Structure,syntax and “small-world” organization in the complex songs of California Thrashers (Toxostoma redivivum)

We describe songs of the California Thrasher (Toxostoma redivivum), a territorial, monogamous species whose complex songs are composed of extended sequences of phonetically diverse phrases. We take a network approach, so that network nodes represent specific phrases, and links or transitions between nodes describe a subgroup structure that reveals the syntax of phrases within the songs. We found that individual birds have large and largely distinct repertoires, with limited phrase sharing between neighbours and repertoire similarity decaying between individuals with distance apart, decaying also over time within individuals. During song sequences, only a limited number of phrases (ca. 15–20) were found to be actually “in play” at any given time; these phrases can be grouped into themes within which transitions are much more common than among them, a feature contributing to a small-world structure. It appears that such “small-world themes” arise abruptly, while old themes are abandoned more gradually during extended song sequences; most individual thrashers switch among 3–4 themes over the course of several successive songs, and some small-world themes appear to have specific roles in starting or ending thrasher songs.     

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

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

Song matching in a long-lived,sedentary bird with a low song rate: The importance of song type,song duration and intrusion

Territorial songbirds often match the song features or singing patterns of rivals, commonly as an aggressive signal. Most studies of song matching have been on Northern Hemisphere species with short lifespans and high song rates, but vocal matching is predicted to be affected both by longevity and territorial stability. We studied song matching in males of the white-browed scrubwren, Sericornis frontalis, a long-lived, sedentary, territorial Australian songbird. We quantified natural song rate and diversity, and then conducted three playback experiments to test: (a) whether males match by song type; (b) how they respond physically and vocally to territorial intrusion; and (c) whether they match by song length, and use it as an agonistic signal. Males naturally had very low song rates, singing on average less than three times per hour, and moderate repertoires, with an estimated mean of 17.5 song types for individual males. Males did not engage in extended counter-singing bouts. The first experiment showed that males matched the song type of immediate neighbours almost 90% of the time, if that type was in their repertoire. The remaining experiments revealed that song-type matching was an aggressive signal; males responded more aggressively to, and were more likely to match, playback simulating a neighbour's territorial intrusion than song from their shared boundary. Males did not match songs by length, but they produced longer songs after simulated intrusion. Males also responded more aggressively to playback of longer songs that simulated intrusion, but less aggressively to longer songs from the territory boundary. Overall, we show that sedentary, long-lived songbirds with low song rates, can use song-type matching as an aggressive signal to communicate with neighbours and intruders. Song length had a different role in communication, possibly related to individual quality or territory ownership.     

Acoustic discrimination of sympatric morphs in Darwin's finches: a behavioural mechanism for assortative mating?

Populations with multiple morphological or behavioural types provide unique opportunities for studying the causes and consequences of evolutionary diversification. A population of the medium ground finch (Geospiza fortis) at El Garrapatero on Santa Cruz Island, Galápagos, features two beak size morphs. These morphs produce acoustically distinctive songs, are subject to disruptive selection and mate assortatively by morph. The main goal of the present study was to assess whether finches from this population are able to use song as a cue for morph discrimination. A secondary goal of this study was to evaluate whether birds from this population discriminate songs of their own locality versus another St Cruz locality, Borrero Bay, approximately 24 km to the NW. I presented territorial males with playback of songs of their own morph, of the other morph, and of males from Borrero Bay. Males responded more strongly to same-morph than to other-morph playbacks, showing significantly shorter latencies to flight, higher flight rates and closer approaches to the playback speaker. By contrast, I found only minor effects of locality on responsiveness. Evidence for morph discrimination via acoustic cues supports the hypothesis that song can serve as a behavioural mechanism for assortative mating and sympatric evolutionary divergence.     

Changes in Performance of Shared and Unshared Songs Within and Between Years in the White‐crowned Sparrow

Song of passerine birds is one of the few animal signals that is learned and that improves with practice. Vocal practice is crucial early in life to perfect a song imitation, but it also occurs throughout life and may continue to improve aspects of song performance. Differences in song performance among males that share song types, that is sing structurally similar songs may be particularly salient to receivers. We here test the hypothesis that aspects of song performance improve in a songbird species that deletes song types from its repertoire early in the first breeding season to share their final single song type with territorial neighbours. Over 3 yrs, we recorded songs in a population of Puget Sound white‐crowned sparrows Zonotrichia leucophrys pugetensis and measured percentage peak performance and consistency thereof in all of the song types in each male's repertoire. We found that within the first year on territory, percentage peak performance was higher in shared than unshared songs but did not change from first to second recording. Contrary to the hypothesis that song performance improves with age, song performance declined from the first to the second year. Our results support the hypothesis that high‐performance singers share songs. We did not find support for song performance improving within or between years, like it does in some other songbird species.     

