河南嵩山发现淡尾鹟莺及其鸣声初步分析

2006、2007年和2008年5月,在河南嵩山、四川老君山和陕西厚畛子采集到8只淡尾鹟莺的鸣声样本.在河南嵩山首次发现了淡尾鹟莺的分布点.对淡尾鹟莺的声谱分析表明,其组成音节的音素数平均为(4.87±1.54)个(n=27),频率在(6.76±0.53) kHz～(2.94±0.39) kHz(n=27)之间,鸣唱音节的持续时间和间隔时间分别为1.03 s±0.27 s和6.79 s±1.54 s(n=27);从8只淡尾鹟莺鸣声个体198个音节中总结出了33种音节类型,其中13个音节为两只不同个体所共享,2个音节为3个不同个体所共享.     

两栖爬行动物发声的神经及内分泌基础

动物的鸣声可分为鸣叫和鸣唱。鸣唱为一系列连续发出的由不同音节组成的固定序列。一般而言,音节数多于两个,由雄性个体在繁殖季节发出。鸣叫多为单音节重复发音,偶尔也有两个音节。除鸣禽外,陆生脊椎动物的鸣声都归为鸣叫类型。鸣唱主要被用于宣告领域或求偶。同时,也被用于亲缘识别和刺激异性同步发情。鸣叫的功用较多,所以包括鸣禽在内的大多数陆生脊椎动物都能发出此类叫声。鸣叫也可用于宣告领域或求偶,如蛙类。鸣叫还可以恐吓竞争对手或敌害,报告敌害或食物的方位以及表达情绪等。1　两栖动物蛙类的绝大多数种类都能鸣叫,有尾类的少数…     

杂色山雀指名亚种繁殖期的鸣声行为

2012年3～7月,对辽宁仙人洞自然保护区9巢18只杂色山雀(Parus varius varius)个体及其雏鸟的鸣声进行了录音,共获取了9种类型鸣叫(呼唤、警戒、报警、恫吓、驱逐、惊叫、喂食、雏鸟乞食、集群)和5种类型鸣唱.通过语图分析得出音节类型18种,频率范围为800 ～18 900 Hz.对杂色山雀不同个体鸣声特征参数的比较发现,鸣声的句子和音节时长在不同个体之间存在显著性差异,而最高频率、最低频率在不同个体间均无显著性差异.本研究实现了对杂色山雀繁殖期鸣声参数的量化,有助于进一步研究其繁殖行为.     

河北塞罕坝褐柳莺鸣唱特征分析

2014年7月至8月,在天气良好的情况下,每天上午5:00至10:00时,利用TASCAM DR-680型录音机外接Sennheiser ME67话筒,录制了河北塞罕坝林场处于繁殖期的褐柳莺(Phylloscopus fuscatus)鸣声。录音的采样精度为16 bit,采样频率设置为44.1 k Hz。共获得41只个体清晰可供分析的录音,平均每只个体录到(47±16)句录音。利用Raven pro分析软件测量鸣唱参数,如每个句子和音节的最低频率、最高频率、起始频率及终止频率、持续时间和音节(音素)个数。进行统计分析后,发现河北地区褐柳莺鸣唱语句包含两种类型,句型较单一不变的S-song和句型多变的V-song。褐柳莺鸣唱句子的最高频率为(7.04±0.89)k Hz,最低频率为(1.75±0.30)k Hz,起始频率为(4.53±2.00)k Hz,终止频率(3.22±1.43)k Hz,句子的持续时间(1.24±0.32)s,由(6.50±1.91)个音节组成。基于语图上音节形态的差异,共发现49种不同的音节类型,每只个体鸣唱中使用2到30种音节类型。     

