Vocal performance influences male receiver response in the banded wren

In a variety of songbirds the production of trilled song elements is constrained by a performance tradeoff between how fast a bird can repeat trill units (trill rate) and the range of frequencies each unit can span (frequency bandwidth). High-performance trills serve as an assessment signal for females, but little is known about the signal value of vocal performance for male receivers. We investigated the relationship between trill rate and frequency bandwidth in banded wren (Thryothorus pleurostictus) songs. Trilled song elements showed the same performance tradeoff found in other passerines and individuals differed in performance of some trill types. We tested the hypothesis that males of this species assess each other based on trill performance with a two-speaker experiment, in which territory owners were presented with alternating renditions of the same song type manipulated to differ in trill rate. Subjects were significantly more likely to approach the faster trill stimulus first. However, subjects that received trill types closer to the performance limit spent less time close to the fast speaker. Our results show that male banded wrens discriminate and respond differently to songs based on their vocal performance. Thus, performance of physically challenging songs may be important in intra- as well as inter-sexual assessment.     

Patterns of dawn singing by Buff-breasted Flycatchers

ABSTRACT.   Many passerine species exhibit a "dawn chorus"—a bout of intense singing activity before or at dawn, but our understanding of this phenomenon is poor. Tyrant flycatchers (Tyrannidae) exhibit pronounced daily bouts of dawn singing. I documented this behavior in several populations of Buff-breasted Flycatchers ( Empidonax fulvifrons ) in Arizona, tape recording >30,000 songs of 23 individuals during dawn singing. Individual males sang a dawn bout each morning, even during breeding phases when daytime song was almost completely absent. Dawn bouts began 5–10 min before local civil twilight and continued for 25–30 min. Each male possessed two song types delivered at high rates during dawn singing (four times the rate during sustained daytime singing). Song rate varied significantly over the course of dawn bouts, increasing to 55 songs / min at mid-bout, then declining to the end of the bout. Type 2 songs comprised about 30% of songs during dawn singing, and decreased significantly in proportion during the final 10 min of the bout. Songs of the two types were delivered in a nonrandom fashion. Males sang at locations near territory boundaries and pairs of neighbors engaged in counter-singing from the same locations each morning. A number of dawn singing bouts ended with attempted or successful copulations. These observations are consistent with the social dynamics hypothesis for the functional significance of dawn singing in this species.     

Age-related changes in song repertoire size and song type sharing in the Whinchat Saxicola rubetra

In many oscine passerines males’ songs, the repertoire size increases with age. At the same time it often remains unknown when and where males learn new songs. To infer the Whinchat Saxicola rubetra song learning strategy, we described and catalogued song-type repertoire, revealed age differences and examined song sharing strategies among neighbouring and distant males. We recorded song vocalizations of 40 males in a limited (104 ha) study plot during four years. Whinchats produce short and discrete songs with clear intersong pauses. In total 45 song types were allocated, the individual repertoire size averaged 23.5 ± 7.6 song types (range 9–34 song types). The males’ age significantly influenced the song-type repertoire size. The second calendar year (first breeding) males had a lower repertoire size than the older males. The majority of song types were shared by less than half of males in our sample. The Jaccard similarity indexes varied from 0.5 to 0.7. We could not find a relationship between males’ song sharing and geographic distances between their nests. We assume that Whinchat males learned new songs in the local population before territory establishment.     

Variation in Trill Characteristics in Tree Pipit Songs: Different Trills for Different Use?

Transmitting information about singer's quality is an important function of song in many bird species, and this information should be useful in territorial interactions. Fast trills, being physically demanding song structures, are particularly suitable candidates for signalling of quality or aggressive motivation. We have evaluated trill characteristics in songs within a population of the Tree Pipit, a common European songbird with no sexual dimorphism, in which song apparently plays a key role in territory defence as well as mate choice. Two types of relatively fast trills (each of them in multiple variants differing in complexity) were commonly observed in repertoires of Tree Pipit males. Trill rates significantly differed among individuals, suggesting that these song structures may carry information about male quality in this species. We tested by playback experiments whether both trill types are used in territorial encounters. Only one of the trill types was sung by males in response to playback, regardless on the trill type played to them. In an immediate response to playback, they increased the frequency of use of this trill, and also significantly increased the trill rate in comparison with spontaneous songs. This confirmed field observations, suggesting that this trill is important in male–male interactions. On the contrary, the use of the fastest, apparently more demanding, trill type actually decreased after the simulated territorial intrusion. We hypothesize that the latter one is more directed towards females, and that while performance of both trill types may reflect male quality, they are primarily used in different contexts.     

