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.     

Is song-type matching a conventional signal of aggressive intentions?

Song-type matching is a singing strategy found in some oscine songbirds with repertoires of song types and at least partial sharing of song types between males. Males reply to the song of a rival male by subsequently singing the same song type. For type matching to serve as an effective long-distance threat signal, it must be backed up by some probability of aggressive approach and impose some type of cost on senders that minimizes the temptation to bluff. Western subspecies of the song sparrow exhibit moderate levels of song-type sharing between adjacent males and sometimes type match in response to playback of song types they possess in their repertoires. Interactive playback experiments were used in order to examine the subsequent behaviour of type-matching birds and to quantify the responses of focal birds to type-matching versus non-matching stimuli. Birds that chose to type match the playback of a shared song type subsequently approached the speaker much more aggressively than birds that did not type match. Moreover, birds approached a type-matching stimulus much more aggressively than a non-matching stimulus. These results and consideration of alternatives suggest that type matching in song sparrows is a conventional signal in which honesty is maintained by a receiver retaliation cost against bluffers.     

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.     

Song matching, overlapping, and switching in the banded wren: the sender's perspective

Interpreting receiver responses to on-territory playback ofaggressive signals is problematic. One solution is to combinesuch receiver-perspective experiments with a sender-perspectiveexperiment that allows subjects to demonstrate how their choiceof singing strategies is associated with their approach behavior.Here we report the results of a sender-perspective study onthe banded wren (Thryothorus pleurostictus) and combine informationon context and results of previous receiver-perspective experimentsto clarify function. Territorial males were presented with a5-min playback consisting of song types present in their repertoire.We assessed the degree to which the subjects' song-matchingrate, overlapping rate, and song-type versatility were correlatedwith their approach latency, closeness of approach, latencyto first retreat, and time spent close to the speaker. Maleage, breeding stage, and features of the playback stimuli werealso considered. Song matching was associated with rapid andclose approach, consistent with the receiver-perspective interpretationof type matching as a conventional signal of aggressive motivation.Overlapping was associated with earlier retreat and togetherwith the aversive receiver response to our previous overlappingplayback experiment suggests that overlapping is a defensivewithdrawal signal. High versatility was associated with slowerfirst retreat from the speaker and high levels of reciprocalmatching between subject and playback. Males with fledglingssang with particularly low versatility and approached the speakeraggressively, whereas males with nestlings overlapped more andretreated quickly. Finally, older males matched more but overlappedless.     

Cautious response of inexperienced birds to conventional signal of stronger threat

Several studies demonstrated that bird song functions as a first line of territorial defence. The efficiency of deterring rivals depends strongly on the strategy of singing used (e.g. alternating/overlapping singing, singing with low/high rate, matching song type of a rival or singing different type). Causes of between males variation during countersinging are still not fully understood, especially when different signals have similar production costs and their meaning is assigned by arbitrary convention (conventional signalling). We tested whether an oscine bird with small repertoire size, the ortolan bunting Emberiza hortulana , differentiate strategy of responding to song of an intruder in relation to its age and threat value of signals. We performed playback experiments to measure response of second year (SY) and after second year (ASY) males to a song of low (eventual variety singing) and high (immediate variety singing) threat value. We found substantial differences in response to playback, which were related both to the type of stimuli used and age of responding males. Both SY and ASY males gave more calls than songs in response to immediate variety playback, which suggest stronger vocal response to the signal of higher threat value. Approaching loudspeaker was similar for both age classes when lower threat value signal was played back, while simultaneously SY males clearly avoided approaching loudspeaker when stronger threat values signal was played back. We conclude that ortolan bunting differentiate response to signal of different threat value and that the strength of response depends on the age of a male. This study provides experimental evidence that age of receiver affects its response to a territorial intruder. It also demonstrates that observed in many studies variation in response to playback may be an effect of age differences between males, which rarely is controlled.     

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.     

