Context-dependent functions of avian duets revealed by microphone-array recordings and multispeaker playback

In many tropical animals, male and female breeding partners combine their songs to produce vocal duets [1-5]. Duets are often so highly coordinated that human listeners mistake them for the songs of a single animal [6]. Behavioral ecologists rank duets among the most complex vocal performances in the animal kingdom [7, 8]. Despite much research, the evolutionary significance of duets remains elusive [9], in part because many duetting animals live in tropical habitats where dense vegetation makes behavioral observation difficult or impossible. Here, we evaluate the duetting behavior of rufous-and-white wrens (Thryothorus rufalbus) in the humid forests of Costa Rica. We employ two innovative technical approaches to study duetting behavior: an eight-microphone acoustic location system capable of triangulating animals' positions on the basis of recordings of their vocalizations [10] and dual-speaker playback capable of simulating duets in a spatially realistic manner [11]. Our analyses provide the first detailed spatial information on duetting in both a natural context and during confrontations with rivals. We demonstrate that birds perform duets across highly variable distances, that birds approach their partner after performing duets, and that duets of rivals induce aggressive, sex-specific responses. We conclude that duets serve distinct functions in aggressive and nonaggressive contexts.     

Male and female rufous‐and‐white wrens do not match song types with same‐sex rivals during simulated territorial intrusions

In birds with song repertoires, song‐type matching occurs when an individual responds to another individual's song by producing the same song type. Song‐type matching has been described in multiple bird species and a growing body of evidence suggests that song‐type matching may serve as a conventional signal of aggression, particularly in male birds in the temperate zone. Few studies have investigated song‐type matching in tropical birds or female birds, in spite of the fact that avian biodiversity is highest in the tropics, that female song is widespread in the tropics, and that female song is the ancestral state among songbirds. In this study of rufous‐and‐white wrens Thryophilus rufalbus, a resident neotropical songbird where both sexes sing, we presented territorial males and females with playback that simulated a territorial rival producing shared and unshared songs. In response, both males and females sang matched song types at levels statistically equal to levels expected by chance. Furthermore, males and females exhibited similar levels of aggression and similar vocal behaviours in response to playback of both shared and unshared songs. These results indicate that rufous‐and‐white wrens do not use song‐type matching in territorial conflicts as a conventional signal of aggression. We discuss alternative hypotheses for the function of song‐type sharing in tropical birds. In particular, we point out that shared songs may play an important role in intra‐pair communication, especially for birds where males and females combine their songs in vocal duets, and this may supersede the function of song‐type matching in some tropical birds.     

Riverside wren pairs jointly defend their territories against simulated intruders

Duets are a jointly produced signal where two or more individuals coordinate their vocalizations by overlapping or alternating their songs. Duets are used in a wide array of contexts within partnerships, ranging from territory defence to pair bond maintenance. It has been proposed that pairs that coordinate their songs might also better coordinate other activities, including nest building, parental care and defending shared resources. Here, we tested in the riverside wren (Cantorchilus semibadius), a neotropical duetting species that produces highly coordinated duet songs, whether males and females show similar responses to playback. During territorial disputes in songbird species, individuals tend to direct their attention towards same‐sex territorial intruders, but this bias might be less pronounced in duetting species. We performed a dual‐speaker playback experiment to examine how mated individuals respond to speakers broadcasting female‐versus‐male duet contributions. We found that riverside wrens have high levels of converging behaviour by duetting and remaining in close proximity to one another when responding to simulated paired intruders. Males and females spent more than 80% of their time less than 1 m apart while defending their territory. Both individuals in a pair aggressively engaged with both male and female simulated trespassers by approaching equally close and spending equal time near the two speakers. These results suggest that both sexes perceive a paired territorial intrusion as a similar threat and that both partners are highly invested in defending the shared resources. This study is one of the few to demonstrate equal attention and aggression from mated pairs towards simulated same‐sex and opposite‐sex intruders. We suggest that pairs responding together, in close proximity to one another, might be favourable in duetting species when defending the territory because maintaining a close distance between partners facilitates the extreme coordination of their joint territorial signals.     

