Copulatory courtship behavior and sine song as a mate recognition cue in Drosophila lini and its sibling species

Most Drosophila species sing species-specific pulse songs during their "precopulatory courtship." Three sibling species of the Drosophila montium species subgroup performed "copulatory courtship": males generated courtship songs by vibrating either wing only after mounting and during copulation. In these three species, strong sexual isolation was detected between D. ohnishii and D. lini and between D. ohnishii and D. ogumai, but not between D. lini and D. ogumai. Female showed strong repelling behavior when they were mounted by a heterospecific male in the species combinations including D. ohnishii, resulting in failure of the copulation attempt of the male. Acoustic analyses of courtship songs revealed that the pulse song was irregular, without any species-specific parameters, but that the frequency of the sine song was different among the three species in accordance with the modes of sexual isolation between them; it was significantly lower in D. ohnishii (mean ± SE = 193.0 ± 1.7 Hz) but higher in D. lini (253.4 ± 2.7 Hz) and D. ogumai (246.7 ± 5.3 Hz). We suggest that this difference in the sine song frequency is a sexual signal in the Specific Mate Recognition System (SMRS) among these three Drosophila species.     

Courtship song analysis of Drosophila muscle mutants

As part of the mating ritual, males of Drosophila species produce species-specific courtship songs through wing vibrations generated by the thoracic musculature. While previous studies have shown that indirect flight muscles (IFM) are neurally activated during courtship song production, the precise role of these muscles in song production has not been investigated. Fortunately, IFM mutants abound in Drosophila melanogaster and studies spanning several decades have shed light on the role of muscle proteins in IFM-powered flight. Analysis of courtship songs in these mutants offers the opportunity to uncover the role of the IFM in a behavior distinct than flight and subject to different evolutionary selection regimes. Here, we describe protocols for the recording and analysis of courtship behavior and mating song of D. melanogaster muscle transgenic and mutant strains. To record faint acoustic signal of courtship songs, an insulated mating compartment was used inside a recording device (INSECTAVOX) equipped with a modified electret microphone, a low-noise power supply, and noise filters. Songs recorded in the INSECTAVOX are digitized using Goldwave, whose several features enable extraction of critical song parameters, including carrier frequencies for pulse song and sine song. We demonstrate the utility of this approach by showing that deletion of the N-terminal region of the myosin regulatory light chain, a mutation known to decrease wing beat frequency and flight power, affects courtship song parameters.     

Song recognition memory in juvenile zebra finches: effects of varying the number of presentations of heterospecific and conspecific songs

Seven male and three female zebra finches were exposed to 14 zebra finch (CON) and 14 starling (HET) songs during their sensitive period for song learning and then tested for their recognition memory of both the CON and HET songs in two separate memory tests. Amount of song exposure was varied by presenting individual songs either 3, 9, 27, or 81 times per day for nine consecutive days. After song exposure the birds were trained to discriminate two of the exposed, familiar songs (FAM) from two novel songs (NOV) in a go/no-go operant discrimination procedure, with FAM songs as "go" stimuli. Following discrimination training, untrained FAM and NOV songs were presented as probe songs without reinforcement. Birds responded more to FAM than NOV songs at all levels of song exposure, indicating that the songs were recognized. There were no differences in recognition memory for CON and HET song at any level of song exposure. The results suggest that selective song learning does not result from selective memorization of conspecific song.     

Variation in male wing song characters inDrosophila plantibia (Hawaiian picture-wingedDrosophila group)

The males of most species of the HawaiianDrosophila planitibia group produce songs when vibrating their wings during courtship. In four of the most recently evolved species,D. differens, D. planitibia, D. heteroneura, andD. silvestris, these songs are simple in structure and possess a higher and more variable carrier frequency than the songs of the more ancestral species of the group. In the present paper, we studied the variation in wing song production and song characters in aD. planitibia population. Some males vibrated their wings at a very low amplitude or slow speed, producing no detectable sound. Other males produced sound bursts varying in carrier frequency and burst length. The carrier frequency of the song depended mainly on the wing posture of the male during wing vibrations and was consistent for individual males. Variation between males of different isofemale progenies was not significant in any measured song trait. Songs of the males recorded in the present study differed, however, from songs of the males of a laboratory strain recorded earlier.     

