Citation: Aliyu, S. & Rukayya, M.(2025). A Linguistic Stylistic Study of Selected Praise Songs of Umar Abdul-Aziz (Fadar Bege). Tasambo Journal of Language, Literature, and Culture, 4(1), 150-159. www.doi.org/10.36349/tjllc.2025.v04i01.015.
A LINGUISTIC STYLISTIC STUDY OF SELECTED PRAISE SONGS OF UMAR
ABDUL-AZIZ (FADAR BEGE)
By
Aliyu Suleiman
Nuhu Bamalli Polytechnic, Zaria
08033954817
sulmaliyu13@gmail.com
and
Rukayya Muhammed
Nuhu Bamalli Polytechnic, Zaria
07035681570
rukayyamuhammed@gmail.com
Abstract
This paper aims to analyse the stylistic features of selected praise songs of Umar Abdul-Aziz
(Fadar Bege). Leech and
Short (2007) Stylistic Checklist serves as the theoretical model adopted for
this study. The researchers collected the data using two techniques: the
original manuscripts of the panegyric songs which were collected and sampled
from the singer’s family and then translated into English. Hofsdter’s (1998)
Situational Model of translation was adopted to guide the translation. The method of analysis adopted is qualitative which was used to
analyse the textual and factual narratives of the selected praise songs under
study. The study reveals that Umar Abdul-Aziz’s (Fadar Bege) use of stylistic features such as
network of lexical items, generally makes his praise songs highly intelligible
to his listeners, the study also submits that the singer uses some unique
stylistic markers such as repetition and choice of linguistic items in his
praise songs to convey messages to his audience. It also explicates that Umar
Abdul-Aziz (Fadar Bege) uses certain extra-linguistic features beyond their
ordinary meaning to describe the features, wisdom, and Divine gifts of the
addressee (Prophet).
Keywords:
Stylistics, Style, Poem, Songs, Praise Songs
Introduction
Oral songs are infused with numerous stylistic features that seem
to commemorate the ideal functions of language which according to Halliday
(1985), are ideational, interpersonal and textual. The numerous instances of
the patterns of foregrounded lexical choices of the singer complements the
above-mentioned functions and reveals overtly the cultural and societal
expectations of panegyric songs in a typical Hausa Islamic setting. The
immediate and remote implications of panegyric songs call for a proper analysis
and functional interpretation, particularly through Stylistics, to relate the
form with the content.
In recent years, there are significant research
conducted on stylistic studies, like the work of Alagbe (2023) and Madlool
(2023) However, to the best of the researcher’s knowledge, despite the
overwhelming popularity and acceptability of Umar Abdul Aziz’s (Fadar Bege)
praise songs, they have never been translated into
English or subjected to stylistic analysis. This motivates the interest of the
researcher to explore the stylistic significance and underpinnings of his praise
songs.
The fact that Umar Abdul Aziz (Fadar
Bege) is an Islamic Hausa praise singer and poet who employs Hausa styles,
enchantment method, lexical items and phrases and quotes from the Qur’an,
Hadith and other Islamic doctrines that contain references to contemporary
events and above all is his extinction in the realm of the Prophet Muhammad
(PBUH) to communicate mystical thoughts and themes, make his praise songs appealing to the mind of his listeners.
Therefore, the choices of such lexical items and phrases and quotes from
Islamic scripts to communicate the themes of his praise songs are the focus of
this study.
Style
Style has been variously defined by
linguists, the fact that style is the peculiar way in which humans use language
to express their thoughts. According to Agu (2008), the study of style among
other things involves an examination of syntax, diction, idioms, and imagery.
At its simplest level, Syntax refers to the structure of sentences; diction is
the writer’s choice of words and manner of deploying them to achieve maximum
artistic effects. As noted earlier, the study of style also involves an
examination of the writer’s use of figurative language and other related
devices such as idioms and imagery. These aspects of language, according to Agu
(2008) are used to give a written work verbal beauty, economy of words and
structure and thematic depth. What it all adds up to is that the research has
to examine very briefly what constitutes the language of song, especially as it
affects the language of praise songs.
