This article examines the pitch content of the delivery of anaphoric lyrics in hip-hop. Anaphoric lyrics consist of lines with a reiterated beginning and a novel ending. Because new information is presented at the ends of lines, the “linguistic focus” of the line is at the end. Therefore, from the standpoint of intonational phonetics, pitch height would tend to rise to highlight the new information. However, from the standpoint of hip-hop delivery, lines tend to descend toward the end. Using a corpus approach, I document a general tendency toward “focally consistent” delivery in which pitch height supports new information. Then, I explore the afforded meanings of “antifocal” delivery—delivery in which the repeated text is pitched higher—in examples from B-Real, the poet Najee Omar, and Kendrick Lamar. I hope that these examples will attract other scholars to view vocal performances simultaneously through lenses of intonational phonology and music analysis and, further, that correspondences between pitch contours and principles of phonology might prove useful as singing, reciting, and rapping increasingly coexist under the banner of “hip-hop.”

中文翻译：

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嘻哈声乐中的反焦点照应

本文探讨了嘻哈音乐中照应歌词传递的音高内容。照应歌词由重复开头和新颖结尾的诗句组成。因为新的信息是在行尾呈现的，所以行的“语言焦点”就在行尾。因此，从语调语音学的角度来看，音高往往会升高以突出新信息。然而，从嘻哈音乐传播的角度来看，队伍往往会朝着最后下降。使用语料库方法，我记录了“焦点一致”交付的总体趋势，其中音调高度支持新信息。然后，我以 B-Real、诗人纳吉·奥马尔 (Najee Omar) 和肯德里克·拉马尔 (Kendrick Lamar) 的例子探讨了“反焦点”传递（重复文本音调更高的传递）所提供的含义。我希望这些例子能够吸引其他学者通过语调音系学和音乐分析的视角同时看待声乐表演，而且，随着歌唱、背诵和说唱越来越多地共存，音高轮廓和音系学原理之间的对应关系可能会被证明是有用的。 “嘻哈”。