The Epstein, Flynn, and Martohardjorno full access hypothesis could be enhanced by inclusion of criteria for falsification.

For nearly a quarter of Darwin's Descent of Man , it is the singing bird whose voice presages the development of human aesthetics. But since the 1950s, aesthetics has had a perilous and contested role in the study of birdsong. Modern ornithology's disillusionment with aesthetic knowledge after World War II brought about the removal of musical studies of birdsong, studies which were replaced by work with the sound spectrograph, a tool that changes the elusive sounds of birdsong into a readable (...) graphic image called a spectrogram. This article narrates the terms under which the image, rather than the sound, of birdsong has become a sign of humanity's ability to reason objectively. Drawing examples from the strange evolutionary tales that exist at the juncture of ornithology, music history, illustration, and linguistics, this story suggests how it was that the human ear disappeared in the unbridgeable gap between the sciences and the study of aesthetics so tellingly termed "the humanities.". (shrink)

Vocal imitation in songbirds exhibits interesting parallels to infant speech development and is currently the model system of choice for exploring the behavioural, molecular and electrophysiological substrates of vocal learning. Among songbirds, the Zebra Finch ( Taeniopygia guttata ) is currently used as the `flying mouse' of birdsong research. Only males sing and they develop their song primarily during a short sensitive period in early life. They learn their speciesspecific song patterns by memorizing and imitating the songs of conspecifics, mainly (...) adults. Since Immelmann's pioneering work, thousands of zebra finches have been raised in strictly controlled auditory environments to examine how their experience affected their songs. In this article, I review the different experimental procedures that have been used in the laboratory to study the social influences on song learning in the Zebra Finch. Poor song learning was observed using passive playback of taped songs, whereas self-eliciting exposure using operant tutoring techniques induced significant learning, but with a high interindividual variability. The success of the training paradigm is often measured by the quality of imitation of the songs to which the young bird is exposed. Using empirical evidence from the field and the laboratory, I will also discuss this issue, by summarizing possible advantages and disadvantages of producing a perfect imitation. So far, the best method to get a close copy of a song model in the Zebra Finch is to place a single young bird with an adult male. This situation, which is rather unnatural, does not meet the criteria for precise control necessary in experimental conditions. Optimizing the methods used to train a zebra finch to learn a song, in order to be able to predict the imitation success, will improve our understanding of the dynamics of vocal production learning. It would also consolidate this species as a research model of relevance to human speech development and disorders. Keywords: Zebra Finch; birdsong; learning; development; memory; social influences. (shrink)

Leading scholars draw on the latest research to explore what birdsong can tell us about the biology of human speech and language and the consequences for evolutionary biology.

Vocal imitation in songbirds exhibits interesting parallels to infant speech development and is currently the model system of choice for exploring the behavioural, molecular and electrophysiological substrates of vocal learning. Among songbirds, the Zebra Finch is currently used as the ‘flying mouse’ of birdsong research. Only males sing and they develop their song primarily during a short sensitive period in early life. They learn their speciesspecific song patterns by memorizing and imitating the songs of conspecifics, mainly adults. Since Immelmann's pioneering (...) work, thousands of zebra finches have been raised in strictly controlled auditory environments to examine how their experience affected their songs. In this article, I review the different experimental procedures that have been used in the laboratory to study the social influences on song learning in the Zebra Finch. Poor song learning was observed using passive playback of taped songs, whereas self-eliciting exposure using operant tutoring techniques induced significant learning, but with a high interindividual variability. The success of the training paradigm is often measured by the quality of imitation of the songs to which the young bird is exposed. Using empirical evidence from the field and the laboratory, I will also discuss this issue, by summarizing possible advantages and disadvantages of producing a perfect imitation. So far, the best method to get a close copy of a song model in the Zebra Finch is to place a single young bird with an adult male. This situation, which is rather unnatural, does not meet the criteria for precise control necessary in experimental conditions. Optimizing the methods used to train a zebra finch to learn a song, in order to be able to predict the imitation success, will improve our understanding of the dynamics of vocal production learning. It would also consolidate this species as a research model of relevance to human speech development and disorders. Keywords: Zebra Finch; birdsong; learning; development; memory; social influences. (shrink)

