Song learning in domesticated canaries in a restricted acoustic environment

Many songbirds learn their songs early in life from a song model. In the absence of such a model, they develop an improvised song that often lacks the species-typical song structure. Open-ended learners, such as the domesticated canary, are able to modify their songs in adulthood, although the mechanisms that guide and time the song-learning process are still not fully understood. In a previous study, we showed that male domesticated canaries lacking an adult song model in their first year substantially change their song repertoire and composition when exposed to normally reared conspecifics in their second year. Here, we investigate song development in descendants of canaries that were raised and kept as a peer group without a song model. Such males represent tutors with abnormal song characteristics. Interestingly, the F₁ generation developed quite normal song structure, and when brought into an environment with normally raised canaries in their second year, they did not modify their songs substantially. These results suggest that contact with an adult song model early in life is crucial for song crystallization, but also that song development is at least partly guided by innate rules. They also question the existing classification of canaries as open-ended learners.     

Adult Female Canaries Respond to Male Song by Calling

We describe a new assay for measuring the response to song playback by adult female domesticated canaries, Serinus canaria . We tested song perception and discrimination by measuring the frequency of particular female calls (`single calls') given in response to male song playbacks. We observed that females responded differently to songs of different species (canaries vs. pine siskin, Carduelis spinus ) and to songs of different canary strains (domesticated vs. wild canaries). In addition, females were especially responsive to songs containing a particular type of song phrase (`A' phrases).
This new assay provides equivalent results to the standard method (copulation solicitation displays) traditionally used to assess female song preferences. Our new assay has the advantage that it allows one to measure female song responsiveness without having to use estradiol implants and during both long and short day photoperiods. However, females responded differently in long and short days. We suggest that, by calling, females could both provide information about their sexual interest and attract the attention of particular males.     

Songs of American Redstarts (Setophaga ruticilla): Sequencing Rules and their Relationships to Repertoire Size

In order to determine the rules of sequencing of songs used by American redstarts, we related Markovian and hierarchical models to recordings obtained from free-living males. In the smaller repertoires of three or four songs, low order Markov chain models fitted the data. 9 of the 10 sequences so examined were first-order, and the last was second-order. Larger repertoires of 6 and 8 songs were hierarchical in organization with subsets of songs having independent sequencing rules. Most samples of singing were stationary in their transition rules over periods of several days: non-stationarity was sometimes associated with a change in the number of songs forming the sequence, or in repetitions of songs. We examine causal models of song sequencing and conclude that our results generally favor competition models, although some sequential dependencies may also apply. Hierarchical organization in the serial repertoires of American redstarts may reflect developmental influences rather than effects of repertoire size itself.     

Seasonality in song behaviour revisited: seasonal and annual variants and invariants in the song of the domesticated canary (Serinus canaria)

The song of the domesticated canary (Serinus canaria) is one of the most widely used models to study the neural correlates of behavioural plasticity and the mechanisms of female mate choice. However, only few studies have described the song behaviour in detail and monitored their changes throughout the year, and these data are restricted to the “Waterslager” strain. Here, we studied the song characteristics of the male common domesticated canary at different times of the year, the spring breeding and autumnal non-breeding season, and monitored the birds' songs up to the following breeding season. During breeding, males have increased plasma levels of testosterone, and songs are on average longer and consist of fewer non-repeated syllable types compared to the non-breeding season. When subsequent seasons are compared, song duration and the proportion of non-repeated syllable types change seasonally but not across years. Repertoire size remains constant throughout seasons although syllable types are exchanged. Syllable carry-over is significantly higher from one breeding season to the next than between the breeding and non-breeding season. Further, the repertoire of the breeding season contains more potentially sexually attractive syllable types than that of the non-breeding season. These data show that overall song structure is retained throughout the year while seasonality occurs in the temporal pattern and in repertoire composition.     

Species differences in auditory processing dynamics in songbird auditory telencephalon

The caudomedial nidopallium (NCM) of songbirds is a telencephalic area involved in the auditory processing and memorization of complex vocal communication signals. We used pure tone stimuli and multiunit electrophysiological recordings in awake birds to investigate whether the basic properties of song-responding circuits in NCM differ between canaries and zebra finches, two species whose songs are markedly different in their spectral and temporal organization. We found that the responses in zebra finch NCM are characterized by broad tuning and sustained responses that may facilitate the integration of zebra finch song syllables and call notes that are of long duration and have a broad harmonic structure. In contrast, we found that the responses in canary NCM show narrower tuning and less sustained responses over the time periods analyzed. These characteristics may contribute to enhanced processing of the narrow-band whistles, rapid trills, and steep frequency modulations that are prominent features of canary song. These species differences are much less pronounced in field L2, the direct thalamorecipient region that represents a preceding station in the central avian auditory pathway. NCM responses did not differ across sexes of either species, but field L2 did show wider tuning in zebra finch females relative to males. In sum, species differences in the response properties of NCM likely reflect selectivity for the acoustic elements of each species' vocal repertoire.     

