Bearing Fruit: Plant Bioacoustics Is Blossoming
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Chapter 5 Bioacoustics Approaches in Biodiversity Inventories
Chapter 5 Bioacoustics approaches in biodiversity inventories by Martin K. Obrist Swiss Federal Research Institute WSL, Biodiversity and Conservation Biology Zürcherstrasse 111, CH-8903 Birmensdorf, Switzerland Email: [email protected] Gianni Pavan Centro Interdisciplinare di Bioacustica e Ricerche Ambientali Dipartimento di Biologia Animale, Università di Pavia Via Taramelli 24, 27100 Pavia, Italy Email: [email protected] Jérôme Sueur Muséum national d'Histoire naturelle, Département Systématique et Evolution UMR 7205 CNRS OSEB, 45 rue Buffon, 75005 Paris, France Email: [email protected] Klaus Riede Zoologisches Forschungsmuseum Alexander Koenig Adenauerallee 160, 53113 Bonn, Germany Email: [email protected] Diego Llusia Fonoteca Zoológica, Museo Nacional de Ciencias Naturales (CSIC) José Gutierrez Abascal 2, 28006 Madrid, Spain Email: [email protected] Rafael Márquez Fonoteca Zoológica, Museo Nacional de Ciencias Naturales (CSIC) José Gutierrez Abascal 2, 28006 Madrid, Spain Email: [email protected] 68 Abstract Acoustic emissions of animals serve communicative purposes and most often contain species-specific and individual information exploitable to listeners, rendering bioacoustics predestined for biodiversity monitoring in visually inaccessible habitats. The physics of sound define the corner stones of this communicative framework, which is employed by animal groups from insects to mammals, of which examples of vocalisations are presented. Recording bioacoustic signals allows reproducible identification and documentation of species’ occurrences, but it requires technical prerequisites and behavioural precautions that are summarized. The storing, visualizing and analysing of sound recordings is illustrated and major software tools are shortly outlined. Finally, different approaches to bioacoustic monitoring are described, tips for setting up an acoustic inventory are compiled and a key for procedural advancement and a checklist to successful recording are given. -
The Musical Influences of Nature: Electronic Composition and Ornithomusicology
University of Huddersfield Repository McGarry, Peter The Musical Influences of Nature: Electronic Composition and Ornithomusicology Original Citation McGarry, Peter (2020) The Musical Influences of Nature: Electronic Composition and Ornithomusicology. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35489/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Peter McGarry U1261720 The Musical Influences of Nature: 1 Electronic Music and Ornithomusicology University Of Huddersfield The School of Music, Humanities and Media Masters Thesis Peter McGarry The Musical Influences of Nature: Electronic Composition and Ornithomusicology Supervisor: Dr. Geoffery Cox Submitted: 23/12/2020 Peter McGarry U1261720 The Musical Influences of Nature: 2 Electronic Music and Ornithomusicology Abstract Zoomusicology is the study of animal sounds through a musical lens and is leading to a new era of sonic ideas and musical compositions. -
Rainforest Plant Developed 'Sonar Dish' to Attract Pollinating Bats
Rainforest plant developed 'sonar dish' to attract pollinating bats How plants sound as well as how they look helps them to attract pollinators, a new study has found. Researchers discovered that a rainforest vine, pollinated by bats, has evolved dish-shaped leaves with such conspicuous echoes that nectar-feeding bats can find its flowers twice as fast by echolocation. Flowering inflorescence of Marcgravia evenia. (A) dish-shaped leaf, (B) ring of flowers most of them in the male phase with anthers shedding pollen, (C) cup-like nectaries. How plants sound as well as how they look helps them to attract pollinators, a new study by scientists at the University of Bristol, UK, and the Universities of Erlangen and Ulm, Germany has found. The researchers discovered that a rainforest vine, pollinated by bats, has evolved dish-shaped leaves with such conspicuous echoes that nectar-feeding bats can find its flowers twice as fast by echolocation. The study is published in Science. While it is well known that the bright colours of flowers serve to attract visually-guided pollinators such as bees and birds, little research has been done to see whether plants which rely on echolocating bats for pollination and seed dispersal have evolved analogous echo-acoustic signals. The Cuban rainforest vine Marcgravia evenia has developed a distinctively shaped concave leaf next to its flowers which, the researchers noticed, is reminiscent of a dish reflector. By analyzing the leaf's acoustic reflection properties, they found that it acts as an ideal echo beacon, sending back strong, multidirectional echoes with an easily recognizable, and unvarying acoustic signature -- perfect for making the flower obvious to echolocating bats. -
A Definition of Song from Human Music Universals Observed in Primate Calls