Scholars have long been captivated by the parallels between birdsong and human speech and language. In this book, leading scholars draw on the latest research to explore what birdsong can tell us about the biology of human speech and language and the consequences for evolutionary biology. They examine the cognitive and neural similarities between birdsong learning and speech and language acquisition, considering vocal imitation, auditory learning, an early vocalization phase, the structural properties of birdsong and human language, and the striking (...) similarities between the neural organization of learning and vocal production in birdsong and human speech. After outlining the basic issues involved in the study of both language and evolution, the contributors compare birdsong and language in terms of acquisition, recursion, and core structural properties, and then examine the neurobiology of song and speech, genomic factors, and the emergence and evolution of language. Contributors: Hermann Ackermann, Gabriël J.L. Beckers, Robert C. Berwick, Johan J. Bolhuis, Noam Chomsky, Frank Eisner, Martin Everaert, Michale S. Fee, Olga Fehér, Simon E. Fisher, W. Tecumseh Fitch, Jonathan B. Fritz, Sharon M.H. Gobes, Riny Huijbregts, Eric Jarvis, Robert Lachlan, Ann Law, Michael A. Long, Gary F. Marcus, Carolyn McGettigan, Daniel Mietchen, Richard Mooney, Sanne Moorman, Kazuo Okanoya, Christophe Pallier, Irene M. Pepperberg, Jonathan F. Prather, Franck Ramus, Eric Reuland, Constance Scharff, Sophie K. Scott, Neil Smith, Ofer Tchernichovski, Carel ten Cate, Christopher K. Thompson, Frank Wijnen, Moira Yip, Wolfram Ziegler, Willem Zuidema. (shrink)

This year I made an album with Jay Auborn. One of the tracks features a piano, a violin, a bass synthesizer, some vocals and the sound of me hitting two sticks rhythmically on the side of the piano. It is based on a previous piece of music which I wrote with Andrew Prior called Birdsong and is called Songbird. How did this happen? It started with the playing of a piano riff, a piano riff that was being played because we (...) had just performed Birdsong at a performance in London with pianist, Dunstan Belcher. This piano riff was also being played because Jay had just been listening to Nick Cave and Warren Ellis, and I overlaid some violin because I was thinking about Warren Ellis and Alice Coltrane and the Mixolydian mode and In a Silent Way by Miles Davis. But I was probably thinking about Miles Davis because Jay and I were just doing impressions to each other of Miles Davis, imagining we were him writing his autobiography.... Have you ever read his autobiography? Jesus. I played some bass because I had a conversation in the week previously about how I was frightened of bass. So bass was added. In a riff. A bit like Miles Davis, but I was thinking about ‘Atoms for Peace’ and not being scared of bass... (shrink)

Despite several decades of criticism, dichotomous thinking about behavioral development remains widespread and influential. This is particularly true in study of birdsong development, where it has become increasingly common to diagnose songs, elements of songs, or precursors of songs as either innate or learned on the basis of isolation-rearing experiments. The theory of sensory templates has encouraged both the dichotomous approach and an emphasis on structural rather than functional aspects of song development. As a result, potentially important lines of investigation (...) have been overlooked and the interpretation of existing data is often flawed. Evidence for a genetic origin of behavioraldifferencesis frequently interpreted as evidence for the genetic determination of behavioralcharacters. The technique of isolation rearing remains the methodology of choice for many investigators, despite the fact that it offers only a rather crude analysis of the contribution of experience to song development and provides no information at all about genetic contributions to development. The latter could in principle be elucidated by the application of developmental-genetic techniques, but it is unlikely that these can easily be applied to the study of birdsong. Because developmental questions are so often posed in terms of the learned–innate dichotomy, “experience” is taken to be synonymous with “learning” and the possible role of nonobvious contributions to song development has largely been ignored. An alternative approach, based on Daniel Lehrman's interactionist theory of development, permits a more thorough appreciation of the problems that have yet to be addressed, and provides a more secure conceptual foundation for theories of song development. (shrink)

Birds are not commonly admired for emotional expression, and when they are, the focus is typically on negative states; yet vocal behavior is considered a direct reflection of an individual’s emotional state. Given that over 4000 species of songbird produce learned, complex, context-specific vocalizations, we make the case that songbirds are conspicuously broadcasting distinct positive emotional states and that hearing songs can also induce positive states in other birds. Studies are reviewed that demonstrate that that the production of sexually motivated (...) song reflects an emotional state of anticipatory reward-seeking (i.e., mate-seeking), while outside the mating context song in gregarious flocks reflects a state of intrinsic reward. Studies are also reviewed that demonstrate that hearing song induces states of positive anticipation and reward. This review brings together numerous studies that highlight a potentially important role for the songbird nucleus accumbens, a region nearly synonymous with reward in mammals, in positive emotional states that underlie singing behavior and responses to song. It is proposed that the nucleus accumbens is part of an evolutionarily conserved circuitry that contributes context-dependently to positive emotional states that motivate and reward singing behavior and responses to song. Neural mechanisms that underlie basic emotions appear to be conserved and similar across vertebrates. Thus, these findings in songbirds have the potential to provide insights into interventions that can restore positive social interactions disrupted by mental health disorders in humans. (shrink)