Breeding season length predicts duet coordination and consistency in Neotropical wrens (Troglodytidae)

Many animals produce coordinated signals, but few are more striking than the elaborate male–female vocal duets produced by some tropical songbirds. Yet, little is known about the factors driving the extreme levels of vocal coordination between mated pairs in these taxa. We examined evolutionary patterns of duet coordination and their potential evolutionary drivers in Neotropical wrens (Troglodytidae), a songbird family well known for highly coordinated duets. Across 23 wren species, we show that the degree of coordination and precision with which pairs combine their songs into duets varies by species. This includes some species that alternate their song phrases with exceptional coordination to produce rapidly alternating duets that are highly consistent across renditions. These highly coordinated, consistent duets evolved independently in multiple wren species. Duet coordination and consistency are greatest in species with especially long breeding seasons, but neither duet coordination nor consistency are correlated with clutch size, conspecific abundance or vegetation density. These results suggest that tightly coordinated duets play an important role in mediating breeding behaviour, possibly by signalling commitment or coalition of the pair to mates and other conspecifics.     

Function of pair duets in the eastern whipbird: cooperative defense or sexual conflict?

Paired male and female eastern whipbirds, Psophodes olivaceus,sing precisely coordinated, male-led duets. Four broad explanationshave been proposed for the function of duets: 1) cooperativeresource defense, 2) prevention of partner usurpation, 3) defenseof an individual's own position within the partnership, or 4)mate identification and localization. These 4 hypotheses makedifferent predictions about how male and female residents shouldrespond to simulated intrusion by other pairs or individuals.We compared the behavioral and vocal responses of 20 pairs ofeastern whipbirds to simulated territorial intrusions by: 1)a solitary singing male, 2) a solitary singing female, and 3)a duetting pair. Males and females did not coordinate theirapproach to the playback speaker and showed sex-specific responsesto playback. Males did not respond differently to duetting versussolo singing intruders. By contrast, females approached moreclosely during solo female song than during solo male song orduet playback. Females also produced specific vocalizationsonly in response to duet and solo female playback. Both sexesapproached the speaker more closely and quickly during playbackof same-sex solo songs than opposite-sex solo songs. Finally,females answered more of their mate's songs during simulatedintrusion by a lone female than during simulated intrusion bya lone male. Our results suggest that duets in this speciesprimarily function to allow females to defend their exclusiveposition in a partnership. Mate defense by females is unusualin birds but may be promoted in eastern whipbirds by a female-biasedsex ratio and the need for exclusive access to male care. Thus,duets result from independent and conflicting strategies ofmate and territory defense in males and females.     

Hormone accumulation in song regions of the canary brain.

[3H]Testosterone (T) was injected into male and female canaries (Serinus canarius), a species in which females are able to sing but do so more rarely and more simply than males. Autoradiographic analysis revealed that males and females have equal proportions of cells labeled by T or its metabolites in four song control nuclei: the high vocal center (HVC), the lateral portion of the magnocellular nucleus of the anterior neostriatum (IMAN), the robust nucleus of the archistriatum (RA), and the hypoglossal motor nucleus (nXII). Labeled cells were also observed in both sexes in the medial portion of MAN, and in hypothalamic nuclei. In both sexes, labeled cells in HVC, IMAN, RA, and nXII were larger than unlabeled cells. There were no sex differences in the size of either labeled or unlabeled cells in these song nuclei. The density of labeled cells per unit volume of tissue did not differ between the sexes in any song nucleus analyzed. However, because males have larger HVC and RA than females, males have a greater total number of hormone-sensitive cells in these regions than do females. Comparison of these results with measures of hormone accumulation in zebra finches and tropical duetting wrens suggests that the complexity of song that a bird can produce is correlated with the total number of hormone-sensitive cells in song nuclei.     