Conventional and network analyses of song organization and complexity in northern House Wrens (Troglodytes aedon parkmanii)

Among songbirds with large song-type repertoires, there may be functional variation in how individuals organize and display song-type diversity over time. Past studies focusing on conventional measures of song production have been extremely productive. However, network analysis offers a novel set of tools to quantify additional, previously unstudied elements of song organization and display. We studied protracted bouts of singing by 10 male House Wrens (Troglodytes aedon) to (1) test functional hypotheses of variation in song diversity in this species, and (2) evaluate the utility of network metrics in such research. Our analysis included a variety of conventional measures of song production and several standard metrics from network theory to quantify how variably the many song types in a male’s repertoire could be connected to one another and the limitations or diversity of their song sequences. Analysis of conventional variables showed that males produced more and longer songs, at shorter intervals, containing more syllables and more different syllable types, and also more different song types, prior to than after pairing and early in the morning regardless of breeding stage. These results are consistent with the hypothesis that song diversity functions in mate attraction and possibly in territory signaling. In contrast, analyses of network metrics revealed variety in song sequencing by males, but comparatively few and weak effects associated with either breeding stage or time of day. Overall, most song types connected to only a few others and a relatively small proportion of all possible song-type transitions actually occurred. Hence, much of the variety in song sequencing that was possible with the large song repertoires of males was not realized. The latter outcomes, brought to light via network analyses, highlight an important paradox for future research on this and related species with large song repertoires.     

The effect of neighbours and females on dawn and daytime singing behaviours by male chipping sparrows

Bird song may play an important role for communication among territorial neighbours, but the effect of neighbours on song use is still not well known. My previous field observations suggested that male chipping sparrows, Spizella passerina, use the dawn chorus for interactions among neighbouring males, and use day song for female attraction. To determine how these social factors may influence dawn and daytime singing behaviour, I conducted a series of experiments in which I removed the male neighbours or the female mate of territorial males during 1998-2000. Following removal of all neighbouring males, the solitary male either stopped or reduced his dawn chorus (N=9), but did not change his daytime singing behaviour. After one of the neighbouring males was returned to his territory, the focal male resumed and increased his dawn bout, accompanied with close-range countersinging. Following the removal of a territorial male's mate, the widowed male did not change the dawn chorus, but significantly increased his day song. This study thus revealed that, in chipping sparrows, the presence or absence of neighbouring males has a significant effect on the dawn chorus singing behaviour of territorial males. The presence or absence of a male's mate, in contrast, has a strong influence on a male's daytime singing behaviour. This study also supports the hypothesis that the dawn chorus and daytime song have different functions.     

Trill consistency is an age-related assessment signal in banded wrens

Older males tend to have a competitive advantage over younger males in sexual selection. Therefore, it is expected that signals used in sexual selection change with age. Although song repertoire size in songbirds is often mentioned as an age-related trait, many species, including the banded wren (Thryothorus pleurostictus), do not increase their repertoires after the first year. Here, we show that banded wrens reproduce the trill notes in their songs with less variability between them (i.e. more consistently) when they grow older. In a playback experiment, we also show that banded wrens discriminate between younger and older birds based on structural aspects of their song. In a second experiment, banded wrens also respond differentially to natural songs versus songs with artificially enhanced consistency. We argue that consistency in trill note reproduction may be achieved through practice. Sexual selection in the form of male–male competition may therefore operate on a phenotypic trait, the expression of which is enhanced by practice.     

Matched Counter-singing Signals Escalation of Aggression in Black-capped Chickadees (Parus atricapillus)

Black-capped chickadees (Parus atricapillus) have the ability to shift their songs up and down over a wide range of absolute frequencies. Males can shift their songs over 465 ± 52.9 (SE) Hz. During the dawn chorus, males shift their songs by 80 Hz or more every 41 ± 8.8 (SE) songs, but it appears that males can sing at any frequency within their range. Frequency shifting may allow males to match counter-sing with rival males; that is, to switch song output to match that of a rival. During simultaneously recorded dawn choruses, however, there was no correlation over time in the frequency of neighbouring males' songs, nor was there a correlation over time in the size of shifts between their songs. Moreover, males did not match the frequencies of songs presented on a played-back tape at the edge of their territories during the dawn chorus. Matching was observed during some bouts of counter-singing between males. In these cases, matched counter-singing was highly associated with escalation of the conflict. We suggest that frequency matching in this species may be a graded signal that allows the singer to direct aggression towards a particular rival.     