1.
Style as Choice
from Variant Forms: Every language
has variant forms, that is, there is variety in the choice of words from which
the users of that language can choose. A language user has an array of
selectional possibilities and limitations in the language’s linguistic elements
so that he/she can choose the word(s) that best suits the occasion and idea
that he/she wants to convey. According to Babajide (2000:126) “…choice refers
to the conscious selection of a set of linguistic features from all
possibilities in a language at the lexical and syntactic levels.” At the
lexical level, the word ‘walk’ has many options like ‘limps’, ‘trudges’,
‘plods’, ‘shuffles’, ‘tiptoes’, etc. (Murana, 2011:5) that one can choose from
to express the kind of situation or activity that one wants to describe. Similarly,
the words ‘domicile’, ‘residence’, ‘abode’, and ‘home’, all mean the same
thing, but the context will determine which is the most appropriate to use. In
all these examples, it is the word that is appropriate to the occasion that can
only be used. There are no perfect synonyms and thus the words cannot be used
interchangeably.
2.
Style as
Idiosyncratic Form/ Individual or Idiolect: This theory refers to style as the individual’s way of saying or
doing something. Language is a part of human beings and different people use it
differently. Writers and orators have distinct ways of speaking or writing that
are unique to them. In literary circles, people can distinguish between the
writings of Wole Soyinka, Chinua Achebe and Abubakar Gimba through their styles
of using language (Osundare 2013). However, besides the individual’s style of
rendition, other factors also determine the style an individual uses, for
example, the time of writing, the choice of genre, the specific audience, etc.
(Ogunsiji et al. 2013). In addition, an individual’s style can also be
influenced by some factors like his/her social, cultural and political
background; his/her level of education, geographical area, or religious belief.
3.
Style as
Situation: Language is
used in specific situations for specific purposes. The diverse nature of human
existence has made it necessary to always consider the contexts in which
language is to be used. Different situations demand different forms of words to
use. In our day-to-day interactions, some situations are formal or informal,
hostile or conducive, and the message can be trivial or profound whilst the
medium can be in the spoken or written form (Ogunsiji et al. 2013). Similarly,
in some situations, some words are considered vulgar, offensive, foul or taboo.
In all these instances, the situation determines the words to use.
4.
Style as
Content and Form: This theory
postulates that in style there is a dialectical relationship between content
(message) and form (medium). The two are inseparable. According to Osundare
(2013: 10), “a good work of art is nothing but a studied and well-wrought
integration of form and content….Form shapes content and content in turn
illuminates form”. In any stylistic analysis, the analyst cannot ignore the
importance of the message and the medium. The debate on the relationship
between the message and the medium in a text can be considered from two
perspectives, that is, the organist (the literary critic) and the ornatist (the
linguist) (Barthes, 1971).
Stylistics
Since it emerged as a significant
academic field within the scope of linguistics in the 1960s, Stylistics has
continued to attract intellectual attention of varying degrees. Several
meanings and theories of Stylistics exist in linguistic scholarship (Crystal
and Davy, 1969, Fowler, 1975 and Wales, 2001 etc.). While some see Stylistics
as a branch of linguistics that deals with the study of varieties of language,
its properties, principles behind the choice, dialogue, accent, length and
register (Bradford, 1979 and Downes, 1998), others insist that it attempts to
establish principles capable of explaining the particular [style] choices used
by individuals and social groups in their use of language (Turner, 1973, Birch,
1995 and Fowler, 1998 etc.). However, the present study focuses on how Umar
Abdul-Aziz (Fadar Bege) chooses
lexical items to form complex devices as means in his use of language to
communicate to his audience/ listeners.