Hormone accumulation in song regions of the canary brain

[³H]Testosterone (T) was injected into male and female canaries (Serinus canarius), a species in which females are able to sing but do so more rarely and more simply than males. Autoradiographic analysis revealed that males and females have equal proportions of cells labeled by T or its metabolites in four song control nuclei: the high vocal center (HVC), the lateral portion of the magnocellular nucleus of the anterior neostriatum (IMAN), the robust nucleus of the archistriatum (RA), and the hypoglossal motor nucleus (nXII). Labeled cells were also observed in both sexes in the medial portion of MAN, and in hypothalamic nuclei. In both sexes, labeled cells in HVC, IMAN, RA, and nXII were larger than unlabeled cells. There were no sex differences in the size of either labeled or unlabeled cells in these song nuclei. The density of labeled cells per unit volume of tissue did not differ between the sexes in any song nucleus analyzed. However, because males have larger HVC and RA than females, males have a greater total number of hormone-sensitive cells in these regions than do females. Comparison of these results with measures of hormone accumulation in zebra finches and tropical duetting wrens suggests that the complexity of song that a bird can produce is correlated with the total number of hormone-sensitive cells in song nuclei. © 1992 John Wiley & Sons, Inc.     

Acoustic Monitoring Reveals Congruent Patterns of Territorial Singing Behaviour in Male and Female Tropical Wrens

Many animals defend territories against conspecific individuals using acoustic signals. In birds, male vocalizations are known to play a critical role in territory defence. Territorial acoustic signals in females have been poorly studied, perhaps because female song is uncommon in north‐temperate ecosystems. In this study, we compare male vs. female territorial singing behaviour in Neotropical rufous‐and‐white wrens Thryothorus rufalbus, a species where both sexes produce solo songs and often coordinate their songs in vocal duets. We recorded free‐living birds in Costa Rica using an eight‐microphone Acoustic Location System capable of passively triangulating the position of animals based on their vocalizations. We recorded 17 pairs of birds for 2–4 consecutive mornings and calculated the territory of each individual as a 95% fixed kernel estimate around their song posts. We compared territories calculated around male vs. female song posts, including separate analyses of solo vs. duet song posts. These spatial analyses of singing behaviour reveal that males and females use similarly sized territories with more than 60% overlap between breeding partners. Territories calculated based on solo vs. duet song posts were of similar size and similar degrees of overlap. Solos and duets were performed at similar distances from the nest for both sexes. Overall, male and female rufous‐and‐white wrens exhibit very similar spatial territorial singing behaviour, demonstrating congruent patterns of male and female territoriality.     

Anthropogenic noise affects female,not male house wren response to change in signaling network

Vocal signals mediate social relationships, and among networks of territorial animals, information is often shared via broadcast vocalizations. Anthropogenic noise may disrupt communication among individuals within networks, as animals change the way they vocalize in noise. Furthermore, constraints on signal transmission, including frequency masking and distance, may affect information exchange following a disruption in social networks. We tested the hypothesis that signaling interactions within networks of breeding male and female house wrens (Troglodytes aedon) depend on distance, ambient noise, and receiver nesting stage. We used playback experiments to simulate territorial intrusions with and without noise playbacks on the territories of established males and simultaneously recorded the vocal responses of neighbors. To examine whether intrusions impacted interactions between males, we used randomization tests to determine whether treatment, distance, noise, or nesting stage affected vocal coordination between challenged and neighboring males. We also quantified singing patterns to explore whether intrusions on territories of challenged males affected singing by males and females on neighboring territories. Males sang at the lowest rates and were less likely to overlap songs with the challenged male when their partner was laying, compared to males during early and late nesting stages. Noise and distance did not affect vocal coordination or male singing rates. Fewer females sang during the intruder-only treatment compared to the control and intrusions with noise. Added noise in the territories of challenged males may have masked signals, and as a result, females only changed their behavior during the intruder-only treatment. Our results suggest that the fertility of breeding partners may be more important to males than short-term changes on rival male territories. Elevated noise did little to alter male responses to threats within networks. Females appeared to eavesdrop on interactions involving neighboring males, but noise may have prevented detection of their interactions.     