Long-term influence of simulated territorial intrusions on dawn and dusk singing in the Winter Wren: spring versus autumn

Males of many songbird species have peaks of singing activity at dawn and dusk. Singing during those twilight periods can function in territory proclamation, and males are suggested to adjust song output to the level of intruder pressure. We used song playback during the breeding season to simulate intrusions into territories of male Winter Wrens (Troglodytes troglodytes) shortly after dawn. We then compared male singing behaviour during the dawn and dusk chorus before and 1 day after the simulated intrusion. One day after the playback, male Wrens increased their song output before sunrise, which confirms our results from a previous study on dawn singing in autumn territories. At dusk, on the evening following the playback, males slightly increased song output after sunset, but singing activity at dusk was generally very low. We found no significant changes of song output after sunrise, before sunset, and between 2 days of control without playback. These results are consistent with the hypothesis that dawn and dusk singing is important for territory defence in spring. Unlike in autumn, however, increased singing in spring at dawn and dusk could also serve to defend other resources such as fertile mates or to strengthen the pair bond after a territorial challenge. In comparison with the results on autumnal singing, male Wrens started singing earlier at dawn during the breeding season, and they generally sang more songs at dawn and immediately after playback. The increase in absolute numbers of songs sung in the morning after playback seemed greater in spring than in autumn; however, the proportional increase relative to overall song output was similar in both seasons.     

Why birds sing at dawn: the role of consistent song transmission

The dawn chorus is a widely observed phenomenon. One of the common, but inadequately studied, explanations for the occurrence of the dawn chorus is based on the rationale that atmospheric turbulence, which impairs acoustic communication, is least at dawn, and thus singing at dawn in some way maximizes signal performance. To investigate what possible acoustic benefit is gained through singing at dawn, we transmitted Swamp Sparrow Melospiza georgiana and White-throated Sparrow Zonotrichia albicollis song through open grassland and closed forest both at dawn and at midday. The transmitted songs were re-recorded at four distances from 25 to 100 m. Our results show that the mean overall absolute transmission quality of the signals was not significantly better at dawn than at midday. However, the signal transmission quality was significantly more consistent at dawn than at midday. Also, in general, signal transmission quality decreased with increasing distance. Variability in the transmission quality increased with distance for the White-throated Sparrow song, but not for the Swamp Sparrow song. Consistency in signal transmission quality is a factor that, arguably, is crucial for the identity function of song. This study strongly supports the acoustic transmission hypothesis as an explanation for the existence of the dawn chorus while the demonstration of variability as a key factor in singing at dawn is novel.     

Song Variation in a Recently Founded Population of the Dark-Eyed Junco (Junco hyemalis)

During natural colonization events, songs are expected to change as a result of both selection and drift-like processes. We studied song variation within a small isolated population of dark-eyed juncos, Junco hyemalis , which became established in an unusual environment on the University of California at San Diego (UCSD) campus in the early 1980's, and compared this variation with the native range. At UCSD, the average repertoire size is 4.2 song types/male, which is similar to that in the native range. There is a low level of song-type sharing across the population. Typically a male shares at least one song type with on average 40% of his neighbors, and song-type sharing decreases rapidly with distance. Thus song-type diversity is high, and in this respect appears similar to that in ancestral mountain populations. These results suggest a moderate to large number of males founded and/or subsequently immigrated into the UCSD population, but several selection mechanisms, if coupled with a high cultural mutation rate, may also favor high song-type diversity. When combined with results from a previous study, songs are significantly shorter at UCSD than in the mountain population we studied. It appears that founder effects have not influenced the evolution of songs in this population. More generally, if song-type diversity and other features of song result from various social and natural selection pressures, many of these pressures may have remained similar between the native and the recently established population.     

