian artists to carry it out effectively. It is related to the research of Eirlys E. Davies and AbdelâliBentahila, who investigated how translation and CS can be used to create multilingual song lyrics and made some distinctions between the roles they serve in such songs and how they are used elsewhere. Kadir (2021) study indicated that the functions of CS in songs include discussing specific concerns, lexical needs and availability, empathy, conveying group identification, simplifying words and phrases, and conveying a strong emotion/gaining attention. It is similar to Ria’s (2016) study “Code Switching and Code Mixing in the Lyrics of BondanPrakoso Featuring Fade 2 Black’s Songs” study, which looked at the many types 28 and purposes of CS in song lyrics and discovered that the most common reason for using CS and code-mixing is to clarify the speech content to the interlocutor. Thawabteh’s (2011) study sheds light on the challenges in English-Arabic subtitling. The research focused on analysing an interview clip featuring Mr. Galloway from Sky News TV and involved MA translation students as the study sample. The study aimed to identify linguistic, cultural, and technical difficulties encountered by subtitling students, emphasizing the necessity for pedagogical interventions. The paper explored the preferences between subtitling and dubbing in the Arab world, highlighting potential impacts on the local film industry. Additionally, it stressed the limited recognition of audiovisual translation as a distinct discipline in the region. The methodology employed a sample group and utilized Subtitle Workshop software to categorize the difficulties into linguistic, cultural, and technical dimensions, providing illustrative examples. Thawabteh’s (2016) study discusses the topic of subtitling the Qurʼan through audiovisual translation (AVT) and its ideological implications. AVT has been a focus for translation theorists and practitioners, focusing on linguistic and technical aspects while neglecting semiotics and the relationship between ideology and translation. The study analyses AVT of the Qurʼan in six TV channels, finding both translations into other languages and within the same language (Arabic). However, the study argues that the principles of AVT are not considered in translation due to ideological reasons related to the Qurʼan’s sanctity, which are considered more significant than the technical aspects of AVT. To summarize, all previous studies focused on CS, seeking to demonstrate the many types and applications of CS in general and in song lyrics in particular, despite disparities in the genres of these songs. Previous studies are often well constructed, the issues are evident, and the wording is concise and argumentative. Their literature review is extensive. The researchers successfully demonstrated the importance of their research from both a theoretical and an applied perspective. The literature review produces and supports suitable research topics and hypotheses for the planned investigation. 29 Chapter Three Methodology 3.1 Data Selected Purposive sampling was used in this study to target specific data that helps achieve the intended message by analysing specific data that gives the audience the ideal image of the analysis. The data selected to achieve the purpose of this thesis are eight songs; two songs by Sami Yusuf (Al-Mu’allim) and (My Ummah), two songs by Maher Zain (Barka Allhu Lakuma) and (Anta Alsalam), two songs by Raef Haggag (The Bright Moon “Thala’al Badru”) and (Southern Salawat) and two songs by Hamzah Robertson (He is one) and (O Allah). The first song is “Al-Mu’allim” by Sami Yusuf. In Arabic, Al-Mu’allim means “The Teacher.” Sami Yusuf’s debut studio album was titled after this song. In 2003, the album was released. The prophet Muhammad’s teachings are the subject of this song (PBUH). Sami Yusuf’s second album, “My Ummah,” was published in 2005 and was also titled “My Community of Believers.” The message of this song is to encourage fellow Muslims to strive, labour, and pray in order to make themselves helpful to the global Muslim community. On January 20, 2012, one of the Islamic songs in Arabic and English, “Baraka Allahu Lakuma”, sung by the Swedish Lebanese singer Maher Zain was heard for the first time and released on the Awakening Records channel on YouTube. Maher Zain’s song “You are Peace” is also a new song released in Ramadan in 2020. Its Islamic words address Allah Almighty. The first song on Raef Haggag’s album is (the Path), released in 2014 which is (the Bright Moon), also known as (Thala’al Badru) in Arabic. It is an Islamic song chanted when the prophet Muhammad