Temporal Aspects of Singing Interactions among Territorial Ovenbirds (Seiurus aurocapillus)

The temporal aspects of singing interactions among birds have received relatively little attention. To determine if the song delivery of one individual is affected by that of its territorial neighbor, I recorded singing interactions between territorial ovenbirds (Seiurus aurocapillus). Ovenbirds appeared to adopt one of two roles during singing interactions, Type I or Type II singers. Type II singers placed more of their songs immediately after the song of their neighbor than expected. The singing pattern of Type I singers could not be distinguished from a random pattern with respect to their neighbor's songs. In each observed pair of interacting birds, one individual was a Type I singer and one was a Type II singer. Although there was some intra-individual variation, most birds maintained the same role with each of their recorded territorial neighbors. Variation occurred between the two study sites in the extent that individuals overlapped the songs of their neighbors. Song overlap was common at one site, but occurred as, or less, often than expected at the other site.     

In reference to phonation larynx fixation: computer graphic record

The vocal apparatus serves phonation. It represents a biocybernetic self-regulating system, disposing of a feedback network of the central nervous system. The larynx is a self-induced vibrating system. The larynx, functioning as the phonation apparatus of the vocal apparatus, is a source of human voice. In every individual its frequency range corresponds to about eight semitones in speech and about two octaves of the so-called chest register in singing, denoted also as a thoracic or modal voice. This is followed by one more octave of the so-called cranial register or falsetto voice. We were interested in changes of the larynx positions at intonation in the fundamental singing registers, both modal and falsetto, in professional male singers. At our disposal were 11 professional male singers. We investigated changes in the position of the laryngeal structures simultaneously with the aid of an X-ray apparatus, the acoustic and mechanical signals registered by means of the B & K 4369 acceleration recorder. It has been found that at phonation with the modal voice a change in the position of the laryngeal structures takes place in two different ways, whereas the larynx movements at falsetto remain the same. It has been suggested that a complex fixation apparatus participates in the phonation larynx movements. Of the same complex character are also the problems connected with the examination of the entire vocal apparatus. For the purpose of compiling the present pieces of knowledge in the field of human voice studies, we have made the most advantageous use of the presently most complex system Authorware for the production of some interactive multimedial programmes on personal computers.     

Interspecific song imitation by a Prairie Warbler

Song development in oscine songbirds relies on imitation of adult singers and thus leaves developing birds vulnerable to potentially costly errors caused by imitation of inappropriate models, such as the songs of other species. In May and June 2012, we recorded the songs of a bird that made such an error: a male Prairie Warbler (Setophaga discolor) in western Massachusetts that sang songs seemingly acquired by imitating the songs of a Field Sparrow (Spizella pusilla). Another song type in the bird's repertoire was a near‐normal Group A Prairie Warbler song, but the bird used this song in contexts normally reserved for Group B songs. Despite its abnormal singing behavior, the aberrant bird successfully defended a territory and attracted a mate that laid two clutches of eggs. Results of playbacks of the focal bird's heterospecific song suggested that neighboring conspecific males learned to associate the Field Sparrow‐like song with the focal male, and responded to the song as if it were a Prairie Warbler song. Our evidence suggests that the focal bird's aberrant singing evoked normal responses from potential mates and rivals. If such responses are widespread among songbirds, the general failure of heterospecific songs, once acquired, to spread through populations by cultural transmission is probably not attributable to a lack of recognition by conspecifics of the songs of heterospecific singers.     

Cardiac and respiratory patterns synchronize between persons during choir singing

Dyadic and collective activities requiring temporally coordinated action are likely to be associated with cardiac and respiratory patterns that synchronize within and between people. However, the extent and functional significance of cardiac and respiratory between-person couplings have not been investigated thus far. Here, we report interpersonal oscillatory couplings among eleven singers and one conductor engaged in choir singing. We find that: (a) phase synchronization both in respiration and heart rate variability increase significantly during singing relative to a rest condition; (b) phase synchronization is higher when singing in unison than when singing pieces with multiple voice parts; (c) directed coupling measures are consistent with the presence of causal effects of the conductor on the singers at high modulation frequencies; (d) the different voices of the choir are reflected in network analyses of cardiac and respiratory activity based on graph theory. Our results suggest that oscillatory coupling of cardiac and respiratory patterns provide a physiological basis for interpersonal action coordination.     