The function of courtship song rhythms in Drosophila

The courtship songs of Drosophila are produced by the male's wing vibration and consist of a series of pulses, with an inter-pulse interval (IPI) of 34 ms for D. melanogaster and 48 ms for D. simulans. The IPI's are not constant in length during courtship, but oscillate sinusoidally with 55-s cycles in the former species and 35-s cycles in the latter. We have stimulated D. melanogaster females with artificially generated courtship songs, and have observed that they mate fastest when the song incorporates a 55-s oscillation superimposed on a 34-ms IPI. D. simulans females, on the other hand, mate fastest with a 48-ms IPI and a 35-s oscillation period. Consequently these newly-discovered song cycles produce significant mating enhancement in these species, with the females showing a preference for songs which carry both the species-specific IPI and the species-specific IPI rhythm.     

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.     

Signal Interception and the Use of Soft Song in Aggressive Interactions

Song sparrows, like many species of songbirds, produce songs of especially low amplitude during aggressive contests. Such ‘soft songs’ have been shown to be reliable signals of intention to attack in song sparrows. Low intensity is a paradoxical feature in a highly aggressive signal, in that it seems likely to make the signal less intimidating to an opponent. A hypothesis that resolves this paradox is that use of soft songs benefits a signaler by limiting the interception of his signals by third party receivers. Here, we test this hypothesis with respect to song sparrows and two classes of third party receivers, predators and conspecific males. We tested whether selection to avoid predation is responsible for use of soft song by examining whether male song sparrows increase production of soft song in an aggressive context when they also receive signals (alarm calls) that indicate a predator is present. We found that the proportion of soft song produced by male song sparrows was actually significantly lower in the predator context than in a control context, directly contradicting the prediction. We tested whether avoiding eavesdropping by conspecific males is a benefit of soft song by removing territory owners and simulating interactions on their territories using playback from two loudspeakers. We found that intrusions by third party males were more likely in trials in which the simulated owner countered an intruder's songs using soft songs than in trials in which the simulated owner countered with loud song, again directly contradicting the hypothesis. We conclude that limiting interception by predators and conspecific males does not provide an explanation for use of soft song by song sparrows.     

Phonology and Geographic Song Discrimination in Song Sparrows

We investigated whether song sparrows discriminate foreign from local songs using specific phonologic markers, a mechanism of geographic discrimination previously described for some other songbirds. Song sparrows from Linesville, Pennsylvania (PA) respond more strongly to local songs than to songs from Millbrook, New York (NY). We identify 61 note categories in PA and NY songs, of which 13 are unique to PA, 17 are unique to NY, and 31 are shared. The most common note category in PA song, ‘buzz BO5’, is present in 89% of PA songs and only in 8% of NY songs; this difference in percentage representation is the largest we found for any note category. Substituting this potential PA marker into NY songs, however, did not make those songs more salient to PA sparrows; instead, PA males tested with territorial playback responded significantly less aggressively to NY/PA hybrid songs than to NY songs. A series of control experiments showed that song sparrows do not detect substitution of PA notes into PA songs or of NY notes into NY songs. The results weigh against the hypothesis that geographic discrimination in song sparrows is accomplished simply by recognition of a small number of phonologic markers.     

Imitation and Invention in Song Learning in Nightingales (Luscinia megarhynchos B., Turdidae)

Song learning in oscine birds is often defined solely as a process of song imitation; nonetheless, not all songs produced by laboratory‐tutored birds are imitations of the model songs. If song learning were strictly a process of imitation, these non‐imitated songs (inventions) would be expected to contain no learned attributes. To determine whether species‐typical song attributes can be learned in the absence of imitation, we compared the imitations and inventions of laboratory‐tutored nightingales (Luscinia megarhynchos B.) with the songs of wild nightingales and the songs of laboratory‐reared, untutored nightingales. The species‐typical song attribute measured was stereotypy. We quantified stereotypy by four variables: (1) percentage of notes shared between two renditions of the same song type (2) difference in repetition rates of the same trill in two renditions of the same song type (3) acoustic similarity of the same note in two renditions of the same song type, and (4) acoustic similarity of the same note repeated within a trill. Wild songs and imitated songs were significantly more stereotypical than the songs of untutored birds for all measures. For the percentage of notes shared (1), and the acoustic similarity of notes in two renditions of the same song type (3), invented songs did not differ from the songs of untutored birds, suggesting that imitation is necessary for the acquisition of these song characteristics. However, invented songs were significantly more stereotypical than the songs of untutored birds for measures of stereotypy related to trills (2 and 4), and neither imitated nor invented songs differed significantly from the songs of wild birds in terms of trill rate stereotypy (2). Thus, it appears that the process of learning to produce trills may differ from the process of learning non‐repetitive song components: increased stereotypy in trills occurs even when the trills themselves are not copied from song models. Strict imitation does not fully account for the acquisition of some learned song attributes.     