Fighting talk: complex song elicits more aggressive responses in a vocally complex songbird

Song complexity in many songbirds is a trait subject to sexual selection. It is often associated with male territorial defence. Empirical studies testing differential male responses to rival song in vocally complex songbirds have, however, been scarce. We conducted playback experiments of the endemic New Zealand Tui Prosthemadera novaeseelandiae to test the aggressive response of territorial male Tui to rival songs with differing complexity levels. Overall, complex songs evoked significantly stronger responses from territorial males than did simple songs. Following playback of complex songs, focal males approached the playback more closely and rapidly, and responded with songs of higher complexity than they did to playback of simple songs. This suggests males could both distinguish between different levels of complexity within the Tui repertoire, and perceive a more complex song as a greater territorial threat. Our study is one of the first to demonstrate strong aggressive responses to increased levels of song complexity in a songbird species with highly complex vocalizations.     

Differential effects of moving versus stationary territorial intruders on territory defence in a songbird

1.  In territorial contests, not only acoustic or other signals, but also the movements of a territorial intruder are likely to influence the response of a resident.
2.  We tested this movement hypothesis by simulating moving vs. stationary intruders into the territories of winter wrens Troglodytes troglodytes , using the same non-interactive song playbacks in both treatments.
3.  Male winter wrens showed a different long-term singing reaction in response to a moving than to a stationary intruder.
4.  One day after experiencing an intruder that was switching between three locations, residents started to sing earlier before sunrise, and they sang more and longer songs at dawn than before the intrusion.
5.  Residents receiving the same playback from one location only reacted by starting to sing later relative to sunrise, and by singing fewer and shorter songs than before the intrusion.
6.  We could not discriminate between the treatments when examining the short-term singing reactions during and immediately after the playbacks. However, our results clearly demonstrate an effect of the spatial behaviour of territorial intruders on the long-term territory defence of residents at dawn, about 24 h after an intrusion.
7.  We argue that spatial behaviour of territorial intruders should be an integral part of the study of animal territory defence behaviour. Investigating long-term changes in territory defence at dawn is a sensitive tool for discriminating between different types of intruders.     

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.     

MICRODIALECT AND GROUP SIGNATURE IN THE SONG OF THE SKYLARK ALAUDA ARVENSIS

ABSTRACT

The Skylark Alauda arvensis is a territorial species of open landscape in which pairs settle in stable and adjacent territories during the breeding season. Due to the heterogeneity of the habitat, territories are gathered in patches spaced by a few kilometres, in which each male produces very long and complex flight songs as a part of the territorial behaviour. We showed that, in a given patch, all the males (neighbours) share some particular sequences of syllables in their songs, whereas males settled in different patches (strangers) have almost no sequences in common. Such a phenomenon is known as microdialect. To test the hypothesis that these shared sequences support a group signature, we made playback experiments with “chimeric” signals: songs of strangers where the sequences shared by neighbours were artificially inserted. Behavioural responses to playbacks indicated a neighbour-stranger discrimination consistent with the dear enemy phenomenon, i.e. a reduced aggression toward neighbours compared to strangers. Furthermore, the same level of responses, observed when a “chimeric” song and a neighbour song were broadcast, indicated that shared sequences are recognised and identified as markers of the neighbourhood identity.     

Song duration mediates responses of territory owner in a songbird species with a small song repertoire

Song is a sexually selected trait that is involved in mate attraction and territory defence in birds. Songs may convey information about different male quality components. They are flexible in terms of frequency, amplitude, and duration. Although changes in song duration are common, the function of this behaviour has been studied less strongly. It is known that song duration changes within a singing bout and may provide information about aggressive motivation. We tested whether the elongation and shortening of songs affects the responses of territorial ortolan bunting males to neighbour song playback. If changing song duration signals level of aggressiveness, then songs differing solely in duration may elicit behavioural responses of different strength. We performed two tests with different males assigned to two experimental groups and measured approaching and vocal response. In Experiment 1, we tested 18 males, which responded to the playbacks of elongated and normal (control) neighbour songs. In Experiment 2, we tested 17 males, which responded to the playbacks of shortened and normal (control) neighbour songs. Males responded significantly stronger to longer songs in both experiments as measured by the approach variable. Vocal response was not affected by treatment, but it was affected by the order of playback presentation. Our results indicate that song duration might be used for signalling current aggressive motivation during close interactions with rivals.     