Layman versus Professional Musician: Who Makes the Better Judge?

The increasing number of casting shows and talent contests in the media over the past years suggests a public interest in rating the quality of vocal performances. In many of these formats, laymen alongside music experts act as judges. Whereas experts'' judgments are considered objective and reliable when it comes to evaluating singing voice, little is known about laymen’s ability to evaluate peers. On the one hand, layman listeners–who by definition did not have any formal training or regular musical practice–are known to have internalized the musical rules on which singing accuracy is based. On the other hand, layman listeners’ judgment of their own vocal skills is highly inaccurate. Also, when compared with that of music experts, their level of competence in pitch perception has proven limited. The present study investigates laypersons'' ability to objectively evaluate melodies performed by untrained singers. For this purpose, laymen listeners were asked to judge sung melodies. The results were compared with those of music experts who had performed the same task in a previous study. Interestingly, the findings show a high objectivity and reliability in layman listeners. Whereas both the laymen''s and experts'' definition of pitch accuracy overlap, differences regarding the musical criteria employed in the rating task were evident. The findings suggest that the effect of expertise is circumscribed and limited and supports the view that laypersons make trustworthy judges when evaluating the pitch accuracy of untrained singers.     

Song and Male Quality in Prairie Warblers

To determine if the songs of male prairie warblers could potentially reveal to female listeners information about the quality of singers, we compared various aspects of prairie warbler song structure and performance to attributes that might reflect a male singer's potential to enhance the fitness of his mate. We found that all the tested male attributes—arrival date, age, body size, annual survival, and fledging success—were associated with singing, most with multiple aspects of singing. Several of the song traits that were associated with potential indicators of male quality had also been found previously to be good predictors of female social mate choice. In particular, longer songs with longer elements, performed at lower frequency and with greater consistency, were associated with both female mate choice and potential indicators of quality. Thus, female prairie warblers may assess potential mates with the help of a set of song characteristics that collectively reveal an array of attributes that together indicate overall male quality.     

Voice pitch alters mate-choice-relevant perception in hunter–gatherers

In humans, voice pitch is thought to be a cue of underlying quality and an important criterion for mate choice, but data from non-Western cultures have not been provided. Here we test attributions to and preferences for voices with raised and lowered pitch in hunter–gatherers. Using a forced-choice playback experiment, we found that both men and women viewed lower pitched voices in the opposite sex as being better at acquiring resources (e.g. hunting and gathering). While men preferred higher pitched women''s voices as marriage partners, women showed no overall preference for voice pitch in men. However, women who were currently breastfeeding had stronger preferences for higher pitched male voices whereas women not currently breastfeeding preferred lower pitched voices. As testosterone is considered a costly signal associated with dominance, heritable immunity to infection and low paternal investment, women''s preferences potentially reflect a trade-off between securing good genes and paternal investment. Men''s preferences for higher pitched female voices are probably due to an evolved preference for markers of fecundity, reflected in voice pitch.     

THE RELATION OF BIRD SONG TO MUSIC

Bird song is considered as a primitive form of music, and as an evolutionary anticipation of human music. Evidence is seen in the use of elementary musical devices: in the avoidance of mechanical regularity (principle of the "monotony threshold"): in the learning of songs and tunes: in the partial detachment from utility, and the playful cultivation of sound production: and, finally, in the tendency of species with more elaborate and, by our criteria, more "musical" songs to spend a larger fraction of the minute, day, and year singing (the "correlation of quantity with quality"). The best singers are those with more variety and complexity in the use of elementary musical devices.     