There are remarkable behavioral, neural, and genetic similarities between the way songbirds learn to sing and human infants learn to speak. Furthermore, the brain regions involved in birdsong learning, perception, and production have been identified and characterized in detail. In particular, the caudal medial nidopallium (the avian analog of the mammalian auditory‐association cortex) has been found to contain the neural substrate of auditory memory, paving the way for analyses of the underlying molecular mechanisms. Recently, the zebra finch genome was sequenced, (...) and annotated cDNA databases representing over 15,000 unique brain‐expressed genes are available, enabling high‐throughput gene expression analyses. Here we review the involvement of immediate early genes (e.g. zenk and arc), their downstream targets (e.g. synapsins), and their regulatory signaling pathways (e.g. MAPK/ERK) in songbird memory. We propose that in‐depth investigations of zenk‐ and ERK‐dependent cascades will help to further unravel the molecular basis of auditory memory. (shrink)

Here, we compare birdsong and human musicality using insights from songbird neuroethology and evolution. For example, neural recordings during songbird duetting and other coordinated vocal behaviors could inform mechanistic hypotheses regarding human brain function during music-making. Furthermore, considering songbird evolution as a model system suggests that selection favoring certain culturally transmitted behaviors can indirectly select for associated underlying neural functions.

Male white-rumped munias sing syntactically simpler songs than their domestic counterparts, Bengalese finches. The differences in song structure may reflect differences in natural selection pressures between wild and domestic environments. Deacon proposed song simplicity of the wild strain could be subject to natural selection. We hypothesized the selection pressure may be species identification. Thus, we compared song variations in relation to ecological factors and dispersal history of white-rumped munias to understand song evolutionary processes. We found geographic variations of song syntactical (...) complexity. The difference of song syntactical complexity did not corresponded to genetic distance, but did to that of the proportion of mixed flocks with sympatric related species. Birds that inhabited the areas with more mixed flocks sang simpler songs. The song complexity might be constrained to intensify distinct conspecific signals from related species. Our field work provided empirical evidence supporting a proposal made by Deacon. Keywords: birdsong; evolution; masking hypothesis; Bengalese finches; song geographic variation; genetic variation. (shrink)

Male white-rumped munias sing syntactically simpler songs than their domestic counterparts, Bengalese finches. The differences in song structure may reflect differences in natural selection pressures between wild and domestic environments. Deacon (2010) proposed song simplicity of the wild strain could be subject to natural selection. We hypothesized the selection pressure may be species identification. Thus, we compared song variations in relation to ecological factors and dispersal history of white-rumped munias to understand song evolutionary processes. We found geographic variations of song (...) syntactical complexity. The difference of song syntactical complexity did not corresponded to genetic distance, but did to that of the proportion of mixed flocks with sympatric related species. Birds that inhabited the areas with more mixed flocks sang simpler songs. The song complexity might be constrained to intensify distinct conspecific signals from related species. Our field work provided empirical evidence supporting a proposal made by Deacon (2010). Keywords: birdsong; evolution; masking hypothesis; Bengalese finches; song geographic variation; genetic variation. (shrink)

I like Cowan's review of STM properties and especially his suggestions on the role of attention. I missed, however, a consideration of studies which provide evidence for STM properties in animals. In my commentary, I argue that such evidence can elucidate the biological basis of storage limitations, validating this view by discussing mechanisms which constrain the acquisition of serial information in songbirds.

Birdsong is widely analysed and discussed by people coming from both musical and scientific backgrounds. Both approaches provide valuable insight, but I argue that it is only through combining musical and scientific points of view, as well as perspectives from more tangentially related fields, that we can obtain the best possible understanding of birdsong. In this paper, I discuss how my own training as a musician, and in particular as a composer, affects how I listen to and parse birdsong. I (...) identify nine areas of overlap between human music and birdsong, which may serve as starting points both for musical and scientific analysis, as well as for interdisciplinary analysis as practiced in the developing field of “zoomusicology.” Using the hermit thrush (Catharus guttatus) as an example, I discuss how the song of a single species has been described by writers from a variety of disciplines, including music, literature, and the sciences, as well as how we can contextualise these varied perspectives in terms of broader cultural thought trends. I end with discussion of how combining approaches from multiple fields can help us to figure out new questions to ask, can help us identify how our own cultural biases may affect how we hear birdsong, and ultimately can help us develop richer and more nuanced understandings of the songs themselves. (shrink)

A number of recent studies have revealed correspondences between song- and language-related neural structures, pathways, and gene expression in humans and songbirds. Analyses of vocal learning, song structure, and the distribution of song elements have similarly revealed a remarkable number of shared characteristics with human speech. This article reviews recent developments in the understanding of these issues with reference to the phonological phenomena observed in human language. This investigation suggests that birds possess a host of abilities necessary for human phonological (...) computation, as evidenced by behavioral, neuroanatomical, and molecular genetic studies. Vocal-learning birds therefore present an excellent model for studying some areas of human phonology, though differences in the primitives of song and language as well as the absence of a human-like morphosyntax make human phonology differ from birdsong phonology in crucial ways. (shrink)