白头鹎的鸣唱结构及其鸣唱微地理变异

对武汉市区白头鹎(Pycnonotus sinensis)的鸣唱类型和音节类型进行了统计、分析,并按照采样地点划分为组(微地理种群),对组间、组内不同白头鹎个体间的鸣唱差异进行了探讨.分析来自市区5个样点的26只雄性白头鹎的667个鸣唱,共发现18种基本鸣唱型、53种音节类型.每只雄性白头鹎具有1-3种基本鸣唱型,每只个体能唱6.7(4-1 4)种音节类型.平均每个鸣唱由5.0(3-11)个音节、4.6(3-8)种音节类型组成.白头鹎的鸣唱顺序模式为平稳过渡型,并能通过以下三种方式在基本鸣唱型的基础上产生鸣唱变异:1)省略、添加或替换鸣唱中的个别音节;2)对鸣唱中的某个部分进行重复或重复不同次数;3)将不同的鸣唱型进行拼接组合.每只个体每种基本鸣唱型至少具有2.0(1-5)个变 异类型,这种变异在个体间和个体内普遍存在.个体间能共享1-2种鸣唱型.所划分的5个组内普遍存在鸣唱型和音节类型的共享,而组间则无鸣唱型共享,有音节类型共享.采用Jaccard相似性系数衡量白头鹎个体间音节的共享情况,发现个体间的音节共享程度在组内 明显大于组间,因此认为越是邻近分布的白头鹎个体具有越相似的鸣唱     

棕眉柳莺鸣唱声谱分析及其地理差异的初步研究

2002、2005、2007年5-8月,在甘肃莲花山、宁夏贺兰山和内蒙阿拉善贺兰山等自然保护区对棕眉柳莺(Phylloscopus armandii)的鸣唱进行了采集,共录到18只108 min的鸣声.通过声谱分析,棕眉柳莺鸣唱的频率范围在2.63-6.32 kHz之间;音素数平均为5.56±2.47(n=124);持续时间为(1.07 4-0.30)s(rg=124).最长可达2.68 s.棕眉柳莺鸣唱音节之间的间隔时间差异较大,范围在2～18 8之间;从18只个体共589个音节中总结出61种音节类型,其中37种为共享音节,24种为特有音节,分别占总数的60.7%和39.3%.不同棕眉柳莺个体的鸣唱音节类型组成不同,没有任何两只棕眉柳莺个体的音节曲目完全一致.莲花山和内蒙贺兰山两个地区内个体之间的音节相似性系数存在显著差异(P=0.001).通过对棕眉柳莺鸣唱的地理变异分析,发现越是邻近分布的个体其鸣唱也越相似.     

绿背山雀繁殖期鸣声声谱分析

2005年4～6月,在四川屏山县老君山自然保护区采用计算机声谱分析技术,对绿背山雀繁殖期护域、警告、报警、警戒和幼雏乞食的鸣声进行了初步研究。结果表明,雄性护域有3种不同音节鸣声,3种音节鸣声的MPF差异均不明显（P〉0.05）,全句持续时间差异显著（X^2=8,42〉x0.05^2,df=2,P〈0．05）;雌性护幼为2个音节的警告呜声;雌雄两性遇到危险时均发出音节不同的警戒声和报警声,其警戒声各音节持续时间差异极显著（P〈0,01）,各音节间隔时间差异不明显（P〉0.05）;幼雏乞食鸣声通常由2～3个音节重复而成。同时还探讨了不同鸣声与相应行为的关系。     

杭州鹊鸲的声行为

1996年8月至2002年7月,在杭州对鹊鸲的声行为进行了观察和记录,并以鸣声回放验证某些鸣声的功能。对求偶鸣唱、领域鸣唱、抗议鸣叫、嬉闹鸣叫、联络呼唤声和惊叫声等6种鸣声进行了分析,各具不同的声学特征。该鸟的鸣声结构非常复杂,由一系列不同类型的短语所组成,每个短语又有3～10个音素所构成。并将杭州与印度哈里瓦地区鹊鸲的领域鸣唱进行了比较,两地鹊鸲的鸣声特征很不相同。     

褐鹛属鸟类的鸣声特征及种间比较

在雀形目鸟类系统分类和进化研究中,鸣声有重要作用。褐鹛属（Fulvetta）是近年从雀鹛类（Alcippe）独立的属,其鸣声特征及种间差异尚缺乏定量研究。我们于2016至2022年在野外录制了该属7种463只个体的鸣声,包括棕头雀鹛（F. ruficapilla,n=64）、褐头雀鹛（F. manipurensis,n=71）、白眉雀鹛（F. vinipectus,n=124）、中华雀鹛（F. striaticollis,n=64）、路氏雀鹛（F. ludlowi,n=33）、灰头雀鹛（F. cinereiceps,n=84）和玉山雀鹛（F. formosana,n=23）。基于野外行为观察,将鸣声区分为鸣叫和鸣唱,并将鸣叫分为联络鸣叫、呼唤鸣叫、报警鸣叫及觅食鸣叫4种类型。对鸣唱的声谱图进行人工检视,划分为1～8种鸣唱型。采用多变量方差分析（MANOVA）比较鸣声参数种间差异,显示最高频率、最低频率、峰频率、句子持续时间、频率宽度、平均熵6个参数在该属7种间均有显著性差异。将7种褐鹛鸣声特征的马氏距离与种间遗传距离进行Mantel检验,表明鸣唱特征与种间遗传距离呈正相关（r=0.51...     