bioRxiv preprint doi: https://doi.org/10.1101/649459; this version posted May 24, 2019. The copyright holder for this preprint (which was not certified by peer review) is the author/funder. This article is a US Government work. It is not subject to copyright under 17 USC 105 and is also made available for use under a CC0 license. A definition of song from human music universals observed in primate calls David Schruth1*, Christopher N. Templeton2, Darryl J. Holman1 1 Department of Anthropology, University of Washington 2 Department of Biology, Pacific University *Corresponding author, [email protected] bioRxiv preprint doi: https://doi.org/10.1101/649459; this version posted May 24, 2019. The copyright holder for this preprint (which was not certified by peer review) is the author/funder. This article is a US Government work. It is not subject to copyright under 17 USC 105 and is also made available for use under a CC0 license. Abstract Musical behavior is likely as old as our species with song originating as early as 60 million years ago in the primate order. Early singing likely evolved into the music of modern humans via multiple selective events, but efforts to disentangle these influences have been stifled by challenges to precisely define this behavior in a broadly applicable way. Detailed here is a method to quantify the elaborateness of acoustic displays using published spectrograms (n=832 calls) culled from the literature on primate vocalizations. Each spectrogram was scored by five trained analysts via visual assessments along six musically relevant acoustic parameters: tone, interval, transposition, repetition, rhythm, and syllabic variation. -
SEM Awards Honorary Memberships for 2020
Volume 55, Number 1 Winter 2021 SEM Awards Honorary Memberships for 2020 Jacqueline Cogdell DjeDje Edwin Seroussi Birgitta J. Johnson, University of South Carolina Mark Kligman, UCLA If I could quickly snatch two words to describe the career I first met Edwin Seroussi in New York in the early 1990s, and influence of UCLA Professor Emeritus Jacqueline when I was a graduate student and he was a young junior Cogdell DjeDje, I would borrow from the Los Angeles professor. I had many questions for him, seeking guid- heavy metal scene and deem her the QUIET RIOT. Many ance on studying the liturgical music of Middle Eastern who know her would describe her as soft spoken with a Jews. He greeted me warmly and patiently explained the very calm and focused demeanor. Always a kind face, and challenges and possible directions for research. From that even she has at times described herself as shy. But along day and onwards Edwin has been a guiding force to me with that almost regal steadiness and introspective aura for Jewish music scholarship. there is a consummate professional and a researcher, teacher, mentor, administrator, advocate, and colleague Edwin Seroussi was born in Uruguay and immigrated to who is here to shake things up. Beneath what sometimes Israel in 1971. After studying at Hebrew University he appears as an unassuming manner is a scholar of excel- served in the Israel Defense Forces and earned the rank lence, distinction, tenacity, candor, and respect who gently of Major. After earning a Masters at Hebrew University, he pushes her students, colleagues, and community to dig went to UCLA for his doctorate. -
Animal Bioacoustics
Sound Perspectives Technical Committee Report Animal Bioacoustics Members of the Animal Bioacoustics Technical Committee have diverse backgrounds and skills, which they apply to the study of sound in animals. Christine Erbe Animal bioacoustics is a field of research that encompasses sound production and Postal: reception by animals, animal communication, biosonar, active and passive acous- Centre for Marine Science tic technologies for population monitoring, acoustic ecology, and the effects of and Technology noise on animals. Animal bioacousticians come from very diverse backgrounds: Curtin University engineering, physics, geophysics, oceanography, biology, mathematics, psychol- Perth, Western Australia 6102 ogy, ecology, and computer science. Some of us work in industry (e.g., petroleum, Australia mining, energy, shipping, construction, environmental consulting, tourism), some work in government (e.g., Departments of Environment, Fisheries and Oceans, Email: Parks and Wildlife, Defense), and some are traditional academics. We all come [email protected] together to join in the study of sound in animals, a truly interdisciplinary field of research. Micheal L. Dent Why study animal bioacoustics? The motivation for many is conservation. Many animals are vocal, and, consequently, passive listening provides a noninvasive and Postal: efficient tool to monitor population abundance, distribution, and behavior. Listen- Department of Psychology ing not only to animals but also to the sounds of the physical environment and University at Buffalo man-made sounds, all of which make up a soundscape, allows us to monitor en- The State University of New York tire ecosystems, their health, and changes over time. Industrial development often Buffalo, New York 14260 follows the principles of sustainability, which includes environmental safety, and USA bioacoustics is a tool for environmental monitoring and management. -