and his fellows moved from Makkah to Madina (Hijra). Muslims at Madinah chanted this song 1444 years ago to welcome him when he came to Madinah to convey and publish his message of Islam. Raef, who made a cover of this song in 2014, tried to sing it in English and Arabic to make a universal message to all people, as Arabic 30 is the language of Qura’an and English is a lingua franca language that people all over the world speak and understand. The second song on Raef’s album is (Mercy) released in 2019 and is called (Southern Salawat)- (Salatu Allah, Salamu Allah). It is an Islamic song that aims to pray for Allah and encourage Muslims to thank and glorify Allah for all of the mercy bestowed upon us. The last two songs are from Hamza Robertson’s album (Something About Life), released in 2017. One is (He is one) and the other is (O Allah). The first conveys the holy message of Islam that Allah, the one, and that Allah is with us all the time to protect and guide us in the right way. The second (O Allah) aims to thank and praise Allah for all his kindness and mercy on us, along with the countless blessings he has given us. The main causes of the success of these songs are the straightforward message that the songwriter wishes to express, as well as the musical tones that seem to invite listeners to open their hearts. 3.2 Data Analysis This thesis adopted a descriptive qualitative method. The data that is used in this thesis consists of eight songs; two songs by Sami Yusuf “Al-Mu’allim” and “My Ummah”, two songs by Maher Zain “Barak Allah Lakuma” and “Anta Alsalam”, two songs by Raef Haggag (the bright moon) and (the southern salawat), and two songs by Hamza Robertson (He is one) and (O Allah). In this thesis, there is an analysis of the CS lyrics and transcriptions of utterances, showing the translation challenges that face English-Arabic CS lyrics. The lyrics served as a helpful example of the ease with which English and Arabic codes may be switched. Only transcribed instances of CS occurrences within the lyrics are included in this sample. The current study aims to determine the role of CS, the challenges of translating CS songs’ lyrics, and how to convey the intended messages and overcome translation difficulties by analysing the lyrics. 31 Chapter Four Analysis and Discussion In this chapter, the researcher analyses the research data and show the role of CS in delivering the message, comparing the ST with the TT to show the differences and the main points of dealing with CS in songs, especially Islamic songs. It appears that Islamic songs need CS sometimes to deliver the exact meaning of the song lyrics. There is an analysis of song lyrics and their translations and comments in the following tables. 4.1 Sami Yusuf Songs 4.1.1 Al-Mu’allim This song contains several places of CS from English to Arabic, the following table contains the exact places of CS in the song’s lyrics, English writing, suggested translation and some comments on the function of CS: Table (1) the exact places of CS in the Al-Mu’allim song’s lyrics, English writing, suggested translation and some comments on the function of CS Song Lyric English Writing Translation Function Aba Al-Qasim )أبا القاسم( Al-Qasim’s Father One of the names of the Prophet Muhammad This is a well-known name of the prophet that every Muslim knows. Here it functions to address a larger audience, which is characterized as an interlocution motivational aspect. )يا حبيبي يا محمد( Ya Habibi Ya Muhammad My Beloved O Muhammad In “Ya Habibi Ya Muhammad”, the singer chose to call the prophet (PBUH) to show emotions and attitude toward him. Thus, the communicative function here is of semantic significance. )يا شفيعي يا محمد( Ya Shafi’i Ya Muhammad My intercessor Muhammad In this call to the prophet, the writer used an inherited adjective, which is intercession, to convey the concept of seeking the Prophet’s intercession out of love and as a means of requesting the prophet’s intercession. Thus, the communicative function here is to address a larger audience to attract their attention and motivation. )خير خلق هللا محمد( Khayru khalqi allahi Muhammad The best of Allah’s creation is Muhammad The writer here wants to emphasise that Muhammad is the best creature. The communicative function here is to emphasise a point and to address the audience more. )يا مصطفى يا إمام المرسلين( Ya Mustafa ya Imamal Mursalina O Chosen One, O Imam of the Messengers The writer here emphasised that the Prophet is the last of the Messengers and the leader of all of them. )يا مصطفى يا شفيع العالمين( Ya Mustafa yaShafi’al‘ Alamina O Chosen One, O intercessor of the worlds The writer here emphasised that the prophet is the intercessor for all the world to address a larger audience. 