Approaches to the Study of Stylistics
There are many branches relating to
stylistic study but the basic thing which mostly involved in Stylistics is the
level of style. For Khan, et al. (2014: 11), the division of stylistic levels
includes: Graphology, Phonology, Grammar, and also Lexis. Their research
contained several words that used the four levels above and related them with
the theme of the poem as their object of study. A similar division has also
already been used by Khan & Jabeen (2015:128) study by mentioning five
levels in stylistics such as phonetic, phonological, graphological,
grammatical, and lexical. These five levels aim to represent a stylistic
analysis of five themes of the poem in the analysis. Moving out from the
journals, there were Leech & Short (2007: 101-106) who became prominent statisticians
and proposed four Stylistic Checklists: Lexical, grammatical, Figurative and
Context and Cohesion.
Theoretical Framework
The theoretical framework adopted
for the present study is the Stylistic Checklists developed by Leech and Short
(2007). This involves the adoption of a model that would enable the research to
take cognizance of most of the stylistic markers that Umar Abdul-Aziz (Fadar Bege) employed in conveying the
theme of each of the three texts under study. Leech and Short (2007:61) provide
linguistic statisticians with a checklist of style markers in four categories:
the lexical category, the grammatical category, the figures of speech and the
context and cohesion category.
Methodology
This research relies on related
published and unpublished scholarly works. The aim is to carry out text
research on the stylistic study of Umar Abdul-Aziz’s praise songs (Fadar Bege). The methodology was derived
from the framework of Stylistics. This is a very strict sense of Leech and
Short (2007) stylistic checklist of style markers.
The data were collected at the
primary level. The data were the selected praise songs of Umar Abdul-Aziz (Fadar Bege). Relevant internet materials
were also consulted in the course of the study. However, the primary source of
data for this study was collected in Hausa source text (ST) but to get enough
body of data, the data were formulated and translated into English target text
(TT). The findings of the study were based on the primary sources (texts) under
study.
Data Presentation
The data is presented logically to
interpret selected elements in the selected praise songs of Umar Abdul-Aziz (Fadar Bege). The following are the Hausa version, Source
Text (ST) and their translation into English version, and Target Text (TT) of
Umar Abdul-Aziz’s (Fadar Bege)
panegyric songs. As was said previously, each of the extracts of the three
panegyric songs and its translation will be analysed separately. The three
panegyric songs are titled: Farkon
Mafadi (The First Exhorter), Kai Nake wa Baitoci (To You My Verses), Annabi Mai Bubban Masallaci (The Prophets to Whom
the Exalted Mosque) The songs were analysed using the framework
of Leech and Short (2007:61)
Farkon
Mafadi (The First Exhorter)
(5)
a- Sallama dai Al-Mu’uɗi, Muhammadu
gaibun ilimi
b- Sallama dai Al-Mahadi, kai ka san wa Alkalami
c- Sallama dai Muntaziru, kai ka hau dukkan ƙadami
d- Kai nutsa harshena, a gun fadi na nufa da begena
(6)
a- Ya suturar sutura, sha matsayi karshen zance
b- Ya luɗufin luɗufi, ni cewa ta kai zance
c- Son ka ibada ne, cikinsa ke neman dace
d- Ba dun ba dun ba, bara dai in yi shiru da bakina
(7)
a- Mu tuni mun waye, Annabi ne alkiblarmu
b- Inda muke nema, muka tare aibunmu
c- Ko da rai, ko ba ma shi, ba mai iya ture mu
d- Ga mu gaban ka, gwani uban gwanaye, ga ni gabanka
motsina
(8)
a- Wa ya faɗa dai-dai, harshen sa bai taƃa aibu ba?
b- Mabuɗin taskoki, bai yi kama da talauci ba
c- Wa ya fi kyau kyawu, da kyan sa bai taƃa muni ba?
d- Wa ka jiye jifa, Allah ya ce ba shi ne ba?