Plain wrens Cantorchilus modestus zeledoni adjust their singing tempo based on self and partner's cues to perform precisely coordinated duets

Precise coordination appears to be an important signal in several duetting species. However, little attention has been directed to the proximate mechanisms that might drive this behavior. To perform highly coordinated duets, individuals can either have an intrinsic fixed singing tempo or modify their singing tempo based on cues in their own and their partner's songs. In this study I determined whether autogenous and/or heterogenous factors are associated with duet coordination in plain wrens Cantorchilus modestus zeledoni by analyzing recorded duets from 8 territorial pairs in the field. Previous research has determined that plain wrens perform highly coordinated antiphonal duets with almost no overlap. I found that to achieve such precise coordination individuals perform phrase‐by‐phrase modifications to the duration between two consecutive phrases (inter‐phrase interval) based on a) whether their song is answered, b) the phrase type used in the duet and c) the position of the inter‐phrase interval within the duet. Moreover, there are several sex differences in how individuals use these cues to modify their inter‐phrase intervals. Females produce longer inter‐phrase intervals when their mates do not answer a phrase, whereas males produce shorter inter‐phrase intervals when their mates do not answer. Females modify their inter‐phrase intervals based only on the phrase type their mates sing, whereas males modify their inter‐phrase intervals based on both the phrase that they sing and the phrase the females use to answer. Both males and females produce longer inter‐phrase intervals for longer phrase types sung by their partners, but males do so with more precision than do females. Finally both sexes increase their inter‐phrase intervals as the duet progresses. That precise coordination is achieved by a complex and dynamic process supports the idea that this behavior could signal pair bond strength.     

Sexually Dimorphic Intrasexual Duetting in an Otherwise Monomorphic Green Lacewing (Neuroptera, Chrysopidae, Chrysoperla plorabunda): Sexual Selection or Sex Recognition?

Songs produced during heterosexual duets in a green lacewing, C. plorabunda, are sexually monomorphic. However, individuals of either sex will also engage in intrasexual duets, which can exhibit sexual dimorphism. We confined males and females together in various combinations in a small arena to study the phenotypes, behavioral interactions, and functional roles of duetting in this species. The goal was to test whether sexual selection or sex recognition provided the better explanation of song sexual dimorphism. We determined that the monomorphic form of the intrasexual duet was long and stable, and could take place either between males or between females. Such “standard” intrasexual duetting songs were acoustically indistinguishable from heterosexual songs. However, males could also engage other males in special “fast duets” that sped up and terminated abruptly. Equivalent fast duets were not part of the female repertory. Fast duetting songs between males differed significantly from other types of male or female duetting songs in every measurable characteristic, but their role in the mating system was ambiguous. Contrary to one prediction of the sexual selection hypothesis, fast duetting between males occurred less often in situations where it might be the most useful to males in securing mates, i.e., during male-male-female interactions (trios). In addition, fast songs that started, ended, both started and ended, or neither started nor ended duets were acoustically indistinguishable, making it unlikely that females were choosing males based on such variation. However, songs that “both started and ended” fast duets were associated with a significant mating advantage, indicating a possible role for fast duetting in male-male sexual competition. Because the alternative hypothesis of sex recognition was also supported by some of our results, we conclude that aggressive qualities of male-male fast duets probably mediate intrasexual selection, while their increasing tempo serves as an adaptive response to promote rapid sex recognition by truncating unproductive and potentially dangerous intrasexual duetting.     