Male Song Stimulation of Female Reproduction in Canaries: Features Relevant to Sexual Displays are not Relevant to Nest-building or Egg-laying

Recent studies conducted in our laboratory have demonstrated that a special type of song phrase (‘sexy’ phrases) containing bipartite syllables composed of abrupt frequency falls and short silences stimulate female canaries to solicit for copulation. The study was undertaken to determine whether sexy phrases also facilitated other aspects of the reproductive activity of the female canary, namely, nest-building and egg-laying. During the first experiment, we studied the effect of sexy and non-sexy songs on copulation solicitation displays in 1-year-old females without reproductive experience and in mature females with previous reproductive experience. We confirmed that sexy songs elicited more sexual responses than did non-sexy songs in yearlings and in mature females. During the second experiment, we studied the effect of male songs on nest-building activities and egg-laying in 1-year-old inexperienced females, and in mature, experienced females. The songs of conspecific males significantly triggered and increased nest-building behaviour in female canaries whatever their age or reproductive experience. In contrast, song effects on egg-laying were only found in young females. One-year-old inexperienced females exposed to sexy or non-sexy songs laid more eggs and laid earlier than did 1-year-old inexperienced controls; no such differences were observed in mature, experienced females. The efficiency of songs in promoting nest-building or egg-laying appeared to be unrelated to their efficiency in eliciting sexual responses. No difference was found between females exposed to sexy songs and females exposed to non-sexy songs; differences were only found between control and the two groups of song-exposed females. This result demands further experiments in order to determine whether other song phrase types may account for the stimulating effects of male song on female nest-building and egg-laying.     

Vergleich des Strophenaufbaus und der Strophenabfolge an Ges?ngen von Sprosser (Luscinia luscinia) und Blaukehlchen (Luscinia svecica)

Zusammenfassung Ziel der Studie war es, die Elementabfolge sowie die Strophenabfolge des Gesanges von Sprosser und Blaukehlchen vergleichend zu untersuchen. Zur sonagraphischen Analyse wurden die Gesänge im Freiland aufgezeichnet. Der Abfolge (Syntax) der Strophenelemente lag bei beiden Arten ein hierarchisch organisiertes Verzweigungsschema zu Grunde. Bei beiden Arten konnten die Strophen anhand definierter Strukturparameter klar in drei Abschnitte gegliedert werden. Die Gesänge der Sprosser wurden von Serien aus Strophen gebildet, die jeweils in ihren beiden Anfangselementtypen übereinstimmten (gleiche Strophenklasse). Die Abfolge von Strophen verschiedenen Typs war durch bevorzugte Übergänge und ein gruppiertes Auftreten bestimmter Strophentypen charakterisiert. Beim Blaukehlchen traten Strophen, die in allen Abschnitten strukturell gleich waren, seltener im Gesang wieder auf. Die Blaukehlchen wechselten häufiger die Strophenklasse, wodurch es nur seltener zu einer Serienbildung von gleichklassigen Strophen kam. Die auffälligen Gemeinsamkeiten in der Gesangsorganisation zwischen Sprosser und Nachtigall sowie Blaukehlchen und Gartenrotschwanz liefern Hinweise auf Zusammenhänge zwischen der syntaktischen Organisation von Strophen und der Organisation der Strophenabfolge.