Effect of Formant Frequency Spacing on Perceived Gender in Pre-Pubertal Children's Voices

Background

It is usually possible to identify the sex of a pre-pubertal child from their voice, despite the absence of sex differences in fundamental frequency at these ages. While it has been suggested that the overall spacing between formants (formant frequency spacing - ΔF) is a key component of the expression and perception of sex in children''s voices, the effect of its continuous variation on sex and gender attribution has not yet been investigated.

Methodology/Principal findings

In the present study we manipulated voice ΔF of eight year olds (two boys and two girls) along continua covering the observed variation of this parameter in pre-pubertal voices, and assessed the effect of this variation on adult ratings of speakers'' sex and gender in two separate experiments. In the first experiment (sex identification) adults were asked to categorise the voice as either male or female. The resulting identification function exhibited a gradual slope from male to female voice categories. In the second experiment (gender rating), adults rated the voices on a continuum from “masculine boy” to “feminine girl”, gradually decreasing their masculinity ratings as ΔF increased.

Conclusions/Significance

These results indicate that the role of ΔF in voice gender perception, which has been reported in adult voices, extends to pre-pubertal children''s voices: variation in ΔF not only affects the perceived sex, but also the perceived masculinity or femininity of the speaker. We discuss the implications of these observations for the expression and perception of gender in children''s voices given the absence of anatomical dimorphism in overall vocal tract length before puberty.     

The development of coordinated singing in cooperatively displaying long-tailed manakins

Long-tailed manakins (Chiroxiphia linearis) have a puzzlingsocial system in which teams of two males display cooperativelyin dispersed lek arenas, but only the alpha partner mates withvisiting females. One benefit of performing as a nonmatingpartner might be to gain experience as an "apprentice" to improvethe performance of the complex duet song and joint dance. Weexamined the relationship between the age of singers and twomeasures of singing performance: song variability and soundfrequency matching. Singing performance improved with age;variability in four song characteristics of males less than3 years old was greater than that in their older partners,and frequency matching increased with the age of the younger partner. Randomization tests of song samples from seven well-establishedteams showed that males did not track the song-to-song variationin their partners' singing. Another randomization test showedthat frequency matching by these teams was higher than thatof randomly paired partners. We considered three alternativehypotheses for the congruent songs: (1) short-term accommodation to the partner's song; (2) active choice of partners with similarintrinsic frequencies; and (3) long-term development of congruentsong through either practice or song copying. Our results andevidence from long-term monitoring of banded birds best supportthe hypothesis that frequency matching develops over severalyears during the complex and protracted process of partner formation. Nonmating males may benefit from increasing theircompetence at display, eventually enjoying increased matingsuccess when they inherit display sites from older males.     

The Causes and Evolutionary Consequences of Mixed Singing in Two Hybridizing Songbird Species (Luscinia spp.)

Bird song plays an important role in the establishment and maintenance of prezygotic reproductive barriers. When two closely related species come into secondary contact, song convergence caused by acquisition of heterospecific songs into the birds’ repertoires is often observed. The proximate mechanisms responsible for such mixed singing, and its effect on the speciation process, are poorly understood. We used a combination of genetic and bioacoustic analyses to test whether mixed singing observed in the secondary contact zone of two passerine birds, the Thrush Nightingale (Luscinia luscinia) and the Common Nightingale (L. megarhynchos), is caused by introgressive hybridization. We analysed song recordings of both species from allopatric and sympatric populations together with genotype data from one mitochondrial and seven nuclear loci. Semi-automated comparisons of our recordings with an extensive catalogue of Common Nightingale song types confirmed that most of the analysed sympatric Thrush Nightingale males were ‘mixed singers’ that use heterospecific song types in their repertoires. None of these ‘mixed singers’ possessed any alleles introgressed from the Common Nightingale, suggesting that they were not backcross hybrids. We also analysed songs of five individuals with intermediate phenotype, which were identified as F₁ hybrids between the Thrush Nightingale female and the Common Nightingale male by genetic analysis. Songs of three of these hybrids corresponded to the paternal species (Common Nightingale) but the remaining two sung a mixed song. Our results suggest that although hybridization might increase the tendency for learning songs from both parental species, interspecific cultural transmission is the major proximate mechanism explaining the occurrence of mixed singers among the sympatric Thrush Nightingales. We also provide evidence that mixed singing does not substantially increase the rate of interspecific hybridization and discuss the possible adaptive value of this phenomenon in nightingales.     