32 Analysis The Al-Mu’allim song’s performer, as seen, reminds the audience of the Prophet Muhammad’s teachings, which many have forgotten. Arabic lyrics convey the singer’s loyalty to the prophet (PBUH). The performer opened with one of the Prophet’s names, “Aba Al- Qasim,” which Muslim listeners are familiar with. In the following verses, the performer displays the affection for the Prophet Muhammad (PBUH). This love and affection are reflected in the Arabic lyrics. This acts as a reminder to Muslims not to lose faith in the Prophet (PBUH). Modern Standard Arabic is used by song writers to write Arabic terminology. In all of these cases, the target language (hereafter TL) is English, and the CS is to a standard variation of Arabic. CS grabs the listeners’ attention by boosting their desire to carefully scrutinize the message presented. Once the audience’s attention is captured, the artist can better achieve the song’s aim and transmit a message. Because the MSA has the same morphology and syntax as the ancient Qur’anic language and Islamic canonical literature, it is accessible to Muslims of various backgrounds. Muslims have unrestricted access to the Qur’an. This includes knowing how to read the Qur’an, whether or not the person’s first language is Arabic. It also covers, most importantly, understanding the language of the Qur’an and the significance of what students read. Listeners can understand the lyrical songs utilised in Arabic because the lyrics are drawn from the Qur’an. The lyrics convey prophet Muhammad’s kindness, compassion, worldwide benevolence and concern, self-sacrifice, and world-changing legacy. This is one of the reasons why the writer chooses to write the lyrics in English. That is, to reach a broader audience and introduce those teachings to audiences or listeners from non-Muslim countries. These lyrics are also appropriate for bilingual audiences who are fluent in English. The (Aba Al-Qasim) expression is a well-known name of the prophet that every Muslim knows. Here it functions to address a larger audience, which is characterized as an interlocution motivational aspect. In “Ya Habibi Ya Muhammad”, the singer chose to call the prophet (PBUH) to show emotions and attitude towards the prophet. Thus, the 33 communicative function here is of semantic significance. In “Ya Shafi’I Ya Muhammad”, the writer used an inherited adjective, which is intercession, to convey the concept of seeking the Prophet’s intercession out of love and as a means of requesting the prophet’s intercession. Thus, the communicative function here is to address a larger audience to attract their attention and motivation. The purpose of saying (Khayru khalqillahi Muhammad) is to emphasise that Muhammad is the best creature. The communicative function here is to emphasise the point that Muhammad is the best creature in the world and to address a wider audience. In (Ya Mustafa ya Imam al Mursalina) the writer emphasised that the prophet is the last of the messengers and the leader of all of them. Therefore, the translator must choose the best equivalent with the same connotation and meaning. In (Ya Mustafa ya Shafi’al‘ Alamina), the translator emphasised that the prophet is the intercessor for all the world to address a larger audience. The translation strategy used in the expression “أبا القاسم” is a transliteration strategy. Transliteration is the process of representing words or letters from one alphabet or writing system into another, without translating the meaning of the words. In this case ,“أبا القاسم” is transliterated as “Al-Qasim Father.” The Arabic letters are represented using English letters to produce a close approximation of the original sound. Transliteration is often used when there is no direct equivalent for a word or an expression in the TL, or when it is important to preserve the original spelling and pronunciation of a word. In this case, the use of transliteration helps to maintain the Arabic cultural and linguistic identity of the song while making it accessible to an English-speaking audience. The translation strategy used in the sentence “يا حبيبي يا محمد” is a modified literal translation strategy . In this case, the translation “My beloved O Muhammad” is a modified version of a literal translation, which would be “O my beloved, O Muhammad.” The translation has been changed by rearranging the words “my beloved” and “O Muhammad” to create a more natural and culturally appropriate expression in English. Because the literal translation “O my beloved, O Muhammad” may not be used in English, the translator