Phylogenetic signal in the song of crests and kinglets (Aves: Regulus)

Territorial song structures are often the most prominent characters for distinguishing closely related taxa among songbirds. Learning processes may cause convergent evolution of passerine songs, but phylogenetic information of acoustic traits can be investigated with the help of molecular phylogenies, which are not affected by cultural evolutionary processes. We used a phylogeny based on cytochrome b sequences to trace the evolution of territorial song within the genus Regulus. Five discrete song units are defined as basic components of regulid song via sonagraphic measurements. Traits of each unit are traced on a molecular tree and a mean acoustic character difference between taxon pairs is calculated. Acoustic divergence between regulid taxa correlates strongly with genetic distances. Syntax features of complete songs and of single units are most consistent with the molecular data, whereas the abundance of certain element types is not. Whether song characters are innate or learned was interpreted using hand-reared birds in aviary experiments. We found that convergent character evolution seems to be most probable for learned acoustic traits. We conclude that syntax traits of whole verses or subunits of territorial song, especially innate song structures, are the most reliable acoustic traits for phylogenetic reconstructions in Regulus.     

Duet codes do not enhance neighbour recognition in two closely related species of duetting neotropical wrens

Numerous studies have shown that territorial animals exhibit less aggression in response to neighbours than to strangers, a phenomenon known as dear enemy effect. The influence of acoustic features, such as song type sharing and repertoire sizes, in neighbour recognition has been widely documented in male songbirds. However, few studies have focused on duetting species, and particularly on those where pairs have pair‐specific duet codes (consistent associations of their individual phrase types). Given that each pair in the population can have a unique repertoire of duet types, duet codes have been hypothesized to enhance discrimination. In this context, we tested for evidence of neighbour recognition and duet code discrimination in two closely related species of neotropical wrens, the riverside wren, Cantorchilus semibadius, and the canebrake wren, C. modestus zeledoni. Although both species have moderately large repertoires, riverside wrens have higher levels of phrase type and duet type sharing across the population. We compared the approach and vocal responses of focal pairs to three playback treatments: neighbours' correct duet type, neighbours' incorrect duet type and a strangers' duet type. We found that riverside wrens displayed a stronger response to the strangers' playback than to both neighbours' playbacks, whereas no differences among treatments were found in canebrake wrens. Given that both species exhibited similar levels of aggression during neighbour playbacks, regardless of whether the correct duet code was used, our findings suggest duet codes do not facilitate neighbour recognition. We conclude that the function of duet codes in these species might be more closely related to intra‐pair communication. Finally, we suggest that the level of dear enemy effect a species exhibits depends on ecological factors that influence the perceived level of threat of territory intruders.     

Soft songs in male ortolan buntings are used in an aggressive context but are not an aggressive signal

Many bird species produce low‐amplitude acoustic signals that have been poorly studied in comparison with loud, broadcast songs used for mate attraction and repelling rivals. In some birds, these soft signals were found to be emitted in an antagonistic context and were the most reliable predictor of a subsequent physical attack. The function of this signal is poorly understood, and several hypotheses have been proposed to explain the mechanisms and possible functions of such low‐amplitude signals. The subject of this study is the ortolan bunting, a small passerine species that produces soft songs during territorial defence. In this study, we aim to study whether the soft songs of the ortolan bunting are a signal of increased aggressiveness by testing if they meet the context, prediction and response criteria of aggressive signals. We simulated stranger male intrusion into a focal male territory with three different playback experiments. We found no significant differences in the male responses to the taxidermic model regardless of whether they were or were not producing soft songs in response. The males responded more strongly to loud songs than to soft songs during the simulated intrusions, and the males did not treat soft songs as a predictor of conflict escalation. Although soft songs clearly appeared during territorial encounters and were not present during spontaneous singing before the intrusions, our results did not support the hypothesis that soft songs indicate aggressive character. We suggest that soft songs in the ortolan bunting are intentionally used by birds to modify their intentions or target‐specific individuals within a close range.     

Experimental evidence that distinct song phrases in the Grey‐cheeked Fulvetta Alcippe morrisonia permit species and local dialect recognition

Birds with small song repertoires have a limited number of song types which may serve multiple functions. The Grey‐cheeked Fulvetta Alcippe morrisonia is a non‐migratory species of lowland forests in Taiwan. Its song consists of two distinct phrases: a whistled phrase and a harmonic one. Each individual usually sings only one type of whistled phrase, and the geographical patterns of songs can be distinguished by the motif of this phrase. We proposed a dual adaptation hypothesis for the functions of these two phrases. Playback experiments including six sound stimuli (familiar whistled phrases, familiar harmonic phrases familiar complete songs, foreign whistled phrases, foreign harmonic phrases and foreign complete songs) were conducted at 12 sites in the Shoushan Nature Park of Kaohsiung, Taiwan. Grey‐cheeked Fulvettas came closer to the playback speaker and increased counter‐singing more in response to the familiar whistled phrase (local dialect) than to a foreign whistled phrase (distant dialect). However, birds responded equally to the playback of harmonic stimuli from familiar and foreign sources. We suggest that in this species, whistled phrases are used for local recognition and harmonic phrases are used for species recognition in short‐range communication.     

