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.     

Neighbour recognition by resident males in the banded wren, Thryothorus pleurostictus, a tropical songbird with high song type sharing

Several studies and reviews have suggested that the ability to discriminate between neighbours and strangers decreases as neighbour song repertoire size and song type sharing increase. We tested the recognition capabilities of territorial male banded wrens by comparing the aggressive approach responses of focal birds to three playback treatments: shared song types sung by an adjacent neighbour (neighbour song), shared song types sung by unfamiliar birds (mimic song), and unshared song types sung by unfamiliar birds (unfamiliar song). All three treatments for each male were broadcast from the same location on the territorial boundary shared with the appropriate neighbour. As expected, focal males responded nonaggressively to the neighbour treatment and aggressively to the unfamiliar song treatment. The approach response to the mimic treatment was statistically indistinguishable from the unfamiliar treatment and significantly higher than the neighbour treatment, suggesting that most males were able to recognize unfamiliar singers even when the song types played were very similar to those of their neighbours. The relative strength of responses to the mimic varied: some males treated the mimic song with low aggression levels typical of responses to neighbour song. Repertoire sizes of focal and neighbour birds, the fraction of song types shared among neighbouring males, and the similarity of neighbour and mimic song types did not explain this variation. Therefore, within the short 3-min period of our playback experiments, some birds may have used repertoire composition as a recognition cue and confused the mimic with the neighbour. Copyright 2001 The Association for the Study of Animal Behaviour.     

Sensitivity of California Thrashers (Toxostoma redivivum) to song syntax

Many birds have songs with variable structure and sequences. In earlier studies, we characterized some features from the song structures of California Thrashers (Toxostoma redivivum). In the Thrashers, there were a large number of phrase types, dozens to hundreds and the songs that were sequences of these many phrases were not random, but show some structure referred to as syntax. For example, a syntactic rule might be that phrase type A can be followed by phrase type B, but not type C. We, along with others, have assumed that syntax is an important feature of songs. This paper describes an experimental attempt to determine that syntax is important to California Thrashers by recording the reaction of territorial thrashers to playbacks of other thrasher songs, some of which obeyed the syntax rules we had discovered while others violated those rules. We also obtained video recordings of their behaviour near the playback speakers. We observed differences in the reactions to the birds that heard these two types of playbacks. Resident males reacted to either playback type, but more strongly when the original order was preserved. We observed difference in their behavioural response to correct or altered syntax. This indicates that the syntax of their songs is perceived in territorial defence by the birds.     

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.     

Functions of duetting in the tropical boubou, Laniarius aethiopicus: territorial defence and mutual mate guarding

Duetting, found in many animal taxa, is still a poorly understood form of signalling behaviour despite numerous hypotheses to explain its function. One contentious issue is whether duetting is a cooperative endeavour or signals conflict between the sexes. We studied the function of duetting in the tropical boubou, using interactive playback experiments. We staged encounters by presenting paired birds with four variants of each of four duet types (neighbour and stranger solos and neighbour and stranger duets). Multiple lines of evidence suggest that both joint territorial defence and mutual mate guarding are important functions of duetting, and that both cooperation and conflict between males and females have shaped duetting behaviour. Of a repertoire of 12 duet types, eight were used for joint territorial defence. Two of these eight duet types were probably also used for mutual mate guarding, suggesting that individual duets can have multiple functions. We found an unusual response for duetting birds in that females often synchronized notes with male solo playback to form precise duets. In turn, males attempted to jam the song of rivals when females joined the song of male solo playback, providing further evidence for the importance of acoustic mate guarding. Song jamming by males has not previously been described for duetting species. Finally, we suggest that the repertoire of duet types is used to fine-tune territorial encounters in a network environment of multiple interactants.     

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.     

Male Song Quality, Egg Size and Offspring Sex in Captive Canaries (Serinus canaria)

Life history theory predicts that females should vary their investment in offspring according to the quality of their mate. In birds, several studies have now shown that females do vary investment according to perceived male quality, by producing larger eggs, investing more in parental care or by manipulating the sex of their offspring. In a captive breeding colony of canaries, we first show that under normal conditions larger eggs in a clutch are more likely to hatch male offspring. In canaries, male song functions in female attraction and females respond more to complex structures in male song called sexy syllables. In a series of experiments, we go on to show first, that females exposed to playback of male song produce larger eggs than those who heard no song. Next, using synthetic songs, we show that females exposed to playback of more attractive songs containing sexy syllables, produced larger eggs than those exposed to simpler songs containing no sexy syllables. However, in a final analysis, we found no evidence from our experiments that females exposed to playback of more attractive songs also produced more male offspring.     