丹顶鹤性活动的声行为研究

丹顶鹤繁殖期的性活动可分为雄鹤求偶、雌鹤对雄性求偶的应答、两性交配和交配完结4个阶段,其相应的鸣声模式分别为雄性的求偶鸣声、雌性对雄性求偶的应答声和两性的对鸣声、两性对唱的交配声和两性的高声合唱。4个阶段鸣声都是以基本音的主频率(PF)为主音的单音调声,前3个阶段都带数个近似fn=nf0(f0=FP)关系的低幅值谐频成分。第4个阶段带数个近似fn=nf0(f0=FP)关系的高幅值谐频成分;品质因数(Q3dB)多半为4～6,声脉冲重复频率(RFP)一般为150～180Hz,而第2阶段声的RFP一般为180～260Hz。雄性鸣声的每个单次叫声中含有的音节数较少,一般不超过4个;而雌性鸣声比较复杂。每个单次叫声中含有的音节数较多,一般都在7～8个以上;但雌雄鸣声的每个音节都是由3个声脉冲组成。雄鹤鸣唱声频率变化范围较小,而雌鹤鸣唱声频率变化形式是由低到高达到高峰后又开始下降。4个阶段的鸣声都具有较好共鸣。只有第2阶段发声运动较快。而且发现雄鹤鸣唱单次鸣叫声的音节数“增多”。各阶段鸣声特性均存在差异,不同配偶间均存在显著差异,研究结果表明丹顶鹤雌雄都具有不同的鸣声,且其性活动过程中不同的鸣声行为具有较高的个体识别信号潜能。另外,求偶鸣叫声和求偶应答与对鸣声在性活动鸣声中起着决定性的作用。     

Song convergence in multiple urban populations of silvereyes (Zosterops lateralis)

Recent studies have revealed differences between urban and rural vocalizations of numerous bird species. These differences include frequency shifts, amplitude shifts, altered song speed, and selective meme use. If particular memes sung by urban populations are adapted to the urban soundscape, "urban-typical" calls, memes, or repertoires should be consistently used in multiple urban populations of the same species, regardless of geographic location. We tested whether songs or contact calls of silvereyes (Zosterops lateralis) might be subject to such convergent cultural evolution by comparing syllable repertoires of geographically dispersed urban and rural population pairs throughout southeastern Australia. Despite frequency and tempo differences between urban and rural calls, call repertoires were similar between habitat types. However, certain song syllables were used more frequently by birds from urban than rural populations. Partial redundancy analysis revealed that both geographic location and habitat characteristics were important predictors of syllable repertoire composition. These findings suggest convergent cultural evolution: urban populations modify both song and call syllables from their local repertoire in response to noise.     

Song characterization in the spectacled warbler (Sylvia conspicillata): a circum-Mediterranean species with a complex song structure

The spectacled warbler (Sylvia conspicillata) is a small passerine with a patchy distribution throughout the circum-Mediterranean region, including the North Atlantic archipelagos of Madeira, Canary Islands and Cape Verde. Here we characterize the species song structure on the island of Fuerteventura, quantifying repertoire size, inter- and intra-individual spectrographic variation, to determine whether acoustic variation occurred within an island population. Male song display was organized in song bouts of a variable number of song phrases, which in turn were made up of 4–69 syllables. We classified syllable types to derive a measure of repertoire size (number of different syllables) per song bout, and then used rarefaction methods to calculate the estimated repertoire size for our population of males. Three categories of song bout length were considered in analyses: short song bouts of 10 phrases, average bouts of 19 phrases and long bouts of ≥ 29 phrases. The observed and estimated repertoire size per male (between 43 and 126 syllables per male) increased with song bout duration, although the relationship was not significant for the estimated values. To test whether songs could be individually specific, we measured 11 spectrotemporal parameters of the song. A discriminant analysis using these variables performed poorly in classifying songs to the individuals that uttered them, but we found less variation in the individual than in the population for three out of the 11 variables. These individually specific variables, involving the first or the most common syllable of the song, the trill, were the duration of the first syllable of the phrase, the duration and the dominant frequency of the trill syllable. Our study emphasizes the complexity of spectacled warbler songs, in which males continuously add novel syllables over the entire song bout. This complexity appears to be determined by individual innovation capabilities rather than by the behaviour of copying neighbour repertoires, since songs of close birds were not more similar than songs from far-away territories.     

