Functions of duetting in the tropical boubou, Laniarius aethiopicus: territorial defence and mutual mate guarding

Duetting, found in many animal taxa, is still a poorly understood form of signalling behaviour despite numerous hypotheses to explain its function. One contentious issue is whether duetting is a cooperative endeavour or signals conflict between the sexes. We studied the function of duetting in the tropical boubou, using interactive playback experiments. We staged encounters by presenting paired birds with four variants of each of four duet types (neighbour and stranger solos and neighbour and stranger duets). Multiple lines of evidence suggest that both joint territorial defence and mutual mate guarding are important functions of duetting, and that both cooperation and conflict between males and females have shaped duetting behaviour. Of a repertoire of 12 duet types, eight were used for joint territorial defence. Two of these eight duet types were probably also used for mutual mate guarding, suggesting that individual duets can have multiple functions. We found an unusual response for duetting birds in that females often synchronized notes with male solo playback to form precise duets. In turn, males attempted to jam the song of rivals when females joined the song of male solo playback, providing further evidence for the importance of acoustic mate guarding. Song jamming by males has not previously been described for duetting species. Finally, we suggest that the repertoire of duet types is used to fine-tune territorial encounters in a network environment of multiple interactants.     

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.     

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.     

Antiphonal duetting in Steere’s liocichla (Liocichla steerii): male song individuality and correlation between habitat and duetting behavior

We studied duet song and vocal duetting behavior in an endemic Taiwanese passerine, Steeres liocichla (Liocichla steerii). We found that the leading male song in duets was highly individualistic. Also, we found duetting behavior varied significantly across different habitat types. Females were more likely to answer male songs in densely vegetated, steep forest habitat compared to open agricultural habitat. These findings provide quantitative evidence for vocal individuality for a duet song and provide tentative support for the idea that females are duetting to reveal their location to their mates.     

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.     

Description of the acoustical interaction and synchronization between duetters of the Large-footed Finch (Pezopetes capitalis)

Duets are highly coordinated acoustical displays produced by two individuals. Studying the structure of duet songs and its causes is essential to understand the ecological role and evolution of this form of communication. Our goals in this study were to describe the structure of the duet of the Large-footed Finch, the temporal synchronization of each individual, and to test the effect of provoked (playback) duets. We recorded birds at Cerro de la Muerte, Costa Rica and simulated territory intrusions using playback trials. The duet of this species consisted of overlapping notes between both members of a mated pair, which were emitted either randomly or periodically. Temporal synchronization was similar between both individuals in a mated pair. Both partners adjust the silent intervals between notes in response to the duration of its partner’s note. The high frequency of the second part of the duet of this species decreased with time and the second individual, in duetting this part, not only synchronized its notes temporally with the first individual, but also synchronized the high frequency. The high frequency of the first note the second individual sung was a bit lower than the previous note sung by the first individual. Finally, birds responding to provoked duets produced duets with higher frequency and higher rate of notes compared to unprovoked duets. Our results provide information on the temporal and frequency synchronization in duets of an endemic emberizid and provide new information about a less reported vocal behaviour in bird duets, the acoustic frequency coordination.     

Evidence of repertoire sharing and stability despite a high turnover rate in a duetting neotropical wren

In songbirds, the spatial pattern of song sharing among individuals is influenced by the song learning and dispersal strategies within each species. In birds where females and males sing and create joint acoustic displays (duets), the processes defining the patterns of song sharing become more complex as there might be different selection pressures shaping the behaviour of each sex. To provide further insight into the vocal development and the dispersal strategy of duetting tropical species, we investigated the patterns of individual and pair repertoire sharing, as well as the stability of these repertoires, in a colour-marked population of riverside wrens, Cantorchilus semibadius, located in the Osa Peninsula, Costa Rica. Using data collected over a five-year period, we found considerable variation in the sharing levels of phrase and duet type repertoires among neighbouring individuals coupled with a general decline of repertoire sharing as distance increased between birds’ territories. These results are consistent with a pattern predicted in age-restricted learners that establish preferentially near their tutors. Furthermore, we found no evidence of individuals changing their phrase type repertoires over time, including after remating events. Duet type repertoires were also stable when pairs remained together. However, we observed a surprisingly high turnover rate. When individuals remated, even though the majority of the previous duet type repertoire remained, several new duet types were included. Taken together, our findings suggest that riverside wrens might create their individual repertoires by copying their same-sex parent and neighbouring individuals before dispersal. Additionally, we speculate that even though birds were able to create new duet types after changing partners, a substantial portion of their duet type repertoire might also be copied from their parents and neighbouring pairs during the initial critical period of song learning.     