rearranged the words to create a more natural and meaningful expression. The sentence “يا شفيعي يا محمد” is also a modified literal translation. The translation “my intercessor Muhammad” is a modified version of a literal translation, which would be “O my intercessor, O 34 Muhammad.” The translation has been changed by rearranging the words “my intercessor” and “Muhammad” to create a more natural and culturally acceptable expression in English. Because the literal translation “O my intercessor, O Muhammad” may not be used in English, the translator rearranged the words to create a more natural and meaningful expression. The translation strategy used in the sentence “ خير خلق هللا ,is a literal translation strategy where the translator translated the ST word-for-word ”محمد without any regard for idiomatic expressions or cultural nuances. In this case, the translation “the best of Allah’s creation is Muhammad” is a literal translation of the Arabic phrase “خير خلق هللا محمد” The translation strategy used in the phrase “ يا مصطفى يا is a modified literal translation strategy while the word Imam is translated ”إمام المرسلين using transliteration. The translation “O chosen one, O Imam of the messengers” is a modified version of a literal translation, which would be “O Mustafa, O Imam of the messengers.” The modification in the translation is the translation of the name “Mustafa” as “chosen one”, which is a common translation of the name in Islamic tradition. Additionally, the phrase “إمام المرسلين” is translated as “Imam of the messengers” to convey the same meaning as the original Arabic text. The CS type used in the phrase Aba Al-Qasim is intra-sentential CS which occurs mid- sentence, without interruption. Whereas the CS that occurs in the rest of the sentence يا( )يا مصطفى يا شفيع حبيبي يا محمد( )يا شفيعي يا محمد( )خير خلق هللا محمد( )يا مصطفى يا إمام المرسلين( is inter-sentential switching as it occurs at a clause or sentence boundary, in which العالمين( each clause or sentence is in one language or another. 4.1.2 My Ummah The terms and expressions listed below are current da’wa (calling for) practice and are in line with Islam’s role, the following table contains the exact places of CS in this song lyrics, English writing, suggested translation and some comments on the function of CS: 35 Table (2) contains the exact places of CS in My Ummah song’s lyrics, English writing, suggested translation and some comments on the function of CS The Lyric English Writing Translation Function My Ummah, My Ummah My Ummah, My Ummah My Ummah, My Ummah The purpose of CS is to enrich the songs’ cultural and linguistic richness. “Ummah” is an Arabic term that means “community” or “nation,” and by including it in the song's title is to emphasises the global unity of the Muslim community. In addition to increase inclusivity and connect with audiences who are acquainted with Arabic and Islamic traditions. )يا هللا يا رب العالمين( Ya Allah yarabbal’alamin O Allah Lord of the Worlds This is a well-known calling of Allah that every Muslim knows. Here, it addresses Allah to accept our prayers and to show non-Muslims how to seek Allah help. )يا رحمان يا رحيم( Ya Rahmanu ya Rahim O Merciful and Beneficent In “Ya Rahmanu ya Rahim”, the writer chose to call Allah by name, exalting Allah by expressing deep emotions and a reverential attitude. Thus, the communicative function here is of semantic significance. بي()يا ر Ya rabbi O My Lord The writer used an inherited adjective to call Allah, which is “My Lord”, out of love and a request for divine mercy. Thus, the communicative function here is to address a larger audience to attract their attention and motivation. Analysis The process of using two or more languages or language variations alternatively in a conversation or in a written text is referred to as CS. It is a prevalent phenomenon in multilingual society and can be employed for a variety of purposes, including expressing identity, establishing social bonds, and conveying meaning. Sami Yusuf’s song “My Ummah” is an example of CS because it contains lyrics in both English and Arabic. One example is the CS in the Chorus. The song “Ummah” has a totally Arabic chorus that is repeated numerous times throughout the song. The word “My Ummah” is translated using transliteration as for the CS is intra-sentential switching. The CS type in the expressions )يا هللا يا رب العالمين( )يا رحمان يا رحيم( )يا ربي( is inter-sentential CS where a complete sentence or utterance is expressed in one language, followed by a sentence or utterance in another language. For example, in the opening lines of the song, the first line “My Ummah, My