The Race of Sound: Listening, Timbre, and Vocality in African American Music
UCLA Recent Work Title The Race of Sound: Listening, Timbre, and Vocality in African American Music Permalink https://escholarship.org/uc/item/9sn4k8dr ISBN 9780822372646 Author Eidsheim, Nina Sun Publication Date 2018-01-11 License https://creativecommons.org/licenses/by-nc-nd/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Race of Sound Refiguring American Music A series edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles McGovern, contributing editor The Race of Sound Listening, Timbre, and Vocality in African American Music Nina Sun Eidsheim Duke University Press Durham and London 2019 © 2019 Nina Sun Eidsheim All rights reserved Printed in the United States of America on acid-free paper ∞ Designed by Courtney Leigh Baker and typeset in Garamond Premier Pro by Copperline Book Services Library of Congress Cataloging-in-Publication Data Title: The race of sound : listening, timbre, and vocality in African American music / Nina Sun Eidsheim. Description: Durham : Duke University Press, 2018. | Series: Refiguring American music | Includes bibliographical references and index. Identifiers:lccn 2018022952 (print) | lccn 2018035119 (ebook) | isbn 9780822372646 (ebook) | isbn 9780822368564 (hardcover : alk. paper) | isbn 9780822368687 (pbk. : alk. paper) Subjects: lcsh: African Americans—Music—Social aspects. | Music and race—United States. | Voice culture—Social aspects— United States. | Tone color (Music)—Social aspects—United States. | Music—Social aspects—United States. | Singing—Social aspects— United States. | Anderson, Marian, 1897–1993. | Holiday, Billie, 1915–1959. | Scott, Jimmy, 1925–2014. | Vocaloid (Computer file) Classification:lcc ml3917.u6 (ebook) | lcc ml3917.u6 e35 2018 (print) | ddc 781.2/308996073—dc23 lc record available at https://lccn.loc.gov/2018022952 Cover art: Nick Cave, Soundsuit, 2017. -
Music and Environment: Registering Contemporary Convergences
JOURNAL OF OF RESEARCH ONLINE MusicA JOURNALA JOURNALOF THE MUSIC OF MUSICAUSTRALIA COUNCIL OF AUSTRALIA ■ Music and Environment: Registering Contemporary Convergences Introduction H O L L I S T A Y L O R & From the ancient Greek’s harmony of the spheres (Pont 2004) to a first millennium ANDREW HURLEY Babylonian treatise on birdsong (Lambert 1970), from the thirteenth-century round ‘Sumer Is Icumen In’ to Handel’s Water Music (Suites HWV 348–50, 1717), and ■ Faculty of Arts Macquarie University from Beethoven’s Pastoral Symphony (No. 6 in F major, Op. 68, 1808) to Randy North Ryde 2109 Newman’s ‘Burn On’ (Newman 1972), musicians of all stripes have long linked ‘music’ New South Wales Australia and ‘environment’. However, this gloss fails to capture the scope of recent activity by musicians and musicologists who are engaging with topics, concepts, and issues [email protected] ■ relating to the environment. Faculty of Arts and Social Sciences University of Technology Sydney Despite musicology’s historical preoccupation with autonomy, our register of musico- PO Box 123 Broadway 2007 environmental convergences indicates that the discipline is undergoing a sea change — New South Wales one underpinned in particular by the1980s and early 1990s work of New Musicologists Australia like Joseph Kerman, Susan McClary, Lawrence Kramer, and Philip Bohlman. Their [email protected] challenges to the belief that music is essentially self-referential provoked a shift in the discipline, prompting interdisciplinary partnerships to be struck and methodologies to be rethought. Much initial activity focused on the role that politics, gender, and identity play in music. -
Origins of Music in Credible Signaling
This is a provisionally accepted target article for Behavioral and Brain Sciences. It may differ from the published version. Origins of music in credible signaling Samuel A. Mehra,b,c,∗ [email protected] https://mehr.cz Max M. Krasnowa,∗ [email protected] https://projects.iq.harvard.edu/epl Gregory A. Bryantd,e,∗ [email protected] https://gabryant.bol.ucla.edu Edward H. Hagenf,∗ [email protected] https://anthro.vancouver.wsu.edu/people/hagen aDepartment of Psychology, Harvard University, Cambridge MA 02138, USA bData Science Initiative, Harvard University, Cambridge MA 02138, USA cSchool of Psychology, Victoria University of Wellington, Wellington 6012, New Zealand dDepartment of Communication, University of California Los Angeles, Los Angeles CA 90095, USA eCenter for Behavior, Evolution, & Culture, University of California Los Angeles, Los Angeles CA 90095, USA fDepartment of Anthropology, Washington State University, Vancouver WA 98686 USA ∗All authors contributed to this paper and are listed in order of reverse seniority. Short abstract How did music evolve? We show that prevailing views on the evolution of music — that music is a byproduct of other evolved faculties, that music evolved for social bonding, and that music evolved to signal mate quality — are incomplete or wrong. We argue instead that music evolved as a credible signal in at least two contexts: coalitional interactions and infant care. We suggest that basic features of music, including melody and rhythm, result from adaptations in the proper domain of human music, providing a foundation that cultural evolution shapes into its actual domain. Long abstract Music comprises a diverse category of cognitive phenomena that likely represent both the effects of psycho- logical adaptations that are specific to music (e.g., rhythmic entrainment) and the effects of adaptations for non-musical functions (e.g., auditory scene analysis). -