Testosterone decreases the potential for song plasticity in adult male zebra finches

Zebra finches are age-limited learners; males crystallize their songs at 90 days and do not subsequently alter those songs. However, a variety of interventions, including deafening and syringeal denervation, result in long-term changes to the crystallized song. These changes can be prevented by lesioning nucleus LMAN. As different social contexts for song production result in differential activation of LMAN, we asked whether the social context experienced by adult males would affect their ability to alter their songs in response to syringeal denervation. Males able to see and direct their songs to females made fewer changes to their songs than did males that could hear but not see females, but this trend was not significant. The volume of a male's HVc, a forebrain song control nucleus, also failed to predict the degree to which a male would change his song. However, testis mass was significantly correlated with the number of changes made to the song, indicating that variations in testosterone modulate adult song plasticity. We directly tested the effect of circulating testosterone on adult song plasticity by implanting adult males with either testosterone or flutamide, a testosterone receptor blocker, and tracking song changes triggered by ts nerve injury. As predicted, males implanted with testosterone changed their songs less than did males that received flutamide implants. These results suggest that the high testosterone concentrations associated with sexual maturity and song crystallization in zebra finches continue to act in adult males to reduce the potential for vocal plasticity.     

An Interactive Playback Experiment Shows Song Bout Size Discrimination in the Suboscine Vermilion Flycatcher (Pyrocephalus rubinus)

Many aspects of the social behaviour of birds are mediated by vocal displays, and variation in song output or song structure conveys different information to receivers. After nest construction begins, when vermilion flycatcher (Pyrocephalus rubinus) females are potentially fertile, males increase their song rate during the dawn chorus. A previous study failed to give evidence that males discriminate among song rates. However, males sing in sequences of songs (song bouts), and an increase in song rate may be achieved by increasing the number of bouts, the number of songs in each bout (bout size) or both. Studying a vermilion flycatcher population in Mexico City, we evaluated whether dawn song rate is related to song bout size or to number of bouts. Bout size correlated with song rate and differed among males. We hypothesized that longer bouts are more threatening signals than shorter ones and predicted a stronger response by males towards the former. We exposed each male to three playback treatments: (1) Long song bout (Long), in which we replied to the male with twice the number of songs he sang in the bout, (2) Short song bout (Short), in which we played half the number of songs sung by the male and (3) Control, this was the same as the Long treatment but we used songs from a related species, the tropical kingbird (Tyrannus melancholicus). Males responded with a higher proportion of calls near the speaker when exposed to the Long treatment than during the Short or Control treatments, indicating that they discriminate among song bouts differing in size, that they may perceive longer bouts as more threatening and that they use calls rather than songs to address threatening situations. Our results suggest that song bout size is a relevant song attribute that conveys information during intrasexual interactions.     

Effects of location in territory and distance from neighbours on the use of song repertoires by Carolina wrens

By capturing territorial Carolina wrens (Thryothorus ludovicianus) and housing them in portable cages on their territories, I could control each one's location in its territory and distance from neighbours in experiments on the use of song repertoires. Experiment 1 demonstrated that these wrens sang more songs in the centre of their territories than at the edge, but that they did not use more song types or different song types at the centre than at the edge. In experiment 2, in which I played tape-recorded songs at two distances from wrens caged in the centres of their territories, birds responded more strongly to songs at 25m, simulating an intruder, than to songs at 165 m, simulating a territorial neighbour. Birds also switched more frequently between song types and sang more song types per 100 songs in response to the nearer playback. Experiment 3 compared captive wrens 140 m, 80 m, 20 m, or 0 m apart on adjacent territories. As the distance between neighbours decreased, birds sang less, but also switched more frequently between song types, used more song types per 100 songs, and matched songs with neighbours more frequently. There were no differences in the kinds of song types sung at different distances from neighbours. A comparison of the results from experiments 1 and 3 confirms that the use of song repertoires is influenced by distance from conspecifics and not by location in the territory.     