Differentiating the evolution of female song and male–female duets in the New World blackbirds: Can tropical natural history traits explain duet evolution?

Female bird song and combined vocal duets of mated pairs are both frequently associated with tropical, monogamous, sedentary natural histories. Little is known, however, about what selects for duetting behavior versus female song. Female song likely preceded duet evolution and could drive apparent relationships between duets and these natural histories. We compared the evolution of female song and male–female duets in the New World blackbirds (Icteridae) by investigating patterns of gains and losses of both traits and their relationships with breeding latitude, mating system, nesting pattern, and migratory behavior. We found that duets evolved only in lineages in which female song was likely ancestral. Both female song and duets were correlated with tropical breeding, social monogamy, territorial nesting, and sedentary behavior when all taxa were included; however, correlations between duets and these natural history traits disappeared when comparisons were limited to taxa with female song. Also, likelihood values supported stronger relationships between the natural history traits and female song than between these traits and duets. Our results suggest that the natural histories thought to favor the evolution of duetting may in fact be associated with female song and that additional selection pressures are responsible for the evolution of duets.     

Female House Wrens may Use a Low‐Amplitude Call as an Aggressive Signal

The majority of work on aggressive signaling has focused on male–male contests. Although females in many species compete over important resources, female signals are understudied. In house wrens (Troglodytes aedon), females compete with other females to protect nesting cavities and eggs. We suggest that a high‐pitched, low‐amplitude call, hereafter abbreviated as ‘HI’, may be an aggressive signal used by female house wrens. Using playback of simulated female intruders, we found that females used HI calls significantly more often during playback of female house wrens compared to playback of heterospecifics. Additionally, HI calls were given significantly more often in the minute preceding physical attack. In comparison, song rates did not predict future attacks. Finally, we present pilot data that suggest listening females may respond more aggressively to female playback containing HI calls compared to playback containing only songs. This suggests the reliability of HI calls could be maintained by a receiver retaliation rule. HI calls bear a striking resemblance to the low‐amplitude songs of many male songbirds, in terms of both acoustic structure and social context. This is one of the few reports of a putative low‐amplitude aggressive signal in a female songbird. However, the nature of female competition may make low‐amplitude signaling an underappreciated signaling form in female animals.     

The Responses of Duetting Antbirds to Stereo Duet Playback Provide Support for the Joint Territory Defence Hypothesis

In multiple animal taxa, including many birds and primates, members of mated pairs produce coordinated acoustic displays known as duets. By observing the behaviour of territorial animals as they respond to playback‐simulated duets of rivals, we can gain insight into the behavioural significance of vocal duets. Playback experiments, however, have been conducted across a very narrow range of duetting animals. Furthermore, many studies have been conducted with single‐speaker playback, whereas stereo‐speaker playback offers more spatially realistic simulation of duets. Moreover, by evaluating the reactions of animals to separate loudspeakers broadcasting male and female duet contributions, we can study the interactions of both males and females with same‐sex vs. opposite‐sex rivals. We used a paired experimental design to broadcast duet stimuli through a single‐speaker and a stereo‐speaker apparatus to 30 pairs of duetting barred antshrikes Thamnophilus doliatus in Costa Rica. Our goals were (1) to evaluate whether territorial antbirds respond more aggressively to male vs. female duet components and (2) to assess aggressive responses of antbirds towards single‐speaker vs. stereo‐speaker playback. Neither males nor females differentiated between the loudspeaker simulating the male vs. female duet contribution during stereo‐speaker playback trials. Barred antshrikes displayed significantly stronger responses to stereo‐speaker playback compared with single‐speaker playback. Males displayed stronger playback responses than females with closer, quicker and more vocal responses. These results provide evidence for a joint resource defence function of antbird duets given that pairs responded together with equivalent intensity to male and female simulated intruders. This is the first study to show that although duetting is an aggressive territorial signal, birds do not necessarily respond to sex‐specific components of duets. Our results support the idea that spatially realistic stereo presentation of duet stimuli is critical for experimental duet research.     