SONGS OF BLUE TITS PARUS CAERULEUS PALMENSIS FROM LA PALMA (CANARY ISLANDS)—A TEST OF HYPOTHESES

ABSTRACT

Parus major and Parus caeruleus palmensis have some song types in common. They consist of whistled element-types in different frequency ranges. Both species show territorial reactions to playback of the song-types belonging to the other species. P.c. palmensis does not share any songtypes with Central European Parus caeruleus. This is confirmed by playback experiments with the different song types, which do not elicit any territorial behaviour. The songs of P.c. palmensis also differ from those of blue tits from any other Canary Island. They may be derived from contact calls of the Lanzarote population. They have been developed by young birds that had not yet learnt their songs when they colonized La Palma from Lanzarote without reaching any of the other Canary Islands. It is suggested that the uniform song repertoire was developed by adapting the already learned contact calls to each other. The similarities to song types of P. major are due to convergence rather than character displacement. All other Canary Island tit populations share the main features of their songs, which are characterized by quick frequency changes. It seems most likely that these islands have been colonized by birds which had already learnt their songs. Differences in song repertoires are mainly caused by drift events which happen to occur because of population bottlenecks during the colonization process.     

Responses of gibbons (Hylobates muelleri) to self,neighbor, and stranger song duets

To determine whether gibbons discriminate among songs given by different groups, I conducted a series of experimental playbacks of recorded Bornean gibbon (Hylobates muelleri)duets. The gibbons did not respond differentially to their own, neighbors’, and strangers’ songs. Failure to show vocal discrimination may be due to factors associated with the experimental procedure or may indicate that there is no selective advantage gained by responding differentially under the playback circumstances.     

Signal value of alternating and overlapping singing in the Yellowhammer<Emphasis Type="Italic"> Emberiza citrinella</Emphasis>

Interactive playback experiments were used to study the signal value of alternating and overlapping singing in the Yellowhammer Emberiza citrinella. We carried out interactive playback experiments in which 13 males were subjects of two treatments that differed in temporal pattern of playback song delivery (alternating vs overlapping). We measured 12 parameters of males' response, belonging to three categories: song output, call output and mobility (distance from loudspeaker and flights). The results do not confirm the hypothesis that the overlapping pattern is a signal of stronger threat, as compared to the alternating pattern. Overlapping and alternating playbacks generally elicited a similar response, characteristic for highly aroused males. The only significant difference found concerned latency of approach to the loudspeaker during the playback stage. When playback alternated with songs of males, the birds gained higher scores on the axis of that response measure. Such a result was linked to differences in how the alternating and overlapping playbacks affect detection and localisation of simulated rivals, rather than to the signal's threat value itself. The strong response of Yellowhammer males is consistent with the high intrusion rate and possibility of extra-pair copulation in this species, which probably simplifies close-range communication towards more aggressive and unequivocal repelling of rivals irrespective of the temporal patterning of song.     

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.     

The deterrent effect of bird song in territory defense

Using the responses of territory owners to playback to inferthe territorial function of acoustic signals is common practice.However, difficulties with interpreting the results of suchexperiments have obscured our understanding of territorial signalling.For instance, a stronger response to playback is often interpretedas more aggressive, but there is no consensus as to whetherthis should be in response to the least or most threateningsimulated intruder. Rather than following a gradual increaseor decrease, the relationship between signal intensity and responsestrength may instead describe a peaked curve. We manipulatedbanded wren (Thryophilus pleurostictus) songs to simulate low-,median-, and high-performance singers and used these songs asstimuli in playback experiments. Banded wrens were less likelyto approach the high-performance stimulus compared with thelow- and median-performance stimuli. However, the birds thatdid approach the high-performance stimulus sang more than thosethat approached the low-performance stimulus. In addition, birdswere more likely to match the songs when exposed to the median-and high-performance stimuli compared with the low-performancestimuli, and song matching predicted approach behavior. Theseresults are in accordance with theoretical models of aggressiveencounters in which low-performance opponents are challengedwithout further assessment. Median- and high-performance opponents,however, may require further assessment, and the latter maybe perceived as too intimidating for approach.