Duetting behavior in a Neotropical ovenbird: sexual and seasonal variation and adaptive signaling functions

Duetting is a collective behavior and might have multiple functions, including joint territory defense and mate guarding. An important step toward understanding the adaptive function of bird song is to determine if and how singing behavior varies seasonally. However, seasonal patterns for duetting species are different from the pattern described for species in which only the male sings, because song function may vary according to sex, singing role (initiator vs responder) and level of duet organization (individual vs pair). We investigated whether patterns of seasonal variation in duetting depends on these factors, which would suggest different interpretations of song function. We studied social pairs of a Neotropical bird species (rufous hornero Furnarius rufus) for seven consecutive months, recording vocal and territorial behaviors. Overall, partners coordinated 61% of their songs into duets and many song traits (song initiation rate, song output and duet rate) peaked in territorial contexts. Males engaged in territorial interactions with strangers more often, initiated more songs, and answered proportionately more of their partners’ songs than females. Male song initiation rate peaked during the pre‐ and post‐breeding stages, whereas females initiated more songs during the non‐breeding season. Both sexes answered partner songs faster and at higher rates during the pre‐breeding and female fertile stages. Partners duetted at a higher rate during the pre‐ and post‐breeding stages. Finally, song initiation rates and duet rate, but not song answering rates, correlated with frequency of territorial interactions with strangers. Although our findings indicate that song function may vary with sex, singing role and level of duet organization, our results suggest that in general duet functions to defend common territories and as a mutual mate guarding strategy in the rufous hornero.     

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.     

Context, Structural Variability and Distinctiveness of California Towhee (Pipilo crissalis) Vocal Duets

Avian vocal duets occur when paired birds produce temporally and structurally coordinated vocalizations. Duets are given by members of many species from taxonomically distinct lineages and show great variety in form that often reflects function. By describing the structure of vocal duets we can learn about the diversity of communication signals present in nature and also gain insight into the evolution and operation of those signals. This study quantified the usage patterns and acoustic structure of California towhee duet vocalizations, and tested the distinctiveness of duets among different pairs. California towhee duets consist of a 'squeal' vocalization that is highly unlike the species-typical call note or male advertizement song. California towhees duet an average of three times per hour during the breeding season, and all duets are accompanied by an approach response that brings duetting partners into close spatial proximity. Males and females produce duet contributions with the same syllabic structure. Individual birds produce highly variable squeal vocalizations that are distinctive enough to signal identity. California towhee duet characteristics indicate that the squeal vocalization has evolved separately from other vocal traits in this species and was promoted by natural selection as a duet-specific vocalization. Duet usage patterns and structure suggest that these communication signals function in a cooperative context.     

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.     

Acoustic mimicry and disruptive alternative calling tactics in an Australian bushcricket (Caedicia; Phaneropterinae; Tettigoniidae; Orthoptera): does mating influence male calling tactic?

Abstract.  Male calling and searching tactics are described for a duetting Australian bushcricket, Caedicia sp. 12 (Phaneropterinae; Tettigoniidae; Orthoptera). The repertoire of Caedicia sp. 12 consists of the calling song and, by nonduetting males, a series of calling tactics that include short-click calling, disruptive over-singing and a call mimicking the entire duet. Nonduetting males respond to the production of a duet by another male and a female with short-click calls that mimic the female call at the conclusion of a duet. By manipulating the male's mating history, it is found that this form of calling behaviour is more likely to occur within the male's 6-day postmating refractory period; the low cost tactic allows males to re-mate during spermatophore replenishment. Males also produce disruptive calls in response to a duet, where the male may over-sing the duetting male's signal or produce a call that appears to mimic the entire duet; the male produces a calling song followed by a short signal that has the same latency as the female's reply within a duet. Males also over-sing crucial elements of the duetting-male's song that are normally critical for the female's conspecific recognition. There is no evidence that females search for the duetting male partner, but males unable to enter a duet will search for the call of a responding female. Searching by males is more common when these males are producing disruptive calls. Alternative male calling tactics are discussed as a set of conditional strategies for securing unmated females.     

Repertoire sharing by the individual and the pair: Insights into duet function and development in the plain wren Thryothorus modestus

Although both repertoire sharing and individual variation have been studied widely in male solo song, few studies have investigated these aspects of song in a species that performs complex duets. This study examined song repertoires of both males and females of the plain wren (canebrake subspecies, Thryothorus modestus zeledoni ), which performs antiphonal duets, and tested for patterns of repertoire sharing at the level of the individual and of the pair. We suggest that both males and females of the plain wren develop their phrase repertoires by direct imitation from other individuals of their sex, but that males, who may exist for a period as 'floaters' after dispersal, learn their songs from a wider pool of tutors than do females. In contrast to considerable individual repertoire sharing, whole duet types were very rarely shared between pairs, despite the potential for this to occur. This suggests that duet types are developed within the pair without reference to other pairs and the implications of this for duet functions are discussed.     

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.     

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.     