Physically Challenging Song Traits,Male Quality,and Reproductive Success in House Wrens

Physically challenging signals are likely to honestly indicate signaler quality. In trilled bird song two physically challenging parameters are vocal deviation (the speed of sound frequency modulation) and trill consistency (how precisely syllables are repeated). As predicted, in several species, they correlate with male quality, are preferred by females, and/or function in male-male signaling. Species may experience different selective pressures on their songs, however; for instance, there may be opposing selection between song complexity and song performance difficulty, such that in species where song complexity is strongly selected, there may not be strong selection on performance-based traits. I tested whether vocal deviation and trill consistency are signals of male quality in house wrens (Troglodytes aedon), a species with complex song structure. Males’ singing ability did not correlate with male quality, except that older males sang with higher trill consistency, and males with more consistent trills responded more aggressively to playback (although a previous study found no effect of stimulus trill consistency on males’ responses to playback). Males singing more challenging songs did not gain in polygyny, extra-pair paternity, or annual reproductive success. Moreover, none of the standard male quality measures I investigated correlated with mating or reproductive success. I conclude that vocal deviation and trill consistency do not signal male quality in this species.     

Male singing behaviour and female presence in the territory in whitethroats Sylvia communis

Unmated male songbirds usually change their vocal behaviour when females enter their territories. Either the males court the females by changing the rate or pattern with which their normal long-ranging full songs are emitted, or they shift to special displays and long- or short-ranging vocalisations. In this study we quantified how female presence and behaviour affect the singing behaviour of male whitethroats. In the presence of a female the male frequently performed song flights, maybe to locate the female before it was courted, with sequences of diving-song displays. The courtship was interrupted by periods of perch songs. Female dscharp calls and short movements made the males initiate or resume courtship, whereas short horizontal jumps made the males intensify their courtship. Overall, the males changed their dual-function song activity in females' presence by emitting fewer perch songs and more flight songs. The quiet diving songs were only emitted during direct courtship of a female. The song types emitted immediately before, during, and after courtship are all highly variable, thus allowing for a quick assessment of the male's song repertoire. The courtship was also interrupted by periods of male woid calling, a call that is known to have a deterring effect on rival males. Bouts of woid calls were usually followed by song flights, again probably to locate the female that might have moved out of sight, or maybe to locate potential rival intruders. The latter was supported by an increased intrusion rate during female presence. Communicated by P. McGregor     

Duets defend mates in a suboscine passerine, the warbling antbird (Hypocnemis cantator)

Despite the widespread occurrence of avian duets, their adaptivesignificance is poorly understood. It is generally assumed thatthey function in the joint defense of territories, but no studyhas successfully distinguished between this hypothesis, whichinvokes cooperation between the sexes, and mate defense, whichinvokes conflict. Further, most duetting studies have focusedon oscine passerines, the songs of which are learnt and relativelycomplex. We therefore tested the mate defense hypothesis inthe warbling antbird (Hypocnemis cantator), an Amazonian suboscinethat produces simple sex-specific songs and duets. Acousticanalysis of songs showed (1) that solos were often producedby males, but rarely by females; (2) that duets consisted ofa male song and a female reply; and (3) that, although femalesong was invariable, a swift reply resulted in males producingshorter songs with fewer notes. These results suggest that duetting,and the structure of duets, is chiefly a product of female behavior,a scenario more suggestive of conflict than cooperation. Toinvestigate this idea we carried out playback experiments, whichshowed that (4) the response to solo songs was sex specific(i.e., male solos elicited a strong response from paired males,and female solos elicited a strong response from paired females);(5) males and females responded to same-sex solos more stronglythan to duets; and that (6) females answered their partner'ssongs more often, and more rapidly, in response to female solosthan male solos or duets. Although it can be argued that sex-specificresponses to solo song result from intrasexual territorial defense,we cannot use the same reasoning to explain (5) or (6). Instead,these observations imply that solitary intruders were more threateningthan paired intruders, and thus that the perceived threat wasto the partnership rather than the territory. Taken together,findings (1) to (6) suggest that females adjust their vocalbehavior in relation to the level of perceived threat to thepartnership, and duet with males in order to repel same-sexrivals. This study therefore strengthens support for the matedefense hypothesis, and suggests that conflict—ratherthan cooperation—may have played a major role in the evolutionand maintenance of avian duets.     