Automatic Responses to Musical Intervals: Contrasts in Acoustic Roughness Predict
Automatic Responses to Musical Intervals: Contrasts in Acoustic Roughness Predict Affective Priming in Western Listeners James Armitage, Imre Lahdelma, and Tuomas Eerola Department of Music, Durham University, Durham, DH1 3RL, UK (Dated: 30 March 2021) 1 1 ABSTRACT 2 The aim of the present study is to determine which acoustic components of harmonic con- 3 sonance and dissonance influence automatic responses in a simple cognitive task. In a series 4 of affective priming experiments, eight pairs of musical interval were used to measure the 5 influence of acoustic roughness and harmonicity on response times in a word-classification 6 task conducted online. Interval pairs that contrasted in roughness induced a greater degree 7 of affective priming than pairs that did not contrast in terms of their roughness. Contrasts 8 in harmonicity did not induce affective priming. A follow-up experiment used detuned in- 9 tervals to create higher levels of roughness contrasts. However, the detuning did not lead to 10 any further increase in the size of the priming effect. More detailed analysis suggests that 11 the presence of priming in intervals is binary: in the negative primes that create congru- 12 ency effects the intervals' fundamentals and overtones coincide within the same equivalent 13 rectangular bandwidth (i.e. the minor and major seconds). Intervals that fall outside this 14 equivalent rectangular bandwidth do not elicit priming effects, regardless of their disso- 15 nance or negative affect. The results are discussed in the context of recent developments in 16 consonance/dissonance research and vocal similarity. 2 17 I. INTRODUCTION 18 The contrast between consonance and dissonance is a vital feature of Western music. -
Soundscape Ecology
Soundscape Ecology Almo Farina Soundscape Ecology Principles, Patterns, Methods and Applications Almo Farina Department of Basic Sciences and Foundations Urbino University Urbino, Pesaro-Urbino Italy ISBN 978-94-007-7373-8 ISBN 978-94-007-7374-5 (eBook) DOI 10.1007/978-94-007-7374-5 Springer Dordrecht Heidelberg New York London © Springer Science+Business Media Dordrecht 2014 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. Permissions for use may be obtained through RightsLink at the Copyright Clearance Center. Violations are liable to prosecution under the respective Copyright Law. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. -
Sensory and Cognitive Constraints and Opportunities in Bats
Sensory and Cognitive Constraints and Opportunities in Bats by Jeneni Thiagavel A thesis submitted in conformity with the requirements for the Degree of Doctor of Philosophy Department of Ecology and Evolutionary Biology University of Toronto © Copyright by Jeneni Thiagavel, 2019 i Sensory and Cognitive Constraints and Opportunities in Bats Doctor of Philosophy, 2019 Jeneni Thiagavel, Department of Ecology and Evolutionary Biology, University of Toronto Here I report on three comparative studies and one review chapter addressing the relationships between sensory reliance, neuroanatomy, skull morphology and body size, as they relate to diet and foraging in bats. In chapter two, I use morphological and echolocation data to test whether (i) mass-signal frequency allometry or (ii) emitter-limited (maximum gape) signal directionality better explain the negative relationship between size and peak frequency in bats. The results suggest that body mass and forearm length were important predictors of open space echolocation call peak frequency in ways that (i) reflect species- specific size differences, and (ii) suggest the influence of preferred foraging habitat. In chapter three, I test the predictions that the ancestral bat had (i) an auditory brain design capable of supporting early laryngeal echolocation, but (ii) eyes of insufficient absolute size to allow insect tracking at night. The results suggest that bats’ common ancestor had eyes too small to allow for successful aerial hawking of flying insects at night, but an auditory brain design sufficient to afford echolocation. Further, we find that those with less sophisticated biosonar have relatively larger eyes than do sophisticated echolocators. ii In chapter four, I continue to explore apparent trade-offs between echolocation call design and vision in predatory bats.