(9)
a- Wa Allah ya rike, bai mai sakan da saliti ba?
b- Ya fi kowa a’dalci, mai gaƃoƃi dogaye
c- Ismul Aa’zam ne shi mai kumatu jajaye
d- Urwatul Wuska ne shi mai zaratan hannaye
The First Exhorter
(5)
a- I invoke peace onto The Bestower Muhammad who
knows Allah
b- I invoke peace onto The Messiah who saves out
(knowledge) to the pen
c- I invoke peace onto The Preacher that attained
all proportions of degree
d- Thou art peace on my tongue; it is only thee I
mention in my praise
(6)
a- Oh! The apparel of all apparels; the rhetoric of
all kinds
b- Oh! The subtle of subtlest; I stick to my words
c- Thy love is servitude yoked with its relevance
d- If because of self-esteem, I chose to keep mute
(7)
a- Indeed! We have seen the true light; the prophet
is our guide
b- His palace remained the place we veil our
imperfections
c- A live or not, no one holds power over us
d- We are before you, adept; the pater of all
doyens, I am before you in my motion
(8)
a- Who is accurate; his tongue has never been
faulty?
b- The lasting treasures that have no privation
aftermath
c- He is more attractive than every beauty; his
elegance never fades
d- Who overheard a thrown; he is not the one
responded by Allah
(9)
a- Who Allah has chosen and made praise powerful for
him?
b- He is the most equitable; his yielded organs
extended
c- He is spawn with Allah’s hidden names; his face
is bright
d- He is
firm and gripped physical and spiritual; his hands are opened
Data Interpretation
Below are the analyses of Umar Abdul-Aziz’s (Fadar Bege) panegyric songs. Extracts were selected from each and
every song and analysed stanza by stanza. The crux of the matter here is Umar
Abdul-Aziz (Fadar Bege) a well-known
modern Islamic Hausa singer and poet; makes conscious efforts to choose words
and focuses on praising and describing the grade point and prophetic height of
the Prophet Muhammad S.A.W as well as the monotheistic existence of God. The
songs are some of his lyrics and their subject matter in this collection shows the
depth of love and admiration of the acme of the addressee (Prophet).
Lexical Categories
The following are the analysis of some of the lexical items selected from
the three panegyric songs of Umar Abdul-Aziz (Fadar Bege).
Nouns
As a physical description, the song contains a large number of physical,
concrete nouns. E.g. proper nouns: bestower,
messiah, muntaziru etc., and common nouns: tongue, apparel, prophet etc. But what is even more striking is
that the concrete nouns are matched by nouns that are more abstract in one way
or the other. Significantly, these tend to occur as heads of the major noun
phrases. E.g. Stanza 5a: … the
rhetoric, Stanza 5b: …the
architect, Stanza: 7a …the
finest treasure.
It is worth noting that the stylistic significance of the concrete nouns
and the abstract nouns refer to the features of the addressee (Prophet) and the
Creator. An instance of this could be seen in: Stanza 6a: … apparel… rhetoric, Stanza 7a: light, and Stanza 8b: treasure all referred to the addressee
(Prophet). While in Stanza 5b: …architect
refers to the Creator. Most of the concrete nouns used in the songs are
called Concrete Descriptive Nouns describing
the features of the addressee (Prophet) and the existence of the Creator.
(ii) Kai Nake wa Baitoci (To you all my Verses))
The singer makes use of concrete and abstract nouns in the song. An example
of this can be seen in the following stanzas.
Abstract
Nouns
Stanza 7a …Allah, 7d … prayers, Stanza 8a …Avenger, 8d …Aba-Ya’aza and Stanza
11d …Creator. Stylistically, all
the above lexical items are abstract ideas referring to the Holy God (Allah).
The singer uses such lexical items with the sole mission to suggest the fact
that all the miracles, wonders, and science performed by the addressee
(Prophet) are possible by the grace of God.
Concrete
Nouns
Abdul-Aziz (Fadar Bege) makes
use of concrete nouns in the song. Concrete nouns become hotbeds, ranging from
Proper Nouns and common nouns. The Proper nouns could be observed in the
following stanzas: Stanza 7b …Amina…,
7b …Attaura…, 7c …Zabura…, Stanza 8b…Haibara…, Stanza 9c …Yasin…, Stanza 11a …rahma…etc. The common Nouns occur in the
following stanzas: Stanza 7a …adroit…,
7b …son…, Stanza 8c …coriander…, Stanza 9b …dust…, Stanza 11b Creator, etc.
