ABSTRACT

Society impinges on language and language impinges on the society. Therefore, for communication to be effective in any human society, the appropriate language must be put into use in the appropriate context. This work examined the motivation for code-mixing or code-switching in the song lyrics of Nigerian artistes. The song lyrics of three Nigerian artistes: 2face Idibia, Tiwa Savage and Simi, were presented, analyzed and interpreted. Four songs were selected through a random sampling technique. This study is anchored on Myers-Scotton’s (1993) The Markedness Model which tends to explain language choices as negotiations of self-identity and desired relationships with others. The study reveals that code-switching among these artistes is a display of bilinguals’ competence while code-mixing is a sign of vocabulary inadequacy in first language (L1). The study also reveals that most Nigerian music artistes use a combination of English and one or more local language(s) in writing the lyrics of their songs. One notices in most Nigerian hip hop songs, Code-switching and code-mixing which involve switching from English to one (or more) of the three major languages in Nigeria, that is, Hausa, Igbo and Yoruba which of course are regarded as a baseline in Nigeria music industry. However, the constant use of Yoruba by the artistes cannot go unnoticed. It is also noted that pidgin is a local language in this context.  Pidgin in most Nigerian hip hop songs is also common. In Nigeria, pidgin cuts across the country making it easy for all Nigerians from different tribes and background to communicate with each other without much difficulty. Hence, most artistes use pidgin as well in their song lyrics as much as they code-mix or code-switch. This work also establishes that code-switching and code-mixing are a product of linguistic competence.  Nigerian hip hop lyrics are characterized by a blend of English and other Nigerian language for artistic and stylistic peculiarity and to enhance comprehension. It is noteworthy however that, both code-switching and code-mixing are not only found among Nigerian artistes, but are equally prevalent in the Nigeria movie industry (Nollywood), in our day-to-day interaction with pressure groups, and in fact, all levels of communication, be it inter-personal or group communication. It should be noted also that since Nigeria as it was, as it is and as it will continue to be, is a heterogeneous nation with variant ethnic diversity, hence, code-switching or code-mixing by Nigerian artistes in their song lyrics likewise is a prevailing linguistic phenomenon which aims at unifying the country by creating group or ethnic identity among people from different cultural background.

TABLE OF CONTENTS

Title Page……………………………………………………………………………………………………………………… i

Declaration…………………………………………………………………………………………………………………… ii

Approval………………………………………………………………………………………………………………………. iii

Certification…………………………………………………………………………………………………………………. iv

Dedication……………………………………………………………………………………………………………………. v

Acknowledgements………………………………………………………………………………………………………. vi

Table of Contents…………………………………………………………………………………………………………. viii

Abstract………………………………………………………………………………………………………………………… xii

CHAPTER ONE

GENERAL INTRODUCTION

Introduction…………………………………………………………………………………………………….. 1

Hip Hop in Nigeria…………………………………………………………………………………………… 3

Statement of the Problem……………………………………………………………………………….. 5

Aims and Objectives of the Study……………………………………………………………………. 5

Significance of the Study…………………………………………………………………………………. 6

Scope and Limitations……………………………………………………………………………………… 6

CHAPTER TWO

LITERATURE REVIEW

2.1 Bilingualism and Multilingualism……………………………………………………………………… 8

2.1.1 Effects of Bilingualism/Multilingualis………………………………………………………………. 8

2.1.2 Diglossia………………………………………………………………………………………………………….. 8

2.2 Code……………………………………………………………….……………………………………………….. 10

2.3 Code-switching Versus Code-mixing…………………………………………………………………. 10

2.4 Types of Code-switching and Code-mixing…………………….………………………………… 12

2.5 Differences between Code-switching and Code-mixing………………….……………….. 14

2.6 Reasons for Code-switching and Code-mixing…………………………………………………. 15

2.7 Code-switching and Code-mixing in Hip Hop……………………………………………………. 17

2.8 Borrowing…………………………………………….…………………………………………………………. 20

2.9 Theoretical Framework……………………………………………………………………………………. 21

2.9.1 The Markedness Model………………………….……………………………………………………….. 22

CHAPTER THREE

METHODOLOGY

3.1 Methodology…………………………………………………………………………………………………… 25

Selecting the Sample……………………………………………………………………………………….. 26

Transcription…………………………………………………………………………………………………... 26

Justification of the Selected Model………………………………………………………………….. 27

Background Information on the Selected Artistes………………….………………………… 27

2Face Idibia……………………………………………………………………………………….…………….. 28

Tiwa Savage…………………………………………………………………………………………………….. 29

3.1.7 Simi……………………………………………………………………………….………………………………… 29

CHAPTER FOUR

DATA PRESENTATION, ANALYSIS AND INTERPRETATION

4.1 Background Information on the Data…………………….………………………………………… 30

4.2 Data One: “Ihe Neme” by 2Face Idibia…….……………………………………………………… 31

4.3 Data Two: “Implication” by 2Face Idibia…………………….…………………………………… 36

4.4 Data Three: “Love Don’t Care” by Simi…….…………………………………………………….. 41

4.5 Data Four: “Love Me” (3x) by Tiwa Savage……………………………………………………… 44

CHAPTER FIVE

SUMMARY OF FINDINGS, RECOMMENDATION AND CONCLUSION

5.1 Summary of Findings…………………………………………………………………………………………… 49

5.2 Recommendation ………………………………………………………………………………………………. 50

5.3 Conclusion …………………………………………….……………..…………………………………………..  50

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