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Comparison of the song structure and song succession in the Thrush Nightingale (Luscinia luscinia) and the Blue Throat (Luscinia svecica)

Summary Songs of three Thrush Nightingales and three Blue Throats were recorded in the field and analyzed by visual inspection of frequency spectrograms. An analysis of the succession of elements within a song as well as the succession of songs in a song bout revealed the following results in both species: a) the succession of elements within songs was organized as a hierarchical branching structure, b) three structurally different sections could be found in all songs, c) songs were initialized by specific element types. A termination of songs by specific element types was only found in the thrush nightingale.Songs ot the Thrush Nightingale were organized as series of songs which corresponded in their first two element types (same song class). These series consisted of different song types, which succeeded with a high constancy. Different song types were sung in close sequential association and recurred preferably after intervals of 8–10 songs.In song bouts of the Blue Throat however songs which corresponded in all sections were rarely found. Those songs corresponding in the first two element types were often repeated immediately, but in comparison to the Thrush Nightingale series of these songs were rare.Besides many similarities in the song organization in both species the song of the Thrush Nightingale was more similar to the closely related Nightingale (Luscinia megarhynchos) — with regard to the syntactical organization of song and the organization of consecutive songs. The song organization of the Blue Throat showed more similarities to the European Redstart (Phoenicurus phoenicurus).These results indicate a relation between the syntactical organization of song and the sequential organisation of consecutive songs.

     

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.     

Conspecific and heterospecific song discrimination in male zebra finches with lesions in the anterior forebrain pathway

Adult zebra finches can produce normal song in the absence of Area X, lMAN, or DLM, nuclei that constitute the anterior forebrain pathway of songbirds. Here, we address whether lesions involving Area X and lMAN affect adult male zebra finches' ability to discriminate between conspecific or heterospecific songs. Intact birds and lesioned birds were trained on an operant GO/NOGO conditioning paradigm to discriminate between hetero- or conspecific songs. Both lesioned and intact birds were able to learn all discriminations. Lesioned and intact birds performed equivalently on canary song discriminations. In contrast, discriminations involving bird's own song took significantly more trials to learn for lesioned birds than for intact birds. Discrimination between conspecific songs in general also took longer in the lesioned birds, but missed significance level. Birds with control lesions medial to Area X did not show any differences from intact animals. Our results suggest that an intact anterior forebrain pathway is not required to discriminate between heterospecific songs. In contrast, Area X and lMAN contribute to a male zebra finch's ability to discriminate between its own song and that of other zebra finches. © 1998 John Wiley & Sons, Inc. J Neurobiol 36: 81–90, 1998     

How songbirds deal with large amounts of serial information: retrieval rules suggest a hierarchical song memory

Many songbirds develop remarkably large vocal repertoires, and this has prompted questions about how birds are able to successfully learn and use the often enormous amounts of information encoded in their various signal patterns. We have studied these questions in nightingales (Luscinia megarhynchos), a species that performs more than 200 different types of songs (strophen), or more than 1000 phonetically different elements composing the songs. In particular, we investigated whether and how both song repertoires and song performance rules of nightingales were coded by auditory stimuli presented in serial learning experiments. Evaluation of singing episodes produced by our trained birds revealed that nightingales cope well with an exposure to even long strings of master song-types. They can readily acquire information encoded within and between the different master songs, and they memorize, for example, which master song-types they have experienced in the same learning context. Imitations of such song-types form distinct sequential associations that are termed “context groups”. Additionally, nightingales develop other song-type associations that are smaller in size and termed “package groups”. Package formation results from constraints of the acquisition mechanisms which obviously lead to a segmentation of auditorily perceived master song sequences. Further experimentation validated that the song memory of nightingales is organized in a hierarchical manner and holding information about “context groups” composed of packages, “package groups” composed of songs, and songs composed of song elements. The evidence suggests that implementation of such a hierarchical organization facilitates a quick retrieval of particular songs, and thereby provides an essential prerequisite for a functionally appropriate use of large vocal repertoire is in songbirds. Received: 4 October 1997 / Accepted in revised form: 26 August 1998     

Versatility and Stereotypy of Free-Tailed Bat Songs

In mammals, complex songs are uncommon and few studies have examined song composition or the order of elements in songs, particularly with respect to regional and individual variation. In this study we examine how syllables and phrases are ordered and combined, ie “syntax”, of the song of Tadarida brasiliensis, the Brazilian free-tailed bat. Specifically, we test whether phrase and song composition differ among individuals and between two regions, we determine variability across renditions within individuals, and test whether phrases are randomly ordered and combined. We report three major findings. First, song phrases were highly stereotyped across two regions, so much so that some songs from the two colonies were almost indistinguishable. All males produced songs with the same four types of syllables and the same three types of phrases. Second, we found that although song construction was similar across regions, the number of syllables within phrases, and the number and order of phrases in songs varied greatly within and among individuals. Last, we determined that phrase order, although diverse, deviated from random models. We found broad scale phrase-order rules and certain higher order combinations that were highly preferred. We conclude that free-tailed bat songs are composed of highly stereotyped phrases hierarchically organized by a common set of syntactical rules. However, within global species-specific patterns, songs male free-tailed bats dynamically vary syllable number, phrase order, and phrase repetitions across song renditions.     