Relative Amplitude of Courtship Song Chirp and Trill Components Does Not Alter Female Teleogryllus oceanicus Mating Behavior

Low‐amplitude acoustic signals intended for short‐range communication, often called soft songs, remain poorly studied, especially among acoustically communicating invertebrates. Some insects do employ low‐amplitude acoustic signals, but it remains unclear what the specific function, if any, is of quietness per se. Male Teleogryllus oceanicus, or Pacific field crickets, produce a two component, short‐distance courtship song consisting of a high‐amplitude series of chirps followed by a lower‐amplitude trill. We investigated whether female T. oceanicus prefer to mate with males that sing courtship songs containing trill components that are equally as loud as (?0 dB) or quieter than (?3 dB and ?10 dB) the loudest chirp (90 dB). We found no evidence that modifying trill amplitude affects female mate preference. We did, however, find that previously unmated females were faster to mount males than were females that had mated once before. Previous mating status showed no significant interaction with trill amplitude. What, if any, function of low‐amplitude components of field cricket courtship song remains to be determined.     

Communication breakdown? Habitat influences on black-capped chickadee dawn choruses

The dawn chorus of the black-capped chickadee (Poecile atricapillus) is a communication network that functions in the dissemination of essential information for both males and females. Habitat type may influence the performance of this network, and if recognized, chickadees may attempt to behaviorally compensate for detrimental changes in the form of increased movement. We studied the dawn chorus of 66 black-capped chickadees in two adjacent, yet structurally different, habitats (disturbed and undisturbed) during the summers of 2000–2003 and recorded via point counts the number of neighboring males heard singing simultaneously while following a focal chorusing male and observing his movement. A transmission study to detect differential degradation due to habitat type was also conducted within the same research site. Observers in the disturbed sites heard significantly fewer neighboring males in the focal male's territory than in the undisturbed site, yet individual movement did not differ between habitat types. Propagation of song of varying frequencies, as measured by entropy, suffered less degradation in the disturbed site for high-frequency songs, but there was no effect of habitat on low- or mid-frequency songs. Greater interneighbor distance in the disturbed site likely explains some of the reduction in audibility of neighboring males during the dawn chorus, but the reduced condition of birds in the disturbed site (implicated from other studies) may also be a factor in explaining the difference in networks. The findings of this study suggest that chickadees in the disturbed habitat are experiencing a compromised communication network, which could impact breeding and other social behaviors.     

Understanding the function of nocturnal song in ovenbirds: males do not countersing at night

Many diurnal bird species vocalize at night, however the function of nocturnal song is, generally, still poorly understood. Previous research has suggested that nocturnal song may serve a social function and is influenced by environmental factors. To test whether males attend to the nocturnal song of conspecifics, we experimentally exposed ovenbirds Seiurus aurocapilla to nocturnal flight songs, and recorded their response both during the night and during the following dawn chorus. We compared latency to song and vocal output before and after playback exposure to determine if males altered their vocalizations in response to exposure to flight songs from an unknown male. We found no evidence of counter singing or change in nocturnal song output, nor a change in vocal output during the dawn chorus following playback exposure. Our results suggest that, in ovenbirds, nocturnal song does not serve as an intraspecific social function. Nocturnal song, through rare, may be significant in the mating systems of some diurnal bird species, and requires additional study.     

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.     

Songbird cheaters pay a retaliation cost: evidence for auditory conventional signals

Conventional signals impose costs on senders through receiver retaliation rather than through investment in signal production. While several visual conventional signals have been described (mainly 'badges of status'), acoustic examples are rare; however, several aspects of repertoire use in songbirds are potential candidates. We performed interactive playback experiments to determine whether song-type matches (responding to a song with the same song type), repertoire matches (responding to a song with a different song type, but one in the repertoires of both singers) and unshared song types serve as conventional signals during male-male territorial interactions in banded wrens, Thryothorus pleurostictus. Our results demonstrate that these three signals incite varying levels of receiver aggression: song-type matches induce faster approach than do repertoire matches, and repertoire matches induce faster approach than do unshared song types. Production costs do not differ, while the receiver response does. Because territorial banded wrens approach opponents who signal aggressively, such opponents risk attack. This system will punish and prevent cheaters, as weak males signalling aggression will be subject to escalation by stronger or more-motivated opponents.     