Song Learning in the Anna Hummingbird (Calypte anna)

Songs of wild male Anna hummingbirds (Calypte anna) consist of syllables grouped into phrases. Nearest neighbors tend to share similar syllable types, rhythms and syntax. Songs from different localities contain different syllable types, syntax and repetition indices. A male raised by hand in isolation produced a song consisting of highly variable syllable types of a wide frequency range. The song was simple in structure, and syllables were not grouped into phrases. Three males raised by hand as a group sang songs containing two stereotyped syllable types sung in alternating sequence and without phrase structure. These three males shared syllable types and syntax. The data from our study indicate that despite its relatively simple syrinx the Anna hummingbird learns syllable types, frequency, rhythm and syntax (as do oscines with their more complex syringes) during the song development process.     

Species Recognition by Song in the Veery (Catharus fuscescens: Aves)

Territorial male veeries (Catharus fuscescens) were presented with three series of reorganised songs to determine the functional properties of song structure. Songs consist of three parts: a low frequency initial phrase, a higher frequency middle phrase, and again a lower frequency end phrase. The latter two consist of vibrato syllables. Three series of experiments were performed, using various combinations of song syllables. In Series I, songs consisted of repetitions of a single syllable, one from each part of the song. Veeries responded to syllables from the middle and end phrases as to normal songs, both in localisation and in vocal responses. However, they showed little localisation and vocalisation responses to the introductory syllables. In Series II and III, veeries responded significantly more to songs in which syllables from the middle and end phrases were presented in proper sequence, rather than not. The minimum requirements for intraspecific recognition were determined in relation to the number and order of syllables in the song.     

Mechanisms of song differentiation in introduced populations of Chaffinches Fringilla coelebs in New Zealand

Chaffinches Fringilla coelebs were introduced to New Zealand from Great Britain over 100 years ago, and since then their songs have diverged from British ones in both syllable structure and basic organization of syllable sequences. The New Zealand populations seem to be unique in that their songs have undergone differentiation of trill segments by progressive elaboration of syllable morphology and hp ascending and descending changes of pitch. Published sonagrams of British song types have significantly more trill phrases and significantly fewer syllables in the end phrase than do Yew Zealand ones. Many New Zealand song types have much elaborated end phrases and concomitantly simpler trill segments, with songs quite commonly having only one trill phrase. This reversal of complexity between the trill and end phrase in New Zealand seems to have been derived by progressive reduction of the ultimate trill phrase to one syllable, and by recombination of end phrase syllables from different song types into one compound end phrase. The significance of the increased complexity in the end phrases of many song types may relate to the sound transmission properties of dense pine forests in New Zealand, in which Chaffinches are ubiquitous. Elaborate end phrases degrade much less from reverberation in pine forests because individual syllables have more dispersed temporal patterning.
Recombination of syllables to form new song types is a major mechanism of song differentiation in New Zealand. Although whole song copying is the predominant mode of replication, very few song types in a locality sample are composed of a unique set of syllables. Rather, song types in an area are interconnected by different combinations of shared syllables, suggesting that the incorporation of some local syllables in a bird's repertoire is sufficient to signal its status as a member of a neighbourhood and also allows the evolution of broadcast complexity.     