Song matching in the great tit (Parus major): The effect of similarity and familiarity

Great tits were played recordings of one of their own songs, and a song of the same type from a neighbour and one from a stranger (from more than 500 m away). The birds matched their own songs most often and those of strangers least. We had predicted that strangers would be matched most, because previous work had shown an association between matching and a strong response. An analysis using a difference index showed that the birds matched most often when the stimulus song was very similar in detailed structure to their own rendition of the song. This was confirmed in a second experiment in which we played ‘similar’ and ‘different’ renditions recorded from strangers. However, once the effect of similarity was partialled out there was a residual tendency to match strangers more than neighbours, as we had first predicted. We discuss the implications of these results for perception of song categories by the birds, possible use by the birds of their own songs as ‘standards’ and the functional significance of matching.     

Song Sharing in Neighboring and Non-Neighboring Thrush Nightingales (Luscinia luscinia) and its Implications for Communication

In many passerines, males have repertoires of different songs of which some songs are often shared with other males. Sharing of song repertoires among males can provide insights into the context in which songs were acquired and on the role of song repertoires in inter- and intrasexual communication. Here we studied repertoire sharing in male territorial thrush nightingales ( Luscinia luscinia ). We compared male vocal repertoires of the basic song components, full songs, and the sequencing of songs in a bout. The results show that males differed significantly in the size of their song repertoires but not in the size of the repertoire of basic song components. Moreover, they shared almost all (80%) the repertoire of song components but only 30% of their song types. Neighboring males shared significantly more song types than did non-neighboring males but interestingly they did not share more basic song components than non-neighboring males. These results show that the repertoire of basic song components is under much less sexual selection than the size of song repertoires. Sharing of song repertoires among neighbors presumably results from repertoire conversion over time and from males returning to their territories in the following season. Repertoire sharing then can be an indicator of territory tenure and thus it can be important in repelling rivals and in female choice.     

Non‐Salient Geographic Variation in Birdsong in a Species That Learns by Improvisation

Geographic variation in birdsong and differential responses of territorial males to local and non‐local song variants have been documented in a number of songbird species in which males learn their songs through imitation. Here, we investigated geographic song variation and responses to local and non‐local song in the grasshopper sparrow (Ammodramus savannarum), a species in which males develop song by improvisation rather than imitation, as a first step toward understanding how the extent and salience of geographic song variation is related to the mode of song development. To describe the geographic variation in song, we compared songs from populations in eastern Maryland and central Ohio, USA, using multiple acoustic analysis techniques. We then conducted a playback experiment in Maryland using local and non‐local (Ohio) songs to test how territorial males responded to this geographic variation. We found acoustic differences between songs from the two sites. However, males responded similarly to playback of these songs, suggesting that this geographic variation is not behaviorally salient in a territorial context. Together with previous studies, our results suggest that across species, geographic song variation and the extent to which this variation functions in communication may be correlated with the accuracy with which song models are imitated during song development.     

Diet and birdsong: short‐term nutritional enrichment improves songs of adult Bengalese finch males

Song is a notable sexual signal of birds, and serves as an honest indicator of male quality. Condition dependence of birdsong has been well examined from the viewpoint of the developmental stress hypothesis, which posits that complex songs assure fitness because learned acoustic features of songs are especially susceptible to early‐life stress that young birds experience in song learning periods. The effect of early stress on song phenotypes should be crucial, especially in age‐limited song learners which sing stereotyped songs throughout life. However, little attention has been paid to non‐learned song features that can change plastically even in adulthood of age‐limited song‐learners. Although it has been shown that food availability affects song rate in wild songbirds, there is limited evidence of the link between favorable nutritional conditions and song phenotypes other than song rate. Under the prediction that singing behavior reflects an individual's recent life history, we kept adult Bengalese finch males under high‐nutrition or normal diet for a short term, and examined changes in body mass and songs. We found that birds on a high‐nutrition diet showed higher song output (e.g. song rate and length) compared with those of the control group, while changes in body mass were moderate. In addition, note repertoire became more consistent and temporal structures got faster in both nutrition and control groups, which indicates that songs were subject to other factors than nutrition. Considering that female estrildid finches, including Bengalese and zebra finches, show a preference toward complex songs as well as longer songs and higher song rate, it is plausible that different aspects of singing behavior signal different male qualities, and provide multifaceted clues to females that choose mates.     

