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

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

Acoustic but no genetic divergence in migratory and sedentary populations of blackcaps,Sylvia atricapilla

In songbirds, territorial songs are key regulators of sexual selection and are learned from conspecifics. The cultural transmission of songs leads to divergence in song characteristics within populations, which can ultimately lead to speciation. Many songbirds also migrate, and individual differences in migratory behaviours can influence population genetic structure and local song differentiation. Blackcaps, Sylvia atricapilla, exhibit versatile territorial songs and show diversity in migration behaviours. They therefore comprise a good model for investigating the relationships between migratory patterns, song variation, and genetic diversity. We studied a migratory population (two groups near Paris) and a sedentary population (three groups in Corsica). All of the birds were ringed and blood sampled to investigate genetic relatedness using 17 microsatellite loci. A detailed song analysis showed that this species has a complex repertoire (> 100 syllables), which required the development of a semi‐supervised method to classify different categories of syllables and compare sequences of syllables. Our analysis showed no genetic structuring among populations: individuals belonging to the same group were not genetically closer than those from different groups. However, we found a strong wingsize difference between sedentary and migratory populations. We also showed that geographical variations in songs rely at least on both syllable and sequence content. Unexpectedly, despite a higher turnover of individuals, migratory groups share as many syllables and sequences as sedentary groups, which raises interesting issues on song learning and the maintenance of dialects in migratory birds.     

Versatility and Stereotypy of Free-Tailed Bat Songs

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

Advertising vocalization of the clamorous reed warbler (<Emphasis Type="Italic">Acrocephalus stentoreus</Emphasis>, Sylviidae)

The advertising vocalization of the clamorous reed warbler, one of the least studied representatives of the genus in the Palearctic, has been analyzed. In this species, advertising vocalization consists of compact acoustic constructs (songs) separated by pauses. The duration of songs (median 3.6 s) and pauses (median 2.9 s) varies only slightly. Each song consists of three to four different or identical syllables. Syllables (stereotyped acoustic constructs) consist of two to four notes. Each male has from 5 to 25 syllables in his repertoire. A sharp contrast between low-frequency and high-frequency notes and strict sequence of these notes in syllables (low-frequency notes come first, then follow high-frequency notes) are characteristic of this song. All types of syllables in the song of a given male can be divided into two groups: initiator syllables and other syllables. Initiator syllables most often occur at the beginning, while others occur in the middle or at the end of the song. Stable links between syllables have been revealed: the majority of them occur in the song together with certain syllables (one or two) of other types. The whole range of songs of each individual can be divided into several classes. A certain type of initiator syllable and a certain set of subsequent syllables are characteristic of each class. However, the variability of songs within each class is quite high. Modes of immediate and eventual variety alternate in the sequence of songs from different classes. Thus, 47.4% of songs are followed by a song from the same class (eventual variety), while 52.6% of songs are followed by a song from a different class (immediate variety). The advertising vocalization of the clamorous reed warbler is compared with that of other representatives of the genus Acrocephalus.     

Song Motor control organizes acoustic patterns on two levels in Bengalese finches (<Emphasis Type="Italic">Lonchura striata</Emphasis> var. <Emphasis Type="Italic">domestica</Emphasis>)

Based on statistical analyses of song sequences, Bengalese finch (Lonchura striata var. domestica) songs do not show unvarying motif repetition as has been found in zebra finches (Taeniopygia guttata). Instead, there are variations of partially stereotyped sequences of song syllables. Although these stereotyped sequences consist of multiple syllables, in most cases these syllables occur together. To examine whether such structures really exist as a vocal production unit, we subjected singing birds to a light flash and determined when the stimulus stopped the songs. When light interruptions were presented within the statistically stereotyped sequences, the subsequent syllables tended to be produced, whereas interruptions presented during the statistically variable sequences tended to cause instantaneous song termination. This suggests that the associations among the song syllables that compose the statistically stereotyped sequences are more order dependent than those for the statistically variable sequences, and the tolerances of syllable pairs to visual interruptions are consistent with the statistical song structures. Additionally, following interruptions, several types of song sequence variations were observed that had not been previously reported. These phenomena might be caused by various effects of the visual stimulus on the hierarchical motor control program.     