The common nouns: adroit,
son, messenger, prophet,
etc. as they occurred in their various lines refer to the addressee (Prophet).
The word coriander suggests
the number of people that were killed at the war of Haibara. Moreover, the dust
as used in the line implies the Divine interpolation the addressee
(Prophet) got at Haibara.
Verbs
Lexical
verbs
The verbs in this song are far more frequent; most of the verbs are
dynamic and most of them indicate agentivity. E.g.: invoke, know, attained, mention, stick, chose, veil, holds, threw,
extend, etc. All the above lexical elements have a remarkable
implications of panegyric effect on the addressee (Prophet). The copula occurs
as frequently as possible, almost in every stanza of the song; it occurs ten
times. E.g.: Stanza 5d …is only
you I mention…, Stanza 6c …is
servitude…, Stanza 7a …is our
direction, and Stanza 9c …is
bright etc. All the above phrases suggest the relationship between the poet
and the addressee (Prophet).
Kai Nake wa Baitoci (To you all my Verses))
In the same vein, the singer makes an incredible use of lexical verbs in
the panegyric song to expedite actions. The verbs take important positions in
conveying the message of the song. The verbs are subdivided into two
categories: transitive and intransitive verbs.
Transitive Verbs: transitive verbs are verbs that have direct objects. The transitive
verbs are factive in nature because they are used to establish fact about the
addressee (Prophet). The verbs also delineate the blessings of Allah bestowed
on the addressee (Prophet). E.g.:
Stanza 7a …I shall praise the adroit
of Allah, Stanza 8d Who can confront
Aba-Ya’aza?…, Stanza 9b
He sprinkled dust…
Intransitive Verbs: transitive verbs are verbs that have no direct objects. Abdul-Aziz (Fadar Bege) makes use of intransitive
verbs in the song to display action
and indicate events. E.g.:
Stanza 7c His symbolic features were indicated
several times…
Stanza 9d Thy features remained
hidden…
Stanza 11b …the Creator, no witness attested
Annabi Mai Bubban Masallaci (The Prophet to Whom the Exalted Mosque)
Verbs in the song take important parts in deliberating meaning; most of
the verbs are dynamic; they express action. The poet makes use of the verbs to
vividly explicate the physical and psychological state of the addressee
(Prophet). The salient point here is the verbs show the factive state of the
addressee (Prophet) as a messenger of God. E.g.:
Stanza 3a Daha, guide accordingly;
thou art moral and decent trait
Stanza 5a Clouds in the sky shed
over him in every step of his motion
Stanza 6d If Mustapha tracked a
road, thou perceive his aura
Stanza 7c thou art nearby but thy
spiritual ego denied people thy whereabouts
Adverbs
Farkon Mafadi (The First Exhorter)
There is no pervasive use of adverbs in the song but conjunct adverb is indeed noted as the adverb used in
the poem; it occurs in stanza 7a of the first line. It holds the semantic
function of certainty from the part
of the panegyric song.
Kai Nake wa Baitoci (To you all my Verses)
In comparison with Farkon Mafadi
(The First to Answer God) Abdul-Aziz (Fadar
Bege) in this regard makes a striking use of adverbs and they occur in
several lines. E.g.:
Stanza9c Thus I awfully adore
Yasin…
Stanza10c It is only thee, the
Prophet of Allah…
Stanza11d No one truly knows
thee…
Annabi Mai Bubban Masallaci (The Prophet to Whom the Exalted Mosque)
The singer makes aphoristic use of adverbs in the song ranging from
adjunct and disjunct as they occur fairly in the diverse lines of the poem. The
adverbs demonstrate the degree how the poet unveils his emotion using praise epithet to acknowledge the
addressee (Prophet). The adverb nearby
as used in the line is used instead of conjunction; it joins two ideas
together. While the adverbs accordingly
and deeply modify the main
ideas (guide and were) of the two clauses. E.g.:
Stanza 3a Daha, guide accordingly…
Stanza 3d Gazelle and its kids were deeply
happy…
Stanza 7c Thou art nearby thy
spiritual ego denied…
All the above lexical items occur in their various lines which perhaps
pose complexity in the process of deducing the meaning of the song. The message
of every lexical item can only be interpreted in its allotted environment of
use.