Soft Song in Song Sparrows: Acoustic Structure and Implications for Signal Function

In many species of songbirds, males sometimes produce songs at distinctly lower amplitude than in normal singing. Depending on the species, these 'soft songs' may be sung in the context of female courtship, male–male aggression, or both. In song sparrows, males produce soft songs during aggressive interactions with other males, and the amount of soft song produced is the only singing behavior that can be used to reliably predict a subsequent attack by the singer. Although soft song is clearly an important signal in this species, little is known about the acoustic structure of soft song or about how that structure compares to the structure of normal 'broadcast song'. We recorded a large sample of soft songs and broadcast songs from 10 male song sparrows, and measured song amplitudes in the field while controlling the subject's distance to a calibrated microphone. We show that song sparrow males produce songs over a wide range of amplitudes, with soft songs in the range of 55–77 dB sound pressure level and broadcast songs in the range of 78–85 dB. We present evidence for two types of soft song: 'crystallized' soft songs that are broadcast repertoire song types sung at low amplitude, and 'warbled' soft songs that are not found in the broadcast repertoire. Although highly variable, warbled soft songs produced by individual birds could be grouped into song types based on spectrographic similarity. To our knowledge, a distinct repertoire of soft song types has not been previously reported for any songbird.     

Neighbor-stranger discrimination by song in a suboscine bird, the alder flycatcher, Empidonax alnorum

Bird song and its functions have been studied extensively formore than 50 years, but almost entirely in oscine passerines.Few studies have investigated any aspect of song in suboscinepasserines. This is significant because song development andthe extent of individual variation in song differs greatly betweenthese groups. Learning and auditory feedback play major rolesin song development in all oscines studied, but apparently nopart in song ontogeny in suboscines. The ability of territorialoscine males to discriminate between songs of neighbors andstrangers has received considerable attention, but this phenomenonis virtually unstudied in suboscines. We tested whether a suboscinebird, the alder flycatcher (Empidonax alnorum), was able todiscriminate between songs of neighbors and strangers despitelimited individual variation in song. We performed playbackexperiments to measure responses of males to songs of neighborsand strangers broadcast from the territory boundary shared bythe subject and the neighbor. Subjects responded more aggressivelyto songs of strangers than to songs of neighbors. These resultsfurther our understanding of the evolution of song and its functionsin suboscines by demonstrating that, similar to their oscinerelatives, they can discriminate between the songs of neighborsand strangers.     

Changes in adult zebra finch song require a forebrain nucleus that is not necessary for song production

Male zebra finches normally crystallize song at approximately 90 days and do not show vocal plasticity as adults. However, changes to adult song do occur after unilateral tracheosyringeal (ts) nerve injury, which denervates one side of the vocal organ. We examined the effect of placing bilateral lesions in LMAN (a nucleus required for song development but not for song maintenance in adults) upon the song plasticity that is induced by ts nerve injury in adults. The songs of birds that received bilateral lesions within LMAN followed by right ts nerve injury silenced, on average, 0.25 syllables, and added 0.125 syllables (for an average turnover of 0.375 syllables), and changed neither the frequency with which individual syllables occurred within songs nor the motif types they used most often. In contrast, the songs of birds that received sham lesions followed by ts nerve injury lost, on average, 1.625 syllables, silenced 0.125 syllables, and added 0.75 syllables, turning over an average of 2.5 syllables. They also significantly changed both the frequency with which individual syllables were included in songs and the motif variants used. Thus, song plasticity induced in adult zebra finches with crystallized songs requires the presence of LMAN, a nucleus which had been thought to play a role in vocal production only during song learning. Although the changes to adult songs induced by nerve transection are more limited than those that arise during song development, the same circuitry appears to underlie both types of plasticity.     

Courtship songs and genetic control of their acoustic characteristics in sibling species of the Drosophila melanogaster subgroup

Six sibling species of the melanogaster subgroup differ in their wing displays and in the acoustic characteristics of their courtship songs. D. melanogaster, D. simulans and D. mauritiana have distinct but similar courtship songs. D. mauritiana, which is allopatric to the others, produces, an ambivalent song with sine song frequency and intrapulse frequency like simulans and modal interpulse interval like melanogaster. These three species appear to be behaviourally more closely similar to each other than to the three African species D. yakuba, D. teissieri and D. erecta. The acoustic characteristics of the songs of interspecific hybrids, indicate that the interpulse interval and intrapulse frequency are quantitatively controlled by genes located on the autosomes. The ability to generate sine song may be controlled by one or more genes located on the X-chromosome, but an alternative possibility, of autosomal dominant inheritance, cannot be excluded.