Duet-splitting and the evolution of gibbon songs

Unlike the great apes and most other primates, all species of gibbons are known to produce elaborate, species-specific and sex-specific patterns of vocalisation usually referred to as "songs". In most, but not all, species, mated pairs may characteristically combine their songs in a relatively rigid pattern to produce coordinated duet songs. Previous studies disagree on whether duetting or the absence of duetting represented the primitive condition in gibbons. The present study compares singing behaviour in all gibbon species. Various vocal characteristics were subjected to a phylogenetic analysis using previously published phylogenetic trees of the gibbon radiation as a framework. Variables included the degree of sex-specificity of the vocal repertoire, the occurrence of solo songs, and the preference for a specific time of day for song-production. The results suggest the following scenario for the evolution of gibbon songs: (1) The last common ancestor of recent gibbons produced duet songs. (2) Gibbon duets probably evolved from a song which was common to both sexes and which only later became separated into male-specific and female-specific parts (song-splitting theory). (3) A process tentatively called "duet-splitting" is suggested to have led secondarily from a duetting species to a non-duetting species, in that the contributions of the pair-partners split into temporally segregated solo songs. This appears to be the first time that a non-duetting animal can be shown to be derived from a duetting form. (4) The return to exclusive solo singing may be related to the isolated island distribution of the non-duetting species.     

Vocal attractiveness and voluntarily pitch-shifted voices

Previous studies have found that using software to pitch shift people's voices can boost their perceived attractiveness to opposite-sex adults: men prefer women's voices when pitch-shifted up, and women prefer men's voices when pitch-shifted down. In this study, we sought to determine whether speakers could affect their perceived vocal attractiveness by voluntarily shifting their own voices to reach specific target pitches (+20 Hz or −20 Hz, a pitch increment that is based on prior research). Two sets of Chinese college students participated in the research: 115 who served as speakers whose voices were recorded, and 167 who served as raters who evaluated the speakers' voices. We found that when female speakers increased their pitch they were judged as more attractive to both opposite-sex and same-sex raters. An additional unexpected finding was that male speakers tended to rate other males who shifted their voice up in pitch as more attractive. These findings suggest that voluntary pitch shifts can affect attractiveness, but that they do not fully match the patterns observed when pitch shifting is done digitally.     

Absolute pitch: effects of timbre on note-naming ability

Background

Absolute pitch (AP) is the ability to identify or produce isolated musical tones. It is evident primarily among individuals who started music lessons in early childhood. Because AP requires memory for specific pitches as well as learned associations with verbal labels (i.e., note names), it represents a unique opportunity to study interactions in memory between linguistic and nonlinguistic information. One untested hypothesis is that the pitch of voices may be difficult for AP possessors to identify. A musician''s first instrument may also affect performance and extend the sensitive period for acquiring accurate AP.

Methods/Principal Findings

A large sample of AP possessors was recruited on-line. Participants were required to identity test tones presented in four different timbres: piano, pure tone, natural (sung) voice, and synthesized voice. Note-naming accuracy was better for non-vocal (piano and pure tones) than for vocal (natural and synthesized voices) test tones. This difference could not be attributed solely to vibrato (pitch variation), which was more pronounced in the natural voice than in the synthesized voice. Although starting music lessons by age 7 was associated with enhanced note-naming accuracy, equivalent abilities were evident among listeners who started music lessons on piano at a later age.

Conclusions/Significance

Because the human voice is inextricably linked to language and meaning, it may be processed automatically by voice-specific mechanisms that interfere with note naming among AP possessors. Lessons on piano or other fixed-pitch instruments appear to enhance AP abilities and to extend the sensitive period for exposure to music in order to develop accurate AP.     

