Animal Bioacoustics
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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. -
AND BODY of CICADA": IMPRESSIONS of the LANTERN-FLY (HEMIPTERA: FULGORIDAE) in the VILLAGE of Penna BRANCA" BAHIA STATE, BRAZIL
Journal of Ethnobiology 23-46 SpringiSummer 2003 UHEAD OF SNAKE, WINGS OF BUTTERFL~ AND BODY OF CICADA": IMPRESSIONS OF THE LANTERN-FLY (HEMIPTERA: FULGORIDAE) IN THE VILLAGE OF PEnnA BRANCA" BAHIA STATE, BRAZIL ERALDO MEDEIROS COSTA-NElO" and JOSUE MARQUES PACHECO" a Departtll'rtl?nto de Cit?t1Cias BioMgicasr Unh:rersidade Estadual de Feira de Santana, Km 3, BR 116, Campus Unirl£rsitario, eEP 44031-460, Ferra de Santana, Bahia, Brazil [email protected],br b DepartmHemo de Biowgifl Evolutim e Ecologia, Unit:rersidade Federal de Rod. Washington Luis, Km 235, Caixa Postal 676, CEP 13565~905, Sao Silo Paulo, Brazil r:~mail: [email protected] To the memory of Darrell Addison Posey (1947-2001) ABSTRACT.-Four aspects of the ethnoentomology of the lantern-fly (Fulgora la temari" L., 1767) were studied in Pedra Branca, Brazil. A total of 45 men and 41 women were consulted through open-ended interviews and their actions were observed in order to document the wisdom, beliefs, feelings, and behaviors related to the lantern-fly. People/s perceptions of the ex.temal shape of the insect influence its ethnotaxonomy, and they may categorize it into five different ethnosemantic domains, VilJagers a.re familiar with the habitat and food habits of the lantern- fly; they it lives on the trunk of Simarouba sp. (Simaroubaceae} by feeding on sap with aid of its 'sting: The culturally constructed attil:tldes toward this insect are that it is a fearsome organism that should be extlimninated .vhenever it is found because it makes 'deadly attacks.' on plants and human beings. -
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. -
Young Naturalists Teachers Guides Are Provided Free of Charge to Classroom Teachers, Parents, and Students
MINNESOTA CONSERVATION VOLUNTEER Young Naturalists Prepared by “Buggy Sounds of Summer” Jack Judkins, Multidisciplinary Classroom Activities Department of Education, Teachers guide for the Young Naturalists article “Buggy Sounds of Summer,” by Larry Weber. Illustrations by Taina Litwak. Published in the July–August 2004 Conservation Bemidji State Volunteer, or visit www.dnr.state.mn.us/young_naturalists/buggysounds University Young Naturalists teachers guides are provided free of charge to classroom teachers, parents, and students. This guide contains a brief summary of the articles, suggested independent reading levels, word counts, materials list, estimates of preparation and instructional time, academic standards applications, preview strategies and study questions overview, adaptations for special needs students, assessment options, extension activities, Web resources (including related Conservation Volunteer articles), copy-ready study questions with answer key, and a copy-ready vocabulary sheet. There is also a practice quiz (with answer key) in Minnesota Comprehensive Assessments format. Materials may be reproduced and/or modified a to suit user needs. Users are encouraged to provide feedback through an online survey at www. dnr.state.mn.us/education/teachers/activities/ynstudyguides/survey.html. Note: this guide is intended for use with the PDF version of this article. Summary “Buggy Sounds of Summer” introduces readers to crickets, katydids, and cicadas, three insects that make sounds with specialized body parts. Through photos, -
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. -
“Can You Hear Me?” Investigating the Acoustic Communication Signals and Receptor Organs of Bark Beetles
“Can you hear me?” Investigating the acoustic communication signals and receptor organs of bark beetles by András Dobai A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Science In Biology Carleton University Ottawa, Ontario © 2017 András Dobai Abstract Many bark beetle (Coleoptera: Curculionidae: Scolytinae) species have been documented to produce acoustic signals, yet our knowledge of their acoustic ecology is limited. In this thesis, three aspects of bark beetle acoustic communication were examined: the distribution of sound production in the subfamily based on the most recent literature; the characteristics of signals and the possibility of context dependent signalling using a model species: Ips pini; and the acoustic reception of bark beetles through neurophysiological studies on Dendroctonus valens. It was found that currently there are 107 species known to stridulate using a wide diversity of mechanisms for stridulation. Ips pini was shown to exhibit variation in certain chirp characteristics, including the duration and amplitude modulation, between behavioural contexts. Neurophysiological recordings were conducted on several body regions, and vibratory responses were reported in the metathoracic leg and the antennae. ii Acknowledgements I would like to thank my supervisor, Dr. Jayne Yack for accepting me as Master’s student, guiding me through the past two years, and for showing endless support and giving constructive feedback on my work. I would like to thank the members of my committee, Dr. Jeff Dawson and Dr. John Lewis for their professional help and advice on my thesis. I would like to thank Sen Sivalinghem and Dr. -
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. -
The Neuromuscular Mechanism of Stridulation in Crickets (Orthoptera: Gryllidae)