Moreover, Abdul-Aziz (Fadar Bege)
avoids using verbs with human agents in the song (Annabi Mai Bubban Masallaci) as opposed to the other songs E.g.:
Stanza 5a Clouds in the sky shed
over him…
Stanza 5b Trees parade towards
him…
Stanza 5c Gazelle and its kids were
deeply happy…
Stanza 5d A lion remained
subservient …
Stanza 6d A garment …turned to his size
Stanza 7b The sun, the moon and the
stars got their luster…
Summary of Findings
The findings of this study provide
insightful answers to the research questions posed, grounded in the data
presented and interpreted within the framework of Leech and Short (2007:61).
One of the key discoveries is that Abdul-Aziz (Fadar Bege) employs a fairly
multifaceted range of lexical items in his praise poetry. These words often
carry technical and metaphorical meanings, making their interpretations obscure
to outsiders or listeners unfamiliar with his stylistic tendencies. For
instance, in stanza 6c, “Thy love is servitude yoked with its relevance,” the
words servitude, yoked, and relevance transcend their literal meanings. Through
a metaphorical layering, the poet encodes his message in a distinctive, nuanced
way, suggesting a deliberate use of language to convey deeper spiritual and
emotional undertones.
Another significant finding reveals
that the singer incorporates unique stylistic markers throughout his
compositions, particularly through narrative techniques and historical
allusions. By referencing key events and figures from Islamic tradition, he fosters
a spiritual connection between his audience and the Prophet. This is
exemplified in the song To You All My Verses, where Abdul-Aziz uses proper
nouns like Attaura (the Torah) and Zabura (the Psalms) to ground his message in
divine revelation. These references not only enrich the poetic content but also
substantiate his claim that the Prophet's name and emergence are mentioned
across various revealed scriptures. Through this strategy, the question
concerning the uniqueness of Abdul-Aziz’s stylistic and stylistolinguistic
features is thoroughly addressed.
The study further finds that
Abdul-Aziz strategically uses extra-linguistic features to conceal or deepen
meaning, especially for audiences not embedded within his religious sect.
Certain lexical items are deliberately chosen to connote meanings that are not
immediately accessible to the general listener. This is evident in verses such
as “Clouds in the sky shed over him in every step of his motion,” and “He hasth
never put a bucket inside well unless the water approaches him.” These
expressions attribute human-like characteristics to non-human entities,
symbolizing the divine support and miraculous powers bestowed upon the Prophet.
Such imagery suggests that non-human elements (clouds, water, and prophets) are
shown to act in reverence or obedience, emphasizing the Prophet’s elevated
status. In doing so, the singer crafts a poetic network of concealed meanings
that can only be fully appreciated by those within his interpretive community.
Accordingly, the research question addressing the use of extra-linguistic
features to veil meaning is effectively answered.
Discussion and Conclusion
The study submitted that Umar
Abdul-Aziz’s (Fadar Bege) praise
songs are clumped with stylistic frequencies of lexical items and phrases full
of moral lessons. However, his praise songs are not only for passionate sake or
making people’s time but also to instruct didactic lessons in order to
entertain his audience in a way that would make them more discerning about the
position of the addressee (Prophet) and above all is his stylistic ability to
fashioning out the minds of his listeners with love and longing of the
addressee (Prophet). Moreover, it is noted that Umar Abdul-Aziz’s (Fadar Bege) network of lexical selection
is different from his contemporaries. This is so because he uses lexical items
that characterise inanimate beings and juxtaposes how subservient they are to
the addressee (Prophet) in order to establish the impacts and miraculous
prowess of the addressee (Prophet) to his listeners.
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