The Role of Song Phonology and Syntax in Vocal Learning Preferences in the Song Sparrow,Melospiza melodia

Are young songbirds ready to learn virtually any song, or are they predisposed to learn songs of their own species? To explore this question tests were conducted on the equipotentiality of auditory song learning stimuli in the song sparrow. 23 males reared as nestlings were exposed to tape recordings of their own and other species songs in early life and subsequent song production was analyzed for imitations. Birds exposed to natural song sparrow songs, including their fathers', and equal numbers of swamp sparrow songs, strongly preferred conspecific songs. They neither favored nor eschewed paternal songs despite having had access to them for 6–10 days as nestlings. In three other experiments synthetic songs were used in which some properties were held constant and others were systematically varied. Birds were exposed to 1–4 segmented songs varying in phrase order, tempo and syllable number, each synthesized in two versions, one from conspecific and the other from heterospecific (swamp sparrow) song syllables. With one-segmented songs (alien syntax) subjects favored conspecific over heterospecific syllable songs. Heterospecific syllables were rendered more acceptable by incorporation into two-segmented trilled songs (more song sparrow-like syntax). Heterogeneous summation of phonological and syntactical cues appeared to occur. There was also evidence of interaction between phonology and syntax. When another phrase type, the note complex, was added, in three- and four-segmented songs, a preference for conspecific syllables reappeared. Heterospecific syllables may be more readily accepted as a trilled sequence than without repetition, as in a note-complex. When phrase structure within four-segmented songs was varied, birds favored patterns most like normal conspecific song. We conclude that there are innate learning preferences in the song sparrow, based on note and syllabic structure (phonology and syllabic syntax), and temporal organization of phrases (segmental syntax), differing from those of the closely related swamp sparrow, Melospiza georgiana, in which song syntax plays no role in learning preferences.     

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.     

Adult bengalese finches (Lonchura striata var. domestica) require real-time auditory feedback to produce normal song syntax

Songbirds develop their songs by imitating songs of adults. For song learning to proceed normally, the bird's hearing must remain intact throughout the song development process. In many species, song learning takes place during one period early in life, and no more new song elements are learned thereafter. In these so-called close-ended learners, it has long been assumed that once song development is complete, audition is no longer necessary to maintain the motor patterns of full song. However, many of these close-ended learners maintain plasticity in overall song organization; the number and the sequence of song elements included in a song of an individual vary from one utterance to another, although no new song elements are added or lost in adulthood. It is conceivable that these species rely on continued auditory feedback to produce normal song syntax. The Bengalese finch is a close-ended learner that produces considerably variable songs as an adult. In the present study, we found that Bengalese finches require real-time auditory feedback for motor control even after song learning is complete; deafening adult finches resulted in development of abnormal song syntax in as little as 5 days. We also found that there was considerable individual variation in the degree of song deterioration after deafening. The neural mechanisms underlying adult song production in different species of songbirds may be more diverse than has been traditionally considered. © 1997 John Wiley & Sons, Inc. J Neurobiol 33: 343–356, 1997     

Brain projections and information processing of biologically significant sounds by two large ventral-cord neurons ofGryllus bimaculatus DeGeer (Orthoptera,Gryllidae)