J. Exp. Biol. (1966), 45, isi-164 151 With 8 text-figures Printed in Great Britain THE NEUROMUSCULAR MECHANISM OF STRIDULATION IN CRICKETS (ORTHOPTERA: GRYLLIDAE) BY DAVID R. BENTLEY AND WOLFRAM KUTSCH Department of Zoology, University of Michigan, Aim Arbor, and Institute for Comparative Animal Physiology, University of Cologne {Received 21 February 1966) INTRODUCTION Study of the insect neuromuscular system appears very promising as a means of explaining behaviour in terms of cellular operation. The relatively small number of neurons, the ganglionic nature of the nervous system, the simplicity of the neuro- muscular arrangement, and the repetitiveness of behavioural sequences all lend them- selves to a solution of this problem. As a result, an increasing number of investigators have been turning their attention to insects and especially to the large orthopterans. Recently, Ewing & Hoyle (1965) and Huber (1965) reported on muscle activity underlying sound production in crickets. The acoustic behaviour is well understood (Alexander, 1961) and in the genera Gryllus, Acheta and Gryllodes communication is mediated by three basic songs composed of three types of pulses. While working independently on this system at the University of Cologne (W.K.) and the University of Michigan (D.B.) using various Gryllus species, we found a number of basic differences between the muscle activity in our crickets and that reported by Ewing & Hoyle (1965) for Acheta domesticus. These two genera, Gryllus and Acheta, are so nearly identical that they are distinguished solely by differences in the male genitalia (Chopard, 1961). The present paper constitutes a survey of muscle activity patterns producing stridulation in four species of field crickets. -
Chamber Music: an Unusual Helmholtz Resonator for Song Amplification in a Neotropical Bush-Cricket (Orthoptera, Tettigoniidae) Thorin Jonsson1,*, Benedict D
© 2017. Published by The Company of Biologists Ltd | Journal of Experimental Biology (2017) 220, 2900-2907 doi:10.1242/jeb.160234 RESEARCH ARTICLE Chamber music: an unusual Helmholtz resonator for song amplification in a Neotropical bush-cricket (Orthoptera, Tettigoniidae) Thorin Jonsson1,*, Benedict D. Chivers1, Kate Robson Brown2, Fabio A. Sarria-S1, Matthew Walker1 and Fernando Montealegre-Z1,* ABSTRACT often a morphological challenge owing to the power and size of their Animals use sound for communication, with high-amplitude signals sound production mechanisms (Bennet-Clark, 1998; Prestwich, being selected for attracting mates or deterring rivals. High 1994). Many animals therefore produce sounds by coupling the amplitudes are attained by employing primary resonators in sound- initial sound-producing structures to mechanical resonators that producing structures to amplify the signal (e.g. avian syrinx). Some increase the amplitude of the generated sound at and around their species actively exploit acoustic properties of natural structures to resonant frequencies (Fletcher, 2007). This also serves to increase enhance signal transmission by using these as secondary resonators the sound radiating area, which increases impedance matching (e.g. tree-hole frogs). Male bush-crickets produce sound by tegminal between the structure and the surrounding medium (Bennet-Clark, stridulation and often use specialised wing areas as primary 2001). Common examples of these kinds of primary resonators are resonators. Interestingly, Acanthacara acuta, a Neotropical bush- the avian syrinx (Fletcher and Tarnopolsky, 1999) or the cicada cricket, exhibits an unusual pronotal inflation, forming a chamber tymbal (Bennet-Clark, 1999). In addition to primary resonators, covering the wings. It has been suggested that such pronotal some animals have developed morphological or behavioural chambers enhance amplitude and tuning of the signal by adaptations that act as secondary resonators, further amplifying constituting a (secondary) Helmholtz resonator. -
Pinyon Engraver Beetle Acoustics: Stridulation Apparatus, Sound Production and Behavioral Response to Vibroacoustic Treatments in Logs
insects Article Pinyon Engraver Beetle Acoustics: Stridulation Apparatus, Sound Production and Behavioral Response to Vibroacoustic Treatments in Logs Ivan Lukic 1 , Carol L. Bedoya 2, Evan M. Hofstetter 3 and Richard W. Hofstetter 1,* 1 School of Forestry, Northern Arizona University, Flagstaff, AZ 86011, USA; [email protected] 2 School of Biological Sciences, University of Canterbury, Christchurch 8140, New Zealand; [email protected] 3 BASIS, High School, Flagstaff, AZ 86001, USA; [email protected] * Correspondence: [email protected] Simple Summary: Acoustic technology is a potential tool to protect wood materials and live trees from colonization by bark beetles and other wood-infesting insects. Bark beetles such as the pinyon engraver beetle Ips confusus use chemical and acoustic cues to communicate and to locate potential mates in trees. In this study, we describe the structures and airborne sounds produced by the pinyon engraver beetle, and test the efficacy of vibroacoustic treatments for tree protection against this beetle. Only female beetles possessed sound producing structures, located on the back of the head and inside the thorax. We analyzed and described the airborne sounds, called chirps, produced by females when held by tweezers or placed on their back. We tested a wide variety of vibroacoustic treatments Citation: Lukic, I.; Bedoya, C.L.; played into logs but these sound treatments did not prevent male entry into logs and did not disrupt Hofstetter, E.M.; Hofstetter, R.W. female–male interactions, female tunneling behavior, reproduction or egg laying. We suggest further Pinyon Engraver Beetle Acoustics: studies if acoustic methods are to be utilized to control this bark beetle. -
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.