Ummah,”. is an example of how intra-sentential CS can be used to stress a given message and connect with a specific audience. Sami Yusuf is communicating directly to Arabic-speaking listeners and establishing a sense of cultural 36 oneness by singing the chorus in Arabic. The use of Arabic in this expression may be intended to target primarily the Arabic-speaking members of the Ummah, or Muslim community. In (Ya Allah yarabbal’alamin), the writer aims to confirm the doctrine of monotheism and that Allah is the Lord of all this universe, which is characterized as an interlocutional motivational aspect. In (Ya Rahmanu ya Rahim), the writer calls Allah by name for glorification. The writer used an inherited adjective in this call to Allah, which is “Ya Rahmanu,” out of love and a request for divine mercy. Thus, the communicative function here is to address a larger audience to attract their attention and motivation. In the second stanza the shifts from English to Arabic in the middle of the verse is to stress the expression “Ya Rab” which translated as (Oh Lord). This is an example of CS used for emphasis where Sami Yusuf adds emotional weight to the expression and creates a sense of seriousness by switching to Arabic. This application of CS also demonstrates how a certain language can convey emotions and feelings that cannot be appropriately stated in another language. When translating these words with a code switch, finding an equivalent of both established and rooted when translating from Arabic to English was challenging. However, the researcher was able to come up with terms that were both suitable and acceptable. The translation strategy used for translating “يا هللا يا رب العالمين” to “O Allah Lord of the Worlds” in Sami Yusuf’s “My Ummah” song is a mix of literal translation and cultural adaptation. The process of translating each word in the source language (hereafter SL) to the matching word in the TL is referred to as direct translation. In this instance, the sentence “يا هللا يا رب العالمين” has been translated directly as “O Allah, Lord of the Worlds.” Cultural adaptation, on the other hand, refers to the process of revising a translation to make it more understandable and culturally suitable for the intended audience. The translation has been adapted to English in this instance by using the title “O Allah, Lord of the Worlds,” which is a common English translation for this sentence used by English-speaking Muslims. The same strategy is used to translate يا رحمن يا رحيم andيا ربي . A code is used in the above terms as a neutral term that can denote a language of Islam and Al-Qur’an that must be familiar to all Muslims. 37 In conclusion, the song’s lyrics writer intended to address a global and maybe multinational audience. The singer apparently recognizes that monolingual non-Arabic speakers are distinguished by their ability to comprehend words connected to or derived from the Qur’an. Similarly, the goal of employing English poems is to address monolingual English speakers first and multilingual speakers second. As a result, CS is done on purpose in these verses, allowing the writer to reach a wider audience with varied language origins. For example, CS in “Ummah” serves several purposes, including highlighting key expressions, fostering cultural unity, and communicating with a larger audience. The use of CS by Sami Yusuf in this song is a great illustration of how language can be utilised to generate meaning and bridge cultural barriers. It aims to convey inclusivity while also speaking to a varied audience of English and Arabic speakers. It also emphasises the significance of language and identity within the Muslim community. 4.2 Maher Zain Songs 4.1.3 Baraka Allahu Lakuma The following table contains the exact places of CS in this song lyrics, English writing, suggested translation and some comments on the function of CS: Table (3) the exact places of CS in Baraka Allahu Lakuma song’s lyrics, English writing, suggested translation and some comments on the function of CS The Lyric English Writing Translation Function بارك هللا لكما وبارك عليكما Baraka Allahu Lakuma wa Baraka alikuma May Allah bless you The writer used an Islamic Arabic expression to congratulate a wedding, so the communicative function is to attract the audience’s attention to hope for the success and happiness of the wedding. وجمع بينكما في خير Wa jamaah bainakuma fii khair May Allah bring you together in the good The function here is to hope for success, happiness, and good. Allah, Barik هللا، بارك لهما Lahoma O Allah, give them your blessing The communicative function is to attract the audience’s attention to hope for success