Variation in Vocal Performance in the Songs of a Wood-Warbler: Evidence for the Function of Distinct Singing Modes

Male North American wood‐warblers (family Parulidae) subdivide their song repertoires into two different categories, or modes, of singing (first and second category songs). These two modes are thought to be specialized for interacting with females and males, although the data are inconclusive. I conducted an acoustic analysis of the song types used by yellow warblers (Dendroica petechia) for type I (first category) and type II (second category) singing to ask whether there are consistent structural differences between them which could provide insight into how they might function as separate signals. I found that type I songs are performed closer to the upper boundary of a song performance limit, measured in terms of the difficulty of production, compared with type II songs. By contrast, the performance of specific song types did not depend on whether they were used for type I singing vs. type II singing by different males. In addition, type I songs had a greater amplitude increase across the first two syllables compared with type II songs. There was no relationship between the performance of type I or type II songs and male condition. These results suggest that wood‐warblers might subdivide their song repertoire into distinct categories to highlight the relative vocal performance of their songs.     

Diel patterns in singing activity of humpback whales in a winter breeding area in Okinawan (Ryukyuan) waters

Male humpback whales produce complex sounds known as songs during their breeding season. Previous studies have shown diel patterns of song in their breeding areas, but there had been no similar studies in the breeding area around Okinawa, Japan. To study diel patterns of song and the behavior of humpback whales in Okinawa, we conducted 24 hr recording with a fixed hydrophone in 2007, and vessel-based sighting surveys during 2014–2017. Song was monitored for 15 days, with peaks at sunrise and around 2200. Singing activity declined significantly between sunrise and sunset, then increased until 2200. Activity levels at night were higher and more stable than during the day. During 278 days of sighting surveys, 2,551 whales in 1,382 groups were observed. 79 individuals were confirmed as singers, all of which were lone whales. In six cases, singing individuals stopped singing before joining a group or began singing after leaving a group. Previous studies have shown that group size of humpback whales increases through the day. Considering the results from our study and the former studies, the decrease in singing activity as the day progresses may be a result of aggregation increasing, thus reducing the number of lone singers during the day.     

A system for parallel measurement of glottis opening and larynx position

The simultaneous assessment of glottal dynamics and larynx position can be beneficial for the diagnosis of disordered voice or speech production and swallowing. Up to now, methods either concentrate on assessment of the glottis opening using optical, acoustical or electrical (electroglottography, EGG) methods, or on visualisation of the larynx position using ultrasound, computer tomography or magnetic resonance imaging techniques.The method presented here makes use of a time-multiplex measurement approach of space-resolved transfer impedances through the larynx. The fast sequence of measurements allows a quasi simultaneous assessment of both larynx position and EGG signal using up to 32 transmit–receive signal paths. The system assesses the dynamic opening status of the glottis as well as the vertical and back/forward motion of the larynx.Two electrode-arrays are used for the measurement of the electrical transfer impedance through the neck in different directions. From the acquired data the global and individual conductivity is calculated as well as a 2D point spatial representation of the minimum impedance.The position information is shown together with classical EGG signals allowing a synchronous visual assessment of glottal area and larynx position. A first application to singing voice analysis is presented that indicate a high potential of the method for use as a non-invasive tool in the diagnosis of voice, speech, and swallowing disorders.     

Modeling the evolution of interconnected processes: It is the song and the singers

Recently, Doolittle and Inkpen formulated a thought provoking theory, asserting that evolution by natural selection was responsible for the sideways evolution of two radically different kinds of selective units (also called Domains). The former entities, termed singers, correspond to the usual objects studied by evolutionary biologists (gene, genomes, individuals, species, etc.), whereas the later, termed songs, correspond to re‐produced biological and ecosystemic functions, processes, information, and memes. Singers perform songs through selected patterns of interactions, meaning that a wealth of critical phenomena might receive novel evolutionary explanations. However, this theory did not provide an empirical approach to study evolution in such a broadened context. Here, we show that analyzing songs and singers, using patterns of interaction networks as a common ontology for both, offers a novel, actionable, inclusive and mathematical way to analyze not only the re‐production but also the evolution and fitness of biological and ecosystemic interconnected processes.     

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.