The function of duetting in magpie-larks: conflict, cooperation, or commitment?

Avian duetting is a poorly understood phenomenon despite many hypotheses as to its function. Contrary to the recent view that duetting functions for mate guarding and is a result of conflict between the sexes, Australian magpie-larks, Grallina cyanoleuca, do not use duetting as a paternity guard. I used a playback experiment to investigate the role of antiphonal duetting in territorial defence and pair bond maintenance, two traditional hypotheses about the function of duetting. The experiment showed that, like many nonduetting species, magpie-larks recognize neighbours on the basis of song. It also provided evidence of functional differences between duetting and solo singing which indicate that temporal coordination of song between partners is used to maintain the territory and pair bond. Duets were more threatening territorial signals than solo songs: males initiated more vocalizations in response to playback of duets than playback of solos. Simulated intrusion also caused males and females to approach the speaker together and coordinate more of their vocalizations to form duets. Females did not engage in sex-specific territorial defence, responding equally strongly to playback of male and female song, and maintaining both territory and pair bond by attempting to exclude intruders of either sex. Males initiated more vocalizations in response to playback of male than female song, and their likelihood of duetting appeared to be related more to threats to the pair bond, in particular desertion by their partner. Copyright 2000 The Association for the Study of Animal Behaviour.     

Kin and social relationships in splendid fairy-wrens: recognition by song in a cooperative bird

Cooperatively breeding splendid fairy-wren,s Malurus splendens, were tested with songs recorded from individuals of known social and kin relationships. Both males and females sang and responded aggressively to songs of wrens from other social groups. Wrens responded similarly to songs of non-kin and songs of close kin in the absence of social familiarity with them. Breeding females responded more intensely to songs of helpers from other groups than to songs of helpers in their own group. The songs of male and female helpers elicited similar responses by breeding females. The response to other females may be associated with competition for breeding status and helpers. Two females sometimes breed in social groups with two older females; no interference was observed. Song may allow individuals to recognize other wrens in their group and to direct their behaviour towards non-dispersing relatives by location and social familiarity rather than by kinship identifiers.     

Female marsh wrens do not provide evidence of anatomical specializations of song nuclei for perception of male song

In songbirds the forebrain nuclei HVC (high vocal center) and RA (robust nucleus of the archistriatum) are larger in individuals or species that produce larger song repertoires, but the extent to which the size of these nuclei reflects a need for either producing or perceiving large repertoires is unknown. We, therefore, tested the hypothesis that species differences in the size of song nuclei reflect a commitment of “brain space” to the perceptual processing of conspecific song. The two species of marsh wren (Cistothorus palustris western and eastern) provide a good test case. Western males produce larger song repertoires, and have larger HVC and RA than do eastern males. Female marsh wrens do not sing, and if they use their song nuclei to assess conspecific male song repertoires, then we predicted that measurable cellular and nuclear parameters of HVC and RA would be greater in western than eastern female wrens. For males we confirmed that the volumes of HVC and RA, and cellular parameters of HVC, are greater in western than in eastern birds. These nuclei were also considerably larger in males than in conspecific females. Western and eastern female wrens, however, did not differ in any measured parameters of HVC or RA. Females of these wren species thus do not provide any direct evidence of anatomical specializations of song nuclei for the perceptual processing of conspecific male song. 1994 John Wiley & Sons, Inc.