Culture, defined as shared behavior or information within a community acquired through some form of social learning from conspecifics, is now suggested to act as a second inheritance system. Cultural processes are important in a wide variety of vertebrate species. Birdsong provides a classic example of cultural processes: cultural transmission, where changes in a shared song are learned from surrounding conspecifics, and cultural evolution, where the patterns of songs change through time. This form of cultural transmission of information has features (...) that are different in speed and form from genetic transmission. More recently, culture, vocal traditions and an extreme form of song evolution has been documented in cetaceans. Humpback whale song ‘revolutions’, where the single population-wide shared song type is rapidly replaced by a new, novel song type introduced from a neighbouring population, represents an extraordinary example of ocean basin-wide cultural transmission rivalled in its geographic extent only by humans. In this review, we examine the cultural evolutions and revolutions present in some birdsong and whale song, respectively. By taking a comparative approach to these cultural processes, we review the existing evidence to understand the similarities and differences for their patterns of expression and the underlying drivers, including anthropogenic influences, which may shape them. Finally, we encourage future studies to explore the role of innovation vs. production errors in song evolution, the fitness information present in song, and how human-induced changes in population sizes, trajectories and migratory connections facilitating cultural transmission may be driving song revolutions. (shrink)

From Botticelli to birdsong, Mozart, and the Turner Prize, Roger Scruton explores what it means for something to be beautiful. This thought-provoking introduction to the philosophy of beauty draws conclusions that some may find controversial, but, as Scruton shows, help us to find greater sense of meaning in the beautiful objects around us.

The proposal that the concept of innateness expresses a 'folk biological' theory of the 'inner natures' of organisms was tested by examining the response of biologically naive participants to a series of realistic scenarios concerning the development of birdsong. Our results explain the intuitive appeal of existing philosophical analyses of the innateness concept. They simultaneously explain why these analyses are subject to compelling counterexamples. We argue that this explanation undermines the appeal of these analyses, whether understood as analyses of the (...) vernacular concept or as explications of that concept for the purposes of science. (shrink)

The introduction claims that there might exist an evolutionary bridge from possible genres in nature to human cultural genres. A sub-hypothesis is that basic life-conditions, partly common for animals and humans, in the long run can generate so-called life-genres. To investigate such hypotheses a framework of interrelated key communicational concepts is outlined in the second, main part. Four levels are suggested. Signs are seen as elements in utterances. Further, sufficiently similar utterances can be perceived as kinds of utterances or genres. (...) Genres are kinds of communication in a species' life-world. Utterance and genre are the framework’s key concepts. Both are seen as products and processes and as constituted by five reciprocal aspects: form, content, act, time, and space, the necessary elements to initiate and interpret communication. A model illustrates this integrative principle. Part three dwells with the idea of life-genres, and part four exemplifies and problematises how a chimpanzee’s ‘begging’ for meat, a fish’s nest-making, and kinds of birdsongs, could be seen as possible life-genres. The last, short part gives a brief summary, highlights challenges, and reflects over the framework’s relevance for biosemiotics. (shrink)

Our core hypothesis is that the emergence of human language arose very rapidly from the linking of two pre-adapted systems found elsewhere in the animal world—an expression system, found, for example, in birdsong, and a lexical system, suggestively found in non-human primate calls (Miyagawa et al., 2013, 2014 ). We challenge the view that language has undergone a series of gradual changes—or a single preliminary protolinguistic stage—before achieving its full character. We argue that a full-fledged combinatorial operation Merge triggered the (...) integration of these two pre-adapted systems, giving rise to a fully developed language. This goes against the gradualist view that there existed a structureless, protolinguistic stage, in which a rudimentary proto-Merge operation generated internally flat words. It is argued that compounds in present-day language are a fossilized form of this prior stage, a point which we will question. (shrink)

Here, I outline the idea of a unified hypothesis of sensory perception, developed from the theoretical vibrational mechanism of olfaction, which can be applied across all sensory modalities. I propose that all sensory perception is based upon the detection of mechanical forces at a cellular level, and the subsequent mechanotransduction of the signal via the nervous system. Thus, I argue that the sensory modalities found in the animal kingdom may all be viewed as being mechanoreceptory, rather than being discrete neurophysiological (...) systems which evolved independently of each other. I go on to argue that this idea could potentially explain language evolution, with birdsong being an example of a more simple form of non-Saussurean language that employs ‘frequency-mimicking’ to produce a vocal signal which describes acoustic, chemical and electromagnetic vibrational frequencies detected within in the environment. I also give examples of how this hypothesis could potentially explain phenomena such as vocal mimicry in animals, as well as the human perception of musicality and the occurrence of synaesthesia; a condition found in humans, where the stimulation of one sensory modality results in the stimulation of another. For example, auditory stimuli are detected and are heard as an acoustic signal, as well as being perceived as colour by the visual system. (shrink)

Lipkind et al. compare the development of vocal units and sound sequences in sound production in human infants and songbirds. Early in development, infant as well as songbird vocalizations vary along continuous acoustic parameters, with discrete vocal categories and structured vocalizations only emerging later on. This emergence process shows remarkable similarities between infants and zebra finches. Contrary to earlier views, Lipkind et al. suggest that the early development of songbird song (subsong) is more comparable to the phonation stage in infants (...) than to babbling. (shrink)