Vocal duetting by a mated pair of coral-billed ground-cuckoos (Carpococcyx renauldi) at the Metro Toronto Zoo

During a behavioral study, I recorded vocal duetting by a mated pair of Coral-billed Ground-cuckoos (Carpococcyx renauldi) at the Metro Toronto Zoo. The birds produced three different call types that were combined into four distinct simultaneous and antiphonal duetted sequences. Duetting bouts (n = 12) were always initiated by the male and lasted 1–15 min, although they were generally 2–5 min in length. During longer bouts, both male and female duet elements changed frequently. The loud, clear antiphonal duets were likely associated with long distance communication and could function in territorial defense. These calls were most frequently given as the cuckoos moved around the exhibit, and were often associated with interspecific aggression. Quiet duet sequences were generally uttered when the cuckoos were in close proximity to one another, often from an exposed perch. Close perching and concurrent duetting by this mated pair may also function in spatial defense since it could advertise a coordinated alliance in territorial defense to potential intruders. Zoo Biol 16:179–186, 1997. © 1997 Wiley-Liss, Inc.     

Duetting in space: a radio-telemetry study of the black-bellied wren

In many birds, individuals 'answer' the songs of their pair-mates to produce vocal 'duets'. One hypothesized function of song answering is that it prevents extra-pair birds from intruding into the duetting pair's territory to obtain copulations or usurp one of the pair-mates. In this capacity, answering may signal that the pair-mates are close together, and so are prepared to defend against such an intrusion. Another functional hypothesis states that answering helps pair-mates maintain contact, and so predicts that a bird is more likely to approach its mate after a duet than after a solo song. I used radio-telemetry to monitor the distance between mated black-bellied wrens (Pheugopedius fasciatoventris). I found that birds of both sexes were more likely to answer their mate's song when the mate was close, and that maximum duet length was negatively related to the distance between pair-mates. Furthermore, song answering positively affected the likelihood of one pair-mate approaching the other after a song. In a significant majority of the approaches after duet songs, the answering bird approached the initiator. I conclude that in the black-bellied wren, (i) the occurrence and duration of vocal duets covary with physical closeness and (ii) contact maintenance is a secondary function of duet participation.     

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.     

VOCAL AND OTHER BEHAVIOUR OF KENYAN BLACK-COLLARED BARBETS LYBIUS TORQUATUS

We describe 12 visual and six acoustical displays of Black-collared Barbets, all associated with interactions of these sexually monomorphic barbets in greeting ceremonies and in antiphonal duets. Certain of the displays, e. g., bill directing, smooth posture and chatter calls largely are associated with multiple-barbet interactions and greeting ceremonies involving more than two barbets, and seem to represent purely agonistic displays. Other displays, most notably the bobbing and floating flight displays, and the tyaw call, are associated with preduet greeting ceremonies involving the presumed pair. In every case duets were performed by a presumed pair, following a greeting ceremony and visual displays accompany the duetting, which usually becomes precisely synchronized after the initial few notes. Four to 17 notes of each of two types, a usually lower pitched, short and mainly double type A note that introduces most duets, and a higher pitched, usually single, clear type B note that often terminates the duet. Variation in the notes and in their tempos within duets suggests no clearly defined temporal indicators for achieving, maintaining, and concluding the duets. The A and B notes cannot yet be assigned to one or other sex and similarity in form and development of the notes, from notes of greeting ceremonies, suggests the possibility that under some circumstances a bird of one sex may be able to deliver notes of either type. The duets are delivered from singing posts within the group's (or pair's) territory and usually only one duet is uttered from a site before the birds shift to another singing post. The duetting is compared with that of other barbets and appears to be among the best synchronized and most precise in the family. Comparisons with non-barbet duetting species are difficult because of the special habits and ecology of the barbets and uncertainty as to the sexual rôle of the duetters.     

A review of acoustic playback techniques for studying avian vocal duets

ABSTRACT Playback experiments involve the broadcast of natural or synthetic sound stimuli and provide a powerful tool for studying acoustic communication in birds. Playback is a valuable technique for exploring vocal duetting behavior because it allows investigators to test predictions of the various hypotheses for duet function. Here, we adopt a methodological perspective by considering various challenges specific to studying duetting behavior, and highlighting the utility of different playback designs for testing duet function. Single‐speaker playback experiments allow investigators to determine how duetting birds react to different stimuli, but do not simulate duets in a spatially realistic manner. Multi‐speaker playback experiments are superior to single‐speaker designs because duet stimuli are broadcast with spatial realism and unique and additional predictions can be generated for testing duet function. In particular, multi‐speaker playback allows investigators to evaluate how birds respond to male versus female duet contributions separately, based on reactions to the different loudspeakers. Interactive playback allows investigators to ask questions about the time‐ and pattern‐specific singing behavior of birds, and to understand how singing strategies correspond to physical behavior during vocal interactions. Although logistically challenging, interactive playback provides a powerful tool for examining specific elements of duets (such as the degree of coordination) and may permit greater insight into their functions from an operational perspective. Interactive playback designs where the investigator simulates half of a duet may be used to describe and investigate the function of pair‐specific and population‐wide duet codes. Regardless of experimental design, all playback experiments should be based on a sound understanding of the natural duetting behavior of the species of interest, and should aim to produce realistic and carefully controlled duet simulations. Future studies that couple playback techniques with other experimental procedures, such as Acoustic Location System recordings for monitoring the position of birds in dense vegetation or multimodal techniques that combine acoustic with visual stimuli, are expected to provide an even better understanding of these highly complex vocal displays.