Song Perception in the Song Sparrow: Importance of Different Parts of the Song in Song Type Classification

Song sparrow (Melospiza melodia) males have repertoires of 6 to 12 song types, each song consisting of four or five contrasting phrases. Song types vary both within individuals (a singer varies successive renditions of a type within a singing bout) and between individuals (neighbors sing slightly different versions of a type), and in both cases this variation is concentrated in the later parts of the song. We speculated that type variation in the later parts of the song might be correlated with a perceptual tendency to classify song types primarily on the basis of the earlier parts of the song. We tested this hypothesis using a laboratory conditioning technique, supplemented by a field playback experiment. In the lab, song sparrows and white crowned sparrows were trained to discriminate between two distinct song types. In test sessions, they were presented with hybrid songs synthesized from varying proportions of the two training song types. For most birds and most song pairs, song classification was influenced by all parts of the song, with the beginning elements being most important. The field playback experiment used song type matching as the response measure. Each subject was presented a hybrid stimulus song consisting of the first half of one of his song types and the second half of another of his song types. Subjects replied with both ‘front matches’ and ‘back matches’ (60% were front matches).     

Memory-dependent adjustment of vocal response latencies in a territorial songbird

Vocal interactions in songbirds can be used as a model system to investigate the interplay of intrinsic singing programmes (e.g. influences from vocal memories) and external variables (e.g. social factors). When characterizing vocal interactions between territorial rivals two aspects are important: (1) the timing of songs in relation to the conspecific’s singing and (2) the use of a song pattern that matches the rival’s song. Responses in both domains can be used to address a territorial rival. This study is the first to investigate the relation of the timing of vocal responses to (1) the vocal memory of a responding subject and (2) the selection of the song pattern that the subject uses as a response. To this end, we conducted interactive playback experiments with adult nightingales (Luscinia megarhynchos) that had been hand-reared and tutored in the laboratory. We analysed the subjects’ vocal response latencies towards broadcast playback stimuli that they either had in their own vocal repertoire (songs shared with playback) or that they had not heard before (unknown songs). Likewise, we compared vocal response latencies between responses that matched the stimulus song and those that did not. Our findings showed that the latency of singing in response to the playback was shorter for shared versus unknown song stimuli when subjects overlapped the playback stimuli with their own song. Moreover birds tended to overlap faster when vocally matching the stimulus song rather than when replying with a non-matching song type. We conclude that memory of song patterns influenced response latencies and discuss possible mechanisms.     

Effects of location in territory and distance from neighbours on the use of song repertoires by Carolina wrens

By capturing territorial Carolina wrens (Thryothorus ludovicianus) and housing them in portable cages on their territories, I could control each one's location in its territory and distance from neighbours in experiments on the use of song repertoires. Experiment 1 demonstrated that these wrens sang more songs in the centre of their territories than at the edge, but that they did not use more song types or different song types at the centre than at the edge. In experiment 2, in which I played tape-recorded songs at two distances from wrens caged in the centres of their territories, birds responded more strongly to songs at 25m, simulating an intruder, than to songs at 165 m, simulating a territorial neighbour. Birds also switched more frequently between song types and sang more song types per 100 songs in response to the nearer playback. Experiment 3 compared captive wrens 140 m, 80 m, 20 m, or 0 m apart on adjacent territories. As the distance between neighbours decreased, birds sang less, but also switched more frequently between song types, used more song types per 100 songs, and matched songs with neighbours more frequently. There were no differences in the kinds of song types sung at different distances from neighbours. A comparison of the results from experiments 1 and 3 confirms that the use of song repertoires is influenced by distance from conspecifics and not by location in the territory.     

Alternative forms of song matching in song sparrows

Song matching, replying to a song with a similar song, occurs in many songbird species. Almost all investigations of song matching have been of type matching, where one bird's reply is unambiguously similar to the other's song (i.e. the same song type). In many populations, however, neighbours do not share song types, and therefore cannot type-match. We hypothesized that a bird lacking a true type match could still song-match a stimulus song with a song from his repertoire that was similar in some way the birds recognized. We tested this hypothesis in song sparrows, Melospiza melodia, in two playback experiments. We played the subject a stranger song that was similar to one or more of his songs, but a type match to none of them. In the first experiment, we used playback songs that began with two buzzes (‘double-buzz’ songs). In the second experiment, we used songs that began with a slow trill that increased in tempo ('speed-up' songs). Birds replied at rates significantly above chance with their own double-buzz, or speed-up song match to the respective types of playback. The results suggest that birds who do not share true song types, can still song-match each other. This broad-sense form of song matching may also occur in populations with low song type sharing. Copyright 2002 The Association for the Study of Animal Behaviour. Published by Elsevier Science Ltd. All rights reserved.     