BIOACOUSTICS IN NEW ZEALAND AND JAPAN

Although it is highly recognisable, relatively little is known about the repertoire composition and singing behaviour of the Hermit Thrush (Catharus guttatus). To address this, we recorded spontaneously singing males in two eastern populations (Halifax, NS (n = 11) and Hancock County, ME (n = 7)) and analysed the recordings with respect to repertoire size, basic song type characteristics and song syntax. Males had song type repertoires of 7–12 song types, and no song type sharing between individuals was observed within or between populations. While frequency-related structural characteristics of the song types were the same between the populations, song type duration (especially that of the introductory note) differed significantly. The song types within each repertoire could be categorised into high and low song types based on introductory note frequency, and these song type categories also differed with respect to the amount and distribution of spectral energy. In both populations, males sang with immediate variety, never repeating the same song type consecutively, and preferentially used some song-type to song-type transitions more than others. In addition, we found correlational evidence of changes in singing behaviour (e.g., the relative use of low versus high song types) over the course of the breeding season. We discuss these findings in the context of other songbird research as well as their implications for future work examining how Hermit Thrush males utilise their songs in defending territories and attracting mates.     

Importance of Frequency and Temporal Song Matching in Black-Capped Chickadees: Evidence from Interactive Playback

Song-type matching during territorial contests may allow males of some bird species to direct their signal to a particular receiver. By matching the song-type and also responding immediately to a rival (temporal matching), a signalling male may indicate his willingness to escalate the contest. Black-capped chickadees ( Poecile atricapilla ) sing a single song-type, but are able to sing this song over a wide range of absolute frequencies. By using interactive playback to instigate and control the level of matching during trials, we investigated whether matching the frequency and the temporal patterning of song escalates contests. Males that were matched for both the frequency and the temporal pattern of their songs during trials escalated contests more than males that were not matched, while males that were only matched temporally had an intermediate response. During trials that consisted of temporal matching only, focal males often shifted frequency to match the playback. Our results confirm that frequency matching and temporal matching using a single song-type allows graded signalling during aggressive interactions in chickadees.     

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.     

A test for repertoire matching in eastern song sparrows

Repertoire matching occurs when one songbird replies to another with a song type that the two birds share. Repertoire matching has previously been demonstrated to occur at well above chance levels in a western population of song sparrows, where it is hypothesized to serve as a low level threat in a hierarchy of aggressive signals. Here we test for repertoire matching in an eastern population of song sparrows. Previous work indicates that this eastern population differs from the western one in having lower levels of song sharing between neighboring males and in showing no association between song sharing and territory tenure. Here we confirm that males in this eastern population on average share few whole songs with their neighbors. The eastern males are familiar with their neighbors’ repertoires, as evidenced by a stronger singing response to stranger song than to neighbor song. Males in the eastern population did not repertoire match: when played an unshared song type from a specific neighbor, they did not reply with a song type shared with that neighbor more often than expected by chance or more often than in response to playback of a control song (an unshared stranger song). The results thus demonstrate a qualitative difference in vocal signaling strategies between two populations of the same species.     

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.     

Song types and their structural features are associated with specific contexts in the banded wren

We studied the use of song types and their acoustic features in different social contexts in the banded wren (Thryothorus pleurostictus), a resident tropical songbird in which males possess about 20 distinctive song types varying in duration, bandwidth, note composition, and trill structure. We recorded six focal males intensively for four days each while we observed context information such as during versus after dawn chorus, presence of the female, counter-versus solo-singing, location at the edge versus centre of the territory, and proximity to the nest. All males used at least some song types differentially during each of these pairs of alternative contexts. Males also preferentially used the song types they shared with a given neighbour when interacting with that bird. Songs delivered during dawn chorus were significantly longer, wider in bandwidth, often compound (double songs), and more likely to contain a rattle or buzz and an up-sweeping trill, compared to songs delivered after dawn chorus. Similar features were also more commonly observed when birds were engaged in intense male-male interactions and boundary disputes after dawn chorus, especially when countersinging at the edge of the territory. The presence of the female caused the male to deliver song types with narrower whole-song and trill bandwidth and fewer rattles and buzzes, and song-type diversity and fraction of compound songs were higher when the female was present. Thus, in addition to using type matching and variations in song-type switching and diversity to signal different levels of aggressive intention, male banded wrens also select song types based on their acoustic structure in different social contexts.     