Advertising vocalization of the clamorous reed warbler (<Emphasis Type="Italic">Acrocephalus stentoreus</Emphasis>, Sylviidae)

The advertising vocalization of the clamorous reed warbler, one of the least studied representatives of the genus in the Palearctic, has been analyzed. In this species, advertising vocalization consists of compact acoustic constructs (songs) separated by pauses. The duration of songs (median 3.6 s) and pauses (median 2.9 s) varies only slightly. Each song consists of three to four different or identical syllables. Syllables (stereotyped acoustic constructs) consist of two to four notes. Each male has from 5 to 25 syllables in his repertoire. A sharp contrast between low-frequency and high-frequency notes and strict sequence of these notes in syllables (low-frequency notes come first, then follow high-frequency notes) are characteristic of this song. All types of syllables in the song of a given male can be divided into two groups: initiator syllables and other syllables. Initiator syllables most often occur at the beginning, while others occur in the middle or at the end of the song. Stable links between syllables have been revealed: the majority of them occur in the song together with certain syllables (one or two) of other types. The whole range of songs of each individual can be divided into several classes. A certain type of initiator syllable and a certain set of subsequent syllables are characteristic of each class. However, the variability of songs within each class is quite high. Modes of immediate and eventual variety alternate in the sequence of songs from different classes. Thus, 47.4% of songs are followed by a song from the same class (eventual variety), while 52.6% of songs are followed by a song from a different class (immediate variety). The advertising vocalization of the clamorous reed warbler is compared with that of other representatives of the genus Acrocephalus.     

10种鸣禽控制鸣啭神经核团大小与鸣唱复杂性的相关性

为进一步揭示鸣禽鸣唱行为的神经生物学机制 ,本实验先对 8个科 10种鸣禽的鸣唱行为进行了观察和录音 ,并借助声谱软件分析了每种鸣禽的鸣唱复杂性。鸣唱语句复杂性的评价指标包括 :短语总数、每个短语中所含的平均音节数及音节种类数、所有短语的总音节数及音节种类数、最长短语的音节数及音节种类数。然后 ,测定了前脑三个鸣啭学习控制核团和一个与发声无关的视觉参考核团体积 ,分析了鸣唱语句复杂性和这些核团大小间的相关关系。结果表明 :1)HVC和HVC/Rt与 7种鸣唱语句复杂性指标无关 ;RA和RA/Rt与总音节种类数相关 ;AreaX与总音节数及音节种类数相关 ;2 )HVC/RA和HVC/X比值与多个鸣唱语句复杂性指标相关。结果提示 :鸣禽鸣唱复杂性不同特征可能受不同神经控制     

Bioacoustical structure and possible functional significance of wing display vocalisation during courtship of the African Orange-bellied Parrot Poicephalus rufiventris

Venuto, V., Bottoni, L. & Massa, R. 2000. Bioacoustical structure and possible functional significance of wing display vocalisation during courtship of the African Orange-bellied Parrot Poicephalus rufiventris. Ostrich 71 (1 & 2): 131–135.

We report here on a bioacoustical and contextual analysis of Orange-bellied Parrot vocalisations recorded in Tarangire National Park, Tanzania. We analysed a total of 154 vocalizations of which 110 were simple calls pertaining to five different types (A and B contact calls, whistle, flight call, and trill call) while 44 were complex calls (wing stretching and wing display songs) totalling three minutes of record. All simple calls examined appeared to be shorter than one second and sexually dimorphic. In addition, the longest and most structured vocalisations lasting 1–5 sec, wing stretching and wing display courtship song, appeared to be complex bioacoustic products in which a number of shorter units used by birds in completely different contexts may be recognised. It is argued that this assemblage of simple calls into a courtship song may have been important in the evolution of parrot mimicry for the search of social contact.     

Individual Signature in Canary Songs: Contribution of Multiple Levels of Song Structure

Through variations in features, both within and between individuals, songs of male passerines provide information on the identity of the singer. In domesticated canaries (Serinus canaria), these variations remain, for a large part, to be investigated. This led us to question whether individual identity might be coded at one or more hierarchical levels of song organization, i.e. in acoustic parameters, in the syllable repertoire and in the delivery order of syllables. A song as a whole had numerous individual distinctive acoustic features. However, the structure of its individual signature appeared to be complex. A repertoire combined syllables never sung by other individuals with those shared by other birds. But, most of the individual‐specific syllables that accounted for 16% of a repertoire did not recur frequently. Variation in sequences of multiple syllable types appeared to reflect the individual identity of a male canary. Nearly all sequences larger than three syllable types were specific to the individual that produced them. Some of these occurred recurrently in songs and differed in their acoustic structure between individuals. Focusing upon recurrent sequences might allow vocal recognition of an individual without requiring the knowledge of its full repertoire. However, acoustic parameters and repertoire composition might also serve as additional cues to limit confusion between individuals.