Sound Spectrum Characteristics of Songs of Hainan Gibbon (Nomascus hainanus)

Gibbons are characterized by their species-specific calls, or songs. There are few studies of songs of Hainan gibbon (Nomascus hainanus). To study the sound spectrum characteristics and test for intergroup differences in Hainan gibbon song, we studied the singing behavior of Hainan gibbons in Bawangling National Nature Reserve, Hainan Province, China, intermittently from August 2002 to February 2013, collecting 184 recordings. Our results show that: 1) Hainan gibbon song bouts occur mainly 0–4 h after dawn. 2) The songs of adult males living in groups are composed mainly of one to three short notes and one to five long notes, while solitary adult male songs consist only of long frequency modulated notes and no short or single notes. 3) The song chorus is dominated by adult males, while females add a great call. Males do not have a great call, unlike those in other gibbon species. There are no female solos. 4) The sound spectrum frequency is similar in adult males living in two different groups, but the duration of the first long note differed significantly between the groups. The sonic frequencies of male and female songs are lower than those of other gibbons: no more than 2 kHz. Hainan gibbon sound structure is simple, although females participate in the chorus, reflecting their primitive status among gibbon species.     

Responses to Variation in Song Length by Male White‐Crowned Sparrows

Bird song has the potential to convey a variety of information about the singer, including the singer’s current motivational state. A recent review by Searcy & Beecher (2009) (Anim. Behav. 78, 2009; 1281) emphasized how little is currently known about whether song functions as an aggressive signal in territorial interactions. A recent observational study of song length variation in the Puget Sound white‐crowned sparrow reported that males shorten the terminal trill in their single song type while singing close by another male, and shorten the trill even further immediately before chasing the opponent. Here, we report the results of two song playback experiments designed to test whether males distinguish the differences in song length that occur in agonistic and non‐agonistic contexts. We found that males gave stronger responses, as measured by close approach distances, to either a series of songs increasing in duration (compared to a series decreasing in duration), or to long loud songs (compared to short soft songs). In both experiments, males gave weaker responses to the stimuli hypothesized to be more aggressive. Males shortened their songs in response to both simulated intrusions. Combined with the observational data on song variation in different contexts, these experiments support the conclusion that song length variation contains information about aggressive motivation in the white‐crowned sparrow.     

Typical versions of learned swamp sparrow song types are more effective signals than are less typical versions

The learned songs of songbirds often cluster into population-wide types. Here, we test the hypothesis that male and female receivers respond differently to songs depending on how typical of those types they are. We used computational methods to cluster a large sample of swamp sparrow (Melospiza georgiana) songs into types and to estimate the degree to which individual song exemplars are typical of these types. We then played exemplars to male and female receivers. Territorial males responded more aggressively and captive females performed more sexual displays in response to songs that are highly typical than to songs that are less typical. Previous studies have demonstrated that songbirds distinguish song types that are typical for their species, or for their population, from those that are not. Our results show that swamp sparrows also discriminate typical from less typical exemplars within learned song-type categories. In addition, our results suggest that more typical versions of song types function better, at least in male–female communication. This finding is consistent with the hypothesis that syllable type typicality serves as a proxy for the assessment of song learning accuracy.     

Are good ornaments bad armaments? Male chaffinch perception of songs with varying flourish length

Birdsong functions as both a territorial and a mate-attracting signal, and is therefore subject to inter- and intrasexual selection through male-male competition and female mate choice. Consequently, differences in song perception between males and females could potentially lead to conflicting selection pressures on song structure. Chaffinch,Fringilla coelebs , songs have two distinctive parts: a series of rapidly repeated notes (the trill) followed by a sequence of more complex and often nonrepeated elements (the flourish). Males often spontaneously sing incomplete songs consisting mainly of the trill part, but their communicative function is unclear. We tested the reaction of males to songs with and without the terminal flourish in a dual speaker playback design by measuring their approach to the speakers. Like female chaffinches tested with the same stimuli in a previous study, males responded more to songs with both trill and flourish than to those consisting of a trill only. However, although females had preferred songs with a relatively longer flourish, males showed the strongest reaction (closest approach to the speaker) to songs with longer trills and shorter flourishes. The results suggest that males and females may perceive aspects of chaffinch song structure differently, in which case it could be under conflicting pressure of intra- and intersexual selection. Copyright 2003 Published by Elsevier Science Ltd on behalf of The Association for the Study of Animal Behaviour.