Temporal patterns of intra- and interspecific acoustic signals differ in two closely related species of Acanthoplus (Orthoptera: Tettigoniidae: Hetrodinae)

Males of the closely related African tettigoniids Acanthoplus discoidales and Acanthoplus longipes produce a long-lasting calling song and a short disturbance sound. The temporal patterns of the sounds were analysed in respect to species differences and song type differences. The calling songs of both species consist of impulses which are separated into verses of two syllables, with fewer impulses in the first syllable. A. longipes produces more impulses in each syllable than A. discoidales and has longer verse durations, verse intervals and syllable intervals. Also, the disturbance sounds, produced after mechanical stimulation, contain distinct verses of impulses. The disturbance sound of A. longipes has a higher number of impulses per verse than that of A. discoidales. The frequency spectra of the songs in both species have similar peak frequencies (around 12.5 kHz) and both species have their greatest hearing sensitivity in the range between 5 and 10 kHz. Females of A. longipes perform phonotaxis only to songs with a species-specific temporal pattern. By contrast, females of A. discoidales react positively to calling songs of both species.     

Inferring performance in the songs of dark-eyed juncos (Junco hyemalis)

Within bird species, songs differ in their attractiveness tofemales or effectiveness in male–male interactions. Somesongs are more difficult to sing than others, and receiversmay use a singer's performance of difficult songs as a meansfor evaluating the quality of the singer. The concept of songperformance aims at quantifying how physiologically demandingare different songs. Using variation between song types of dark-eyedjuncos, Junco hyemalis, we show that some song traits tradeoff with costly aspects of song output—short intervalsbetween syllables or loud sound amplitude—suggesting thatthose traits are difficult to sing. First, after controllingfor other traits, long syllables require longer intervals forrecovery. This supports the idea that a measure of "respiratoryperformance" could be based on the relative lengths of syllablesand intervals. Second, some syllable traits trade off stronglywith sound amplitude, suggesting that these traits may be difficultto sing at high amplitudes. The ratio of frequency bandwidthand trill rate has been used to infer performance in other birdspecies, but we found no evidence that frequency bandwidth tradesoff with any aspect of song output in the junco. The negativeassociation of bandwidth with trill rate may instead be a passiveconsequence of syllable length, with longer syllables randomlyaccumulating frequency modulation. We conclude that bird receiversmay best evaluate how well a song is performed if they integratemultiple cues and discuss how researchers may similarly devisemeasures of song performance.     

Cross fostering experiments suggest that mice songs are innate

Background

Vocal learning is a central functional constituent of human speech, and recent studies showing that adult male mice emit ultrasonic sound sequences characterized as “songs” have suggested that the ultrasonic courtship sounds of mice provide a mammalian model of vocal learning.

Objectives

We tested whether mouse songs are learned, by examining the relative role of rearing environment in a cross-fostering experiment.

Methods and Findings

We found that C57BL/6 and BALB/c males emit a clearly different pattern of songs with different frequency and syllable compositions; C57BL/6 males showed a higher peak frequency of syllables, shorter intervals between syllables, and more upward frequency modulations with jumps, whereas BALB/c males produced more “chevron” and “harmonics” syllables. To establish the degree of environmental influences in mouse song development, sons of these two strains were cross-fostered to another strain of parents. Songs were recorded when these cross-fostered pups were fully developed and their songs were compared with those of male mice reared by the genetic parents. The cross-fostered animals sang songs with acoustic characteristics - including syllable interval, peak frequency, and modulation patterns - similar to those of their genetic parents. In addition their song elements retained sequential characteristics similar to those of their genetic parents'' songs.

Conclusion

These results do not support the hypothesis that mouse “song” is learned; we found no evidence for vocal learning of any sort under the conditions of this experiment. Our observation that the strain-specific character of the song profile persisted even after changing the developmental auditory environment suggests that the structure of these courtship sound sequences is under strong genetic control. Thus, the usefulness of mouse “song” as a model of mammalian vocal learning is limited, but mouse song has the potential to be an indispensable model to study genetic mechanisms for vocal patterning and behavioral sequences.     