On the learning of degraded and undegraded songs in the Carolina wren

Adult male Carolina wrens (Thyrothorus ludovicianus) are known to use degradation in the songs they hear to estimate their distance from a singing conspecific. They also sing songs that are structured to prevent degradation owing to acoustic features particular to specific habitats. Here we ask if acoustically isolated, naive young wrens use sound degradation as a cue in choosing songs to learn. All four isolated birds learned significantly more undegraded than degraded songs, showing that song degradation is perceived and used by naive birds. We suggest that the attention given to song degradation by young birds learning songs produces a proximate mechanism to explain the common occurrence of song sharing by territorial neighbours and supports the ranging hypothesis (Morton 1982). Sufficient evidence now exists to suggest that sound degradation, and the ability of birds to use it, should be taken into account in studies using responses to playback of bird song.     

Mutual Wattle Ornaments in the South Island Saddleback (Philesturnus carunculatus) Function as Armaments

Many birds have ornamental traits that are expressed in both sexes. Wattles—colorful fleshy structures that hang from the lower bill—are frequent among birds, but remain poorly understood and are generally presumed to be under sexual selection. The South Island saddleback (Philesturnus carunculatus) is an endangered bird endemic to New Zealand in which both males and females possess wattles. We used behavioral observations, morphological measures, and a playback experiment to investigate the role of wattles in saddlebacks during territorial encounters. Wattles were monomorphic when controlled for body mass, and became engorged with blood in both sexes during visual displays. In a playback experiment using male song, wattle engorgement was significantly associated with territorial intrusions in males but not in females. However, female wattle engorgement was significantly more likely during playback experiments in the absence of their mate, suggesting wattles are used in territorial defense by both sexes. The markedly similar use of wattles by both males and females in visual displays as a response to territorial intrusions supports the hypothesis that these elaborate structures function in part as armaments.     

Experimental Tests of the Function and Flexibility of Song Consistency in a Wild Bird

Measures of bird song that capture aspects of motor performance, such as consistency, have become a major focus in understanding sexual selection on song. Despite accumulating evidence that consistency is related to reproductive success in many species, the relative importance of male–male interactions and female–male interactions is still unclear. We studied the function and flexibility of song consistency and song rate in common yellowthroat warblers (Geothlypis trichas). A previous study of this population found that song consistency—measured as the amount of variability within a bout of songs—was positively correlated with the likelihood of siring extrapair young. In this study, we conducted two experiments aimed at testing (1) the role of song consistency and rate in mediating male–male and male–female interactions and (2) whether song effort is flexibly adjusted to changes in social context. In the first experiment, we simulated a male territorial intrusion with song playbacks that varied in consistency and rate; focal males responded aggressively to playbacks, but their response did not differ with playback consistency or rate. In the second experiment, we presented focal males with a taxidermic female mount and female vocalizations; focal males approached the speaker, but continued to sing and did not perform the aggressive rattle vocalization observed during male encounters. Immediately after the simulated female encounter, focal males increased in song consistency. Taken together, our results are most consistent with the hypothesis that song consistency in common yellowthroats is primarily a female‐directed signal that is actively adjusted in response to rapidly changing social conditions.     

Song repertoires and seasonal song in the yellowhammer, Emberiza citrinella

Songs were recorded from male yellowhammers, Emberiza citrinella, in England and West Germany. Sonagraphic analysis revealed three major types of song structure in both populations. Most males had a repertoire of two distinct song types, and sharing between individuals was extremely rare. Most song is produced late in the breeding season, and playback experiments confirmed that it is correlated with an increase in territorial aggression at this time. Some speculations are advanced concerning the origins and functions of song repertoires in the yellowhammer.     

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

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

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.     

Repertoires and Countersinging in Western Meadowlarks (Sturnella neglecta)

Countersinging in territorial birds has been viewed as a form of vocal contest. We studied the role of song repertoires in countersinging by western meadowlarks, Sturnella neglecta, by simultaneous observations of neighboring males. Neighbors tended to switch song types synchronously, but tendency to lead or follow in such switches did not correlate with orientation, subsequent behaviour, tendency to interact (as measured by the number of repetitions of each song type), or breeding stage. Males did not match song types, but were more likely to sing if their neighbour sang a song type that they shared. We suggest that synchronous switching is not a vocal contest in this species, but may be a form of competitive advertisement.