Reinvention of the form of expression is a conceptual approach characteristic for the evolution of all arts. This research study provides one such step forward in the advancement of scientific paper, a standard form of expression in natural sciences, toward more progressive terrains. The paper adopts the form of a theatrical play where a scientific family of four attempts to find the way around a writer’s block (Act I). Their idealess sense of confinement is overcome through arts or, more specifically, (...) through scientific research implementing the aesthetics of music as its key element. The characters record compositions differing in the degrees of consonance, rhythmicity and tonality, and play them to birds to observe their vocal and behavioral responses (Act II). They note that the birdsong volume drops significantly when the piano tunes, especially the compositionally complex ones, are played to the birds and increases signifcantly when the white noise of ocean waves is played. The bird count experiment proves indirectly that the birdsong volume reduction is an auditory response of the birds to music rather than the effect of their migrating to or away from the sound source. This science with the flavor of art elevates the characters beyond the limits of their confinement and they, exalted and uplifted, gain ideas for creative research in their own disciplines of biomedical science (Act III). They relinquish the newly gained freedom in favor of embracing love for humanity that underlies medical research and return to their confinement, where they conduct, in the coda of the paper, a series of experiments that venture beyond musicology and ornithology and fall in the domains of tissue engineering and drug delivery, but also psychology (Act III). First, sparrow nests are used as templates for tissue engineering constructs, which facilitate the growth of human fibroblastic cells better than their artificial, gridded replicas. Next, the shell of an Easter egg, predominantly calcite in composition, is used with success as a drug delivery carrier. Lastly, the bird nest drawing experiment demonstrates a greater mental health of children than that of the adults, correlating with one of the overarching points of the paper, which is to present children as a model for grownups to follow rather than the other way around. Over the course of the play, the characters discuss the value of the various fusions between art and science, question the limits of human language and repeatedly go off-topic to celebrate the freeness of the creative thinking process. The play reports on real-life research methods and scientific results through a narrative, without diminishing their empirical rigor and analytical accuracy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.3 (2001) 425-444 [Access article in PDF] The Passions and Animal Language, 1540-1700 R. W. Serjeantson "Do not think, kind and benevolent readers, that I am proposing a useless subject to you by choosing to discuss the language [loquela] of beasts. For this is nothing other than philosophy, which investigates the natures of animals." 1 The Italian medical professor Hieronymus Fabricius ab Aquapendente (...) began his 1603 treatise On the language of beasts with this captatio benevolentiae with good cause. For early modern natural philosophers almost universally insisted that only humans were capable of language and speech. In this they followed, sometimes explicitly, their ancient authorities. "Man," Aristotle had said in the Politics, "is the only animal that has the gift of speech." "Men," wrote Cicero in the De inventione, "most excel the beasts in this, that they can speak." 2 They were sentiments echoed throughout the sixteenth and seventeenth centuries. "There is no true language among beastes," said Sir Kenelm Digby. "Language" (loquela), concurred G. J. Vossius, "is unique to man." And according to John Ray in The Wisdom of God (1691), speech was "a quality so peculiar to Man, that no Beast could ever attain to it." 3Language was a subject of absorbing interest to numerous early modern philosophers. They investigated its origin, its production, its signification, and its use. But behind almost all of these investigations lay one of the most profound suppositions in early modern anthropology: the uniqueness of the human [End Page 425] capacity for language, and the brutishness of the brute beasts. Harsh judgments were passed on those who thought that animals might be able to speak. Lawyers held that belief in animal language was sufficient evidence of idiocy. According to Kenelm Digby it was only vanity, ignorance, and a specious desire for reputation that had led some authors to argue that animals used "compleate languages as Men haue to discourse with one another in." And the seventeenth-century English writer on the passions, Edward Reynolds, thought that only "melancholy men" believed "that Elephants and Birds, and other Creatures have a language whereby they discourse with one another." 4Yet despite this pervasive assumption that humans spoke and animals did not, the question of animal language kept arising in early modern culture. Readers met speaking animals in beast fablesand on Lucianic voyages. There was a popular belief in early modern England that "in the olde tymes" animals could speak. 5 Theodore Zwinger, Claude Duret, and G. J. Vossius all recorded many accounts of human communication with birds, with the ancient claim that Apollonius of Tyana could understand birdsong being particularly notorious. 6 In the Old Testament Balaam's ass asks his owner what he has done to deserve being beaten. 7 And St. Basil had even suggested that before the Fall Adam and Eve had been able to talk to the animals as well as to name them--a suggestion that both Thomas Browne and Joseph Glanvill gave short shrift. 8 But my purpose in this paper is not to follow speaking animals through early modern fables, popular beliefs, or even Biblical commentary. Instead, I propose to explore the serious investigations of zoosemiotics and animal communication that were undertaken by numerous philosophers in the sixteenth and seventeenth centuries. 9For then as now, the question of animal language, broadly interpreted, was a serious one for the sciences. It was a question that was addressed across a wide range of disciplines, from logic to natural history. As such it was an important component of the many discussions of the nature of animal reason--discussions that provided a means for skeptical moral philosophers to humble human pretensions [End Page 426] to rationality and wisdom. 10 Natural philosophers, too, undertook detailed inquiries into the question of animal expression, exploring issues of articulacy, anatomy, and function. Almost all early modern authors agreed that animals could not speak and did not possess language in the same way that humans did. But this still left a great deal of scope for considering the extent... (shrink)

