Regional variation in African-American English (AAE) is especially salient to its speakers involved with hip-hop culture, as hip-hop assigns great importance to regional identity and regional accents are a key means of expressing regional identity. However, little is known about AAE regional variation regarding prosodic rhythm and melody. In hip-hop music, regional variation can also be observed, with different regions’ rap performances being characterized by distinct “flows” (i.e., rhythmic and melodic delivery), an observation which has not been quantitatively investigated yet. This study concerns regional variation in AAE speech and rap, specifically regarding the United States’ East and West Coasts. It investigates how East Coast and West Coast AAE prosody are distinct, how East Coast and West Coast rap flows differ, and whether the two domains follow a similar pattern: more rhythmic and melodic variation on the West Coast compared to the East Coast for both speech and rap. To this end, free speech and rap recordings of 16 prominent African-American members of the East Coast and West Coast hip-hop communities were phonetically analyzed regarding rhythm (e.g., syllable isochrony and musical timing) and melody (i.e., pitch fluctuation) using a combination of existing and novel methodological approaches. The results mostly confirm the hypotheses that East Coast AAE speech and rap are less rhythmically diverse and more monotone than West Coast AAE speech and rap, respectively. They also show that regional variation in AAE prosody and rap flows pattern in similar ways, suggesting a connection between rhythm and melody in language and music.

In cochlear implants (CIs), acoustic speech cues, especially for pitch, are delivered in a degraded form. This study’s aim is to assess whether due to degraded pitch cues, normal-hearing listeners and CI users employ different perceptual strategies to recognize vocal emotions, and, if so, how these differ. Voice actors were recorded pronouncing a nonce word in four different emotions: anger, sadness, joy, and relief. These recordings’ pitch cues were phonetically analyzed. The recordings were used to test 20 normal-hearing listeners’ and 20 CI users’ emotion recognition. In congruence with previous studies, high-arousal emotions had a higher mean pitch, wider pitch range, and more dominant pitches than low-arousal emotions. Regarding pitch, speakers did not differentiate emotions based on valence but on arousal. Normal-hearing listeners outperformed CI users in emotion recognition, even when presented with CI simulated stimuli. However, only normal-hearing listeners recognized one particular actor’s emotions worse than the other actors’. The groups behaved differently when presented with similar input, showing that they had to employ differing strategies. Considering the respective speaker’s deviating pronunciation, it appears that for normal-hearing listeners, mean pitch is a more salient cue than pitch range, whereas CI users are biased toward pitch range cues.

The linguistic and lyrical development of 2pac in relation to regional hip-hop identity and conflict Gilbers, Steven

The present article provides an exploration of ultimate attainment in second language (L2) and its limitations. It is argued that the question of maturational constraints can best be investigated when the reference population is bilingual and exposed on a regular basis to varieties of their first language (L1) that show cross-linguistic influence. To this end, 20 advanced Dutch-English bilinguals are compared to 9 English native speakers immersed in a Dutch environment. All participants are teachers or students of English at a Dutch institution of higher education. The populations are shown to be at similar global proficiency levels. Two phonetic variables (voice onset time or VOT and vowel discrimination) and one grammatical variable (verb phrase ellipsis), which are assumed to present particular challenges to Dutch learners of English, are explored, and speakers are furthermore rated for their global nativeness. The findings show no differences between populations on VOT but some variance on the production of a vowel that has no correlate in Dutch (the English trap vowel). However, all but one of the L2ers are rated outside the range of the natives on perceived foreign accent. There are also differences between groups where acceptance of different sentence types with verb phrase ellipsis are concerned. We interpret these findings to indicate that there are areas of L2 knowledge and production that are persistently difficult to acquire even under circumstances that are highly favourable for L2 acquisition.

Ambitionz az a Ridah: 2Pac's changing accent and flow in light of regional variation in African-American English speech and hip-hop music. University of Groningen.