Song characterization in the spectacled warbler (Sylvia conspicillata): a circum-Mediterranean species with a complex song structure

The spectacled warbler (Sylvia conspicillata) is a small passerine with a patchy distribution throughout the circum-Mediterranean region, including the North Atlantic archipelagos of Madeira, Canary Islands and Cape Verde. Here we characterize the species song structure on the island of Fuerteventura, quantifying repertoire size, inter- and intra-individual spectrographic variation, to determine whether acoustic variation occurred within an island population. Male song display was organized in song bouts of a variable number of song phrases, which in turn were made up of 4–69 syllables. We classified syllable types to derive a measure of repertoire size (number of different syllables) per song bout, and then used rarefaction methods to calculate the estimated repertoire size for our population of males. Three categories of song bout length were considered in analyses: short song bouts of 10 phrases, average bouts of 19 phrases and long bouts of ≥ 29 phrases. The observed and estimated repertoire size per male (between 43 and 126 syllables per male) increased with song bout duration, although the relationship was not significant for the estimated values. To test whether songs could be individually specific, we measured 11 spectrotemporal parameters of the song. A discriminant analysis using these variables performed poorly in classifying songs to the individuals that uttered them, but we found less variation in the individual than in the population for three out of the 11 variables. These individually specific variables, involving the first or the most common syllable of the song, the trill, were the duration of the first syllable of the phrase, the duration and the dominant frequency of the trill syllable. Our study emphasizes the complexity of spectacled warbler songs, in which males continuously add novel syllables over the entire song bout. This complexity appears to be determined by individual innovation capabilities rather than by the behaviour of copying neighbour repertoires, since songs of close birds were not more similar than songs from far-away territories.     

斑背大尾莺繁殖期鸣声行为分析

2009年5-7月,在辽宁双台河口保护区录制了20只繁殖期斑背大尾莺雄性个体的鸣声.根据行为特征,该鸟鸣声定义为3种鸣声类型:求偶炫耀鸣唱、报警声和联络声.利用Wavesurfer软件对20只斑背大尾莺雄性个体543个鸣声的句子持续时间、句子音节个数、音节持续时间、音节间隔时间等4个参数进行分析测量,发现求偶炫耀鸣唱由节奏逐渐加快的前部句子和音节组成复杂的主体部两个句子组成; 报警声和联络声的句子均由单音节组成.音节类型总数为38种,其中包括前部句子的音节类型6种.采用单因素方差分析(one-way ANOVA)对求偶炫耀鸣唱的4个参数进行差异性检验发现,不同个体的各个参数均呈极显著差异(P<0.01).     

Species song discrimination in adult female song and swamp sparrows

Six female song sparrows (Melospiza melodia) and six female swamp sparrows (Melospiza georgiana) were treated with oestradiol, and their response to song measured by frequency and intensity of copulation-solicitation display. Test stimuli were synthetic songs composed of either song sparrow or swamp sparrow syllables assembled in either song-sparrow-like or swamp-sparrow-like temporal patterns. Female song sparrows responded preferentially to songs containing their own species' syllables and to songs containing their own species' temporal patterns. Swamp sparrows were also sensitive to both syllable type and temporal, pattern, in contrast to male swamp sparrows, which show no preference for swamp sparrow temporal patterns.     

Mechanisms of song differentiation in introduced populations of Chaffinches Fringilla coelebs in New Zealand