Reinvention of the form of expression is a conceptual approach characteristic for the evolution of all arts. This research study provides one such step forward in the advancement of scientific paper, a standard form of expression in natural sciences, toward more progressive terrains. The paper adopts the form of a theatrical play where a scientific family of four attempts to find the way around a writer’s block (Act I). Their idealess sense of confinement is overcome through arts or, more specifically, (...) through scientific research implementing the aesthetics of music as its key element. The characters record compositions differing in the degrees of consonance, rhythmicity and tonality, and play them to birds to observe their vocal and behavioral responses (Act II). They note that the birdsong volume drops significantly when the piano tunes, especially the compositionally complex ones, are played to the birds and increases signifcantly when the white noise of ocean waves is played. The bird count experiment proves indirectly that the birdsong volume reduction is an auditory response of the birds to music rather than the effect of their migrating to or away from the sound source. This science with the flavor of art elevates the characters beyond the limits of their confinement and they, exalted and uplifted, gain ideas for creative research in their own disciplines of biomedical science (Act III). They relinquish the newly gained freedom in favor of embracing love for humanity that underlies medical research and return to their confinement, where they conduct, in the coda of the paper, a series of experiments that venture beyond musicology and ornithology and fall in the domains of tissue engineering and drug delivery, but also psychology (Act III). First, sparrow nests are used as templates for tissue engineering constructs, which facilitate the growth of human fibroblastic cells better than their artificial, gridded replicas. Next, the shell of an Easter egg, predominantly calcite in composition, is used with success as a drug delivery carrier. Lastly, the bird nest drawing experiment demonstrates a greater mental health of children than that of the adults, correlating with one of the overarching points of the paper, which is to present children as a model for grownups to follow rather than the other way around. Over the course of the play, the characters discuss the value of the various fusions between art and science, question the limits of human language and repeatedly go off-topic to celebrate the freeness of the creative thinking process. The play reports on real-life research methods and scientific results through a narrative, without diminishing their empirical rigor and analytical accuracy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Pilgrimage of the Mass:The Song of All SongsRoger CorlessI remember,long ago,long, long ago,the sun came up at midnight,seen by no one but myself,and my room was filled with lightand grew so huge(Vimalakirti, do you hear?)that nothing was not there.I sang from the Song of Songsand the sun relaxed, and listened,shining and still and blest,and said, "Yes,it is good, it is good, it is good."the earth was made again,the (...) brown earth smiled,and her creatures ran in her robes,and there was great peace.I could have called it Paradise;yet it was but the forecourt—an earnest of that endless day(Abelard, is it true?)in which the Saints embrace—for the sun went down before dawn,falling behind the dew and the birdsong,and I walked on morning mists to Masslike Lao-tzu riding the clouds.long, long ago.+ may all beings be happy + [End Page 151]Copyright © 2007 The University of Hawai'i Press... (shrink)

The coronavirus disease 2019 lockdown meant a greatly reduced social and economic activity. Sound is of major importance to people’s perception of the environment, and some remarked that the soundscape was changing for the better. But are these anecdotal reports based in truth? Has traffic noise from cars and airplanes really gone down, so that more birdsong can be heard? Have socially distanced people quietened down? This article presents a case study of the human perception of environmental sounds in an (...) urban neighborhood in the Basque Country between 15 March and 25 May 2020. The social restrictions imposed through national legislation divided the 69-day period into three phases. We collected observations, field audio recordings, photography, and diary notes on 50 days. Experts in soundscape and architecture were presented with the recordings, in randomized order, and made two separate perceptual analyses. One group rated the recordings for pleasantness and eventfulness using an adapted version of the Swedish Soundscape Quality Protocol, and a partly overlapping group annotated perceived sound events with free-form semantic labels. The labels were systematically classified into a four-level Taxonomy of Sound Sources, allowing an estimation of the relative amounts of Natural, Human, and Technological sounds. Loudness and three descriptors developed for bioacoustics were extracted computationally. Analysis showed that Eventfulness, Acoustic Complexity, and Acoustic Richness increased significantly over the time period, while the amount of Technological sounds decreased. These observations were interpreted as reflecting changes in people’s outdoor activities and behavior over the whole 69-day period, evidenced in an increased presence of Human sounds of voices and walking, and a significant shift from motorized vehicles toward personal mobility devices, again evidenced by perceived sounds. Quantitative results provided a backdrop against which qualitative analyses of diary notes and observations were interpreted in relation to the restrictions and the architectural specifics of the site. An integrated analysis of all sources pointed at the temporary suspension of human outdoor activity as the main reason for such a change. In the third phase, the progressive return of street life and the usage of personal mobility vehicles seemed to be responsible for a clear increase in Eventfulness and Loudness even in the context of an overall decrease of Technological sounds. Indoor human activity shared through open windows and an increased presence of birdsong emerge as a novel characteristic element of the local urban soundscape. We discuss how such changes in the acoustic environment of the site, in acoustic measurements and as perceived by humans, point toward the soundscape being a crucial component of a comprehensive urban design strategy that aims to improve health and quality of life for increasingly large and dense populations in the future. (shrink)