Signal Interception and the Use of Soft Song in Aggressive Interactions

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

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.     

Differential rates of phenotypic introgression are associated with male behavioral responses to multiple signals

Sexual selection on multiple signals may lead to differential rates of signal introgression across hybrid zones if some signals contribute to reproductive isolation but others facilitate gene flow. Competition among males is one powerful form of sexual selection, but male behavioral responses to multiple traits have not been considered in a system where traits have introgressed differentially. Using playbacks, mounts, and a reciprocal experimental design, we tested the hypothesis that male responses to song and plumage in two subspecies of red‐backed fairy‐wren (Malurus melanocephalus) explain patterns of differential signal introgression (song has not introgressed, whereas plumage color has introgressed asymmetrically). We found that males of both subspecies discriminated symmetrically between subspecies’ songs at a long range, but at a close range, we found that aggression was equal for both subspecies’ plumage and songs. Taken together, our results suggest that male behavioral responses hinder the introgression of song, but allow for the observed asymmetrical introgression of plumage. Our results highlight how behavioral responses are a key component of signal evolution when recently divergent taxa come together, and how differential responses to multiple signals may lead to differential signal introgression and novel trait combinations.     

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.     

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.     

Song matching in the great tit Parus major L.

Great tits respond to playback of song from their own repertoire by singing the same song type as that on the tape. This is referred to as song matching. There is a good correlation between the probability of matching and response strength as indicated by latency, approach to the speaker and total number of songs. We propose that matching functions as a graded signal in territorial disputes.     

Variation in Song Rate during the Breeding Cycle of the Chaffinch,Fringilla coelebs

The variation in song rate during the breeding season was studied in two individually marked chaffinch Fringilla coelebs populations. We gathered data to investigate especially the recently presented mate-guarding hypothesis. The active singing has been supposed to function as a form of mate guarding during the female's fertile period by announcing the high status of the male and preventing extra-pair copulations by neighbouring males. There was no clear dawn chorus in the chaffinch, i.e. a peak in the song rate before sunrise. Male chaffinches continued to sing after mating, but the song rate dropped significantly. In contrast to the mate-guarding hypothesis the song rate was lower during the fertile period of the female than during pre-mating and incubation. Thus, the males do not announce the fertility status of their mates or their own quality and status by active singing. The song does not function as a form of mate guarding in the chaffinch. One function of the song of the chaffinch is mate attraction: singing activity was highest before pair formation in early spring and decreased after mating but increased again if the male lost his mate later in the breeding season.     

Watch Your Tone: Social Conditions Modulate Singing Strategies

Bird song is typically depicted as a male singing a long‐distance signal to potentially unknown receivers to (1) deter males and (2) attract females. Nevertheless, many songbirds sing from close distances to a known receiver; males of these species may be under more intense selective pressure to modify their songs depending on the sex of the receiver in order to convey different motivational states (aggression versus courtship) to the different sexes. In a laboratory setting, we examined how receiver sex affected within‐song variation of the close‐range singing behavior in the brown‐headed cowbird (Molothrus ater). Although we know that cowbird song is influenced by flock composition, it is still unclear as to how the cowbird modifies his song based on social context. Using a cross‐correlation analysis of each male's different song types, we found that pairs of songs were significantly more dissimilar if they were directed to females compared with songs directed to males. We subsequently tested whether there were any consistent spectral or temporal patterns in the songs males gave to females versus to males. Our results lend support for the Motivational Structural Rules Hypothesis as songs directed toward males had higher entropy (i.e., harshness) than the same song type directed toward females. Our results suggest that cowbirds may have evolved the ability to alter multiple dimensions of their singing behavior based on receiver sex.