Chaffinches Fringilla coelebs were introduced to New Zealand from Great Britain over 100 years ago, and since then their songs have diverged from British ones in both syllable structure and basic organization of syllable sequences. The New Zealand populations seem to be unique in that their songs have undergone differentiation of trill segments by progressive elaboration of syllable morphology and hp ascending and descending changes of pitch. Published sonagrams of British song types have significantly more trill phrases and significantly fewer syllables in the end phrase than do Yew Zealand ones. Many New Zealand song types have much elaborated end phrases and concomitantly simpler trill segments, with songs quite commonly having only one trill phrase. This reversal of complexity between the trill and end phrase in New Zealand seems to have been derived by progressive reduction of the ultimate trill phrase to one syllable, and by recombination of end phrase syllables from different song types into one compound end phrase. The significance of the increased complexity in the end phrases of many song types may relate to the sound transmission properties of dense pine forests in New Zealand, in which Chaffinches are ubiquitous. Elaborate end phrases degrade much less from reverberation in pine forests because individual syllables have more dispersed temporal patterning.
Recombination of syllables to form new song types is a major mechanism of song differentiation in New Zealand. Although whole song copying is the predominant mode of replication, very few song types in a locality sample are composed of a unique set of syllables. Rather, song types in an area are interconnected by different combinations of shared syllables, suggesting that the incorporation of some local syllables in a bird's repertoire is sufficient to signal its status as a member of a neighbourhood and also allows the evolution of broadcast complexity.     

丹顶鹤性活动的声行为研究

丹顶鹤繁殖期的性活动可分为雄鹤求偶、雌鹤对雄性求偶的应答、两性交配和交配完结4个阶段,其相应的鸣声模式分别为雄性的求偶鸣声、雌性对雄性求偶的应答声和两性的对鸣声、两性对唱的交配声和两性的高声合唱。4个阶段鸣声都是以基本音的主频率(PF)为主音的单音调声,前3个阶段都带数个近似fn=nf0(f0=FP)关系的低幅值谐频成分。第4个阶段带数个近似fn=nf0(f0=FP)关系的高幅值谐频成分;品质因数(Q3dB)多半为4～6,声脉冲重复频率(RFP)一般为150～180Hz,而第2阶段声的RFP一般为180～260Hz。雄性鸣声的每个单次叫声中含有的音节数较少,一般不超过4个;而雌性鸣声比较复杂。每个单次叫声中含有的音节数较多,一般都在7～8个以上;但雌雄鸣声的每个音节都是由3个声脉冲组成。雄鹤鸣唱声频率变化范围较小,而雌鹤鸣唱声频率变化形式是由低到高达到高峰后又开始下降。4个阶段的鸣声都具有较好共鸣。只有第2阶段发声运动较快。而且发现雄鹤鸣唱单次鸣叫声的音节数“增多”。各阶段鸣声特性均存在差异,不同配偶间均存在显著差异,研究结果表明丹顶鹤雌雄都具有不同的鸣声,且其性活动过程中不同的鸣声行为具有较高的个体识别信号潜能。另外,求偶鸣叫声和求偶应答与对鸣声在性活动鸣声中起着决定性的作用。     

Species Recognition by Song in the Veery (Catharus fuscescens: Aves)

Territorial male veeries (Catharus fuscescens) were presented with three series of reorganised songs to determine the functional properties of song structure. Songs consist of three parts: a low frequency initial phrase, a higher frequency middle phrase, and again a lower frequency end phrase. The latter two consist of vibrato syllables. Three series of experiments were performed, using various combinations of song syllables. In Series I, songs consisted of repetitions of a single syllable, one from each part of the song. Veeries responded to syllables from the middle and end phrases as to normal songs, both in localisation and in vocal responses. However, they showed little localisation and vocalisation responses to the introductory syllables. In Series II and III, veeries responded significantly more to songs in which syllables from the middle and end phrases were presented in proper sequence, rather than not. The minimum requirements for intraspecific recognition were determined in relation to the number and order of syllables in the song.     

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.     

A simple explanation for the evolution of complex song syntax in Bengalese finches

The songs of Bengalese finches (Lonchura striata var. domestica) have complex syntax and provide an opportunity to investigate how complex sequential behaviour emerges via the evolutionary process. In this study, we suggest that a simple mechanism, i.e. many-to-one mapping from internal states onto syllables, may underlie the emergence of apparent complex syllable sequences that have higher order history dependencies. We analysed the songs of Bengalese finches and of their wild ancestor, the white-rumped munia (L. striata), whose songs are more stereotypical and simpler compared with those of Bengalese finches. The many-to-one mapping mechanism sufficiently accounted for the differences in the complexity of song syllable sequences of these two strains.     