Song in oscine birds relies upon the rare capacity of vocal learning. Transmission can be vertical, horizontal, or oblique. As a rule, memorization and production by a naïve bird are not simultaneous: the long-term storage of song phrases precedes their first vocal rehearsal by months. While a wealth of detail regarding songbird enculturation has been uncovered by focusing on the apprentice, whether observational learning can fully account for the ontogeny of birdsong, or whether there could also be an element of (...) active teaching involved, has remained an open question. Given the paucity of knowledge on animal cultures, I argue for the utility of an inclusive definition of teaching that encourages data be collected across a wide range of taxa. Borrowing insights from musicology, I introduce the Australian pied butcherbird into the debate surrounding mechanisms of cultural transmission. I probe the relevance and utility of mentalistic, culture-based, and functionalist approaches to teaching in this species. Sonographic analysis of birdsong recordings and observational data of pied butcherbird behavior at one field site provide evidence that I assess based on criteria laid down by Caro and Hauser, along with later refinements to their functionalist definition. The candidate case of teaching reviewed here adds to a limited but growing body of reports supporting the notion that teaching may be more widespread than is currently realized. Nonetheless, I describe the challenges of confirming that learning has occurred in songbird pupils, given the delay between vocal instruction and production, as well as the low status accorded to anecdote and other observational evidence commonly mustered in instances of purported teaching. As a corrective, I press for an emphasis on biodiversity that will guide the study of teaching beyond human accounts and intractable discipline-specific burdens of proof. (shrink)

In this paper, I present an argument that quantitative behavioural analysis can be used in zoosemiotic studies to advance the field of biosemiotics. The premise is that signs and signals form patterns in space and time, which can be measured and analysed mathematically. Whole organism sign processing is an important component of the semiosphere, with individual organisms in their Umwelten deriving signs from, and contributing to, the semiosphere, and vice versa. Moreover, there is a wealth of data available in the (...) traditional ethology literature which can be reinterpreted semiotically and drawn together to make a cohesive biosemiotic whole. For example, isolated signals, such as structural elements of birdsong, are attributed meaning by an interpreter, thus generating new ideas and hypotheses in both biology and semiotics. Furthermore, animal behaviour science has developed numerous test paradigms that with careful adaptation, could be suitable for use within a Peircean tripartite model, and thus give valuable insights into Umwelten of other species. In my conclusion, I suggest that by bringing together traditional ethology and biosemiotics, it is possible to use the Modern Synthesis to provide context to biosemiosis, thus pragmatic meaning to animal signals. On this basis, I propose updating the Modern Synthesis to a Semiotic Modern Synthesis, which focuses on whole-organism signals and their contexts, the latter being derived from neo-Darwinian theory and the ‘Umwelt’. Thus, there need be no dichotomy; the Modern Synthesis can successfully be integrated with biosemiotics. (shrink)

Acoustic experiences of nature represent a growing area in restorative environments research and are explored in this narrative literature review. First, the work surveyed indicates that nature is broadly characterized by the sounds of birdsong, wind, and water, and these sounds can enhance positive perceptions of natural environments presented through visual means. Second, isolated from other sensory modalities these sounds are often, although not always, positively affectively appraised and perceived as restorative. Third, after stress and/or fatigue nature sounds and soundscapes (...) can lead to subjectively and objectively improved mood and cognitive performance, as well as reductions in arousal, although some inconsistencies in findings are observed. Fourth, theoretical frameworks of restorative environments would benefit from inclusion of acoustic environmental properties such as sound intensity or frequency. Fifth, findings regarding positive, learned semantic associations with nature have arisen as a result of recent work on sounds and restoration. This represents another important area of potential theoretical development for broader restorative environments research. (shrink)