Summary Two ventral-cord neurons in the auditory system ofGryllus bimaculatus were studied electrophysiologically by stimulation with pulses of sound at a single frequency (sine-wave pulses), stridulatory songs, and artificial sounds constructed to imitate the conspecific songs. The sine-wave pulses were varied in frequency, sound intensity, duration, and repetition rate. The stridulatory songs were the conspecific calling, aggressive, and courtship songs and the calling songs of 8 sympatric gryllids (played back at different sound intensities). The artificial songs were varied in carrier frequency, pulse rate, chirp rate, and sound intensity.The LF₁ neuron precisely duplicates the temporal structure of the conspecific calling (and aggressive) song over the whole intensity range (Figs. 7, 8, 10). It is sharply tuned to the carrier frequency of the song (5 kHz) and shows little or no response above 10 kHz and below 3 kHz (Figs. 1, 2). By variation of the calling song's temporal structure it can be demonstrated that the LF₁ neuron is particularly suited to respond to the pulse duration and the pulse and chirp repetition rates of this song pattern (Figs. 6, 9).On the other hand, the HF₁ neuron is a broad-band neuron with a maximal sensitivity at 16 kHz (Figs. 1, 4); it is tuned to the conspecific courtship song with respect to carrier frequency, the short pulse duration, and the very low pulse repetition rate (Figs. 6, 7, 8).The results demonstrate that the two ventral-cord neurons represent highly evolved channels of the auditory pathway in gryllids, each of which transmits important features of the corresponding conspecific songs to several areas of the brain (Fig. 11). But they are not ideal filters for these conspecific songs, since they also respond to many other sound signals (Fig. 10).Supported by the Deutsche Forschungsgemeinschaft as part of the program Sonderforschungsbereich 114 (Bionach), BochumUnder the auspices of the scientist exchange program of the Deutsche Forschungsgemeinschaft and the Academy of Sciences, USSRWe thank Prof. Dr. Schwartzkopff for his help and support; it was due to his initiative and organization that this work could be done in collaboration between the Sechenov Institute, Leningrad, and the Lehrstuhl für Allgemeine Zoologie, Ruhr University, Bochum. We are grateful to Mrs. I. Klotz and Mrs. B. Brücher for technical assistance.     

Innate differences in singing behaviour of sparrows reared in isolation from adult conspecific song

Innate differences in the singing behaviour of male swamp (Melospiza georgiana) and song (M. melodia) sparrows were identified by rearing males from the egg in the laboratory under identical conditions, in complete isolation from adult conspecific song. Isolation-reared males of both species displayed several abnormal song features, including reduced numbers of notes per song, longer durations of notes and inter-note intervals, and fewer notes per syllable. Despite these and other abnormalities, many species differences emerged that matched differences in the natural singing behaviour of the two species. These included differences in song repertoire size, song duration and degrees of segmentation, numbers of notes per song, durations of notes and inter-note intervals, and several measures reflecting the organization of songs into note complexes, syllables and trills. Although learning can influence all levels of organization of the motor patterns of song in swamp and song sparrows, its contribution to the achievement of normal song behaviour appears to be most crucial at the level of the fine structure of the notes and syllables from which the songs are constructed.     

Versatility and continuity in the songs of thrushes Turdus spp.

A relationship between continuity and versatility was proposed by Hartshorne as a general feature of song organization in birds and argued to be linked to the avoidance of habituation (the monotony threshold principle). Thrushes of the genus Turdus vary greatly in song repertoire size, from the Redwing with a single song phrase to the Song Thrush which normally possesses well over 100 (Table 1), so that this group is well suited to looking for such a relationship. Recordings of 14 Turdus species were used to do so. Species in which successive songs do differ were indeed found to sing with shorter intervals between songs, though no equivalent relationship was found at the level of individual sound elements. There was a suggestion that species might fall into two contrasting groups without intermediates, one with continuous and highly varied songs and the other with discrete and simple songs. It is suggested that the relationship between continuity and versatility is a real phemomenon but that it is unlikely to be explained in the way that Hartshorne proposed. More likely is the hypothesis that continuous and varied songs have evolved primarily as mate attractants through sexual selection, while the principal role of discrete and simple songs is in communication between males.     

Exploring the hidden landscape of female preferences for complex signals

A major challenge in evolutionary biology is explaining the origins of complex phenotypic diversity. In animal communication, complex signals may evolve from simpler signals because novel signal elements exploit preexisting biases in receivers’ sensory systems. Investigating the shape of female preference functions for novel signal characteristics is a powerful, but underutilized, method to describe the adaptive landscape potentially guiding complex signal evolution. We measured female preference functions for characteristics of acoustic appendages added to male calling songs in the grasshopper Chorthippus biguttulus, which naturally produces only simple songs. We discovered both hidden preferences for and biases against novel complex songs, and identified rules governing song attractiveness based on multiple characteristics of both the base song and appendage. The appendage's temporal position and duration were especially important: long appendages preceding the song often made songs less attractive, while following appendages were neutral or weakly attractive. Appendages had stronger effects on songs of shorter duration, but did not restore the attractiveness of very unattractive songs. We conclude that sensory biases favor, within predictable limits, the evolution of complex songs in grasshoppers. The function‐valued approach is an important tool in determining the generality of these limits in other taxa and signaling modalities.