珠颈斑鸠繁殖期占据领域鸣声特征及行为

2003年4～6月,在四川省南充市通过野外观察、录音、室内计算机处理及声谱分析对珠颈斑鸠繁殖期占据领域鸣声特征及行为做了研究。结果表明：珠颈斑鸠有一般占据和召唤配偶共同占据两类鸣声,两类鸣声雌雄不同,但均由3音节组成;其鸣唱具有应答性,且每次在各栖位点的鸣唱顺序大致相同;日鸣唱频次变化大,具3个高峰期;繁殖各时期鸣唱频次变化亦大。     

Female recognition of trills in the male calling song of the field cricket,<Emphasis Type="Italic"> Teleogryllus taiwanemma</Emphasis>

The calling song of the field cricket, Teleogryllus taiwanemma, is usually considered to consist of sequences of separate chirps. However, sometimes it comprises a phrase of several chirps in a row, with one long chirp (chirp) and a few short chirps (trills). In this study, I compared the phrase containing only chirps with that containing both chirps and trills by analyzing male songs and conducting playback experiments of male songs to females. The song analyses showed significant differences between chirps and trills for all song parameters except bandwidth. To test whether female preference differed with respect to the two phrases, I performed two-speaker playback experiments. When the same numbers of phrases were presented per unit time, females preferred the song with trills to that without trills. This result may reflect female preference for songs with greater sound density. In subsequent playback experiments, I equalized the total sound duration per unit time (duty cycle) in songs with and without trills. The numbers of females that preferred songs with and without trills did not differ significantly. This suggests that trills can attract females like chirps do, even though the two sounds have different components.     

Immediate early gene (ZENK, Arc) expression in the auditory forebrain of female canaries varies in response to male song quality

In male songbirds, the song control pathway in the forebrain is responsible for song production and learning, and in females it is associated with the perception and discrimination of male song. However, experiments using the expression of immediate early genes (IEGs) reveal the activation of brain regions outside the song control system, in particular the caudomedial nidopallium (NCM) and the caudomedial mesopallium (CMM). In this study on female canaries, we investigate the role of these two regions in relation to playback of male songs of different quality. Male canaries produce elaborate songs and some contain syllables with a more complex structure (sexy syllables) that induce females to perform copulation solicitation displays (CSD) as an invitation to mate. Females were first exposed to playback of a range of songs of different quality, before they were finally tested with playback of songs containing either sexy or nonsexy syllables. We then sectioned the brains and used in situ hybridization to reveal brain regions that express the IEGs ZENK or Arc. In CMM, expression of ZENK mRNA was significantly higher in females that last heard sexy syllables compared to those that last heard nonsexy syllables, but this was not the case for NCM. Expression of Arc mRNA revealed no differences in either CMM or NCM in both experimental groups. These results provide evidence that in female canaries CMM is involved in female perception and discrimination of male song quality through a mechanism of memory reconsolidation. The results also have further implications for the evolution of complex songs by sexual selection and female choice.     

Detecting diel patterns in the songs of Chipping Sparrows using citizen-science data

Previous studies have revealed diel patterns in the songs of Chipping Sparrows (Spizella passerina), with songs shorter in duration before dawn than after. However, the extent to which this phenomenon generalizes to the full geographic range of these sparrows is unclear, as is the question of whether citizen-science data can be used to detect diel patterns in song. We analyzed all available songs of Chipping Sparrows from the Macaulay Library and xeno-canto databases and compared the distributions of song features of recordings made at different times of day. We show that, across their entire geographic range in North and Central America, Chipping Sparrows sing shorter songs before sunrise (dawn song) than after sunrise (day song). Furthermore, we show that Chipping Sparrows shorten their songs by singing fewer syllables, not by singing faster: the number of syllables per song accounts for the observed difference in duration, not the syllable nor the intersyllable duration. Our results demonstrate that recordings from public repositories can be used to determine whether daily song patterns exist in species even in the absence of prior fieldwork, and we further propose that citizen-science recordings can be used to inform cross-species hypotheses and facilitate future studies to determine whether diel patterns in song are associated with differences in social behavior.