Birds produce different types of sounds in different contexts such as begging for food in youngsters, alerting to a danger, defending a territory or attracting a sexual partner. About half of the bird species are able to transform their vocalizations through imitation, improvisation or invention of sounds. Here we review the different experimental procedures that have been used to study the learning capacities of birds in the vocal domain and in the auditory domain, with a particular emphasis on recent technological (...) developments. Nowadays, it is possible to record individual vocalizations of birds living in social groups or to record continuously the vocal ontogeny of birdsong. In conditioning experiments, new paradigms have successfully replaced food rewards with a socio-sexual reward. It is possible to engage in vocal interactions with a bird using dedicated computer systems. In both the laboratory and more recently in the field, different techniques have been used to train young oscine songbirds to learn from acoustic models. The use of virtual social environments and robots as social agents are also promising avenues. All together, these new techniques will permit researchers to explore more deeply the umwelt of bird species. (shrink)

Michel Serres's relation to ecocriticism is complex. On the one hand, he is a pioneer in the area, anticipating the current fashion for ecological thought by over a decade. On the other hand, 'ecology' and 'eco-criticism' are singularly infelicitous terms to describe Serres's thinking if they are taken to indicate that attention should be paid to particular 'environmental' concerns. For Serres, such local, circumscribed ideas as 'ecology' or 'eco-philosophy' are one of the causes of our ecological crisis, and no progress (...) can be made while such narrow concerns govern our thinking. This chapter intervenes in the ongoing discussion about the relation of Serres to ecology by drawing on some of Serres's more recent texts on pollution and dwelling, and this fresh material leads us to modulate existing treatments of Serres and ecology. I insist on the inextricability of two senses of ecology in Serres's approach: a broader meaning that refers to the interconnectedness and inextricability of all entities (natural and cultural, material and ideal), and a narrower sense that evokes classically 'environmental' concerns. Serres's recent work leads us to challenge some of the vectors and assumptions of the debate by radicalising the continuity between 'natural' and 'cultural' phenomena, questioning some of the commonplaces that structure almost all ecological thinking, and arguing that the entire paradigm of ecology as 'conservation' and 'protection' is bankrupt and self-undermining. After outlining the shape of Serres's 'general ecology' and its opposition to ecology as conservation, this chapter asks what sorts of practices and values a Serresian general ecology can engender when it considers birdsong, advertising, industrial pollution and money to be manifestations of the same drive for appropriation through pollution. A response is given in terms of three key Serresian motifs: the world as fetish, parasitic symbiosis, and global cosmocracy. (shrink)

This article reconstructs Hegel’s account of nature’s autonomy and argues for its significance for his understanding of human autonomy and the relation between nature and spirit. It argues that Hegel treats the actualization of nature’s autonomy—epitomized by the phenomena of animal voice and birdsong—as a vital component of the actualization of free human spirit. Drawing on this analysis, the article then offers an ecological gloss on Hegel’s interest in the progressive actualization of freedom in the modern world. It concludes by (...) sketching a Hegelian account of what it might mean to listen to nature’s voices. (shrink)

It was once thought that solely humans were capable of complex cognition but research has produced substantial evidence to the contrary. Art and music, however, are largely seen as unique to humans and the evidence seems to be overwhelming, or is it? Art indicates the creation of something novel, not naturallyoccurring in the environment. To prove its presence or absence in animals is difficult. Moreover, connections between music and language at a neuroscientific as well as a behavioural level are not (...) fully explored to date. Even more problematic is the notion of an aesthetic sense. Music, so it is said, can be mimetic, whereas birdsong is not commonly thought of as being mimetic but as either imitation or mimicry and, in the latter case, as a ‘mindless’ act (parrots parroting). This paper will present a number of examples in which animals show signs of responsiveness to music and even engage in musical activity and this will be discussed from an ethological perspective. A growing body of research now reports that auditory memory and auditory mechanisms in animals are not as simplistic as once thought and evidence suggests, in some cases, the presence of musical abilities in animals. (shrink)

The purpose of the present article is to illustrate the crucial role played by the Umwelt theory in zoomusicological (and, more generally, zoosemiotic) studies. Too much, in fact too little, has been written on the relationship between non-human animals and music. Most of these writings do not explicitly aim at contributing to the actual problem (a good example being the reflections on birdsong contained in John Locke’s Essay Concerning Human Understanding). Some are, so to speak, a little folkloristic, quite a (...) few broach the problem in strictly scientific terms, and very few take a clearly zoomusicological approach. In an attempt to understand all the possible ways in which the problem can be analysed, it turns out that all these contributions — in spite of their reciprocal diversity — have points in common, leading to three main categories of approach: discontinuity, gradualism, and pluralism (or Umwelt theory). The discontinuist attitude is by definition opposed to the intent of a zoomusicological research, which in fact defends the thesis that music is not specific only to humans. On the other hand, one might share the gradualist assumption that musicality departs from a basis common to many animal species (at least, all those provided with vocal apparatuses). However, such a basis cannot be interpreted as monolithic (i.e., as having developed in a unique and indivisible way), carrying, as a result, qualitative differences in music between species. For the above-mentioned reasons, and for others to be illustrated in the present paper, it becomes clear that the approach to zoomusicology must necessarily be pluralistic. The most suitable framework seems to be that postulated by Jakob von Uexküll, and known as the theory ofUmwelt. (shrink)